SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
'Romper Room Rock'
CDEP 2005
The Violent Fuckwits feature on
lead vocals and lyrical enlightenment
Billy Riot! Who in case you didn't know
already is Belfast's very own punk
ambassador who is doing an
admirable job becoming one of the
city's legendary punk oddballs and
seriously giving even Mr Terry Hooley
a run for his money. He's got his
hilarious fanzine, and now he's got his
the Fuckwits who have just
released this 5 track CDEP 'Romper
Room Rock'. Billy's also putting
together a DVD compilation as we
speak, that will feature some of the
more up and coming punk bands that
prowl the streets of Belfast of today.
And you can be sure
the Fuckwits
will be playing an integral part. But
let's get back to this 5 tracker. I dunno
who mixed this? But whether it was
some Lisburn show band producer or
a local drunk it definitely ain't Chris
Thomas! This is tinnier than Tin Tin
and more akin to the
TV Personalitys
than the
Pistols, although that does
add to their novelty value.
'Mr Bevan's
is actually a politico/punk
assassination on some out of touch
MP who fucked things up in Ulster with
glorious clarity, but don't they all? The
chorus of
"You get a Nobel Prize for
telling lies"
on top of those
Fuckwit backbeats
adds a gritty soundtrack to his dirty
deeds. They then slow things down for
the laidback
'Your New Girlfriend'
which is an R 'n' B piss take of a
number, complete with fake yank
vocals on top of an unhealthy
Buckfast/dope induced pace. The
song centres on the delights of dog
rough birds to anyone brave enough
to listen! And just in case you missed
it last time, you get to hear
'PC Punks'
one more time which is an amusing
rant at those Yorkshire buffoons who
won't be reading this review or visiting
this site. Plus for all you Karaoke kings
out there, you get  2 bonus
sing-a-longs with
the Fuckwits
instrumentals. It comes with a thought
provoking lyrical insert and a great
shot on the inner cover of young Billy
Junior karate kicking Billy senior! So
what more could a want this Christmas
apart from a 24 pack of Carling?
for the sheer blatant cheek and a sure
fire hit in your poundland Christmas
'Time Wall' / 'Talkin About Myself'
45 1979 (Re-issued 2005)
Glasgow/Edinburgh punk outfit Fire
suffer badly from a bland name.
But despite that minor handicap, they
come up with the goods here with a
couple of catchy doses of late 70's
punk rock that were originally released
on 45 in 1979. Luckily for us those
recordings have since resurfaced on a
freebie CD that comes with a copy of
issue #5 of the highly recommended
Provoked fanzine. Fire Exit reminds
me of the days of listening to late night
radio when you could discover bands
the Bears and the Outsiders
etc. Bands from the length and
breadth of the UK, who were releasing
great little singles that somehow just
got lost in the midst of time. And quite
rightly so
Fire Exit's biggest claim to
fame was getting played on John Peel
along with having members of the
'Stank lifters' (Scotland's answer to the
Bromley contingent) in their line-up. A
young Gerry Atric on vocals who
probably regrets the name in 2005,
but at the time certainly gives the band
a presence on top of a rather nifty
70's guitar sound. This single was also
co-produced by ex
Vibrator Pat
Collier. And you can see why they
chose him coz they do have that early
Vibrators vibe throbbing away
throughout their edgy performance as
they scream about
time travel when
they ain't busy talkin' about
themselves and other such bollocks.
