'Rock And Rot'
(pc34lp) LP 2004
The highly anticipated debut album
from San Francisco's promising young
punk outfit greets us with a
blood-soaked shattered Gibson
sleeve, and comes on shitty
brown/green splattered vinyl. As far as
looks go they could've just walked
straight outta Punk Lives with bullet
belts, spikes, mohawks and studs
staking their claim amongst the local
graffiti. I bet they hated posing for
those shots. And the sound they
create is as you'd expect. Full on
raging anthems of pissed off pogo
punk done at a breakneck speed but
with little shots of finesse for good
measure. But what im thinking and
presumably you too, is can these kids
create enough of an identity for
themselves sound wise, to make em
stick out from the legions of other
similarly charged spiky tops? Well what
you can tell by this 12 track prototype
is there is a definite aura about the
Cropknox. They've got something
worth your attention that bands like
the Casualties lack. They got a
singer with a neat vocal who don't
scream or grunt, but he could be way
more imposing if he took more control.
They got some really gifted guitar
interplay that gets used to the max.
And the rhythm section ain't here
solely for decoration, they keep the
vibe on a punk core level with a heads
down conviction. But what they really
need more of is... time! The 'Rock And
Rot' live for today ethic is great in
theory, but leaves em with a rushed
release that don't do em total justice.
They need more time to fester and
fully harness their snotty El Cerrito
anthems for a whole albums worth of
material. They ain't quite managed it
this time out, with half the tracks falling
below the quality of their significant
high spots. Talking of which
'No Hope
In Sight'
is a track with it's second
guitar depth seeking probe showing a
natural knack for good tunes.
also has a juicy guitar break
that nods to Steve Jones and Mr
Thunders in direction. But we had to
wait for the end of side 1 for their
penultimate track.
'Rebel Youth', (yeah
I know that same old cliché rears its
ugly spotty head again) but this epic
comes complete with sprawling guitar
signatures reminiscent of
Blitz at their
peak. The Cropknox have that
feel in the song and chorus without it
being a parody. Pity there ain't more
tracks like this one, coz then they
really would've stamped their blackmail
brand on the arse of the current punk
scene. But these are young punks in
progress, they got the energy, they
got a good label backing em and
they're hungry to get their set out to a
baying world of like minded American
youth. So maybe naivety really ain't
such a crime? They wisely make full
use of their previous
'Just Can't Live'
EP, coz that did boast some of the
most outstanding tracks they've written
to date. But this is a band whose
throwaway lyrics about society ills can
safely fall back on the solid duel
guiitars to really propel this band
forward. They end with a very good
version of an old Riot City track
of Dachau'
by the Underdogs, which
works very well within this albums 21st
century soundscape. I'm sure this is
gonna sell well but for the band this
must be a learning curve and time to
work on and knock out that follow up
killer album they merely hint at on this
session. The
Cropknox are currently
touring the US promoting this album so
why not check em out for yourselves
coz we need a new solution!
For more info go here
SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
'Up Yours!' (imb6013) CD
September 2004
This is a surprise return for Stafford's
(now Spanish based)
Sensa Yuma. I
thought they'd
lost their scruffy
merriment way back when? Coz last I
heard they'd jumped ship to sweaty
Spain in 98', and were just a moist
memory in the corner of Stu-pid's eye.
Especially after the disappointing
release (if the reviewers are to be
believed) of their
debut album 'Every
Days Your Last'. Apparently not! They
have regrouped and tour
spasmodically around the Euro squat
scene with alternating line-ups for
appearances. The buoyant
mainman Stu-Pid Bastard is still
fronting em, along with original
bassplayer Minty Nigel for UK gigs.
Which in itself deserves respect and
staying power over a twenty
year period! They are also completed
by a bunch of Brummy and Euro
punks from an array of other squalid
outfits. Stu-pid in case you didn't
know, has been in more punk bands
than a bad haircut! But
Sensa Yuma
was his first and most enthusiastic
band. His larger than life character in
the UK punk scene is kept intact with a
powerful kinda growly vocal that suits
Yuma's creative style. They kick off
with 2 of their most powerful tracks.
