'Party Animals'
(TNBHRCD195) CD May 2005
As the helicopters swoop in, we get
some over the top guitar twiddling
courtesy of Euroboy, and of course
another mighty big
Turbo intro. Which
I must say is getting a bit old hat for
the 3rd album in succession. But this
time around they incorporate a robotic
Steven Hawkins as host, before
kicking off the album properly and a
manic lead singer Hank asking
"where are all your friends?" But I
've known coz 'All My Friends
Are Dead
' and out of the speakers
comes a riffing monster in the best
Turbo tradition. Pummelled with a
pounding riff, on top a driving beat
with an aggro chant that
's gotta be
guaranteed a new live fave. Lyrically
're still a fucking laff a minute as
Hank serenades us on their next track
a blowjob anthem called
'Blow Me Like
The Wind
'. Check out "if I gave you a
tenner / would you raise my
antenna / if I gave you a dime /
Would you blow my paradigm
" tee
'City Of Satan' has an almost
Freddie Mercury
"we will rock you"
kinda chant and vibe, and sees our
punky denim clad anti-christs stooping
further into rock terrain. But were soon
dragged back to a more raunchy void
'Wasted Again' which is the
other highlight of this album. We get
taken for a snowplough ride to the
other side. And along side
'If You See
' which is a hilarious take on the
words FUCK, and the closest on this
album we get to a love song. They rip
the piss outta some frat girl with their
inevitable twist in the tale. And if you
know Kaye from UCLA, she probably
't see it that way. But you know
what, it was always gonna be hard for
our Scandinavian porn lords to keep
the sleazy, cheezy momentum that
'Apocalypse Dudes' and it's more
tempered predecessor
' had. Especially for one more
album at least. Since that raw
success,  they seem to have been on
a perpetual worldwide tour schedule.
Which must
've been really hard to
maintain and fit in writing a new album
for our sonic pleasure. Even
's song writing credits and
arrangements don
't quite work this
time around. We do get a lotta filler
that brings to mind those other weaker
albums they knocked our earlier in
their career like for instance
'Never Is
' coz I think 'Party Animals' is
destined to reside within that confine.
They even sound like just another
rock band at times, which is a crying
shame with such a warped twisted pot
of talent that they possess. 'Party
Animals' may well please the readers
of Kerrang! But it ain
't got the raw
animal passion that underlines their
witty Swedish take on life. This is a
more guitar orientated album, but
misses the scuzz and lowlife we crave
for from these fuckers. It was
produced by the geezer who done the
White Stripes so lets blame him. It
also lacking the novel arrangements
too which is ultimately down to the
band! There
's still loads of chugging
riffage to resonate out ya speakers,
but the high octane tunes seem to be
less dynamic this time around. They
finish with the rock
'n' roll
commerciality of
'Hot Stuff Hot Shit',
which has touches of dare I say it the
Rolling Stones. And the penultimate
track of
'Final Warning' which comes
complete with strings, rampaging riffs
and everything you
'd imagine from the
arse end of a
Turbo Negro album but
sadly closes way too early as the
prowling beast on a search and
destroy mission reaches for the final
countdown way too early. We are left
with a crackly old gramophone record
spluttering out some antique waltz.
Before a very long wait where Hanks
gives us a comical little Serbian sketch
on the loyal fans of Turbo Negro along
with a funny dig at the music biz. Pity
the rest of the 12 tracks wasn
't really
worth mentioning.

SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
(over103vp) CD February 2005
Volume 1 of a 5 CD series, that
uncovers a diverse range of UK
Anarcho bands, that made up this vast
wing of punk in the early 80
Overground records have done a
good job here by getting someone
from the inside to gather the angst.
Sean McGhee (ex-
Psycho Faction)
has faithfully compiled a 23 strong
band selection, along with his in-depth
sleeve notes and background details.
For the curious amongst us, we get a
wealth of undiscovered tracks to cause
a stink. London's
Dirt kick off with a
duel verbal barrage on
'Anti War'.
They incorporate their by now
trademark high pitched Pig-Lit squeals
and aggressive yells. A style that
would go on to spawn a multitude of
clone bands in their wake. Hot in
pursuit, is the discordant expanse of
Zounds. They give us their 'War'
anthem, taken off the impressive debut
'Subvert' on Crass records. Metro
from Exeter are new to me?
