| SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future |
| BARNYARD MASTURBATOR 'Unleash The Cock' Demo 2005 Snotty newish punk ensemble that's crawled out the slums of Derby. I caught em live in Birmingham a few months back supporting the Lost Cherrees which is where I picked this disc up, and despite their hideous name, they put on a pretty good set for a band less than 6 months old. So with plenty of time to sharpen up their haystack stage technique and musical creativity. On this 3 track demo they seem to be on the right track to bigger and better things. They arrive with a nasty early 80’s take on punk. The songs called 'Plastic Surgery Nightmare', 'The Scum Between My Toes' and 'Useless Flesh' keep well within their tasteless appeal. But makes for a neat change when a punk bands form to try and piss off their audience instead of being humble and arse licking creeps. But that's how we like here at Nihilism. Barnyard Masturbator feature the feisty yank zinewriter from 'Suck Till I Sag' zine, Scarlet Da Harlot on lazy couldn't care less vocals. And thankfully for us her laidback vocal styles a lot more interesting than she is with her pen action. She's joined by another girl on drums who seems more than capable of bashing out a decent beat. They are joined by two geezers on bass and guitar respectively. Giving these anglo wankers a cosmopolitan feel and rather rockin' sound on the opening track 'Plastic Surgery Nightmare', which was only let down by the laboured chorus. 'The Scum Between My Toes' kicks off with some jangly skank before jumping into a buzz saw drone with intermittent skanky dropouts for the chorus which signals our American host to slag off the men in her life. 'Useless Flesh' is more heads down bitching that comes complete with some hilarious farmyard sound bites at the very end. They've been gigging a lot lately so they could suprise us next time they hit a studio. AVERAGE BARNYARD MASTURBATOR |
| DISCONVENIENCE 'War On Wankers' 45 Summer 2005 Now here's a band in perpetual motion. They've just finished a successful tour of their native Sweden, moved base and even managed to slot in a New York show on a recent world wind visit. Not bad for a band that started life as a duo in a garage with an unpredictable drum machine a few years back. On their last DIY outing 'Bombs Away' (reviewed in 2003), Disconvenience had a full-sized Avengers fixation in their sound, but like I said they are forever morphing into different modes which is good for the most part. But can get pretty confusing sometimes for us old fuckers. This time around it's their debut official release on a Swedish label called Wasted Sounds and they've opted for a pseudo European Ramonic 5 track juggernaut. Complete with regulation buzz saw guitars, and frantic female snipes on top of a more controlled energetic beat. Not sure it's their best method to date, as I quite liked the Avengers vibe, but it's not bad at all. This record presents the band with a cleaner production, more adventurous in their execution, and a lot more confident sonically speaking. I spose with a tour now under their studded belts helps, so I reckon you'll be hearing more from this band in the world wide punk domain very soon. It does help to a certain degree if you've got a giant Mohawk (Emma) on bass and lead vocals fronting the band. She's got stage presence with a riot grrl delivery but now she's started adding some subtle melodic touches to her scowl. The actual driving force however behind this band is Rickard on guitar, who seems to nick all the classic punk riffs and incorporate them inside the Disconvenience thrash wagon. And let's not forget his little sister Nina now a permanent feature on drums and backup vocals. She's really developing her drumming style with each release and also adds a neat vocal harmony to Emma's bratty attack. Fave tracks are the ultra Ramonesy 'Slightly Nazi', the guitar intro to 'Out Of Mind' and the anti tradition title track 'War On Wankers'. Not certain what their debut album will sound like as im sure that's gonna be their next objective in a totally different realm, along with more gigs and world domination. Only 500 copies available so get yours now. WORTH A LISTEN DISCONVENIENCE |
| THE VENDETTA 'Terror Forever' (PPR-006) 45 2004 This bunch of terrorists are brand new to the Nihilist record deck, and are apparently formed from the remnants of a rather innocent liccle street punk outfit from Piacenza in Italy, called Bloodline. They've apparently now been indoctrinated, re-conditioned and thrust out onto the European landscape with a deep seated belief to play Terror rock to the masses. Not quite sure exactly who or what their particular targets or demands are? But they use blood lust and death rather a lot in their lyrics. And from the front cover shot alone, it don't take a BBC security advisor to suss they've got a worrying fetish for balaclavas and probably a penchant for sub machine guns and hostage taking. Not sure they'd go down very well in Milan catching trains, but they are pretty incendiary on black vinyl. However have no fear dear punk coz it looks like they're saving their noise grenades for musical manifestos such as this EP. 