SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
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
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
'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.
feature the feisty yank
zinewriter from
'Suck Till I Sag' zine,
Scarlet Da Harlot on lazy couldn
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
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.
'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
had a full-sized
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

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
. 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.
'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

. 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.
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
'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.
'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.

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!
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
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
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
. 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
"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
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
'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
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.
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
. He seen in Mish the
sonic medusa he was looking for. So
he seduced her into becoming
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
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
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
€˜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
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
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
. 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
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  
'North Rebel Radio' CDEP
(CD007) 2004
Can't believe I ain't heard of this
Sunderland mob before. Coz
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
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
'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
"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!
'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
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!
just to see how its really done.
So screamers take note.
'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
that still has an air of
guttersnipe about it, all these years
Zyklon B continues the quality
control with their new wave sounding
'Manic Depressive' from '78. Male
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
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
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
Way System
was probably
Antisocial. Who on 'Official
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
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
the Fits. They submit their
highly charged 1983 anthem, the
pissed off
'Bravado'. The lesser
Sign Language who sound
sci-fi in comparison on their
previously unreleased
'Love And
track, are good musicians, but
have poncey vocals.
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
Shrink from 1994 who were fuckin'
The Phantom Creeps give us
harmonica overload during their
1996 trashy garage rock out.
feature CD compiler Andy
'Managing Director Of Earth
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
Container Drivers sound like
the Pet Shop Boys but with an
electric guitar backbeat during
'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
give us a live track
'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
Jeffrey Lee Pierce on
'Alcoholocaust', and they pull off an
appealing appearance, which is a
pity since they've now split up.
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
'Torched'. The Ceramic
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.
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
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
'New Day New Enemy'
(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.
Day New Enemy
' is the title of this 3
tracker, but I think we all know by now
's gonna be yet another attack on
Tony Blair and his cronies
yawn! Sick
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
'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!!!
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'
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
'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.
'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
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

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.
from Dalkeith in Scotland
keep up their high octane Scots
presence with 2 midpaced rockers
'Genocide' and 'State Of
'. I've never quite got the
fascination for
Demob, coz they
sound weak on
'What Your Fighting
' and 'One More Man Is Dead'
't much better. Nervous Tension
from Nottingham brings the quality
control back up with Sherwood
's answer to the Subhumans
'In The Sky's Above Baghdad'
'Shoot To Kill'. The Offkuts
were a mumbling bloody r'n'b mess
that even a 70
's guitar solo couldn't
Pilger were also pretty dull
unless you wear baggy jeans and
trainers and live in Southampton.
Sticking with the South coast,
seemed intent on keeping it hardcore
by numbers…boring!
The Zips from
Glasgow appear way outta place on
here, with their almost Indie sounding
'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
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
that manages to create atmosphere
with its neat theme tune. Militaristic
drumming leads in
Blok 1A who
come from the Netherlands, but that
about as exotic as it gets coz these
never Landers dish out another
humdrum thrash sweat fest. In fact
'Texas Idiot' by Arthritic Foot
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
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
', 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
The Shit
give us a full on
jackhammer job with
'A World Of
', 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.  
from Blackpool have a shitty
name, but thankfully that
's where the
crap ends, as they deliver the rather
'Idiot' with its sarcy vocal and
neat guitar work, plus that great
idiotic chorus.
'Time Bomb' didn't
match its predecessor.
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
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
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
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
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
Class Brats
and close this 28 band
CD package on a high.
Stranded Records
(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
Square Peg
into the fray once more.
've been around since the early
'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
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-
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 "
ear damage.
've got the tunes and they've
got their own sound which is
addictive midpaced pounding punk
'The Chosen' is Larry's ode to
the death, which seems to be a
popular topic on this album. The
'F.F.F.' which don't stand for
'Fuck Fascist Fiends' in case you
were wondering but for rather more
'Fuck Franz Ferdinand'. And
is probably the most impressive track
of the 14 on show. Its relentless
snotty chanting attack on Scotland
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
'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
'City Of Shit' or the
rumbling, slugging monster of
'Hiroshima'. A song which sees
's vocals taking on a more
impressive vibe to convey to the
songs doomed sentiments. However
's totally turned upside down with
the inclusion of an impressive cover
the Damned's 'Stab Your Back'
which is one of the best
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
' 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.
'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!
Stranded Records
'Tales Of A Drunken Generation'
(xlntcd-4) CD August 2005
These fuckers remind me of
'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
'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
indeed. Also any band who
'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
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
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
'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
got superior punk outfits like
or Antibodies who wouldve
stormed the castle given half of this
bands breaks.
'Skate To Live' ha!,  
'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
..."Our ideas have all but
" but anyone sucker enough to
listen to this album will soon realise
their ideas never actually arrived!
Middle aged punk for the easily
Stranded Records
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