2006:     PAGE 1 - PAGE 2 - PAGE 3
SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
'Songs The Lord Taught Us'
(Capitol) CD
I picked up this double CD release in
HMV recently for a bargain price of
£5 which is splendid value for money
and comes with bonus tracks plus
'Off The Bone'
Songs the lord taught us? More like
songs Lux and Ivy learnt from their
exhaustive record collection. It's long
been acknowledged that some of the
Cramps songs are those
they've shamelessly nicked from
obscure '50s originals and nowhere
was this more obvious than on their
debut album. Recorded at the
legendary Sam Phillips' studio in
Memphis, Tennessee, in July 1979
with seminal cult guru Alex Chilton
producing, 'Songs The Lord Taught
Us' bends over backwards to
reproduce the sound and the spirit of
deranged '50s rockabilly with large
slabs of psycho sexual subversion
and a late 70's B-movie attitude. By
the way,
the Cramps ain't a
rockabilly group. Or they are, but
hanging them on that revivalist peg
would be to credit them with about
10% of what they actually create.
Featuring the original bass less
line-up of Lux on vocals and Ivy,
Bryan Gregory on guitars and Nick
Knox on drums. This is the album
that defined what these most exalted
disciples of trash can aesthetics were
all about. The resulting sparseness
steadily and mercilessly will gnaw at
you until you start to like it. If a song
is their own it hurts so much it's fun, if
it's somebody else's they bend it to
their will, substituting quaint nostalgia
for kinky perversion. Lux Interior has
a name that speaks of Fifties
motorvation and slinky black leather
upholstery, but on the rear of the
record sleeve he and the other
Cramps are caught in severe
black-and-white. Looking as if they
just escaped from an institution for
the criminally insane. 6ft 3 inch
Interior's crows nest hairdo is about
to launch him into the stratosphere of
the real gone. His vocals have that
ring of careless menace one might
associate with a serial killer taunting
his captors. While voodoo queens
Bryan Gregory and Poison Ivy set
their clanking guitars in perpetual
motion with Nick Knox's
uncomplicated drums, set up a
hideously obscene, liberating racket.
Tracks include the voyeuristic
, the thrashy 'Garbage Man', the
spagetti westernised
'I Was A
Teenage Werewolf'
which slinks
effortlessly into the hilarious

'Sunglasses After Dark'.
Along with
outstanding covers of
'Fever' which is
well worth tasting, for its wolverine
growl of a vocal and minimal
accompaniment that kidnaps the
original tease and transforms it into a
sexually starved beast that's hungry
for more than love. They also pollute
us with a blistering version of the
'Strychnine'. The religious, or
quasi-religious, aspects of
Crampdom ain't to be overlooked.
Quite apart from the album title which
is a killer before they even struck a
chord and the legend 'File Under
Sacred Music' on the original albums
spine. The obsession with spirituality
extends way beyond their
much-touted interest in Southern
snake-handling sects and such.
religion is devoutly PVC,
lurid tiger prints, red wine and a
perverse sense of humour. Like
many of rock's greatest
achievements, 'Songs The Lord
Taught Us' is probably nowhere near
a million seller even 26 years later,
not because of any underlying
defects or inaccessibility in the music,
but because, again like many of
rock's finest hours, it's by, about and
for people who don't feel 'right' in the
world. Of course,
the Cramps are
trying to prove something: They can
take the piss, and they don't care if
it's therapeutically unsound or
obsolete they just keep doing it. Of
the the 5 bonus tracks on this
release we also get the hilarious
'I Was A Teenage
original mix complete with
an egotistical Lux Interior bollocking
some lowly studio technician in
hilarious fashion as the his teeth get
brushed along the way. There's also
the transistorised dance anthem
The Cramps will be
around for quite a while to come,
because they're not the norm, they're
definitely not safe but they are
Capitol Records in their infinite
wisdom have made this reissue Copy
Controlled so it can't be burnt grrrr!
'Off The Bone'
(Capitol) CD
CARAAASH! IF there's one band
designed to shift the new breed of
hardcore punks, wacko attacks and
garbage geeks off their studded
perch it's
The Cramps. Taraaaaash!
— don't you just love it when it's
treated with disrespect? What we
have here is not so much an album,
more a selection of undead greats
dredged from the vaults of
past. Music to be vulgar
standing up, or hanging from the
ceiling. Either way, there's a sublime
power here that's unmatched by the
vast majority of the modern bone
rattlers or head jobs. Somehow
run a clammy hand down
your spine and all sanity is cast to an
evil wind and even the most stable
amongst us will be joining in the
stomp. So what is it, this novel
unsophistication, this contrived
dumbness that can break the minds
defences and strike the same sticky
spot as the crummy delights of an
'Evil Dead' movie? The answer lies in
The Cramps deep understanding of
two remarkably close genres, 'rock &
roll' and 'trash'. Like the
Gun Club
when they still had guts,
dredge up rock and roll's
festering corpses. The attraction is In
their own indecision: should they
treasure the fragile remnants or
defile them? Should they elevate the
bones to the status of grisly icons or
fashion weapons to bludgeon the
puritan renegades? As for trash —
America's always been good at
pumping it out, little wonder that her
most wayward children should want
to fling it back in her face. Originally
released in '83 as a compilation of
singles and B-sides from 78-'81, 'Off
The Bone' offers 15 prime cuts plus
two bonus tracks from the band's
inner sanctum, all of which first
appeared on various, long lost 45s.