'War' really seethes with rage on the
current aggro in Iraq, and the self
explanatory no compromising anthem
'Fuck The Government', which
features Stu-pids no messin delivery
taken to the brink. I also like the
sussed lyrics in
'Band Heroes' which
takes a clever look at band and
performers in the punk scene. They
do cover a wide range of subject
matter on this album via divorce,
relationships, City life
and even the
perils of wanking! 'Up Yours!' was
recorded in Spain, but it feels like it
came straight outta the confines of
Digbeth, with a very English appeal.
They even come
up with a nifty cover
of local inspiration
Dead Wretched's
No Justice'. Sensa Yuma play
mid-paced punk rock with
surprisingly less noise than I was
expecting. If your into bands like
Contempt with a dose of the English
(both of whom Stu fronted in a
former life) you'll like these blighters
for sure. Songs like the skanking
'Mindless Violence' or the futuristic
guitar appeal of
'Manipulate' see's em
maturing into quite an interesting
outfit. And unlike most of their bland
UK contemporaries,
Sensa Yuma
seem to be exploring new ways to
express their songs. Which is what
we've been waiting for, for fucking
However the shitty keyboards
on the lingering
'Waiting' gave em a
plastic new wave feel. However for the
most part they deliver convincing punk
rock with tunes 'n' humour (see
or 'Ear Damage'), and it's all
wrapped up in a gritty crazy coloured
veneer. 'Up Yours!' is a worthy release
from a vet band who are still relevant
today without becoming pantomime or
stale. In fact it's probably the best
on Iron Man Records to date!
Comes in the most hideous front cover
image I've seen in a while, straight
outta's grisly gallery, plus a
full accompaniment of lyrics and band
info when you ain't heaving out the

(Dagger Records) CD 2004
Blastmat have been around for 3
years and kick off this showcase split
CD with heavy chugging guitars and
those stop/start finishes. A sound that
creates a mid to late 80's style of
hardcore so epitomised by the likes of
Suicidal Tendencies, but without the
gang mentality and bandannas.
These 8 tracks apparently appeared
Blastmat's recently self released
'Chopping Block' CD. In fact the

'Chopping Block'
title track is way
more like it
with big beefy guitar riffs
and a psychedelic lead break, but the
strangled low mixed vocals are one
dimensional and don't create enough
interest to go along with Blastmat's
superior and compact musical
backing. They do have potential for
improvement and have
tracks coming out in various formats
in Germany and the USA.
Second Class Citizens on the other
hand are the newer band featuring
members from Connecticut outfit
Down In The Fifth, which don't mean
fuck all to me? And strike me down
deaf, dumb and blind, but they seem
to have the same singer as
Blastmat? Either that or it proves
there ain't a lotta difference with this
full on style of crooning. They are a
real disspointment. The Gruff gorilla
vocals get a better mix this time
around much to our dismay and
discomfort, but it don't do these
Citizens any favours. Why people get
into this style of plodding punk is
beyond me? But I suggest if you do
wanna trawl through the toilet bowl of
this particular wing of punk, there are
way better bands to choose from who
do it with way more energy
power and conviction.
Second Class
are merely second class in all
fields with only a decent guitar sound
to salvage from the wreckage.
Both bands are still hunting for labels
(don't give
Second Class Citizen
much hope!) to release their stuff, be
it on compilations or otherwise. So
check em out for yourself if you want
some gruff hardcore without much
Dagger Records
PO Box 380152 East Hartford, CT
06138-0152 USA
(vera002) CD October 2004
This latest offering from the sons of
Apocalypse Babys was
very much anticipated here in the
Wolf's Lair. The nuclear tots have
been busy taking their spunky
Ramones fixations to such far flung
exotic locations as Italy and Glasgow
most recently. And shock horror the
US could be their next port of
watch out Yanks!?
