| SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future |
| THE VIOLENT FUCKWITS '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 band 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 Baby' 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 transistorized 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? WORTH A LISTEN for the sheer blatant cheek and a sure fire hit in your poundland Christmas stocking! VIOLENT FUCKWITS |
| FIRE EXIT 'Time Wall' / 'Talkin About Myself' 45 1979 (Re-issued 2005) Glasgow/Edinburgh punk outfit Fire Exit 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 like 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 gigs. WORTH A LISTEN For more information visit their site FIRE EXIT |
| REUFREX '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 impressive 'April Fool' with it's almost 'Wasted Life' guitar dropout alongside Clarke's mocking vocals as he asks us "can you not take a joke?" 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 Boy', 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. WORTH A LISTEN just to hear 'Perfect Crime'. Cherry Red Records |
| DERITA SISTERS '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 Californian 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 the 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 Dole' 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 Wire instrumental 'The Commercial' which sounds really good beefed up. Followed by ATV's Step Forward classic 'Action Time And Vision' with a neat Derita Sisters guitar break. Finally a less than classic 'Fascist Dictator' 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. WORTH A LISTEN www.deritasisters.com/ |
| DERITA SISTERS '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 Silence' 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 on '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 'David Morningwood' 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 track 'Learning German, Lesson one' which is basically a Kraut translation of profanities. Every put down you ever wanted to scream at Die Toten Kopf 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!" WORTH A LISTEN www.deritasisters.com/ |
| FIRE EXIT '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 finale. '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 Together' which is Fire Exits call for punk unity. This song is decorated with an almost psychedelic solo. Fire Exits 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 from 'Anarchy in the UK' which was funny for its defiant cheek. 'Daughter 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. 'Talkin 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 Furs' 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! AVERAGE FIRE EXIT |
| VARIOUS '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. The 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 'My Pub' gets a good wrap by Northern oiks 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!" Scousers 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!" ha! Lowlife UK give us 'Julie The Schooly' and one of the best Mutley Impersonations on the album. Derita Sisters 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 Shotgun Solution who give us a rowdy take on 'Fluffy Pup' complete with an authentic northern bird ad lib. Chester's 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 synthesized '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 hijack 'Beer And Sex And Chips And Curry' 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 backing. WORTH A LISTEN www.kotumba.com |
| INTENTION '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 but 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 Nothing', Ian sounds like a rabid donkey "hee hawing" his way to oblivion which is without doubt highly amusing. Another good track was 'Mass Distraction' which has touches of 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 of Intention with less screaming and more emphasis on the guitars, but that's about as futile as asking GBH to incorporate strings. Im sure Intention 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. WORTH A LISTEN for the mule impersonations a least. INTENTION |
| LITTERBUG '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 the Pixies 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 'Subhuman Scum' reminded me of those bands that littered the first 'Manchester Collection' compilation back in '79 - "I 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 Debris 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! PLASTIC www.jsntgm.com |
| THE DISRUPTORS '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 sound. 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 'Stonehenge' seem outta place amongst their more rowdier numbers. Song titles like the sarcy 'Nice Day For A Hanging' is another rumbling success that deserves your ear. Also 'Late Night Shoplifting' 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 Arrival'. 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. The Disruptors 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 which '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. Meanwhile the Disruptors lead singer Bangkok Steve who wrote the entertaining sleeve notes on this release, can now be seen fronting the Ramones cover band New York Scum Haters. WORTH A LISTEN www.overgroundrecords.co.uk |
| SHAME ACADEMY '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 Outcasts) 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. Shame Academy 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 anthem 'Big Time', you can't really go wrong can you? ..."And everybody thinks". 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! WORTH A LISTEN www.combatrock.com |
| THE SYSTEM '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 the Insane, 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 System' 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 the System 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, plus 'Repetition' with those neat dropouts and trebly guitars. The System 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 pretty AVERAGE for its era. www.overgroundrecords.co.uk |