For the fan, it's a feast and for those
uninitiated, it's the perfect first bite as
the album contains the Alex Chilton-
produced line-up which included the
manic guitar duties of cigarette
chewing demon Bryan Gregory
before Kid Congo Powers took over.
These primal sessions spawned such
classics as
'Human Fly, where Lux
Interior metamorphoses in front of
your very ears into a
"bzzzz bzzzz
house fly endowed with â
€œ96 tears and 96 eyesâ€�
, while
the rest of the band pound out a mini
earthquake in a cellar full of skulls. In
Cramps style a mere four of the
17 tracks can rightly claim the
revered status of being
Rorschach/lnterior originals -
Fly', 'Garbage Man', 'Drug Train'
'New Kind Of Kick'
. The meat carved
up may not be fresh off the carcass
but there's no whiff of decay present
here either; each slice is as raw and
bloody as the day it was first served.
It's down in those self-defining depths
that you'll find
The Cramps at their
most lethal. The majority of this
album's muscle, however, has been
looted from other tombs, mainly
obscure Rockabilly burial mounds,
from where
the Cramps have
salvaged the more interesting
remains long forgotten slices of
wayward 50's kitsch that would end
up being cramped for posterity and
given a new identity, for those with a
distinctive taste of poison.
from the Cramps debut 45
don't quite better Joey Ramones
unforgettable gargled possession
job, but Lux comes damn close!
However his maniacal delivery on
Can Hardly Stand It'
makes for one
of the most bizarre delivery's in the
history of rock, as he jerks and
squirms into the mic and just catches
his breath alongside Ivy's spider-leg
guitar work. The sweat really begins
to pour on
'Goo Goo Muck' as Lux
howls like a Tourette sufferer as
those shimmering guitars jangle out
and crampified for eternity. On a
downer I found
'She Said' was
amusing at first, but become more
and more annoying the more you
hear it so thank gawd for the 'the
'The Crusher', a dance craze
that's both here reformed and
'The Crusher' was
probably the world's only wrestling
dance routine and as such deserves
to be remembered by giving it their
all, without actually sending it up.
Another highlight was definitely
Cramp original 'New Kind Of Kick'
from 1981 which oozes sordid
subversion in an almost
Iggy kind of
way. 'Off The Bone' is, thankfully, no
tombstone but more a hell-fire
cocktail of gutter riffing and
Rockabilly voodoo strum, into which
is dropped an electric swagger of
psychedelic power drive for mind-
numbing effect.
All this excitement is sleeved in a
lovingly executed 3-D design that
claws out at you and draws you in.
Once inside, you'II praise the Lord
that records this good exist.
Of the two bonus tracks the live
version of
'You Got Good Taste' from
'Smell Of Female' in 1983 is a real
'Forever Now'
(jsntgm023) CD
December 2006
First release from Bolton combo The
Great St Louis
Records. These ain't a million miles
away from that breed of 'punk' band
today who can play their
instruments, look like polite young
straights and would fit into almost
any musical niche without too much
difficulty. Which immediately rings
alarm bells for me! Hmmm is it just
me who thinks this kinda sound is
just indie with power chords or wot?
From a band who are hailed by the
dubious moderate wing of punk as
"possibly the best punk band in
the UK".
I was expecting a lot more!
I'm old enough to know the real deal
when I hear it or so I thought. And it
ain't presumptuous of me to require
something a lot more rowdy or even
twisted to satisfy my hunger? Well at
least downright fucking entertaining
to be regaled to such a degree.
Even if its a slight chip on the
shoulder or a snotty outlook from a
bunch of no-hopers, its a bonus coz
its genuine. But I'm afraid you won't
find any of those decrepit traits on
this album. What you do get are
decent tunes, but within a bland
concept. A compact production but
with yet another singer/guitarist
called John who may feel like he's
changing the world down the Dog
And Partridge in Bolton. But he ain't
hitting the passer-by in punks
grimier ghettos with anything that's
lethal or detrimental to our health
from this set. This 11 tracker seems
to merge with the rest of these
faceless bands doing this kinda
thing in the current climate but it
won't impress or win over new fans
who crave a bit more danger.