The Babys gawd
bless em really don't know the
meaning of defeat in the face of
record company apathy. They have
released this their 5th album on their
own gorgeous Vinyl Vera label. And
you know what, it's a very pro
package indeed! Comes with full
colour foldout lyric sleeve, plus
various blindo band shots, that gives
this record a certain bed wetting
ambience. So who really needs record
companies if you can put out first
class product such as this? Answers
on a postcard to the Alfreton's DHSS
please. This new liquored up set
however, don't exactly get us up on
the tables quite as much as previous
releases. The commanding
production is spot on, their dry wit is
still on show, but they don't give us
anything really new from what we
already know of the band. Fun punk
springs to mind if your a new listener,
but shows these gurgling babys can
still write a decent record or two
despite not being half as essential as
their recent classy '7" Plus' CD
collection. And those worthy tracks on
here to keep your interest while
ordering a pint are the rampaging axe
attack of
'Guantanamo Bay' or the
sinister delivery of
'Dirty Bomb'.
Apocalypse Babys may not be pious
enough for some hard-line punks, but
they still ain't walking round the bar
with their heads stuck in a pint glass,
although you can be forgiven for
thinking so. Even that smelly old punk
rock institution called Charlie Harper
gets a slap on the back with their
tribute track. Which I'm sure is
really touching in Tooting, but I find it a
bit dubious when punk icons suddenly
become senior citizens... or present
dodgy wildlife documentaries!!!
Asterix's vocals are more gnarly on
this session, he seems to have given
the smooth ballads neck, in favour of
a moody skank called
'Reggae Maan',
which incorporates a 'Nice N
Sleazy' riff and even has some Carl
Douglas ('Kung Fu Fighting')
influenced backing vocalisations. But
with 3 covers in this 13 song set, it
does beg the question of filler? And
when you get some really dodgy
material like
'Lets Jump The
Broomstick''s no thanks! They do
finish on a boozy crashcourse of the
title track that'll probably be another
bawdy set closer on the bands up
and coming live dates.
'Your Lips My Ass'
(Prison079-2) CD May 2004
When I heard Texas Terri Bomb,
(the latest conception from the
relentless Terri Laird) had been
signed to a couple of decent up 'n'
coming labels like (TKO/US) and
(People Like You/Europe). I was more
than anticipating the raunchy
floodgates to open up from this red
headed, red blooded medusa. Had all
those years of running with the pack
finally paid off? Considering this
Austin viper has had drug shit,
personal shit, and every other kinda
shit to deal with over the years. And
single handily survived fluctuating
band line-ups she deserves a break.
She also deserves respect from every
quarter for not quitting. The only thing
she has quit by the way is
drink 'n' drugs, giving her one ROCK! Her high regard
in the scene is confirmed by the who's
who of supporting characters on this
disc of distemper. You got Wayne
Kramer (
MC5), a Dwarve,
Dickie and Cherie Currie
Runaways), who duets on 'The
Rocker'. Terri and her sleaze hounds
are a classic case of a band who
reach their peak, look set for some
tantalising output, then suddenly die
(literally). Maybe it's down to keeping
apace with her huge Texan energy?
She will not be silenced though, and
looks set to burn up Europe like she
did the West coast for the past ten
years. However this album ain't quite
the 'bomb' we were expecting to blow
up in our faces. I still rate 'Oh Shit' her
previous release as being her best so
far. 'Your Lips My Ass' is in your face
but contains some filler quota of rock
that won't win her new fans. But just
forget the average tracks for a minute
coz this punk rock headcase, with a
torso that's looks like an Indian inked
pirate map, is still one of the most
entertaining 'live fast, die hard'
legends your ever likely to witness in
today's fabricated
punk scene. 'One
Hit Wonder'
the opening track is pure
class and the best track. With it's
multi-dimensional attack of the
hardcore chorus and the dare I say
it...alluring femininity of her purrs on a
roll call of fame. The other big winner
is the seething cover of the
Dogs, 'Oh Yeah'. A live
track that is attitude on fire. And
thankfully gets a compounded studio
recording and movie slot too. She also
gives a nod to
Iggy without whom her
note perfect rendition of
and Osterberg stage
presence ain't complete. This is
primarily a guitar album in the
Thunders school of trash, but with
Terri's deranged over the top growl,
makes for a compelling partnership.
She ultimately confirms her status as
the badass bitch between the punk
and rock universe on the bratty
Shut Up'
. Produced by rock guru Jack
Douglas who captures
Texas Terri
firing on most cylinders, but still
promising so much more!