'I Hate You' has an almost Turbo Negro feel to it, with its big guitar riffs and that nihilistic streak. "I hate you" they chant with suitable intent in the catchy chorus, which is only let down by the singer called AJ Myers who persists with some pedestrian rottweiller growls. But despite that minor discrepancy, this track did turn into rocking anthem and its pretty bloody good. They slow things down on 'Tonight' which has some atmospheric backing vocals but no lyrics? The Vendetta are a band that seems to go in for the kill with simple but effective raucous anthems, along side a slither of rock 'n' roll thrown in for good measure. On the B-side 'Bleedin For Me' was pretty much regulation early 80's punk apart from the frenzied guitar solo. But the best track of this 4 track magazine was loaded last and called 'Wake Up' which blew up substantially via a really dirty guitar riff, into a brutal bruiser of a track with air-raid sirens plus the regulation dose of feedback. So what more do ya need for a new reign in terror? Comes as always in a rather lavishly packed sleeve and lyric insert from Italy's answer to TKO. WORTH A LISTEN www.purepunk.it |
| SADO-NATION 'Future Past, Present, Tense' (GTA-061) CD August 2005 3 years in the making or should that read waiting? This riveting compilation has took a long time coming, but the wait was worth it in the end. Especially if your taste in punk is from from the darker side of life, with loads of variation, suss, and a gutzy determination! You certainly won't be frustrated with this 34 track nemesis. Sado-Nation unlike most of the bands on the GTA roster are actually still alive and active, dishing out their apocalyptic fury to audiences on a regular basis. So this ain't by any means the final chapter in their story, but it's a definitive beginning! Sado- Nation first reared their ugly heads as far back as the winter of '78. The idea was a reaction against the sadistic nature of the US government. Their founding member and guitarist Dave Corboy had, and still has an utter disgust with the sheep like mentality of the US population (don't we all ha?!). And as he was no big conglomerate, he took his revenge via the burgeoning sonic outbursts of punk rock. Influenced by the Pistols attitude, but with his own skew on the new punk sound that was by now secreting itself in downtown Portland. Corboy roped in local punk John Shirley on vocals and a few more like minded scenesters for a rhythm section, to sow the seeds of his reprisal. Must say I'm a bit surprised Mr Shirley's vocal slurs ain't made it to this compilation, in a live capacity at least? But maybe his ego wouldn't permit it as he's now an established sci-fi writer. Oh well back to noize. The bands first official self titled 7" EP, produced by Greg Sage of the Wipers, gets us off to an impressive start. It's now 1980 and this long overdue debut featured Leesa Nation on lead vocals, who had replaced John Shirley in 1979. It also helped that she was a lot easier on the eye! Leesa bought her very own high pitched yelp to throw at the by now tight Sado sound. This prototype 45 comprises 2 tracks of 'don't mess with me' angst, amid a brooding chord attack. As Mr Corboy wrestles with suit jobs in the street during the reckless 'Trouble'. He still found time to hit back at persecution during 'On Whom They Beat'. Flip the Sado-Nation coin and we get a more pop punk resonance that surfaces during the quirky, teen lust of 'Gimme You'. A song that comes bouncing in with hand claps and those reassuring "oooohhh's oooohhh's". Finally we are met with the compulsive 'Mom And Pop Democracy' that hides a snotty attack on American convention even though it was neatly disguised in Leesa's sugar coated delivery. These 4 tracks alone showcase Corboy's affinity for creating snotty punk rock with tuneful pop melodies. A talent which was to become a healthy combination within the one chord realm of the early 80's punk scene. By the winter of 1980 Sado-Nation had laid down tracks for their debut album tentatively titled 'Disruptive Pattern'. But by the time it was finished squeaky Leesa had relocated to New York City leaving the band without a vocalist. To make matters worse the band had run outta money, leaving em with no option but to shelve the albums release. That was until now, coz we get to hear the full whack for the very first time in 25 years! 'Disruptive Pattern' shows Sado moving away from their poppy roots into a more course punk ghetto. As we hear Corboy's guitar creating razor sharp shards across an abrasive landscape. Songs like the impressive 'Cut Off The Cord' gets its first airing here, which seems to benefit way more from Leesa's less impulsive vocal and sinister undertone. We also get to hear the snotty 'Phobias' for the first time. Which signalled Leesa losing the helium bleat of her earlier vocal in favour of a more matured scowl! Some of John Shirley's lyrics still survive in Sado's set, as we get the first of 3 versions of 'Industrial Revolution'. A song that has a more traditional rock 'n' roll approach than what we've heard so far from Corboy's riff library. We also get Sado-Nations all consuming fascination with nocturnal afflictions during 'The Dark'. And things don't get much better during the love on the rocks sprawl of 'Death Camp'. A song which is worth hearing before it quickly disintegrated into a chaotic finale. By now Sado-Nation were implemented by Dave Propp on bass and Chuck Arjavac on the drum stool, giving the band a much needed stable rhythm section. Chuck incidentally compiled this release and designed its desolate layout in keeping with the bands pessimistic ideology. Sado-Nation without a lead singer then went on the back burn for 12 months. That was until Dave come across a full on 18 year old punkette called Mish Bondage, who