The b-side
'Talkin About Myself' is
slightly less memorable but a lot more
darker and features a sinister laugh
that jumps in and out every so often
on top of a pumping rhythm that's
getting more psychotic as it
progresses. This is a taster or maybe
a reminder for the band who has now
reformed and is gigging regular in and
around Scotland. They have recently
recorded a new 11 track CD released
on their own Time Bomb Explosion
Records called 'Were Just Punks'
which is reviewed elsewhere on this
page and available at their site or at
For more information visit their site
'Capital Letters The Best Of'
(CDMRED290) CD October 2005
Ruefrex (originally Roofwrecks)
formed in 1977 and are one of those
late 70's Northern Ireland Punk
bands who never quite fit into any
genre or bracket. They weren't as
hardcore as
the Outcasts. Or as
melodic as
Rudi, but they were
certainly different, and had an array
of socio political lyrics that riddled
their apocalyptic songs. A trait which
has gotta be applauded in that scene
at that time. They took a sabbatical in
'79 and reformed again in 1982 with
a different line-up and a much more
melodic approach, until they
developed that crossover sound that
got em a foot hold in the commercial
zone. It certainly give them favour
with the British music press who
seemed to embrace them once that
early bite was tempered and
developed into a more Indie
experience. The Melody Maker once
claimed they were the most important
band in Britain! This collection
features the most important tracks
from both their eras...the way more
impressive early set and from their
later less potent mid 80's period.
Reufrex display a dark feel with their
almost early
Gang Of 4 stripped
back sound. Check out the pounding

'Don't Panic'
for example, from their
debut EP. They are a band with a
sinister intent but with an almost
black kinda humour which suits their
sound perfectly. This 20 tracker
spans their decade together and
parades their debut 45
'One By One'
released on Good Vibrations in 1979.
That along with its more publicised
follow up
'Capital Letters' are
featured here.
'Capital Letters' being
an anti-nuke tirade rocks away
gloriously as lead singer Allan Clarke
gives a good account of himself in
the studio away from his almost
demonic live performances. It's
immediately followed by the very
'April Fool' with it's almost
'Wasted Life' guitar dropout
alongside Clarke's mocking vocals as
he asks us
"can you not take a
And to complete this unholy
trinity of tracks we get probably my
favourite song of the lot as the
skulking bass driven 'Perfect Crime'
slides in. This psychotic fucker builds
up into a crescendo of angst,
adultery and revenge. A brilliant
suburban satire caught on tape, and
you can almost see the glint of the
blade! And what a perfect end, to
their abrasive punk period for
Reufrex. After their 18 month break
they reformed and the
Ruefrex that
rose out the ashes had loosened up
considerably. Even mad Allan's
vocals had taken on a new crooning
style, which did earn them critical
acclaim with probably their most
acclaimed track
'The Wild Colonial
, which was released in 1985.
They still have the bounding bass
and drums, but there's a certain
sheen to the guitars which has more
to do with Echo and the Bunnymen
than punk! They may have lost their
early punk following by now, but this
style was ideal for the then more en
vogue Indie market. This song was
also a brave attack on the supporters
of the IRA and sectarianism and seen
em gain lots of exposure which
must've been pretty scary. The
bands more refined angle and sound
scape just don't do it for me
personally and im afraid the second
half of this album won't really satisfy
the more punk rock junkies out there.
It's probably called progression in
today's climate, but we all know some
bands progress onto greater things
but most like in
Reufrex's case they
paid the price in order to get a bite of
the cherry. Something had to be
sacrificed and that something was
their early gritty edge! Pity they didn't
just make one album in their snarlier
period coz im sure it would've been
impressive. You also get 5
unreleased tracks with this collection
that seems to date back from their
more commercial period. And if youâ
€™re lucky you can still catch some
live performances from a reformed
Reufrex in and around Belfast these
days. A good history lesson and
cheers to Joe from Belfast for
passing this on.
just to hear 'Perfect Crime'.
Cherry Red Records
'Souvenir Of Wasted 2005'
CDEP 2005
Souvenir edition of this very limited
(only 77 copies) CD that was given
out to unsuspecting punks at last
years Wasted festival in Morecambe.
Y'know what I've learned from this
CD and that's the Germans who are
now an integral part of the
DS fan base, see us (the
British) as a race of island dwelling
apes with big ears, hence the name
'Isle apes'. Well I just wanna point out
to Mr and Mrs Siegfried that we ain't
all Prince Charles doppelgangers
here in Blighty, but that's obviously
open to discussion in some of the
more terminal cases I spose. Well
enough of the tribal imperfections
onto this disc. As with all their
recordings, the packaging is
excellent. From the cover shot of the
Union Jack and the Queen mother
being dragged off by a weary looking
ape, to the classic British fry up shot
on the disc itself,complete with Black
pud! This 5 tracker takes the piss
out Britains more refined elements in
glorious fashion. Featuring 2 studio
tracks and 3 live tracks recorded in
Derita Sisters adopted
homeland of Berlin, Germany.