They make good use of a sax on top
of a standard punk approach. The
deviously named
Flowers In The
give this album a bit of style
with their hypnotic
'November Song',
recorded in 1986. You can see how
even protest punk was moving into
new territory with synths and a
charismatic vocal from the diminutive
Krondstadt Uprising from
Southend opt for a particularly snotty
nosed approach, on their ranting 1982
'Blind People'. Political Asylum
from Stirling, Scotland sound a bit
posh and poppy on this live track. But
their anthem the choppy
'Disarm Or
' (more so the slogan, than the
actual song) has become an Anarcho
calling card and still in use today.
Singer Ramsey went on to be kingpin
in the well respected AKpress Anarcho
distribution empire. Keeping in with the
mellow theme, we get
English Day
' from the Astronauts.
'77 Welwyn Garden City
scuzzballs become the personification
of the Anarcho/hippy collision. They
have some hysterical lyrics (although I
doubt whether that was the bands
intention?) deployed on top of a
delicate folky background. However we
are soon dragged back to the brink by
some typical dissent from
Anthrax in
Kent, who belt out
'Introduction To
' from their 1982 debut session.
The A-heads from Warminster create
some neat atmosphere, with bell tolls
and the memorable vocal talents of
Mel in their line-up. She gives their
buzz saw attack a unique distinction,
'Forgotten Hero', taken from
their 1982, 45.
The System from
Wigan were regulars on the bill with
Flux Of Pink Indians and Crass in
the early 80
's, and they dole out the
drum pounding
'Dogs Of War',
recorded in 1982.
Sanction also from
Exeter get some rare exposure here
via a pissed off thrashy sax, attack, on
their 1983 track
'Unknown Soldier'.
The ante is upped further for the
politically powered beef of
. These high octane
Dewsbury punks deliver equally
motivated lyrics via
'The Blood Is On
Your Hands
'. The Blood Robots from
Newcastle boast Sned from Flat Earth
HC/Punk record label infamy in their
line-up, as they charge grittily through
'The Valley'. The Lost Cherrees from
Surbiton in Surrey ain
't quite got what
some of the other outstanding female
vocalists have on this compilation. But
's two of 'em, and the musical
backing is a lot more melodic, and
dare I say it
... calming! However I think
's time for more direct action and
another sneer driven vocal supplied by
Dave Floyd out of
Riot/Clone. Dave
whose finally called it quits with the
band after over 25 years of snarling
gives us
'Neu-vestation', and sounds
as bitter and twisted as ever. Next up
is a typical example of the diversity in
the Anarcho scene, and the best track
on the whole album. Talk about ahead
of their time,
Youth In Asia were light
years ahead of the pack with Kay
soaring vocals, and addictive classical
delivery. The backing track is also very
ingenious, as it builds up into a
cacophony of guitars giving
The Wind Blows
' a subtle, sinister
"penetration on naff
" as one scribe described
...my arse! They are followed by
compiler Sean
's band Psycho
, all the way from Cleator
Moor. They give us the passionate
'Threat' which dates from their last
ever gig in February 1984. It
's nicked
from a live BBC TV recording with a
'were for real' vocal on top of a buzz
saw rhythm track and dodgy lead
break, that gives them an honest and
gutsy farewell.
Naked from Kent
'What A Way To Die' from
their 1982 demo, and shows us a more
chugging, chunky approach. Anger
and melody signals the arrival of
Omega Tribe from North London, who
't be any strangers to you.
They perform
'Duty Calls' from the
'Make Tea Not War'. Anti
from Bradford gives us a more
heads down approach as they power
through the rather good
'. Faction from Hackney in
London had Rob on bass who was
also the 96 Tapes label guru. They
contribute their
'War Games', along
with an abrasive vocal supplied by
Sue. The colourful
Rubella Ballet
from East London punch out a dig at
the squaddies in Northern Ireland, with
their relentless and monotone
track. Finally leaving
the Snipers
from Oxfordshire to bring this
compilation to a close, with the
insistent and slightly quirky
'I Know'',
"where the cruise missiles are".
Highly recommended compilation with
valid sentiments, so roll on Volume
Overground Records
'˜The Roots That Inspired
The Sex Pistols'
(mojo) CD February 2005
This collection came FREE with
's edition of Mojo magazine.