'Dead Punks Live'
(K107) CD 2004
This has a feel that it could be the
Derita Sisters farewell album, after a
fucking multitude of releases over the
past decade or so. But I wouldn't
count on it! It don't seem that long
since they had another live German
set released. So I think Marky Derita is
pushing the boat out on this one, but
can you blame him? This band have
been his life for so many years and he
is the Kotumba label boss, so why the
hell not? If you've got it
flaunt it. The
Deritas Sisters
may not be
headliners at Wasted festivals or fresh
faced teeny punk poppers in the
pages of Kerrrang! But they sure
know how to blitz through a 38 track
set of good and sometimes classy
punk rock. However this mammoth
'Dead Punks' set can be a bit too
much for one sitting without a beer in
your hand. But it gives a good
showcase of the latest line-up. Who
seem in pace and time with the old
one, but maybe not quite as absorbed
in some departments. But who the
fuck cares? Coz this is LIVE and in
your face! And positively no room in
their set for awkward silences. The
Kraut crowd can't seem to get enough
of this band. I wonder
why that is? It
may have something to do with fun!
You remember fun don'tcha?, your
supposed to enjoy it! In case you
didn't know they're vet punks who
send up punk as good as anyone
around. But unlike most these Sisters
have an obvious knack for creating
some great blasts along the way. If
they performed in a slack lethargic
pace, they'd have probably given up
years ago, but these are fuckin tight
even when they're pissed.
'We Don't
Pose', 'Born Without A Punk Rock
and '77 Forever' are fackin
great tunes. Like most
Derita songs,
their better ones
seem to be the less
frantic and capture a band in full
swing. Take for example the swigging
'Wino A Go Go' or the hilarious 'I'm
They still entertain us and
still the best pisstakers in the US punk
scene, but more importantly they're
still doin' it for all the right reasons.
Comes with a professional live sound
recording and packaging. We even
get a sneak 5 tracks preview strapped
to the end of other Kotumba bands.
Who upon close inspection feature
maybe one
Derita or their offspring in
the starting line. Check out the
or tour mates The Lurkers live
set which is reviewed elsewhere on
this page.

'Live Freakshow'
(K105) Summer 2004
This is a pretty good live interpretation
of the
Lurkers as a trimmed down
3-piece who are currently touring
Fulham and beyond. Featuring the
only original member (the
unpretentious) Arturo Bassick on
vocals/bass. Now I dunno about you
but I was dragged up on 'Fulham
Fallout' their brilliant debut album. And
I can tell ya straight...Arturo
ain't the world's most outstanding punk
vocalist! Although he does give a
good account of his bands recorded
legacy on this concise recording. His
between song banter especially can't
be faulted. But we are missing two vital
lurking factors. Howard
Wall's hypnotic
vocals and Pete Stride's defining
rifferama. Together these were
something quite distinct way back in
the late 70's. But don't blame Arty coz
he wanted his old band mates to
collaborate on further lurking. However
they either declined or went AWOL?
Leaving him to skulk alone with
various new members in attendance.
This set proves that older
compositions such as punk classics
like the frantic
'Freakshow', the
'I Don't Need To Tell Her'
or the splendid
'Shadow' are still this
bands bread and butter. However
Lurkers in 2004 are still worth
checking out as this 21 song set gives
us some later material. Best of which
were the smitten
'One Day', or
'Red Light Girl'. Songs that  
are skilful enough to bear further
investigation. The
Lurkers are
beyond the usual punk suspects doing
the live circuit today. Simply because
they ain't got a righteous attitude,
they're merely out for a good time with
you the audience as their
fellow prowlers. I just wish they'd have
a bit more edge coz the playing is spot
on but missing that killer instinct the
original line-up had. A stigma that'll
probably dog em forever more. This
CD finishes with a very open interview
conducted with Arturo who spills the
beans on everything Lurker plus live
Lurkers video footage from Berlin and
Dusseldorf where this gig was
recorded in October 2003. Comes with
a set of German
Lurker lyrics and pix
Kotumba Records
'7" Plus!'