'Planet Of the Isle Apes' gets us off
in a typical midpaced
Derita Sisters
mode, as they send the UK back to
the Neanderthal period along with
the little men with rotten teeth. My
fave track however was
'Get Off The
ditty which could've been
written for me personally by my
disgruntled JSA advisor as I lie and
connive my way out of another shitty
little government scheme. The live
tracks consist of three 1977 punk
covers, and all done by yeah you
guessed it British bands. Mr Gilman
of the
Deritas won't mind me telling
you that he has a rather large soft
spot for all things British and punk
1977. A passion which must really
grate with his Germanic storm
troopers, but he's been outed now
so there! We get the
'The Commercial' which
sounds really good beefed up.
Followed by
ATV's Step Forward
'Action Time And Vision' with
a neat
Derita Sisters guitar break.
Finally a less than classic
by the Cortinas is rolled
out for good luck. However it was
upstaged by the live band banter as
a member obligingly vomits up the
remains of his Frankenfurter no
doubt. One for E-bay you may think?
But im definitely keeping my souvenir
copy to play at my grandkids.
'Get Out of My Property'
(Trash2001 Records) CD 2005
The Derita Sisters are back from the
dead with the latest line-up, and their
most recent album. Making this the
21st to date, so help me gawd! These
punk rock whores are serious
contenders for a
UK Sub award in the
annual output department. However
their catalogue has arrived in half the
time! And you know what, there's
another 25 tracks in 42 minutes on
this fucker! Which is what you come
expect from our favourite piss takers
from the sunshine state. I suspect the
Derita Sisters are an acquired taste
14 years down the track, but im so
glad I got to hear their debut
'Abusement Park' all those years ago.
Coz I can still see schoolboy punks
from all eras rating 'Get Off My
Property'. This album still boasts
short, sharp dollops of addictive funny
punk tunes. Razor sharp riffs and
snidey innuendo trade insults via that
deadpan delivery, which is the
Deritas trademark. And anyone who
ain't PC programmed and likes a
smutty giggle with their punk, will
definitely enjoy these.
'Code Of
has a good midpaced punk
surge, as they advise us on keeping
our gobs shut in foreign climates.
While a pounding drumbeat signals
the introduction to
'Gillian Anderson' a
homage for all you middle aged X-File
meat beaters out there. It ends with an
hysterical afterthought
"gimme back
my wallet motherfucker!"

'Blackmarket Baby'
ain't a salute to
the underrated Washington DC
hardcore outfit of the same name, but
shines an amusing spotlight on the
growing Western trend to exploit Asian
wives as live in shag/slaves. Along
with efficient snot nosed riffs such as
'Gas Light' and surreal outlooks via
'Dark Eyes Of London'
or 'The Hands
Of A Stranger'
. These Santa Barbara
punk vets can deliver bite sized blasts
of catchy punk rock from an array of
subject matter. The
track was probably the
most adventurous track on this album,
featuring lead guitarists Wicked Gordy
Howitzers on lead vocal. The
production is as always tight and
clean. It's just a pity the guitars ain't
more up in the mix as the heavy
drums take centre stage on this
session. They end with the bonus
'Learning German, Lesson one'
which is basically a Kraut translation
of profanities. Every put down you
ever wanted to scream at
Die Toten
but were too ignorant to muster
gets covered, so now you can! Comes
with lyric insert, euro porn backdrop
and the
Deritas range of Mall punk
attire. And it's stamped on a rather
fetching old gold 'n' black disc! So
Ficken Sie ab!"
'Were Just Punks'
(Time Bomb Explosion records)
CD 2005
This is a dog rough live in the studio
recording. 'Were Just Punks'
features 11 tracks, including a few
covers all recorded in one take. The
session dates back to 2004 I think?