And despite an array of influential
names and some hard to find tracks,
's pretty damn mediocre. I can't
imagine half of the artists on here
being remotely inspirational to the
the Pistols spat out on 'Never
Mind The Bollocks
'. But as the sleeve
notes point out, you have to look
deeper. Kicks off admirably with
'Roadrunner' (a Denmark St. warm up
tune) and a definite influence. This
groundbreaking anthem propelled
Jonathon Richman from cult status
to international fame in
'77 when it was
finally released, having been recorded
4 years previous. The original
Revere & The Raiders
version of
'Steppin' Stone' from 1966 is a million
miles away from the Goodman tapes
recorded a decade later. And I much
the Monkeys version than this
non-toxic original. Call me ignorant if
you like, but I ain
't gotta clue why the
Count Fives 'Psychotic Reaction' is
included here? Apart from being
banded around as early punk
pioneers, these San Jose teens only
had a raspy guitar break to cut
through the monotony and even that
has no real bearing whatsoever, apart
from being on the
'Sex' shop jukebox.
Next up is a major stimulation!
Thunders And The Heartbreakers

perform their classic
'Born To Lose' a
song that brings us New York, heroin,
sleaze and of course Mr Thunders
chunky guitar sound that you can
't fail
to hear in Steve Jones power chord
style. LA teenage vixens
treat us to their parent
baiting anthem
'Cherry Bomb'
recorded in 1976. In 1976 these
teenage chicks had probably more in
common with the young
Pistols than
anyone on the planet, except they
were doing their thing on the other
side of the Atlantic but with equal
amounts of attitude.
Dave Berry's Brit
'No Lip' from 1964 seems a
strange choice of cover for the
teenage punk pioneers. Straight away
you notice the original seems pretty
bland in comparison. But once you
add some of Jones's amplification, a
few sneers and some subtle lyrical
changes it's soon becomes Rotten!
Eddie Cochran was a big influence
on McLaren and later inspired Sid
classic versions on
'Something Else'
'C'mon Everybody' but 'Sweety
' from 1959 sounds really dated
and old to be on here. We then get a
live incendiary version of
' from Detroit's most infamous
gang of sloganeers
MC5. A band
whose chaotic attitude and
insurrection should be an influence on
every punk band worth it
's salt. The
then make an appearance
themselves, via a live track of
'Seventeen' taken from the San
Francisco, Winterland gig in 1978. A
gig that was played in front of 4,800
curious freak seekers and 200
punks/misfits. Talking of vagabonds,
Thunders makes a second
appearance, this time with the
York Dolls
and a rather camp
'Chatterbox'. The Dolls were without a
doubt a mighty influence, especially on
Steve Jones and Paul Cook. This in
turn is followed by one of
the Dolls
major influences
Mott The Hoople.
Who I must admit were a bit too glam
for me visually, but display here a
definite impact on their choppy
hooligan anthem
'Clash St Kidds'.
Peter Hammill's 'Nadirs Big Chance'
comes from Rotten
's play list in 1977.
But it
's hard to see a major influence
on his venomous vocal tones. The
New York Dolls make a second
appearance with Jerry Nolan
's 1981
version of their
'Take A Chance On
', which ain't a patch on the
original. But to be fair, was resurrected
in Sid
's live solo stint in the Big Apple
during 1978. More Rotten influences
abound with
Can's 1971, 18 minute
'Hallelujah'. Which was
undoubtedly more of a
PIL influence
than anything
Pistolero. Finally we
get some Reggae by
Dr Alimantado,
saluted by Rotten in 1977 on Capitol
Radio but like
Can, 'Born For A
' failed to live up to it's
impressive title. So where were
or Iggy Pop then? You'll
have to ask the Mojo editor who
compiled this selection. Quite a few of
the tracks on here remind me why I
listen to punk rock instead of other
music genres the world throws at us.
'The Radio Sessions 1979-1981'
CD (wiv037) January 2005
The wheels have came off the retro
punk bandwagon of late.
The Saints
gig last month which was on, then off,
then on again, should serve as a
warning to bands not to take the punk
fans for granted. Just because you
were BIG in the 70's doesn't mean
there's gonna be a sell-out audience
waiting with bated breath on you.
priced themselves out of a big
crowd by charging a whopping £12.50
for a small club gig, which no-one
bought any tickets for. Which
eventually lead to it being cancelled,
due to lack of interest. Only then for it
to be resurrected again within 24
hours and moved to another venue
with a reduced ticket price of £7.00.