(vera001) CD Summer 2004
Alfreton in Derbyshire may not be a
hard-core punk bastion to most
people. But this quiet unassuming
outcrop sandwiched between Derby
and Mansfield in the UK, deserves it's
own sweaty deposit amongst punk
rock folklore. For it's here local heroes
Apocalypse Babys reside and
created this absorbing collection. '7"
Plus!' shows off an
excellent array of twenty cuts that
spans the bands previous 12 year
career. Criminally overlooked and
dogged by unsteady line-ups, this
prime time sounding punk rock outfit
still managed to put out some
remarkably high quality punk rock
tunes to thrill the masses. Or maybe
the locals down the Vic? The
Apocalypse Babys are a band who
sing about the real world of dole
drums, council flats, cops, violence,
and dreaming of the big break!!!
The big break being something most
punk bands secretly want, but shun!
Coz they are either too sanitary to
admit it, or just ain't got the talent
anyway. However these Derbyshire
lads really do have loads of pulling
power in the hook department. A talent
 that should by rights be
heard by a
bigger audience. But like so many
bands before em, they seem destined
to be heard by so few. What they got
here that is sadly lacking in the punk
scene today, is variation in
composition and execution. Their
songs don't all dwell on oppression or
getting the girl. They merely reflect a
bigger picture called real life. They
certainly don't sound the same either!
Whether they're blitzin through the
saturated riffing on
'Local Hero' ,
slowing down for the wife beating
anthem of
'Jacqueline' or just waltzing
through the cop corruption of
'Scapegoat'. Nope they can't be
faulted! Fronted by the strutting
mainstay Asterix the Brat, who's
meets the Jags
vocalisations gives em an unworldly
late 70's fixation. Also manages to give
em their very own niche. Mixed in with
a heavy dose of the
Ramones and
Pistol packing riffs to boot up
the power. Which can only make these
guttersnipes the envy of the
monotonous squalor that litters the
current UK punk arena. The often
copied but rarely captured spirit of '77
drifts through a lot of this bands
songs. And gives em the distinction
that lesser monotone proles merely
dream of. But at the same time they
ain't got a jaded feel either. '7" Plus' is
timeless, it's now and it's a good time
to check em out if you ain't already!
Like Asterix spells out on possibly the
bands finest offering, the impressive
pop punk of
'Still Unsigned'... "Tunes,
melodies, lyrics that people can
Forget EMI etc. coz
most of the bigger punk labels selling
us their wares are as deaf, dumb and
blind, unless maybe you got a big
mohawk and studs. So hey kids tune in
to what's really going on. Don't wait till
your 40 to discover what real punk was
all about, coz there's a whole legion of
sights 'n' sounds to check out now!
And you can do know wrong in starting
with the
Apocalypse Babys coz
they're a band who create crafty often
humourous buzsaw tunes to sing along
to without making ya vomit. This record
will leave you
boppin' till the next
release which is promised along with a
new line-up later this year.
Hardcore Drom The Early Days
3 Way Split' (CSR01) CD 2004
Like it says on the cover, 3 early days
hardcore Connecticut punk outfits,
who get repackaged on CD for their
21st Century offspring to devour. This
25 track compilation
put together by
Keith Graves (
Blastmat) and former
bassplayer of the
White Pigs has
done em proud. And the nifty
packaging (lyrics/band
histories) by
Australian label Cold Sweat records is
more than exemplary. '3 Way Split'
dates back to when early 80's
hardcore punk was a load more
generic. This trio of bands have all got
an axe to grind. But they do it to
varying degrees of angst and success.
The moody
Target Cells kick off with
some low-fi production but well worked
out songs. You notice back then that
speed ain't such a big issue as it is in
some of today's pummelling genres.
Target Cells create atmosphere
and tension without really putting their
foot on the peddle. Slow numbers like
the ultra depressing
'Matter' jostle for
position with more chaotic outbursts
'Shot On The Spot'. But for the
most part they play mid-paced DIY
punk rock with some pretty nihilistic
lyrics that display a deepset angst
aimed at the usual targets. They hint
at an influence by local luminaries
, but deploy it without the
formers knack for biting satire.
do tend to plod along at times,
which may not impress some of you
frisky guttersnipes out there. Sounds
very experimental too.