But I'm sure lead singer Gerry Attrik
will put me right on that if im wrong.
Gotta say the music on here has
survived pretty well if you wanna
hear what authentic obscure late
70's punk sounds like.
Fire Exit are
a band who have not taken on board
any 21st century punk influences
whatsoever, which was good yo hear.
You won't find any stop/start
hardcore, no metallic showboating
and definitely no speed of light
disembowelling as they doggedly
pump it all out at an almost sluggish
pace. It's great for the punk purists
out there, but I just wish they'd speed
up a gear on some of the tracks, coz
they sound almost geriatric at times!
Maybe live on stage this adds to the
performance, but in a studio
environment this ain't gonna appeal
to a younger energetic audience,
unless of course they're studying
Archaeology at Uni.
Fire Exit kick off
with the chiming
'Townlife' which
looked set to be a really good un, but
it quickly deteriorated before our
ears as it crawled onto a decrepit
'As Long As Were Alive' was
way more like it, with its faster pace,
good guitar solos and a general
period feel. It's followed by
'Were All
which is Fire Exits call for
punk unity. This song is decorated
with an almost psychedelic solo.
most famous tune 'Time Wall'
from '79 is still one of their strongest
numbers to date, with loads of guitar
input giving it some quality texture.
'Exterminate' blatantly nicks the riff
'Anarchy in the UK' which was
funny for its defiant cheek.
Of Sin (Satan)'
gives us another hint
of what this band are capable of, and
that's delivering some addictive punk
rock when they really go for it.
Bout Myself'
is the other standout
track, which again recreates the
original vibe of the single in a live
atmosphere and comes complete
with whistles as well as that
unmistakeable laugh. The covers
varied from
the Vibrators 'Whips N
which was pretty strait forward,
to Del Shannon's
'Runaway', which
turned out to be the best choice.
This one really did suit these
Glaswegians as they add their own
rancid edge to the proceedings.
They finish off with
the Boys classic
'First Time', which will give you an
indication of this bands average
speed limit, its also a song you can't
really go wrong with. Id like to hear
Fire Exit back in the studio with a full
24 track mix coz Gerry's horse drawn
vocals suit some numbers but need
tidying up on others as they sound
as rough as a soiled pair of Pete
Burns thongs!
'The Macc Lads -
Covered By Crap - A Tribute
(k106) CD 2005
Good to hear the Macc Lads getting
a decent tribute for all their hard work
in the slagging, abusing and taking the
piss out of anyone who don't live in
Macc department. The
Macc Lads
are without a doubt one of the few
great UK punk institutions from the
80's not to be sullied by rules or PC
diplomacy. They come from an age
when you really could get banned from
over 300 venues for saying fuck, shit
or cunt! But it ain't just the obscenities
that made em infamous. Oh no these
louts could actually create a fucking
rabble rousing tune that launched a
thousand tirades during their x-rated
career. And some of these
arrangements were truly staggering.
Macc Lads wasn't yer average
piss head band making a noise and
being obnoxious. Naahh that would've
been way too easy. These Northern
guttersnipes had hidden talent and
were masters of their trade. And like
all good comedians their timing was
unprecedented. The tracks employed
here are rampant glorifications in most
respects and can still be assured of
getting under yer foreskin 20 years
later. A varied ensemble has been
plied with booze by Kotumba to defile
the bands back catalogue, and with
some surprising results! What's really
novel about this tribute is the songs
that are sung by women really do
work. Yeah who'd have thought it eh?
The Ropey Shags from Germany get
things off to a sick start with '
Gods Gift
To Women'
. They are armed with a
neat beefy guitar sound, a solid
delivery and Anni Maniacs clinical
vocals. Kotumba label boss Mark
Gilman and his
Derita Sisters are up
next as they blurt out '
Sweaty Betty'
which sounds almost like
the Adicts.