Although according to reports it was a
great gig, (reviewed elsewhere on the
site). Due to the greed and all the
messing about there was no audience
(30 punters max), no support band,
and no encores! The biggest losers in
this recent blip on the retro punk radar
have to be
$hame Academy, who
have lost 3 gigs in 10 days! They were
the confirmed support band who were
dropped from
the Saints gig when it
went belly up. They lost out again
when their debut gig on the British
mainland at this years Punk Aid
festival, which collapsed when it was
cancelled due to money troubles. And
to add insult to injury, a proposed gig
at a local bar last Friday night was
called at the last minute after the
promoter failed to provide any publicity
for the gig. So with all this bad luck, it
begs the question does the curse of
Rudi really exist? I know this is a bit of
a running joke and I'm sure Youngsy
Rudi and also a member of $A
(and maybe Ronnie and Grimmey) will
laugh when he reads this. But I defy
you to name another young 70's punk
band who had genuine massive
potential with an equal amount of
misfortune thrown in, which in time
wore down their desire to succeed in
the face of adversity. You can only
take so much disapp
ointment  So imagine my delight when
this oriental little gem straight from the
land of the rising sun via east Belfast,
popped through my letter box
unexpectedly last week. As always with
Japanese releases the packaging is
first class and the music within is
certainly no let down either. It's packed
Rudi's raw edged brand of pure
pop punk at it's best! And captured
here for radio stations, when the band
were in their prime as an untouchable
live outfit and our greatest exponents
of the NI punk sound. Without doubt
Rudi were the best band to ever come
out of NI, though I'm sure there are
fans of
the Outcasts and the
(both great bands) who will
disagree. But this was in my opinion
then and its still my opinion now,
though I've always had a soft spot for
the scary
Stage B too. So what have
we got here,18 session tracks from the
vaults of Radio one 80/81, RTE 81
and Downtown radio '79. Everyone is
a classic song.
'Time To Be Proud',
'The Pressures On', 'Who? You!',
'Yummy Yummy Yummy', 'Radio On'

being some of my own personal
highlights. Not every version here is
the finished article which is par for the
course with radio sessions by any
band. But the energy, commitment and
passion is there for all to see.
never got the full financial backing
during their brief but incident packed
career, they deserved to record the
material properly for commercial
release, but were dogged by poor
production on some of the singles.
While other inferior major label bands
had money thrown at them. But team
this CD up with the recently released
'Best Of' and the demo collections
containing the bands 45's and
beyond. And you'll see the evidence
that this band had such a strong back
catalogue. A set that would be the
envy of many a band, regardless of
the fact that it was all put together on
a shoestring budget. Order this
Japanese import now from your local
record store and while your in there,
pick up a copy of the
Rudi 'Best Of'
CD /LP and treat yourself to a classic
punk listening experience and wonder
how this band never made it to the
dizzy heights of pop/punk stardom or
regret what you missed out on all
those years ago. If you have any
problems in getting hold of the CD,
details on how to purchase a copy are
on the bands official website. By the
way the
$hame Academy's debut
album 'Punk Rock For Dummies
' is
due out any day now!
(GUEST Reviewer Joe Donnelly)
'All Empires Crumble'
(IMB6011) CDEP May 2005
A raging, angry and extremely pissed
off trio greet us from Birmingham, UK.
Their last album showed signs of
being very laid back and almost
spacey. However this 4 track CDEP is
a benefit for Stirchley’s
'Stop The War'
campaign. Which this band are
heavily involved in, and like their
cause they ain
't giving up the ghost
without a fight. It shows you how
pissed off this country is with the lying
elite that records like this exist.
Empires Crumble
' comes flexing its
wiry conscience out of the Brummy
traps with a full on almost Dalek like
vocal during the 65 second intensity
'Fuck The Government'. This is a
blaring hit and run volley of angst!
However it
;s track 2 'Bring Me Their
' that really showcases Last
Under The Sun's
creative ability at
its best, especially when their rants
and concerns are moulded into some
rather appealing chugging tuneage.
When that neat guitar lead with an
Discharge like quality jumped
in the mix, it took on a whole new
'Not In My Name' has some
hidden booty in its all out assault as
the 35 second ear shredding racket
morphed into a more powerful jaunt,
before jumping back into a drum,
guitar, bass frenzy.  Last track
' prolongs the anxiety as is bursts
into guitar fragments on top of a
relentless drum attack and some
rather arty feedback, before the
"Death to fanatics" screams
out the speakers. Good dose of
peace punk done with an almost
homicidal ferocity and packaged with
equal passion.

'On A Noose'

(1234Records)CD/7" February 2005
I gotta say a bunch of Scousers
calling themselves the
Towers Of
does leave em open to
ridicule and derision, before they
even struck a chord. And along with
their grubbier
Guns N Roses image it
't look too good. So maybe we
should all join in and take the piss?
But before we write em off totally.