was then fronting an all girl teen punk band called the Braphsmears. He seen in Mish the sonic medusa he was looking for. So he seduced her into becoming Sado- Nations 3rd and final lead singer, and so began a 23 year old pact of creative collaboration, demonic grooming and psychotic therapy. Mish's hardcore stage presence and fanatical delivery was in total contrast to Leesa's more subdued approach. She had bottle, got in yer face and fed off Corboy's moody guitar slinging. Thus creating a more potent hardcore focus for the band. This is the Sado- Nation that would take their Oregonian attack further afield and infiltrate the thriving early 80's US west coast punk scene. It also saw the emergence of a new set of songs that would feature on their debut album 'Were Not Equal' released on their own Brainstem Records in 1982. 'Were Not Equal' reprised here in full, shows the band upping the ante with a more dynamic direction. With Mish's tense vocal delivery we could actually hear a more extreme monster in the making. 'Armageddon' strikes home with its hyperboled bass and a buzz saw riff conjuring up an aura of expectancy, along side that cold calculating vocal. We are then dealt the deadly blow of 'Nuke Up Now' which displays a rather unique take on the early 80's paranoia of nuclear annihilation! And hits us in a impressive nihilistic way. This is probably their best known track with its radioactive guitar ring on the opening sequence, before it detonates into a big juicy guitar riff with lethal glee. Followed closely by the blitzing hyperactive 37 second rant of 'On The Wall' where Mish's inner demons hit the fan head on with no brakes, and just a manic beat to cushion the blow! I really liked the wayward feel of the â €˜Politics And Passion’ track. Coz it enables us to observe Miss Bondage generating a far weirder sneer in her doubled up vocal assault. All this happens on top of a careering Corboy riff, which zooms along on a 52 second rant that somehow stumbles into a British police siren wailing away in the background, while a babbling bondage and co. gets sectioned off to the loony bin! We are then treated to a superior version of the clinically cruel 'Cut Off The Cord' which could've been even more malicious if only the Duchess of discipline took lead vocal instead of backup. They finish off this album with a blistering live studio version of 'Johnny Paranoid' which harks back to Corboy's pre-punk roots on top of one of John Shirley's more autobiographical lyrics. Alas this was to be the last we heard from Sado- Nation for a while, unless you count the cover version of Aerosmith's 'Back In The Saddle', which appears on a 1985 Mystic covers album. The band had been touring frantically throughout the US till 1984, which saw Flipside zine voting Mish Bondage female vocalist of the year. But even that accolade couldn't stop the band eventually splintering across different states as the second wave of punk hit its dark ages. It wasn't until 1997 and with renewed interest in Sado-Nation from a new generation of punks that Bondage and Corboy once more reconvened in Portland with a new rhythm section and a renewed vigour. They bought the band back outta their self imposed coma and recorded 'The Teal Project' CDEP in 2002. A session named after their current drummer Mike Teal who also produced it. Again it features their never ceasing penchant for the darker underbelly of the American psyche. It also comes with a skilful sheen, just check out 'Void' for a great comeback track with its hypnotic vocal segment. 'Nil' follows suit and Mish's constant search for escape from the blackness, as she flexes her complex visions and sneers majestically on top of some classic Corboy power chords. 'Cut' has some of the best lyrics from the bondage pen, as she regails the only control in her life, and that's through her music and delivery... "One pain that I control a product of this mess, angry stares insults thrown they all call me a bitch". The most hypnotic number however in Sado's comeback, has gotta be the haunting 'Insomnia Insomniac'. This is a fucking belter of a chugging nightmare and gives us Dave Corboy's most impressive vocal to date, as the night creeps up and the scary spectre of perpetual consciousness sits at the foot of his bed. To round this impressive anthology off, we get 4 live tracks recorded at the Portland Met in 1983. This live time capsule gives us a crackling bloody insight into a very live and thoroughly messy Sado-Nation, at a time when they were at their most lethal! Yep this GTA collection is essential listening if you wanna sample a real reek of Portland Punk! So get your copy now! Comes with sleeve notes, selected lyrics and related images from the bands sprawling reign. Oh yeah before I forget, they are currently writing a new album so beware of more sadism on your horizon! US CONTENDER. www.myspace.com/sadonation www.sado-nation.com |