Especially with that flange filled guitar
sound. One of my favourite tracks
gets a good wrap by Northern
Bladder Bladder Bladder now
resident in LA. And complete with
authentic Macc lad sneer. Dunno who
The Drunk Cunts are? And who
cares coz their stateside stab certainly
adds a new slant to
'Doctor Doctor'.
Dogshit Sandwich from nearby Brum
gives us some duel hardcore vocal
snot on
'No Sheep Till Buxton'..."And
they all got barrrrrred!"
MDM provide another fave makeover
in '
Dan's Round Us Handbags'. I bet
they had some real fun recording this
one, but even Mandy whose a veteran
of the late 70's punk scene couldn't
bring herself to sing
"im on the rag!"
Lowlife UK give us 'Julie The
and one of the best Mutley
Impersonations on the album.
weigh in once more for
another shot this time at '
Geordie Girl'
complete with Santa Barbarian/
Macclesfield impersonations which
makes for an hilarious bit of comedy.
Closer to Macc come Mancs
who give us a rowdy take on
Fluffy Pup' complete with an authentic
northern bird ad lib.
version of '
Turtles Head' was the only
weak effort on this album, but lets face
it the original wasn't that good either.
Anal Beard from Brighton are no
strangers to wacky punk creations and
creates one of the most adventurous
reworkings on the album with a
'Failure With Girls' which
was nearly as amusing as the original.
Dizzy Dizzy Dizzy MK11 from god
knows where? (but I suspect its
America) gives us a rabble rousing
Pie Taster'. But the best track of the
bunch has to be by Cockney wide
boys and girl,
the Anoraks. They spit
out a rather good southern
interpretation of '
Do You Love Me'
which actually works brilliantly in a cor
blimey guvnor mode.
The Good Lads
are another manufactured outfit from
somewhere in the UK and try and
'Beer And Sex And Chips And
with a poncey Southern slant
and nearly succeed with their use of a
kazoo. However they're treading in the
footsteps of superior thugs here.
Finally we get a 2002 version of
Barrels Round' by the Macc Lads
themselves, plus a bonus radio
interview where they actually sound
quite sober. Comes complete with a
Macc Lads reproduction sleeve, a
can of 'Bodies' and the full
Macc Lads
'Afraid At The Edges'
(Int4001) CD February 2006
The last time I heard Intention on
record was about 6 years ago on their
'Positive' demo tape. A glimpse, which
proved to be actually quite good for a
scream fest. I've since caught them
live a couple of times in and around
Birmingham where they've created
their own brand of individuality in the
highly polluted and raging hardcore
arena. So fair play to em, for sticking
at it for so long. Just playing at the
arse end of countless punk bills can
be a grueller. But their intent seems to
have finally paid off. Well its got em
heard by Black Records a local imprint
of Wolverhampton's reputable Heavy
Metal/Revolver label. So with decent
distribution 'Afraid At The Edges' is
their chance to break out the shitty
support slots and gain the ear of a
wider audience of psyched up
punk/metal heads. Along with some
great packaging and a slick production
they might just do it! However this
arrives with such a hygienic
production, that it seems to temper
their full on live power. Where are the
duel guitars that feature in their live
set? Coz I don’t hear em on here?
The guitar power seems to have
blended into the background in favour
of the bass and drum textures
dominating this all compressing mix.
The bass sounds too taught for my
taste and the drums need damping
down. But that's obviously their
intention, so what do I know? This
production purge suit's a lot of bands
Intention need to capture some
of that raw grind from the live shows
too. This sanitary aim just don't sound
half as interesting. I was half expecting
hospital cleaners to get a mention on
the sleeve credits, coz it really is that
spotless. However full credit to the
band coz they can certainly knock out
some pretty good tunes when you can
dodge the screaming entity of vocal
adaptations. 31 minutes is all it takes
to endure 12 tracks of
Intention but
when you break down this album you
can't escape from their towering
execution and minefield of ear
damage. Having said that, this still
really ain't my bag. Lead singer Ian is
a man live and in your face. But unlike
most screamers in this style you get
the feeling he really means it. He's
totally possessed as he works his
mouth into the tarmac at every turn.
