| SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future |
| MR NIPPLES & THE DANGLEBERRIES 'Stamp Out Straight Edge' CD 2005 The crazily named Mr Nipples and the Dangleberries conjures up something you'd expect from out the pages of a Roald Dahl book? But nope these 5 spiky fugitives that once roamed the streets of 21st century Belfast with an array of studs, spikes and everything else you'd imagine a modern day hardcore punk outfit to feature, had something more than a bad reputation and chaotic disposition. And that something peers out from this album when you least expect it. Seems they've got more publicity since their demise than they ever got when they were around making a mess. But ain't that always the way in punk? This double CD boasts an albums worth of material dating back from their sole album 'Nipples Militia' released in 2003, through to early demos and dodgy outtakes from 'Feck Yis All'. A ramshackle compilation that will at times impress, but also cut the bands own throats in the process. For 'Stamp Out Straight Edge' features the good, the bad and the ugly. And some of that ugliness is that hideous it's actually very good. They give us a generous 25 studio tracks to race through, so you can chuck out the crud while yer enjoy the 10 or so standout tracks. I first heard about Mr Nipples within the pages of Riot On Your Own zine circa 2001. They also appeared on the 'Riot Down Your Lane' compilation with a track called 'Dependence' which kicks off this album in fine form. It shows you there was definitely a lot more to this bunch of jokers and crazy coloured freaks than they were given credit for. It also comes with a surprisingly decent production job, buzz saw guitars, pissed off vocals and gang choruses seal the deal. Yeah you do get the full on unrefined chaos punk tirades and heads down riffs on this collection. But what's a bit different about Mr Nipples is they keep you listening for the full whack due to being able to turn their mitts to some impressive skanking punk that has enough energy and atmosphere to compete with their best all out bombardment. 'Slogans' features some subtle sax in the mix as this anti RUC track hops along quite merrily to a bouncy beat that almost hides the scurrilous subject matter, before the band scatter into heads down mode. It's followed by 'Bricks Of Propaganda' which has a fucking great chorus that reminds me of prime time Runnin Riot and its dual guitar power. 'Umbilical Cord' is preceded by a phone tone and has a certain SLF vibe with that militaristic drumming that heralds the arrival of a chorus singing the praises of boredom. Straight Edge gets a severe and utterly deserving bashing during 'Hate Edge' as the sussed lyrics scream "Clever Remarks Sarcastic tones/ Accusing us of being the clones" smart! And its underlined by one of the most funny spit 'n' sawdust rants I've heard since maybe Cheap Sex. Another song with bigger hooks than a crack den in heath Town is the exceptional 'Everyone Thinks Im Paranoid'. Which is a hilarious insight into punk's glory state of paranoia? They then turn tack completely and stagger into an amusing dub track with convincing NI/Rasta rassssclarddd vocals and atmospheric bass during 'Futile Dub'. What are also worth checking out are the lyrics which are reprinted for our pleasure and are really very good. In fact it's a pity they are mostly wasted in a sea of gruff machine gunned jibes coz some of these songs and statements would benefit from being screamed across maybe a more apt backdrop. The skank driven 'This City' represents the bands view of home town Belfast as it falls into yuppie paradise and comes with a neat riff and another authentic toast as they skank away into the corporate debris. The sinister 'Disparity' riff and stage fave trades a unified message. While 'Ballix To The RUC' has a lone drumbeat that’s joined by prowling guitar riffs and that clinical guitar lick that almost cuts you to the bone as they blow kisses once more at the black mafia or cops to you and me. The choppy 'Smithfield Market' is a song about days spent trying to make a few quid by selling what they can for a cheap night out or a smoke. A real song about real people. Which sadly ain't covered as much as it should be in these days of protest! It has elements of Rancid when they were really good, and an impressive reality check. 'Yer Ma' is the closest they come to Napalm Death, as they end with a humorous piss take and cover of 'Stand By Me'. Disc 2 consists of a live set also recorded at Giros, Belfast on 20th December 2002 which is now defunct and much missed in Belfast. This 50 minute set captures all of the above tracks and more and features Mr Nipples at their chaotic best with some side-splitting mid song banter from singer Darren who is a star in the making; you simply gotta hear it to believe it. A fitting farewell to a band who offered snotty alternative. WORTH A LISTEN MR NIPPLES |