| HOLY RACKET 'North Rebel Radio' CDEP (CD007) 2004 Can't believe I ain't heard of this Sunderland mob before. Coz Holy Racket show all the signs of being one of the Uk's more up 'n' coming punk bands on this set. After catching 'em live in Brum earlier this month they didn't fail to impress and don't really fall short in delivering on this 6 tracker. North Rebel Radio comes with a pro production courtesy of ex-Penetration axeman Fred Purser and it displays all the signs of a band on their ascendancy. This Geordie trio have their sights set firmly on higher ground than the toilets they're currently playing in, and who could blame em? Holy Racket seem to have an edge on most of the punk bands they're billed with, coz they display a very intuitive sound and vibe not a million miles away from The Threats but with more plays you can also sniff out a very definite Rancid overtone in their song structures and modus operandi. They don't sound like em but they have a definite Oakland blueprint in their DNA. Try opening track 'Armed To The Teeth' with its almost celtic guitar overtures and skanky intersection. Or the drumming anthem of 'East Side Story' for proof. If your into that breakneck attack but with loads of melodic indulgences, and some clever passionate duel vocals thrown into the breach, your gonna lap up the polished edge of Holy Rackets performances. They still seem to be missing that killer punch that your always anticipating on arriving within the next chorus. So I dunno if this is still a work in progress or just a taster for their best salvoes waiting to be included on their debut album. Which I've no doubt must be looming high on their horizon. Songs like title track 'North Rebel Radio' which is introduced with a broken bottle to give it an authentic setting is good. It sounds like an attempt to maybe hit a bigger audience than yer average punk at a picnic and deserves a mention alone for its call to arms lyric of "gonna hit you like a comet, on a wave of northern vomit", which you must admit has a nice ring to it. Something akin to early Rancid, had they grew up in Sunderland instead of Oakland. This outing shows em with enough talent for adventurous song compositions which is always a good sign in the monotonous 21st century punk scene, but could also leave em shooting blanks at the last hurdle if they dont somehow back it all up with that killer salvo to keep the spiky punch line hitting its target. However being a very tight and commercially vibrant punk band, you could see these boys going mega in the Americas with the right label and backing behind em. Only time will tell I spose coz this confident kinda punk is what the yanks can't get enough of. Definitely one to watch out for as Europe beckons at least! WORTH A LISTEN! HOLY RACKET |
| PURGATORY STATE 'Seek And Betray' CDEP Summer 2005 Brand new outfit here, based in Manchester who seem to have a direction they wanna go in and just ain't too bothered who or what they knock out of the way to get there. Gutsy powerful hardcore done with a particularly snarly riot grrl vocal administered by chief songwriter Alex Kenyon. The Purgatory State experience comes out the speakers with a full on energetic guitar riff and feedback that is joined by grim drums and doomy bassbeats. It nearly reminds me of Black Flag circa 'Slip It In' only instead of a guttural Rollins weve a rasping banshee taking Rollins place and quite eloquently too. Alex the singer/guitarist's vocal assault sounds like she has the capabilities of Hurricane Rita and could quite easily strip bare your speakers given half a chance. Think of early Brody Armstrong and multiply it tenfold. You can hear her shredding her vocal chords from the off during title track 'Seek And Betray'. Purgatory State certainly don't sound a happy bunch but im still baffled by what's exactly eating away at their tortured souls as you'd need a linguistic degree to decipher her gripes. Purgatory State take us on a death ride descent through that place somewhere between heaven and hell called maybe Manchester? I knew it was bad in Rainy city but not this bad!!! Track 3 'Sweets Of Candy' goes for a less intense approach with Alex actually adopting a more dare I say it sensual approach that squats on top of a neat dirty little riff. However it ain't too long till her intensity level is bought back into the red. Purgatory State also have elements of Babes In Toyland about em, but don't have the feminine appeal of Kate Bjellands bitter/sweet delivery. Last track 'By Seng (In Your Sight)' seems to be full of more turmoil with a slightly more mature aproach. This girl can sure roar with the best of em. But I'm not sure I'd wanna hear a whole albums worth of this tyrade unless they showed some signs of diversity from the angst. But for a debut scream fest this EP shows a certain heated appeal.And they promise their live affairs are antagonistic and sticky affairs! WORTH A LISTEN! just to see how its really done. So screamers take note. PURGATORY STATE |
| VARIOUS 'The Ugly Truth About Blackpool' CD (jsntgm018) 2005 Inspirational idea for any large town or City to do, but I doubt many have this many bands to choose from or someone willing to do all the groundwork. Luckily for Blackpool and its immediate surrounding areas they do, and his name is Andy Higgins. 