He also displays more styles of satanic
possession than you'd find at a
convention of schizophrenics. Which
must be applauded but could also
send this album into the arms of a cult
genre of screamy loners, and could
surely signal an early grave? As early
as the second track '
Here Goes
, Ian sounds like a rabid
"hee hawing" his way to
oblivion which is without doubt highly
amusing. Another good track was
Mass Distraction' which has touches
Kylesa with its menacing guitars
and doomed outlook. What's a crying
shame is Ian's vocals sound fucking
great when he ain't reaching for the
overload button. But im afraid that
approach is a bit too tame. So we
have to savour those moments when
he sees fit to let his manic mask slip.
I'd really love to hear an albums worth
Intention with less screaming and
more emphasis on the guitars, but
that's about as futile as asking
GBH to
incorporate strings. Im sure
would really break some barriers with
a less excitable approach, coz they've
got a lot to say and have a dangerous
amount of energy that they can easily
harness with spectacular fashion. But
for the time being this is only gonna
appeal to the noise brigade.
for the mule impersonations a least.
'Speaking Through Gaps'
(JSNTGM019) CD 2005
Litterbug are currently gigging
around the northwest of England
promoting this 7 track mini album.
However even with those atmospheric
backing vocals courtesy of drummer
Karina, they are gonna find it hard
work to make a dent in the saturated
Indie market that this is so obviously
aimed at.
Litterbug from breezy
Blackpool formed last year by chief
songwriter Stuart Diggle on guitar and
unremarkable vocals. It must be a real
grind for him to be blatantly upstaged
every night by his talented female
drummer. They are joined by bass
player Adi Green. And last but by no
means least on second guitar we have
JSNTGM record label guru and
Blackpool's very own 21st century
version of Barry Lights (but without the
scams and a degree in philosophy),
Andy Higgins. Mr Higgins definitely
likes to throw his mercurial backing into
different directions on his label, which
has gotta be applauded. But I'm afraid
this one is heading in the wrong
direction. For a band who was dubbed
the best band outta Blackpool since
Section 25 by one publication, leaves
us with high expectations. They are
also supposedly compared to
ha! Singer Stuart needs to
digest copious amounts of alcohol and
maybe some mind expanding drugs to
fill Black Francis's Cuban heels just
yet. 'Speaking Through The Gaps'
sounds really weak if im gonna be
honest. '
Smile Is Fake' has a semi
neat riff if im pushed to find something
that jumps out. And maybe some
sinister guitar input, but it was too little
too late. The last track '
reminded me of those bands
that littered the first 'Manchester
Collection' compilation back in '79 -
think you know what I mean"
. They
might just appreciate this better within
the pages of the NME, although even
that's a long shot? And I dunno if my
interpretation of 'raw' is misguided by
something like
Motorhead chugging
out '
Louie Louie' or maybe Blitz's
debut EP, but the kinda raw feel that
they mention in the press release
escapes me? God only knows what
would've been despatched had they
really gone for a 'miasma of digital
sophistication'? Their words not mine. I
think they should promote the
drummer to lead vocals, sack the
singer and rename themselves
and see how far they get. This is way
too clean and tidy especially from
so-called litter louts and I bet they
secretly throw rubbish in the bins when
no-ones looking too, which is just
where im tempted to skim this fucker!
'Gas The Punks'
(OVER106VP) CD 7th Nov. 2005
I first came across the Disruptors on
the first Bullshit Detector album that
Crass Records released back in
1980. So it's really commendable to
hear how they went on from that truly
DIY affair, to develop and progress
into a viable addition to the Anarcho
set. It's a pity that their original home
recorded version of 'Napalm' didn't
make it to this compilation, just to show
you how the band grew in leaps and
bounds, but you do get the 1982
album version as the closing track.
However its the venomous, pounding
opening track of
'Rot In Hell' that sets
the scene for an often humorous,
entertaining and sometimes bog
standard 23 track punk ride through
this Norwich outfits recorded back
catalogue. A career that spans basic
punk workouts, Anarcho anthems and
a hardcore edge, as they refined their
The Disruptors are a classic
example of that great punk attribute
that was hitting England in 1980.