| THE CONFESSION 'The Confession' (TIR001) CD 2005 The Confession are a young energetic bunch of punks from Sweden, who sound like they've got some good ideas on this their debut release. We get 7 well played taut numbers, which roll in at just over 10 minutes worth of listening time. They don't hang around, but even with two songs coming in under 45 seconds, they don't just simply rip through these with energetic disregard. Nahhh, The Confession actually thought this out enough to add those neat little twists to keep your interest. And it all comes with a professional production and some clever arrangements. Their opening number '1997' has definite touches of the Partisans circa the 'Time Was Right' period. While the impressive 'No Luck Street', whizzes in on a definite Rancid vibe. It clocks in at an amazing 44 seconds and could've come straight off the 'Lets Go' album. Especially during those Tim Armstrong guitar licks and high end bass runs. The singer Adam reminds me of the geezer from the Revolvers, but since this recording he's left the band. Hope they can find a new singer to keep up with the high quality of songs here, but for now they're soldiering on with one of the guitarists taking over vocals. As this EP progresses you start to experience more and more the favoured early Rancid influence, which is done with skill and enough of their own input to make it believable. Although one of my fave tracks was the short, sharp, shock of 'Get Off My Back'..."you fucking cunt!". Which was the rowdiest of the lot, and made a neat foil to the East Bay overtones? I loved the intro to 'Take It Back' too, which they should've let run for a lot longer, coz it quickly turned into a speedy little number that lost its initial pull. Last track, 'The Problem With The Law' was another noble effort with its gang chorus and enough Frederikson presence to earn em a Bastards support slot next time they hit Sweden. A couple of Split releases are in the offering too. Excellent packaging and comes with an 8 page lyric booklet. WORTH A LISTEN Cheers to Thompa for throwing this my way. You can hear them for yourself here www.myspace.com/theconfession |
| VARIOUS 'I Love NY Punk' CD September 2005 This 15 tracker came free with the September 2005 issue of Mojo Magazine. It's a good compilation of some of the Big Apples best punk exports, along side a few notable outsiders to make up the numbers. Strange we got no Ramones but we can't have it all can we? We kick off the proceedings with rock 'n' rolls worst dressed trannies, the New York Dolls. They give us the street hustling 'Trash' as they stumble around in high heels amongst the debris of 1973. They're followed in hot pursuit to Max's by Wayne County and his Electric Chairs who spit out their 1977 meat rack anthem 'Fuck Off'. Which is one of the snottiest punk tracks that's ever gonna feature an r'n'b piano solo. Queen of the Bowery Miss Debbie Harry of Blondie keeps the quality control running high with a bitchy live rendition of 'Rip Her To Shreds' which is always a pleasure to endure. I was never a big fan of Mink De Ville after I spotted Willy De Ville in one of the most lurid pair of grey snakeskin shoes you'd be hard pressed to see outside Huggy Bears wardrobe. However the laid back track 'She's So Tough' don't sound half as bad 30 years later. It's left to Richard Hell to really send us to sleep through one of his bland album tracks and a cover too! He sounds as laboured as his 'Village Voice' column during Dylan's 'Going Going Gone', and luckily he don't make a return! The Real Kids from Boston must've got lost coming out the Rat Club to end up on here? They were another band I wasn't much in awe of back in the late 70's, and by rights they should've stayed there as they teeter out the sickly sweet 'All Kindsa Girls'. Thankfully the tension skyrockets as those muddy chunky chords from the Heartbreakers 'Chinese Rocks' kicks in and offers us their most famous anthem complete with "whoo - ahhhs!" of the rush. I'm pretty ignorant regarding the Bush Tetras 'no wave' back catalogue. Reason being I hated their name and just sort of avoided them. But they seem pretty good during the dark but clinical sounding 'Cowboys In Africa'. I dunno how Detroit's Destroy All Monsters found their way onto a New York compilation, but these could've been born within the depths of a sleazy subway station, they're so New York. Especially on their '78 punk classic 'Bored', which features the deadpan drawl of Niagra Falls and Ron Asheton's crawling up the wall rifferama. New York mime artists Suicide give us a tame live version recorded at CBGB's of their synthetic drum machined 'Keep Your Dreams'. Pity it wasn't lifted from their debut UK tour when you would've heard glasses and gob raining through the air as they supported the Clash! Next up is one of the best live introductions I've heard in a long time. Dick Manitoba of the Dictators give us a 1980's version of possibly their best track the brilliant 'Next Big Thing'. Which is armed to the teeth with one muvver fucker of a riff. From delirium to tedium as a live version of Television from '78 is shuffled out and Tom Verlaine whines his way through 'See No Evil'. It takes Washington DC's Bad Brains to inject some hardcore impact back into this album as they run through the gigantic 'Big Takeover' from '81. The Stimulators are the babies of this collection, but for kids they certainly ain't shy in coming forward with a blitzing live version of their 1982 hardcore anthem 'Loud And Fast Rules'. To close we have a 9.50 minutes worth of sax induced James Chance And The Contortions. The contorted one slithers out a live version of his own smak anthem 'King Heroin', which was brilliantly written and could probably have only been conceived by someone who knew best. Great lyrics, bang on performance and razor sharp insight. NEW YORK CONTENDER www.mojo4music.com |