White Pigs are the earliest of the
three bands, and possibly the most
interesting dating back to 1980. The
name sounds very familiar, so I
must've read about em somewhere in

the midst of time? And It's good to
finally put a sound to a name. They
give us 7 aggressive tracks and live
up to that name, which if your
interested originates from a
neighbourhood dog that crapped all
over the place! Brian Ripthroat on
vocals reminds me of a beer swilling
Cal from
Discharge, as he screams
out the incensed diatribe on top a
fitting backdrop of beefy buzzsaw
guitars. They say in their liner notes
their influences range from the
Misfits, and Black Flag to Chaotic
(snigger). They certainly
continue on this path with an
aggressive death and destruction
angle. Standout tracks like the
primary discord of
'White Pigs Theme
, or the harassed tale of 'Victim
of Society'
are worthy of your
attention. But it was the impressive
almost tuneful
'New Life' which is
the best track on this record.
managed to grunt with intent in
one shape or form till 1988, before
releasing a batch of posthumous
releases on various labels in their
Chronic Disorder who had
close ties with
Target Cells, come at
us with a more jerky style. They boast
an hyperactive snarly singer who does
his best to keep in time with the
persistent jangly soundtrack.
And Honor'
is a good stab at the
anti-war theme that was a lot more
prevalent in the day. But
ain't really got quite the
presence or power as the former 2
bands. However they seem surpass
themselves by delivering their best
track called
'S.I.W.O.V'. Which stands
"self indulgent waste of vinyl".
Whatever the title suggests this song
alone was a big leap
forward for the
band, but sadly they never quite
seized this opportunity again and
quickly revert back to their deranged
selves for the rest of their 7 tracks. 2
of which includes live
recordings from
CBGB's in 1984.
A neat history lesson
from the annals of American hardcore
and not much too shout out about but
worth a listen if your curious about
how some of the more obscure outfits
sorry dead link?
'Lets Do It'
(stepcd152) CD 2004
These scouse label whores must've
had their gear out on every reputable
punk label in Europe over the past 15
years, and now it's the turn of Street
punk stalwarts Step 1 who do a great
job on packaging. If you ain't already
familiar with
MDM then you should be
thoroughly ashamed of yerselves.
They've been around since the dawn
of time (late crustacean period) and
play their punk rock with a vintage
sheen and a rock 'n' roll swagger. A
style that makes em positively unique
in this noise core era. They're fronted
by the peroxide Mandy who stares out
at us on the sleeve with almost
Toxteth aloofness. She delivers her
songs in a severe, no messin vein
that'll leave schoolboys whimpering in
terror at the foot of the stage, and the
big boys cooing like baby's by the bar.
She's partnered in crime by the token
Brummie of the outfit, Rob. He supplys
the chords, keyboards and the male
vocal chords. They seem to be
making full use of the co-vocals option
on this 12 tracker, adding an extra
texture to the songs. As always the
faithful rhythm section of Richie (bass
and extra guitar) and Mandy's other
half Rag on drums keeps the punk
glam wagon right on course as it hits
all out assaults, or  medium paced
grinders, through to moody
MDM have a diverse
range of subject material, stemming
from their veteran days in the punk
scene. But they kick off by paying
homage to CBGB's on the opening
'Lower East Side', which despite a
gritty intro don't quite work. However
the gnarly
'Mr Angry' "Bang Bang
your dead!"
was a lot more like it.
They slow it all down for the
atmospheric come uppance of
Goes Around'. 'Ken'
inspired by the
sad plastic life of Barbie's side-kick in
kiddy crime, was a suprise hit. Coming
in with quirky 80's keyboards, and a
tongue in cheek chorus. It's followed
by some very British children's TV hits
from the past 'n' present that makes
'This Ones For The Kids'. 'We
Were There Too' is an infectious
poignant look back at the early days
of the Liverpool punk scene, done in
a teary eyed but defiantly stylish way.