Musically the
Towers Of London
deliver a fucking A1 sounding punk
rock noise during
'On A Noose' their
debut 45. A sound that harks back to
the good old days when the
Nowhere League
still got barred
from pubs and were brutal outcasts
'Streets Of London'. 'On A
' really does gives us that
nihilistic vibe. And has since proved
it's class for a week at least, as it
unsettled the UK charts with its
presence in the number 32 slot. But
alas maybe these new geezers with
the big hair and smudged eyeliner
were just too outta control for our
brainwashed Top Of The Pops
audience. Guitarist
's Dirk and the Rev
give us some rather rampant and
obnoxious power chord abuse that
bears an uncanny
Sham 69 slant in
execution and delivery. While Donny
the lead singer and Police cell dweller  
supplys an over the top vocal that
accommodates the tracks sufficiently.
A hyped up phenomenon maybe, but
the punk rock the
Towers Of
kick out speaks for itself and
I kick myself for missing em on their
recent UK tour. Side b gives us
'I lose
' and continues the snotty,
debauched theme and attitude, with
an almost
Pistolian swagger thus
sending it into the realms of wanting
to hear more. On this showing alone
this is a band that seem to have the
balls and enough volatile input ready
to be injected into a stale corpse of
the punk crossover scene. Definitely
one worth looking out for.
'Devils Playground'
(Sanctuary) CD April 2005
Old Bill comes back to haunt us with
another album of rock ballads,
caricatured rebel yells and even some
Johnny Cash influences too. Check out
the addictive
'Lady Do Or Die' for
proof. Has it really been 12 years since
his last
'Cyberpunk' platter? Well I can't
say I will lose any sleep over that fact,
but this latest item for consumption
from LA
's residing punk autocrat is a
pretty mixed bag. 'Devils Playground'
't please everyone but may keep
his legion of fans happy. He
's now
rebuilt links with his guitar slinging side
kick Steve Stevens which helps matters
somewhat. They do have a knack of
creating some explosive moments
when they lurch into the more guitar
driven tracks like
'Supernova Overdrive'
which has a surreal vocal not usually
associated with Billy Idol. However they
't quite any really wicked
groundbreaking tracks amongst the 13
on show. Having said that Mr idol he
can certainly still do the business when
he wants to, particularly on his more
horse drawn crooning. And with his ear
for a tune im sure it will keep his
studded paw in pops cash till for a
while yet.
'Rat Race' comprises
accoustic guitars plus a rap, before
powering into a powerchord rumbler.
His most poppy song however had to
be the appealing
'Sherri' which ill be
very surprised if it ain
't his next single.
As it
's mid-paced chunky guitars and
sickly sweet chorus will most likely urge
an explosion of underwear on stage
from his female fan base this tour. His
ballads seem to be more street
orientated in theme this time round, as
he covers religion, survival and
escapism. The outstanding track had
to be the single
'Scream', which can't
be denied has all the Idol trademark
yells, power and an almost heavy metal
sheen. But bubbling under was
'Romeos Waiting' which was well worth
the wait as it incorporated chiming
guitars and Idols trademark vocal.  
Slandered and ridiculed in some punk
circles as a sellout. I have to admire
Billy Idols almost eternal youthful
presence throughout drug addiction
near death experiences and
debauchery. He
's danced with the devil
on more than one occasion, and nearly
paid the ultimate price for it. But he
seems to come back and kicking for
another term at least on this set. I
stumped by the inclusion of the X-mas
'Yelling At The Christmas Tree' in
mid April? Maybe Bill knows something
we don
't? Billy Idol maybe an over
loaded rock star, but he still has that
same devil may care attitude he always
had when he was playing the toilets of
London. And for one of the original
punks he still looks the business as he
scowls from out the front cover as
though he
's just risen from a night of
iniquity on the wrong side of town. This
slick album is a confirmation of his
arena rock status, but I think it
missing a vital killer track like
' that'll make it truly memorable.
'Subject To Change'
(Don't Records) CD June 2005
This is a brand new band to me, even
though they
've been around since '97.
Synko hail from the Cumbrian/
Manchester area and deliver on this
their debut album, a full and bright
collection of breezy pop tunes with
loads of influences ranging from
electronica to indie and Ska. Might
sound like a fuckin
' nightmare to some
die hard punks, but they also let loose
a healthy dose of new wave punk to
keep the spiky tops happy. It
probably a record I
'd steer well clear
of in the cold light of day, but when
this came through the post and I put it
on, half expecting some indie drivel, I
was quietly surprised.