'The Ugly Truth...' if nothing else does a grand job of giving you a glimpse of the best and the worst punk related outfits that crawled out from under its bright lights over the last 27 years and features 27 tracks. Kicking off superbly with the Skrewdriver '77 anthem of 'An-ti-so-cial' that still has an air of guttersnipe about it, all these years later! Zyklon B continues the quality control with their new wave sounding 'Manic Depressive' from '78. Male Models from 1979 were totally new to me and maintain that inoffensive but addictive new wave era during 'DC Overflow'. Tunnel Vision sound a bit blinkered and have that early Factory vibe but without a lasting effect. Kenneth Turner Set sound like something from a 'Streets' compilation during 'Overload', which has pub rock written all over it. Syntax who featured on the original 'Blackpool Rox' EP from 1982 continue on 'Dot Dot' in that bleak Factory landscape, but appeal with a superior composition. Section 25 is a name you may have heard of before, and on this 1981 track 'Always Now', they really go into the Joy Division terrain of industrial nightmares. One Way System bring a more punkier vibe to the proceedings with their 1982 track 'Jerusalem' which sealed the Blackpool/Fleetwood inter town rivalry for posterity perfectly. Blackpool's inferior answer to One Way System was probably Antisocial. Who on 'Official Hooligan' don't quite sound so convincing, bringing in that well played but slightly laidback Oi! growl to the fore. However they're all blown out the water by the criminally overlooked Genocides who were originally formed in Preston, but set up base in a local record shop. They give us the ultra catchy 'Honey, This Ain't No Romance' from 1982, which sounds like a North West version of the Heartbreakers, great track with a snot driven vocal. And then its time for Blackpool's best 1980's punk export, the Fits. They submit their highly charged 1983 anthem, the pissed off 'Bravado'. The lesser known Sign Language who sound sci-fi in comparison on their previously unreleased 'Love And Glory' track, are good musicians, but have poncey vocals. The Membranes who I never seriously rated give us 'Tatty Seaside Town' from 1988, which sounds autobiographical but is desecrated further by Steve Albini's mud soaked bass mix. Take Lindy Surfing from 1991 offers us 'Twilight Zone' which is a pumping surf punk outing that contains some demolishing guitar work. The quality control dips drastically once more with the arrival of Shrink from 1994 who were fuckin' dire. The Phantom Creeps give us harmonica overload during their 1996 trashy garage rock out. Erase Today feature CD compiler Andy Higgins. 'Managing Director Of Earth PLC' from their 1996 album 'Colour, Sound And Vibration' features Mr Higgins in fine vocal form and on top of a convincing group performance as they feedback their way through to your senses with a spooky ending too. Container Drivers sound like the Pet Shop Boys but with an electric guitar backbeat during 1997's 'Searching For Skylon'. The interestingly named King Mob Echo don't live up to their name tag, as they sound like cock suckers themselves with that awful phoney American accent. The Pink Torpedoes give us a live track called 'Time To Be Alone' from 2000, which sadly don't feature glasses breaking or stools being impaled into the ceiling, which was a shame! The(e) Transmissions sound as pompous as their name reads, and fail to transmit anything worth your time or energy. Neo Comas singer has an uncanny resemblance to Gun Club's Jeffrey Lee Pierce on 'Alcoholocaust', and they pull off an appealing appearance, which is a pity since they've now split up. Uncle Fester gives us some sonic overload with 2002's 'Kill Someone', but the grungy vocals are definitely their weakest link. Chang sound as rank as the band name suggests. They dish out sickly pop harmonizing, but to their credit did have a raunchy guitar riff trying to escape from their Indie arrangements. Razor Dog comes out the traps with a crooning vocal on top of a rock 'n' roll melee during 'Torched'. The Ceramic Hobs have been on the boil since the late 80's and sound like something you'd hear on those avant-garde Indie cassette compilations that littered the back pages Sounds. Quirky but fun. Sick 56 JSNTGM's flagship band bring this compilation to a fitting end and bang up to date with 'No Accident' recorded earlier this year. It kicks off into a moody rocker which showed promise before stopping and slamming their boot down on the accelerator to bring us more of what you come to expect from this bunch. Comes in a neat red cover with the Tower looming and definitely WORTH A LISTEN just for the Genocides track alone, but there's also some good introductions to other bands of merit. And lets not forget kids, it proves local council grant money can be put to some inspirational uses given enough time and energy! Available from www.jsntgm.com/ |
| SICK 56/HIGGINS++ 'New Day New Enemy' EP (jsntgm017) 2005 In keeping with JSNTGM's penchant for coloured vinyl comes this 45 on a canary yellow platter which adds a splash of colour to the grim black and white Indie looking frontage. 'New Day New Enemy' is the title of this 3 tracker, but I think we all know by now it's gonna be yet another attack on Tony Blair and his cronies yawn! Sick 56 who impressed me when I caught em live in Brum recently keep things ticking over quite nicely with this well played, midpaced number called 'Losing The War'. It powers along quite doggedly on top of some gritty vocals and duel guitars. Towards the end they go off into an atmospheric dropout, where the guitars ring out and slide into moody strums that remind me of the Ruts, but without Malcolm Owen. I just wish these Fleetwood dissidents could inject some black humour into their bleak lyrical bites, coz their strict, orthodox early 80’s approach is getting too damn straight, if you know what I mean? On the b-side we get a quasi humorous 27 second track called 'Einsatz' and performed by JSTGM label boss Andy Higgins in his alter ego state as Higgins++. Andy, who's backed by Sick 56 as per usual, sounds like John Cooper Clarke whose just swallowed a dictionary or maybe gained a university degree! I don't even know what half those words mean and I doubt some young punk in Dudley is gonna bother looking em up? But It's pretty funny in a quirky kinda way, but not sure he intended it to be? Higgins++ then ups the ante on 'Got A Revolution' which sounds way more like Sick 56, not surprising considering they arranged it and play on it, but with Higgins++ taking on the lead vocal it don't sound half as convincing as when he was fronting Erase Today. Not sure about more cryptic lyrics either? However it does boast the best guitar solo on the EP. Comes with a lyric insert but sadly no Thesaurus boo hoo! As always a limited edition and one for you vinyl hounds, so get it while stocks last!!! AVERAGE www.jsntgm.com/ |