| THE NEW YORK REL-X 'Sold Out Of Love' (TKO) CD 2005 This is an extremely slick debut album from New York's most popular modern day punk band since the Casualties found a can of hairspray in their mom's handbag. But unlike the formula approach to hardcore punk that their spiky brethren use, the NY Rel-x adopt a more sussed line of attack which ain't so much a mosh in your favourite mayhem scenario. Nahh these vamps go for the more intriguing approach with an ultra mature resonance and interesting song structures. Something akin to Vice Squad if they had formed in the big Apple during the 90's. What hits you straight away is the enhanced production courtesy of Pete Dee of the Adicts on these 11 tracks, which is this albums 5th element. And something a lotta bands in the punk scene today don't seem to appreciate. This little baby is potent, addictive and completely throwaway. You won't get any anti war rhetoric or Bush rants here. Naaah these punks and punkettes are more concerned with their own personal agendas, relationships and lifestyles that besiege their NYC enclave. Which might be a cop out to the more direct action militants amongst us. But I think there's more than enough room for well played punk rock you just wanna sing-along-to instead of analyse. Some may sneer that this is too pop, but it's well crafted punk rock and makes a great niche amongst the less articulate contenders out there. It would be great to see these on the Blink 182 merry go round, coz they do have that crossover feel about em without totally refining their rawer elements. Their songs are the biggest clincher despite the singers pinup looks. Even Erika's once robotic delivery has gained more experience and makes a heady combination. She's now revealed an almost humane touch which gives her that attractive characteristic most women in punk dream of, and that's star quality. Loads of midpaced energy gets unleashed with a lean sheen that will see these relics on many a punk bill well into future. They may suffer from dumb punk tunes sung from a personal outlook, but despite being two hot chicks and two talented geezers, the NY Rel-x understand how to create addictive punk rock tunes with impressive arrangements. Check out Johnny Kray's guitar solo on 'No More Tears' or the sinister overtones of 'Sorrow Is A Prison'. However even with the strong title track the outstanding number of the album for me, was the brilliant power chord lure of 'Why'. Which has one of the most alluringly defiant chorus's I've heard for a long time? I also enjoyed the full on 'Its All Wasted' which gives John Kray a rare lead vocal which works well with Erika's duel inclusions. They take their influences from the early 80's school of punk melodramatics but with elements of Girlschool thrown in, which they repay in kindness with a fiesty cover of 'Emergency' just so we know. Highly recommended and comes as always in one of Dave Glass's impressive vampish covers. US CONTENDER Cheers to Trev Hagl for throwing this my way. Check em out here... www.myspace.com/newyorkrelx |
| DRONGOS FOR EUROPE 'Hotline To Hades' CD (PSR018/DFE001) 2005 Birmingham's Drongos For Europe seem to have overcome that dreaded second album syndrome with an even more impressive, solid dose of punk rock here. 'Hotline To Hades' has been reformatted and released on local label Punk Shit Records in conjunction with their own DFE imprint. Only 2,000 copies in existence, but it enables dullards from Wolverhampton like myself who missed the initial thrust on some other label, to finally sample their latest studio set. They kick off with the defiant 'Untamed' declaring the bands un-shifting commitment to exercising their human rights 'No matter what they do to us, no matter what they say we'll stay untamed'. And you know something having met the band. I can safely say a couple of 'em are at least doing just that. Tommy Drongo may not have the roar of his beloved Holt End at his disposal in the booth, but he has an uncanny knack of making 'who are we' sound like "whoarrgh whoarrgh whoarrgh!" during 'Children Of Apathy'. 'Punk Rock Radio' dare I say it, see's the Drongos drifting into almost commercial punk territory. This catchy little number is probably their most radio friendly song to date. Give or take a few lyrical incisions. It's a song with an almost Phil Spector type drum mix, an East Bay Ray riff and that nenacing bass. The Drongos are a band who produce tense, rowdy hardcore with gang chorus's and enough tunes to satisfy all walks of punk life. They are fighting for your rights and giving the underdog a voice, which has to be applauded. But I'd really like to hear em slag off something a bit more diverse than the obvious Bush/government targets. Coz lets face it there's a whole world full of cunts who need abuse and the list is growing! During 'Fight For Your Rights' they incorporate a neat dropout and a chanting Brummy rap, which actually works! 