'Subject To
' comes with a great
production and these Northern
popsters know exactly what sound
they want and how to deliver it in the
studio. On top of the skilled
musicianship you get Carol Hodges
outstanding vocals. She must be this
bands find of the century, coz with her
hot vocal talents they could well be in
with a shout at hitting the big time if
the right label hears them. Opening
'All Hail The Critics' which boasts
an hypnotic organ whirring along to a
skanking beat. They have that fresh
Epoxies kinda vibe which is addictive
and kinda sucks you into the songs.
And Carol
's outstanding vocal can
keep even punks like me interested
for the duration. Check out tracks like
the spacey
'Alien Song' which has an
almost cosmic drive, or
'All Dollars,No
' with its crunching guitar riff,
measured build up and atmospheric
keyboards. They even create folky
anthems that id never usually go for,
but on the strumming
'To Us All' which
incorporates subtle strings that are
turned into an addictive winner. Which
begs for a massive crowd response or
maybe some major power chords to
really kick it home.
'10ft Tall' has a
gospel kinda feel with that that deep
southern organ intro before letting rip
into an all out rocker that reminds me
of bands like
the Tourists. But where
they really take us into other realms
and make it work, is on the big kinda
rock ballads like
'War Of The Roses'
'Sweet Deceit' that reminds me of
the Tubes for some strange reason?
Some of the Ska tracks like the
'Captain Excess' were a bit
throwaway but I thinks it
's my personal
infliction with that clean cut guitar
sound that I simply can
't abide. 'Love
' features duel vocals, with one of
the geezers in the band sharing vocal
duties creating another new dimension
Synko. Interesting band and one
i'd check out live if they hit locally. If
you wanna taster of their album check
out their website for some nifty
samples at the link below.
Demo CD 2005
Has it really been a decade since we
first heard the dog rough diamonds
being spat out and recorded in some
sweaty scout hut in the middle of
Harlow? Well since then they
hibernated, reformed, broke up and
even checked out America along the
way. But are now back in action
armed with more prototype recordings
adding to the ones they continued to
chuck at us out at irregular intervals
over the years. This time out they give
us a demo that
's been recorded on a
24 track. So its good to hear our
Harlow heretics let loose in a real
studio confine. And don
't the end
result sound so much better!
Antibodies unsung anti-heroes from
the Essex quadrant, prove what some
of us already knew. And the're
capable of creating something really
good and diverse in our punk rock
ghetto. They got the ammo, the scope
and decades of frustration and anger
to put some real punk rock salvoes
together for our pleasure and their
sanity. Coz I
've a genuine feeling that
if this demo was left much longer,
'd have imploded on themselves.
Never to be seen or heard of again.
However they are back gigging and
kick off with
'Glamour Of
' which is a scrawny,
chugging, love sick attack on our sad
society. It's sped along by a gritty
petulance that you
'll be struggling to
find in this era of punk! However it
left to track 2 called inconspicuously
'Game Of Soldiers' that's the complete
fuckin' blinder on this demo. From its
militaristic drum rolls and sinister bass
runs, that along with sinewy guitar
slashings and Pete
's most
antagonistic vocal to date. We are
immediately swept up in the anti war
rant and gung ho tsunami that this
song classically illustrates. What
good about the
Antibodies is they do
it in a very clever way, as the band
drop out to a bare bass and drum
sequence that leaves Pete to spit out
in his creepiest vocal to date
very, very quiet witch hunting we
will go/ snug as a bug and totally
fucked in a foxhole
2 or an even
better later line of
"bits of kids blown
to bits in a ghetto
". The menacing
layered guitars gang up at various
points throughout the song and turn it
into one lethal piece of punk shrapnel.
'Kamikaze Karaoke' with a sarcy
"you're a beautiful audience" intro
is what the
Antibodies seem to do
best, and that
's rip the piss in their
most English and cynical way. They
destroy the Saturday night lager lout
scene without mercy. However the
drum sound could
've been given a
more dampened sound I reckon. But
as Pete spits out
"Drink another,
you stupid fucker, reach for the
stars and die!
" it all falls into place.
On the final track of
'Easymeat' they
incorporate a sax . Which adds a
X-Ray Spex feel to the
proceedings, and you know what I
't complaining. Coz it sends the
defiant chorus into a raunchier
outburst! I do think the stop/start
structure of this track could be worked
on more as it don
't flow too well, but
with that minor hiccup, they are
rapidly becoming masters of the
Essex dropout which does give their
sound some real bite! And along with
some of the most potent lyrics this
side of
Crass you just gotta let these
Antibodies invade yer system now!