| MAN OVER BORED Demo CD 2005 Really good to hear some raw, fresh punk talent emanating from the Northern Ireland punk scene. From Coleraine come Man Over Bored and on this 5 track demo sound like the brightest new prospect since Runnin Riot staggered out the boozer many moons ago. Real kids (I doubt any of em could legally order a pint) with a knack for a tune is a very welcome sight on our unsullied punk horizons. And what's even healthier is they ain't afraid to incorporate some good solid arrangements at this prototype stage in their career. Which can only be a good omen? They've got plenty of enthusiasm to back it all up and they don't bore us silly with standard verse/chorus hardcore. These kids have actually took time to inject some interest into their song structures. And lastly their delivery don't come with the tried 'n' tested shouty approach that a lot young punks opt for these days, thank gawd. Nope these young spittoons take a nod from the late 70's along with some sussed influences from the direction of Anti-Flag and Rancid maybe. In fact on some of the tracks it's like listening to early SLF. They put in bass fills, incorporate dropouts and have a good duel vocal going on which signifies a taster of better things to come. They've also got a sensa yuma which all the best bands should have, so having only been around since 2004 it's no mean feat! I can also detect snifters of street punk in songs like 'I Wanna Loiter' but it's done with a passion, not fashion. I like their attitude a lot, but they really excel when they're singing about their own backyard scene as the 'Ballintoy Punx' anthem proudly presents, with some skanking interludes and big gang choruses employed to good effect. This is a band with a sense of melody, but with a guttersnipe mentality stamped firmly on their foreheads. So it's good to see it in action and coming out in gushes during the tongue in cheek 'Q 97. Crap'. The brooding finale is 'What Are You Proving', which boasts some nifty guitar work that has an undisputable Celtic vibe, and sees our young snarler giving Tim Armstrong or Justin Sane, a run for their money. Just wait till his voice breaks then all the old punk snarlers will really be in trouble! A fitting climax to a very good demo! I'll be very surprised if these ragamuffins don't get snapped up by some label VERY soon. Not sure if a name change could further their career, but just check em out NOW before they grow up and discover birds or even worse, heavy metal! A band to watch out for and cheers to Joe from Belfast for putting me onto these. WORTH A LISTEN www.manoverbored.tk/ |
| VARIOUS 'Conform Or Die' (xlntcd-5) CD August 2005 This is a fucking huge 56 track double CD collection on the Stranded Records label outta Edinburgh in Scotland. Conform Or Die marks the 60th anniversary of the bombing of Hiroshima and features 2 tracks each from some of the more contemporary outfits that are making anti-war statements in the current punk climate, both here in the UK and abroad. We get off to a decisive start with Shock Nagasaki from New York. They come swaggering through the mushroom cloud with a juicy Pistolian grind as they lurch through '1968' and 'Shock Nagasaki'. Followed closely by Telford's Assert, who seem to improve every time I hear em! These Shropshire vets are dynamic on record, producing crunchy, addictive hardcore but with enough hooks and attitude to get em caught up in the most blinkered punk audio net. The Don't Cares however let the hallowed name down badly, by playing shouty, faceless crud that sealed their mediocre fate. The Threats from Dalkeith in Scotland keep up their high octane Scots presence with 2 midpaced rockers called 'Genocide' and 'State Of Shock'. I've never quite got the fascination for Demob, coz they sound weak on 'What Your Fighting For' and 'One More Man Is Dead' ain't much better. Nervous Tension from Nottingham brings the quality control back up with Sherwood Forest's answer to the Subhumans during 'In The Sky's Above Baghdad' and 'Shoot To Kill'. The Offkuts were a mumbling bloody r'n'b mess that even a 70's guitar solo couldn't rescue. Pilger were also pretty dull unless you wear baggy jeans and trainers and live in Southampton. Sticking with the South coast, Intent seemed intent on keeping it hardcore by numbers…boring! The Zips from Glasgow appear way outta place on here, with their almost Indie sounding anthem 'Not In Our Name', but bear with em, coz these vets grow on ya! Critikill sound about as vital as a bunch of nondescript X-factor fiascos. Valdez who conjure up visions of the magic circle, slow things down to a grinding riff before jumping into yet another sawdust vocal and a one dimensional hardcore workout. Label honcho Larry and compiler of this 2 disc package sings in the Square Peg who give us the brooding 'Hiroshima' that manages to create atmosphere