'Johnny Guitar' has elements of Rancid without becoming totally Americanised like so many bands tend to. The song traces the Drongos story through the eyes of two of their confederates who have now departed for the big bar in the sky. And as well as being one of the best tracks on the album, makes for a fitting tribute. The autobiographical 'We Are The Underground' boasts a rare nifty guitar solo by the usually riffy drenched Anton Drongo. Then he adds a skanking intro to their pissed off 'Don't Need A Gun' which has the best lyrics on this album. Tommy rips apart the gun culture that's rife on our city streets by swarms of 'bloods' and run by rats. 'Whose Army' is destined to be another one of those tunes the kids love to sing at gigs. There are a few average tracks on here too, but nothing mediocre enough to rattle their current creative edge. The Drongos know their limitations but are diligently gaining confidence with each new release. I even liked the lyrics on 'In This Life' which mentions local characters in dead end jobs and dead end lives. It's always good when bands sing about their own environment instead of what's usually media driven. You have to give it to bands like the Drongos though, coz they do know how to kick out the occasional anthem without sounding phoney or trying too hard. They end on a high with the title track 'Hotline To Hades' which although is another anti Bush rage along the lines of "War, Profit, Religion Hate". Musically its one of their most progressive tunes to date. Tight rhythm section, plenty of riffs and a singer with a genuine snarl adds up to another good release from Birmingham's most active punk band. Comes with a full colour lyric booklet and a decent production from Fish, which proves he can do it when he wants to! WORTH A LISTEN Available from... www.myspace.com.drongosforeurope |
| THE BRIEFS 'Steal Yer Heart' LP/CD (Byo Records) 2005 I know this was a long time coming and i gotta say thanks to my pal Erin in Minneapolis for recently chucking this platter my way. 'Steal Yer Heart' is an album I was meaning to get for the past couple of years, but never seemed to land lucky. When I browsed my local record emporiums I always come up zilch? And before you say it...no I don't have a credit card either. So maybe there was a valid reason for being out in the dark and 'two years too late' on this occasion? Or was it some sort of omen of things to come? I gotta say after numerous plays, this set of 12 songs is showing the Briefs could be finally running outta road? For a band who positively deliver at least a handful of anthems on each of their album releases over the years, 'Steal Your Heart' for me is their poorest release to date! And whats worse it's possibly their last for the time being. Don't get me wrong, it still stinks of the Briefs plastic shades, narrow ties and melodic edge they are renowned for, it just seems a bit vague and half hearted (pardon the pun). Even with good songs about dossing in smelly Euro Squats ('Lint Fabrik') or the gripes at the straight world ('Normal Jerks') that are worthy of inclusion, it wasn't gonna register up there with past glories like 'Rotten Love' or 'Dead In The Suburbs'. Maybe my 7 year love affair with the band is finally waining? Although I'm gonna make it a priority to get their recently released DVD/CD 'Greatest Story Ever Told' which captures their career on celluloid from rags to riches and back again in a two hour film. They also offer some rare live bonus CD tracks but no new studio outbursts tut tut. Even so this studio recording is still a bit of an anti climax compared to their usual high standards. Die hard fans will be relieved to know we do get two strand out tracks that most bands would die for. 'Getting Hit On At The Bank' which I certainly wouldn't complain about is a laid back classic revolving around the misunderstood pulling power of bleach blonde punks to bank tellers, record producers and groupies. It's a song that comes with a great off the wall solo that sounds like the strings are about go twang at any given minute. And Stevie E. Nix vocal delivery is spot on. 'Forty And Above' is the other must hear track and pretty much autobiographical as its sung by horny bass player Kicks. Kicks is the bands romancer on and off stage. He fits perfectly into the Briefs world of tongue in cheek pop punk songs as he sing the praises of the more amorous, mature breed of female, with some great licks, addictive backing vocals and that late 70's vibe running through the whole lusty episode. However another gripe about this album is there's no lyric insert! Which is probably down to BYO's tightness, but its essential with a band this popular to know whats getting you excited, so you can bawl back at the band during gigs without getting it all wrong and looking like a red faced moron. Does come in aN eye catching stark cover with Stevie E. Nix clutching a bloody heart. Oh well this album despite everything gets a disgruntled WORTH A LISTEN from a poor and weird fanatic! www.byorecords.com |