2005:   PAGE 1 -  PAGE 2 -  PAGE 3 -  PAGE 4  
(over105vp) CD June 2005
Volume 2 of this highly impressive
Anarcho series see our early 80
legions attacking the state and all its
over bearing limitations.
A Touch Of
from Cumbria give us their
1983 track
'The Rulers' which is a well
crafted pop tune compared with the
usual rant brigade and a neat opener.
Urban Decay from Harlow are more
gritty with their yobbish
'Severalls' and
saw them supporting like minded
bands like
the Epileptics and the
. Things really improve with
the rumbling, haunting anthem
Of Hell
' by the Mob who were one of
the real original bands to come out
the whole protest scene in Britain at
the time. Mark Mob these days runs a
scrap yard recycling old engine parts.
Flux Of Pink Indians from Bishops
Stortford shouldn
't be no strangers to
your eardrums and they give us their
buzz saw
'Progress' from their debut
album which really epitomised the
Anarcho sound of the time.
I was always a bit dubious
about. They
're similar to the
with their folky tinged
sound and bring us their
' which has a very British sound
but reminds me of Morris dancing for
some strange reason? Next up are
Amebix from Devon who supply a live
version of
'Axeman' which is one of
their rumbling metallurgist monsters.
Actually their liner notes are way more
interesting than their heavy handed
growls. And You
'll be fascinated to
know singer Rob Miller produces
claymore swords and other hand
forged weapons these days,
apparently keeping his axeman
fixation running.
The Subhumans are
probably the most famous band on
here and give us a really early track
'So Much Money' from their very first
demo recorded live in their practice
space and you know what, they ain
never looked back since.
Famous Imposters
from Sunderland
take things on a more melodic jangly
route with
'Fighting Again' from the
early 80
's. They were a band heavily
involved with the Bunker a popular
North East punk venue in the early
80's. Old guard the
Poison Girls give
us their rendition of
'Bully Boys' sung
by Richard Famous which apparently
got em blacklisted by Rock Against
Racism who thought it was aimed at
them and likewise the National Front
paranoia eh. It's followed by another
great band to feature the vocal
delights of the husky Kaye (ex-
YouthInAsia) in the short lived but
highly entertaining
Decadent Few.
They give us their 1984 track
which also featured the jangling guitar
slinging of Mike Clarke of Inflammable
Material infamy.
Toxic Waste were
one of the few Anarcho bands to
come outta Belfast in the early 80
after witnessing
Crass play the
Anarchy centre and went on to record
for the Mortarhate label.
' features duel vocals, buzz saw
guitars and more melodic touches
akin to the
A-Heads. Continuing the
toxicity level come the highly
impressive Scottish outfit
with their impressive 'Nothings
' from their 1987 EP 'Punk
As Fuck
'. They are followed by
another good outfit called
who come from Norwich.
Their track
'Stonehenge' is a suitably
snotty piece of punk with good
arrangements, clean sound and not
'ippy in sight. Decadence Within
feature hypnotic vocals from Andrea
and a snarly alternative from Kev. On
'A Breath Of Fresh Air' they combine
the two which also features future
'Burning Britain' book author Ian
Glasper on bass. I was really
impressed with Essex Anarcho
's No
who slow the pace right
down with a brooding almost
Mob like
'Willing Cripples' from the never
released late 80
's album that features
strong female vocals from Iggy who
now teaches Tai-Chi in Scotland ill
have you know. Savour the delights of
Chumbawamba from Leeds who give
'Revolution' taken from their debut
45 circa 1985. It shows em as a band
with their own sound and their own
take on the protest scene, which was
affectionately labeled agit-prop. Pity
they lost the agitation and become an
irritation when they went on to become
the pop idols they wanted to kill and
maim. Still in Yorkshire comes
Civilised Society who give us a
polished duel vocalled guitar chiming
'I Can Be Free'. Singer Hammy went
on to run metal/rock Peaceville
Records. I
've always had a soft spot
the Sinyx from Southend ever
since I heard their rabid
'Mark Of The
' on Bullshit Detector 1. Here
they bring us
'The Plague' which ain't
half as nasty but still provides a bit of
malicious intent with Alien on vocals
circa the early 80
's. Asssasins from
East London serve up '
From The
' that dates from a 1984 demo
which has some passionate vocals
supplied by young Gino on top of a
transistorised backbeat. Fareham trio
Polemic featured Terena
drums/vocals, heather on bass (who
also wrote anarcho-feminist zine Lost
Faith) and Gareth on guitar/vocals.