Turning no musical ability whatsoever
into a fully functioning band that could
tour, record, and even set up their own
record label (Radical Change). Which
has gotta be applauded in that day 'n'
age. All this in between getting nicked,
setting fire to trains, drink, drugs and
creating disruption throughout the 80's
paints a picture of em as loveable
rogues sat amongst the more pious
acts of this genre. I like their gung-ho
attitude which makes numbers like the
seriously atmospheric
seem outta place amongst their more
rowdier numbers. Song titles like the
'Nice Day For A Hanging' is
another rumbling success that
deserves your ear. Also
'Late Night
which has a certain bleak
appeal as they set to work on their
mission in life to survive and have a
say on the state of their environment.

'Young Offender'
the bands first single
released in 1981 was their best seller,
and has a certain snottyness that
could mix it with all walks of punk life.
But it don't have the suss or muscle of
their later tracks such as
'Dead On
. The record for which they were
most famous for was probably their
1982 45
'Shelters For The Rich'.
Which ain't quite as memorable music
wise, but its theme certainly struck a
chord in the minds of the young,
disaffected punks, whose paranoia
was in overload by this time. And in
some cases that paranoia was quite
rightly justified. By the time songs like
'Legal Assault' was recorded in 1986
the band had the makings of a
powerful hardcore outfit, but punk's
second wave had by now truly crashed
on the shores of mediocrity.
also felt they weren't in
keeping with the more transistorized
Anarcho mindset. So it was only a
matter of time before
the Disruptors
split up for good in 1988. The surprise
package on this album however was
their fifth unofficial member, a punk
poet called Prem Nick who gives us 3
brilliant satires on the establishment
and his favourite target royalty! Of
'Princess Anne Leper' has gotta
be heard coz it's a fucking hilarious
dose of comedy and strangely enough
steals the show on this album.
the Disruptors lead singer
Bangkok Steve who wrote the
entertaining sleeve notes on this
release, can now be seen fronting
cover band New York
Scum Haters
'Punk Rock For Dummies'
(CR068) CD 2005
Shame Academy are the Ulster Punk
super group consisting of Brian Young
Rudi) on guitar, Greg Cowan (The
) on bass and Petesy Burns
Stalag 17) on drums. They formed on
a whim in 2003 as a bit of fun, but have
been playing live in and around Belfast
ever since. So it was only a matter of
time before they were lured into a
studio to re-record some of their own
punk classics, alongside a few well
chosen covers for the French punk
label Combat Records. And talking of
well chosen covers, the front sleeve of
this release definitely ain't....It's
abominable! Thankfully though, this
collection features 12 studio tracks and
14 live tracks, but it's the studio tracks
that will really be of interest to old and
new fans. This CD showcases a large
chunk of their current live set that has
been igniting the Belfast audiences in
recent years. So hopefully this release
can now be heard throughout Europe
and the Americas no doubt. 'Punk Rock
For Dummies' illustrates on these new
recordings alone, how these punk vets
ain't lost none of their bite. A trait that
would guide em through their tough
teenage years, and on to spearhead
some of Belfast’s most lethal punk
bands, during the repressive 70's. With
a natural talent and a flare for delivery
and that little something extra that most
punk bands lack,
Shame Academy in
the 21st century still have something to
give and the ability to entertain can
certainly do their classics no wrong! It
also helps having the debonair greaser
Brian Young and spiky Greg Cowan
sharing the vocals duties. Coz both of
these geezers to a certain degree
sound as fresh as they were when they
first stepped into Belfast's Wizard
studios all those years ago.  It's
admirable to hear punk rock vocals that
you can still relate to and sound the
same as when they were first put down
on tape some 25 years later. Pity
Johnny Rotten don't take note.
have as you might expect
just a pinch of experience creeping into
the delivery these days, but fuck it, this
is good stuff! When you’ve got
landmark songs like the teen angst
Outcast portrayal of 'Disease', with its
contagious chorus. Or the great
expectations of
Rudi's bonafide punk
'Big Time', you can't really go
wrong can you? ...