Even Billy Idol got turned down by a
young Mandy! But the standout track
for me has gotta be the quirky and
'Little Cars'... "playing
shit music, all around the town".
great simple riff put to a jerky back
beat gives this track great potential
for a wider appeal, as it rips the piss
outta the boy racers in a town near
you. They go out with a bang on the
last track
'Bad Girls', where mean
Mandy delivers a no holds barred
personal manifesto if she's ever riled
up. Always good to see
MDM still
doing what they do best...playing
British punk rock, so look out for em
on tour playing a toilet near you very
7 Track Demo CD 2004
This was a nice suprise that came
totally FREE with the otherwise
disappointing Initonit zine. I'd seen the
band name slinking around the
current UK gig scene for quite a while,
and having never caught em live I
liked their no compromising approach.
Well as you'd expect this is 7 tracks of
in your face dual screaming tirades
and very angry rants. It's all spat out
in a manic pace and with complete
conviction. They produce a sound that
can catch you off balance by throwing
in some free form jazzy twists that
adds a certain appeal to the in house
intensity. No real standout tracks to
write home about, but the intro to
'Dead 49-75' was an hilarious piece of
agitprop theatre. The tracks just
simply blur into each other like
protesters at a Mayday riot. Fuck Hate
Propaganda often sound like a bunch
of pseudo intellectuals with music
degrees letting rip their inner turmoil
with astute lyrics attacking the Church,
Government, Ghetto and
Globalisation. Maybe we can just bear
to hear yet another take on all this
crap that effects our world and
lifestyles, but at least these fuckers
show signs of originality with their
innovative deployment and styles that
they create within each track. The
playing is exceptionally tight and
together and comes with big noise
core blasts, together with intricate
fretwork adding some effective little
touches. Reminds me of some of the
more early 80's melodic anarcho punk
in places, then again they just let rip a
big thrash workout to demolish all your
preconceptions. I bet their gigs are
sweat boxes of energy coz you can tell
from this taster these are a band in
prime crust mode fuelled on anger
and anarchy. Pity it just don't gimme
the urge to wanna play it on a regular
basis. Comes with a full lyric sheet.
No available link?
'Ones That Control'
(gun03) CD 2004
Welcome to the personified angry
world of
Oppressed Logic. 'Ones
That Control' is the brand new album
from the Bay Areas most unruly bunch
of punks. Has it really taken em 4
years to put this out? Or am I just so
out of touch!? When I last caught this
version of
Oppressed Logic they
were busy completing a successful
European tour. Then they went
home and promptly broke up! But you
can never keep an irate punk down for
long. Punkaholic lead loony and
founding member Mike 'Cyco' Logic
has been hosting his own SF punk
radio show, got a new woman in his life
and in-between this domestic bliss,
found time to play bass in other snarly
punk outfits like
Retching Red
too...phew!!! Talk about keeping busy.
You have to admire his conviction and
focus on everything oppressive. Coz
this hyperactive loco has now got hold
of a brand new O.L. line-up to fuel his
fury. He's currently breaking em in out
on the West Coast of America.
'Ones That Control' under Cyco's
tyrannical reign remains true to the
original snotty idea, only amplified a
few hundred watts! The resentment
ain't subsided either, in fact this slab
of hate is even more enraged than
before. The band are also more
intense, both in playing and delivery.