'Deceptive Ideals' they were a nifty
little 3 piece and reminded me of a
prototype early 80s UK version of
from California. Last track was
the runt of the litter on this album and
was left to
the Erratics from Waltham
Cross to do the honours. Their ham
'Punishment Squad' was
probably only included here coz the
bands history was an exceedingly
hilarious tale. 21 tracks in all and like
its predessor this compilation comes  
with some delving extensive band
histories and sleeve notes by our
learned punk compiler Sean McGhee.

'Sod 'Em And Begorrah!'
(Hibernian records CD) July 2005
Neck are totally new to me although
've toured the UK, Europe and
the USA on the folk punk circuit.
Which is probably why they ain
registered on my own personnel
Richter scale. They are currently one
of London
's hottest Irish punk outfits
who display a massive
influence with whistles, fiddles, banjo
and Uillean (bag pipes), plus the
instantly recognizable Irish brogue
lead vocal. I ain
't quite sure were
ready for or need yet another celt
psycho punk band to add to the long
list of inferior imitators. It can get so
predictable with hundreds of Shane
McGowan imitators doing their level
best to sound intoxicated, authentic
or is that just the way these
blaggards sing anyway. But
Neck it
has to be said do seem to have bona
fide pedigree and can mix it
professionally with a rowdy set that
features some neat guitar licks by
lead singer/ guitarist Leeson
'Keefe. Leeson, who has spent
more time than is healthy for him
Shane McGowan And The
steers Neck through similar
drunken tales and adventures, but
with a misty eyed romanticism that
seems a bit dubious in the cold light
of day. I must admit I ain
't a big fan of
folk music full stop, but was partial to
the Clancy Brothers and more
the Pogues which is where
these North London Paddy
's are
coming from. They seem to have that
same attitude both in the mood and
the subject matter. Only perhaps
missing the sordid bite of a McGowan
lyric. I dunno about you but I seem to
get bored pretty fast with all the new
breed of irish/punk outfits that are
scattered all over the planet. Bands
like the overrated
Flogging Molly,
or even the
Dropkick Murphys, who
are getting pretty stale these days.
However this north London crew
seem to be nearer the real classic
kinda vibe that
the Pogues emitted
when they kicked off this whole wing
of punk back in the 80
's. Best songs
on this their second album is
's Fare' which boasts some true
to life lyrics about blowin ya money
and bumming round the building
sites. And
'Everyday's St Patricks
' which is a wild jump around
song about getting pissed and
having the craic. The mammoth
The Road Rise With You
' stood out
with its anthem like chorus. I also like
the way they supply explanations for
the slang used in their lyrics in the
attached glossy booklet, coz its
informative for us all. But it was left to
the pulsating
'Diaspora' their best
number and a tribute to the Irish
emigrants and their descendents that
really stood out. Its got an addictive
tune that shows
Neck in a class of
their own with an excellent chorus
and some great fiddle and whistle
work coming into their own. On
On The Streets
' they confront the
troubles in Ulster with a song about
some Catholic murders in Portadown.
But I don
't think political tunes suit
this band quite so well.
Neck work
really best when they
're doing rip
roarin dance round the bar numbers.
They even do a version of the
traditional tune
'A Star Of The
County Down
' which incorporates a
nifty electric guitar solo which we
've heard more of. They finish
off with the 8 minute instrumental
'The Psycho Ceilidh Mayhem
' which shows this London Irish
mob can certainly play their
instruments. If you
're a fan of the
your certainly gonna dig
Neck. And they are supposedly a
deadly live act too. So give this some
Neck today!
'CD Sampler #1'

June 2005
At last I finally get to hear the Lost
2005 studio sound after
witnessing a good live performance in
bowels of digbeth last month. And this
freebie which is now  available at all
the bands future gigs is a great taster
for their forthcoming new album. Only
3 tracks but its enough to gain your
curiosity and kicks off with bass driven
'Good Time' nicked from their
forthcoming new album
'Free To
' which parades a medium
paced melodic piece of 21st century
punk rock that has solid arrangements
and Bev
's passionate vocals, before
turning into a more aggressive and
vigorous finale. Track two is
'The Wait'
and one of their early 80's standout
tracks which is taken from a live gig in
Leicester circa 2003. Not the best
sound desk recording but more than
ever shows the bands capability of
being a tight little unit both in style and
on the stage. And for a laugh they add
on a less than serious cover of the
Pistols 'Pretty Vacant' which reflects
their pace and sounds like they had a
lotta fun ripping it out.
Lost Cherrees
have a knack for crafting catchy 77
tunes that marry protest lyrics with a
conscience and the end result is a
pretty potent formula. A band to watch!
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