with its neat theme tune. Militaristic drumming leads in Blok 1A who come from the Netherlands, but that's about as exotic as it gets coz these never Landers dish out another humdrum thrash sweat fest. In fact 'Texas Idiot' by Arthritic Foot Soldiers sounds pretty good put alongside some of the more shitty bands on this comp. Welsh punks Picture Frame Seduction continue their 2nd rate GBH fixation during 'Sex War', but manage to redeem themselves on the slow burning suburban nightmare of 'Disaffected'. Assassins from Scotland were a neat surprise, producing some attractive arrangements on 'Dehumanisation' which was only spoilt by a fucking dire vocal. Their other track 'Simply Me', suffered badly from the same fate. So do yourselves a favour lads, and 'take out' the singer coz he's holding you back! Feedback penetrates our airspace as Manc punks 3CR give us probably their best number 'Oldham's Burning', which is gritty, energetic and memorable. 'Cover up' on the other hand was pedestrian! Dead In A Ditch fail to live up to their grisly name coz their singer sounds like a baboon let loose for the day. However on 'Uzi Boy Blues', things improve drastically. Welsh punks In The Shit give us a full on jackhammer job with 'A World Of Shit', which has an early Discharge feel, same goes for 'Revenge'. One Car Pile Up sum up everything I used to hate about pop punk, and hearing this kinda crud again just reignites my contempt. Uncle Fester from Blackpool have a shitty name, but thankfully that's where the crap ends, as they deliver the rather good 'Idiot' with its sarcy vocal and neat guitar work, plus that great idiotic chorus. 'Time Bomb' didn't match its predecessor. Swellbelly's seem to be another outfit on a learning curve as they progress onto bigger and better things during this moody midpaced stomper called 'Trust'. It contains a chant you'll be singing along to in the most strangest of places. UK Deathcharge have a fucking great scuzzy guitar sound that is a welcome inclusion to this compilation. And along with their snotty Rejects styled vocals, warrants further investigation. Submachine from Pittsburgh, USA were fat, old gun toting rednecks in the early 90's and their new found 21st century conscience don't really suit them. So thank gawd they ain't changed their broken nosed sound one little bit. Shatterhand from Scotland get a lotta column space in those squeaky clean PC zines, and their pissed off gritty approach does have its moments, but it just don't sound authentic to me somehow? The Isle of Wight's Capo Regime was a blast from the past when punk was unfashionable, and they still seem in a rush to make the last ferry home gawd bless em. 'Psychosis' is their best track. Lastly Bakers Dozen from Edinburgh kept the unacceptable band name department on high alert. So it was a resounding relief to hear they don't sound half as naff as their hideous name suggests. In fact they play well thought out street punk tunes akin to Lower Class Brats and close this 28 band CD package on a high. WORTH A LISTEN Stranded Records |
| THE SQUARE PEG 'Regeneration' (xlntcd-3) CD August 2005 At long last we get a decent album from Stranded Records and 'Regeneration' in case you didn't know features label boss Lawrence leading his long running outfit the Square Peg into the fray once more. They've been around since the early 80's with regular shape shifting line- ups leaving only Larry on lead vocals as the constant Square Peg. He's been joined on this album by Noodles of Swellbelly's fame on guitar who can really rip out some decent guitar riffs when required, which are way better on the ear than his day job growling. Plus we get an ex-Threat on drums and a King Prawn on bass providing the slick backbeat. You may not see these doing regular tours of the globe, but you'd be a fool to discount this debut album as a one off coz it's the best thing that's came out under the Square Peg banner since their conception. Crunchy guitar riffs roam your speakers alongside Larry's more melodic tones, which makes for a neat alliance in this age of "yeearrghhhh, aaarrrgghhhh" ear damage. They've got the tunes and they've got their own sound which is addictive midpaced pounding punk rock. 'The Chosen' is Larry's ode to the death, which seems to be a popular topic on this album. The track 'F.F.F.' which don't stand for 'Fuck Fascist Fiends' in case you were wondering but for rather more sublime 'Fuck Franz Ferdinand'. And is probably the most impressive track of the 14 on show. Its relentless snotty chanting attack on Scotland's latest pop exports has to be applauded. The chorus is given an added impetus with a female vocal that really creates a sinister overtone. It's good to see punk bands taking the piss outta the commercial sector once more, coz we don't spend half as much time as we should ripping the piss out this plastic field.. They also have the anti war theme going on throughout this album to tie in with Hiroshima's 60th anniversary. And this other prominent topic gets well documented during songs like the pounding 'City Of Shit' or the rumbling, slugging monster of 'Hiroshima'. A song which sees Larry's vocals taking on a more impressive vibe to convey to the songs doomed sentiments. However It's totally turned upside down with the inclusion of an impressive cover of the Damned's 'Stab Your Back' which is one of the best Damned covers I heard in many a year, capturing the original energy and snot of the track. The other highlight was the impressive 'Footstep