Songs like the superb
'What Choice'
with a searing Todd Dammit riff, really
brands you with sulphur burns. The
critical title track blows holes in the
Bush administration with a rallying
chant of
"right right - ones that
control, left left - manipulate the
. Other tirades of note are the
subpoenaed aggro of
'What You Say'
or the grotesque Sept 11th number of
'US Attacked'. With Mike being an
celluloid ego tripper he just couldn't
resist spilling his guts out on the
autobiographical scary
'Deranged'. He
who laughs last, laughs longest so
they reckon. Well Cyco Logic despite
having to start all over again from
scratch has left us with an impressive
recording legacy here. However it's
also a lot more accelerated in delivery
which can work both to the bands
detriment. Coz on one hand it's
controlled rage, but on the other it's
can just turn into a blur of spite and
become monotonous. But on a
positive note, Mr Alvilez can machine
gun a lyric out with the best of em, and
he's still a load more cohesive than
the others fuckers playing
this kinda breakneck hardcore. So with
hate filled rants at religion, hippies and
your inner demons you can't really
argue. Plus this 13 tracker is littered
with some well chosen
entertaining soundbites, that are the
best I've head on any punk record to
date. So if you ain't already caught em
on the gig circuit, get this fucker
pronto, coz it'll manifest on your
stereo exactly what full on rage can
really sound like. Comes in stars 'n'
stripes cover with lyrics and pix. It's
available on the apt Blazing Guns
'The Process Of Elimination'
[DSR-1-01] CD 2004
Very impressive 22 tracker by the
Scottish punk veterans. This is a
memorable well executed piece of late
90's punk rock! Their songs mirror
reality from off the sprawling housing
estates of Strathclyde and from the
pissed off kid in the street's point of
view! Also with an eye on the world of
crooked dealings, fucked up
governments and self belief. Which
has always appealed to me, especially
if it's backed by some sussed lyrics
and attacking angst-filled rifferama. A
cliché maybe in punk today, but still
essential! Sneddy the rhythm guitarist
and dual vocalist is still the only
original member from their late 70's
Coatbridge conception. No mean feat
and he proves his main-man status by
being responsible for all the standout
tracks on this platter. From the fast
anti-killing stance of
'Standin on the
to the atmospheric 'Rude
, that slows everything
down to an addictive skanking beat
with good rhythmic bass work. Ain't
much of a skanking punk fan meself,
but when bands like
, and godfathers of this style
The Ruts have enough suss to pull it
off, instead of those irrelevant jokers
who litter the scene today with puny
attempts, it's fuckin great! So good in
fact this comes close to the heights of
the Strummer/ Jones epic

'Armageddon Time'!
But these Jocks
ain't aping no-one, they deliver their
own brand of punk in a credible way.
However they do give a nod to Joey,
Johnny and Jimmy while passing.
Sneddy's vocals come complete with
an uncanny Strummeresque quality.
And you can tell he's seen it, and he
means it. Which ain't taking nothing
away from his younger counterpart
Welshy. Welshy's been a real fan of
this band from day one, so to take
over when original vocalist Wullie got
killed in a car crash was a dream come
true. He repays them in kind with high
energy vocals which suffer from an
unhealthy enthusiasm giving the band
a healthy shot in the arm. And he can
write his own songs too, steering the
driving riffs and hooks to their final
destination. One example of a good
collaboration is on
'These Pricks Are
, which kicks in with a bleak
view of life on the street by someone
who has been there, instead of just
reading about it!
External Menace
have got on this collection their own
inventive sound. Which ain't no mean
feat when you've had over 25 years of
punk to contend with. I like the way
they can expand their sound and ain't
scared to break it all down to basics
with some well arranged dropouts. It's
a great asset in punk rock to strip it all
back, before building back up into the
inevitable crashing chorus's or big
finale! Their blitzing simpler numbers
are just as effective as the slower
ones. The fast paced
'Don't Conform'
is a prime example of crowd
participation at gigs. And inventive
touches Iike on the intro to
'Bullet Of
that starts with a crackling
transistor guitar riff humming away in
the background as footsteps shuffle
along the corridor with the ring of can
getting pulled. Welshy asks Sneddy for
a light? Before Sneddy reply's in red
light brogue
"Welcome to Jazz club!"
This scrap of theatre sets the scene
for a view on the gritty slice of standing
up for your rights. Another amusing
tirade precedes
'In this Time', by some
madman nicked from a film who
introduces us to the cutthroat world of
here and now. It's followed by the
outstanding 'Killing Me Asylum'. A song
inspired by Sneddy's day job painting
the local nut house. This is another
interesting high standard skanka track
from their bunker of riffs. The apt

'Seize the Day'
is given another airing
with Welshy's vocal taking on the
"you're sussed, you suck,
you slimy little fuck"
which I think is a
corker of a line. As this classy album
finally draws to a close having been
given a decent reintroduction courtesy
of Dr Strange, you'd think you'd had
yer moneys worth. But no, we also get
7 bonus tracks, dating from the bands
impressive 1997 'Seize The Day' EP
and 1998's split single with Recharge.
Both of which continue with high
energy numbers and moody slower
themes. Comes with a full lyric booklet,
plus the bands history written by
Welshy. Look out for External Menace
on a US tour this summer in-between
sporadic live sightings in the UK.
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