"And everybody
. or maybe everybody should
know that these two frontmen really do
give these songs edge. Although I've
never noticed this before, they both
have a similar delivery bringing into the
fray some actual crooning vocals on top
of the spiky backdrops, which don't half
add that extra dimension to the end
result. Words like impact spring to mind
and none of their more tuneful tracks
leave you with a weak impression. This
is a trade a lot pop punkers today seek
to attain, but fail disastrously to deliver.
So kids take a nod from the old masters
and see how it should really be done.
Along side a fair representation of the
Rudi/Outcasts repertoire with powerful
numbers like
'Time To Be Proud' and
Self Conscious Over You' they finish
with a rousing version of
Rudi's 'Cops',
still dedicated to the RUC no doubt. Of
the covers we get a really wicked
version of
Iggy's 'Wanna Be Your Dog',
complete with piano tinkling ominously
in the background. It's even got that
howling Williamson guitar surge which
will no doubt get a seal of approval from
Detroit. And of course the added bonus
of a live set recorded at the launch of
the NI punk bible 'It Make You Wanna
Spit' in Belfast's Empire Music Hall on
6/11/03. Makes this 26 track collection
a must for the curious and the diehards
but more importantly the new breed!
'Is Still Murder'
(0VER104VP) CD 26th Sept. 2005
Wigan Anarcho punks the System
seemed to be living in the shadow of
their higher profile mate's
, during the grey early 80's. A
time when angry snot drenched
punks were spouting their rebellion to
whoever would listen. And they also
gave the impression that their only
publicity stunt to date would be a
never ending support act to the
bigger guns of
Crass and Flux. Well
that's where I first heard about em!
So this collections real pull is to hear
what those bands that was in small
print on the poster actually sound like
after all these years. Although I was
alarmed to read in the extensive
sleeve notes that they only played
about 60 gigs! This 21 track
compilation is gleaned from the
bands brief 3 year lifespan of two
Spiderleg singles and one
compilation track on the acclaimed
'Wargasm' album. All of which are
present on this album. But for your
moneys worth, the 69 minutes audio
time is generously beefed up with the
added inclusion of 13 demo tracks,
10 of which are previously
unreleased. The bass driven
'In the
was the bands theme tune
and gives you a really good
representation with its midpaced
chunky bass, searing guitar shards
and the ever present pissed of vocal.
But it's the
'Dogs Of War' track from
their debut 45 that is definitely their
most potent track of the bunch, as we
hear vocalist Jan spit out his rabid
contempt on top of a ferocious roar.
They also slow it down for the shady
'Their Corrupting Ways', which
demonstrates a subtle use of build up
on this bass driven rumbler. You can
also see why
Flux Of Pink Indians
took a shining to em by choosing
as the first release on their
newly formed Spiderleg record label.
Coz on
'Nervous Breakdown' its pure
Flux. Especially in the guitar rage
and overall execution, which ain't no
bad thing. I also liked the doom laden
'Thought Control' that develops quite
subliminally with a spiralling bass run
and a sinister guitar pummelling your
skull. Other tracks of merit, although
not really up to the previous
standards were
'SAS' with its catchy
chorus and lightweight guitar solo,
'Repetition' with those neat
dropouts and trebly guitars.
are actually an acquired
taste and with so many bands in this
genre seemingly going down the
same route, you'd be hard pressed to
distinguish them from the crowd. So
you can see why they didn't register
BIG on Punks Richter scale all those
years ago. Although maybe when Ian
Glasper's new Anarcho book gets
released in 2006 you'll probably see
a growing resurgence of interest in
the smaller outfits from the UK
Anarcho scene. But for me this was
for its era.
2005:   PAGE 1 -  PAGE 2 -  PAGE 3 -  PAGE 4  
2005:   PAGE 1 -  PAGE 2 -  PAGE 3 -  PAGE 4