On My Grave' that used some clever horn sequences sparingly enough to suck in anti brass fiends like meself but exploited the rhythm just enough to seal it stamp on your eardrums. Wasn't quite head-over-heels with the acoustic tambourine lament of 'Out Of Bounds', but it works and shows Mr Nicol and Needs Help collaborating very well together. Some chunky power chords work wonders on 'Mohawk Brave' giving it a slight Johnny Thunders edge. And to finish off this 14 track album some of the Swellbelly's mind-set creeps into the delivery during the all attack of 'Mental Persuasion' as it rams the final track into the wall of Chamber studios. Good to see Edinburgh punk back on the map in an exceedingly healthy form. All we need now is a Sad Society album on Stranded and we've got the set! SCOTTISH CONTENDER Stranded Records |
| ARTHIRITIC FOOT SOLDIERS 'Tales Of A Drunken Generation' (xlntcd-4) CD August 2005 These fuckers remind me of Chorley's answer to Hotwired but without the Norwich twang or youthful inexperience. Personally I can't see what all the hype is about? Or understand how certain fanzines, record labels and people supposedly in the know, could be so duped by such a 3rd rate outfit? Times must be really hard in punk if this kinda crap is deemed humorous or intelligent enough to spore an album release. Has the option of releasing records these days become so fuckin' easy that punk labels will lap up inferior product such as this, in the name of punk rock? In case your intrrested these phonies have been together about a year and already have a CD- EP and numerous tracks out on compilations through knowing the right people. So how can that happen without any real talent or without some Machiavellian character working behind the scenes? Either Stranded records standards are dropping to an all time low, or the Chorley horde have supplied Larry with a years supply of the North West's most gruesome hookers!? Whatever the case, these jammy black rod hillbilly's display a rather shifty ability to band wagon jump into a punk gene pool, but without any real material they're destined to sink fast without a trace. 'Hammer To The Head' indeed. Also any band who can't think up a name for themselves has gotta be dubious. I could think of one but the painfully dense name they chose is worse than 3 Cornered Rug. At least 3CR have the ability to create a bit of a noise along the way. AFS sound really, tired, jaded and boring for a band just 12 months old. They seem quite happy to trot out really lethargic ditties that could do with another 6 months rehearsal or should that read physiotherapy. They come staggering out your speakers with about as much pace as Charlie Harpers pogo regime. Old punks trying to recapture their youth makes for an embarrassing spectacle 9 times outta 10. And these fat cats run outta lives a long time before they hit a real studio. Shitty slouchy arrangements that are as one dimensional as the bands credentials leave this album with an unfinished veneer. And that god awful vocal that gives us as much spice in life as a rag and bone man after your scrap, only makes matters worse. The fiend in question goes by the name Munky boi and upon closer inspection has one of those dosser vocals that you can hear outside any homeless hostel in the UK begging for a smoke or some spare change. And alongside with Big issue sellers, the novelty soon wears off pretty quick, as his timing and lyrics are so sloppy it almost beggars belief. Punk played by part-time punks and churned out without any real integrity is a sad act to witness. 'Anarchy In Argos' indeed, which is a great title, but stumbles along with a disappointing skanky attempt at variation alongside an unadventurous lyric. 'Guns For Oil' was about the only highlight of this 16 tracker with its rousing chorus, but stood alone in the sea of apathy that made up the other 15 tracks. 'Minimum Wage' was another intresting song topic that could've promised so much more than the bad mockery of 'Dirty Old Town' it turned into. This album sounds unrehearsed, which can be a good trait in punk, given energy and suss, but when its churned out in such an unimaginative way it turns into a farce. And that almost folky slant in the backing vocals makes me very suspicious of this bands past. When punk was supposed to be the example of 'doing it yerself' does that really mean we have to endure hundreds of inferior masqueraders such as these jokers, who seem determined to take a liberty at our audio expense. They might find it fun and a bit of a giggle down the local, but I don't think its funny these cunts have the opportunity to represent British punk today in a world wide market. In facts it's fuckin' embarrassing. So who do you blame when the doors have been left wide open for cowboys of this calibre to plug in and pretend to be punk. If there's a market for this crud, then more fool the suckers who are willing to buy this crap coz they deserve each other. Especially when you've got superior punk outfits like Sad Society or Antibodies who wouldve stormed the castle given half of this bands breaks. 'Skate To Live' ha!, that's the biggest joke of all, coz these Gnarly Dudes have about as much energy as a state pension queue down the local post office. Their last track boasted the immortal words..."Our ideas have all but gone" but anyone sucker enough to listen to this album will soon realise their ideas never actually arrived! Middle aged punk for the easily pleased. PLASTIC Stranded Records |