sound like they've been listening to
way too many
Social Distortion
Leatherface records to
unleash something really worth
waiting for. I never rated
Leatherface at all. And Social
were good in small
doses, but even with those kinda
TGSL just ain't got the
grit or enough eye-liner to really
grab you by the jugular. Bland radio
friendly punk was never a dish I
could hold down easily. But there
again I ain't the kid who reads Big
Cheese and who will probably wet
their pants over this kinda sound. To
be fair there's some neat chunky
guitar work on
'Endless War'. During
'Robbie Jones' (a cover) the band
really loosen up which was a relief
from the squeaky clean balance and
added some much needed
rowdiness to the proceedings. They
then follow it with
'Sink' which proved
to be their best number finally letting
rip with a disorderly vibe you could
almost imagine singing along to. Had
a job reading the lyrics on the inner
sleeve but I suspect they ain't gonna
take much away from this bands
overall appeal, because the kids
who'll dig this won't care what they're
singing about anyway. Well played
but an extremely safe album. If you
want punk with a sting in its tail or
suprises you ain't gonna find it on
'Forever Now'. Comes with an
striking cover shot of some geezer
from a 1950's tattoo magazine
sprawled on the front and inked to
the hilt!
Yipppeee we finally get to hear the
Antibodies in a real studio with a
raging mix, levels in the red and all
the snot you can fit into a
microphone booth. Y'know what, all
that waffle I've been blurting out
about this band over the last decade
is at long last starting to roar out the
speakers in the form it was meant
and should be heard. Yep all those
sweaty scout hut rehearsals that
primed their directive so long ago
finally comes to fruition. I'm still
coming to terms with the fact you can
hear all those rabid elements in full
sonic audio. Those string slides,
chunky bass runs and precision drum
rolls we once imagined took place
and were lost in those early demos,
are at long last bought to the fore in
3 pristine rants. These Essex fuckers
mean business and will hopefully be
blasting out on a bigger stage for
some deserved action real soon. It's
surprising what a decent production
can do for a bands morals and these
dissidents morals have taken a
severe dive into excellence here
. 'I
Ruin Everything'
is always gonna be
the top of my shitlist, coz all that
"negativity is our positivity", and
aint that the truth!? Pete, Warlock
and Paulo are the
Antibodies that
could ruin your safe spiky life if you
were expecting another predictable,
plastic copy cat punk band. But im
afraid these Harlow hoodlums won't
let that happen. Pete's rancid vocals
and brutally honest reflections of real
life as it is, are an hard act to follow.
The rocking continues on an acidic
news bulletin called
'Assasinate Me'
complete with bass, drum and guitar
solo giving this trio the full mix of
opinions, noise and frightening
distain, nice one. Last but by no
means least, we get an oldie but
goodie called
'Concrete Cancer',
which is served up with a supreme
mix and don't it make all the
difference, as we hear the
soundtrack of the demise of Harlow,
as seen through the eyes of its
structurly unsound inhabitants and
local outcasts who go by the name of
Antibodies. This song comes with
the brilliant line of
"im drowning, im
sinking I hope your dogshit breaks
my fall"
before the hometown blues
goes Terminal. This is a sneak
preview to the long overdue
Canadian 45 release featuring 4
tracks of Harlow hedonism in an age
of rage. Can't fucking wait!
'The Band That Refused To Die'
(Trash2001 Records) CD 2006
The Derita Sisters bid us farewell
on this bumper 2 CD package that
comprises a brand new 21 track
studio album (there 25th to date)
plus a 35 track bonus CD featuring
all their hits re-recorded and live with
the FINAL line-up.
Disc 1
If you don't already know is a classic
slice of
Derita Sisters at their
rampant best! An album that comes
dressed in a sharp production that
compliments the energetic, snotty
appeal this highly underrated band
are renowned for. You can
sing-a-long to, hum to, do your mates
heads in at work to...a
record. They spit out a bunch of
satirical anthems for every occasion.
Or probably in an ideal world hearing
these played live at one of their
numerous live performances over the
last 13 years must've been the best
way. I'm forever peeved I missed this
cult band live due to my financial
situation when they came blitzin
through the UK. Coz they were one of
the few latter day punk bands id drag
my arse out the pub for. But with this,
their final release you and tossers
such as myself can savour a band in
the studio who are definitely on top of
their game. Sadly this wasn't enough
to stop them losing money! They
never reached the acclaim or
success they had hoped for, or if the
truth is known thoroughly deserved!
They were always kings of
"sarc", a
comedy of errors or just plain too
zany for most peoples tastes. But
they were honest! And without
getting too fanatical these punk
enthusiasts were true ambassadors
of Punk Rock!
Whats best about
the Derita
is their seemingly
inexhaustible knack to create 120
second catchy ditties with an almost
long lost attitude that's so true to life,
it becomes one BIG joke! I find this
album sums up the bands gut
feelings probably more than any
they've released so far. They mount
hilarious attacks on a lot of the
poseur punks and bands out there,
coz lets face it
the Derita's were
always outsiders. Ostracised for not
having Mohawks or studs to seduce
the youngsters or enough political
intrigue to enlist the right on brigade,
they were doomed to the fringes of
the punk scene. Yet their naturally
enhanced spirit and ability as
frenzied tune smiths is a lot more
closer to the original ethic of punk
than most of the so called
pharmaceutically enhanced
contenders out there today. And any
band that made Maximumrocknroll
mag bleat
"I wish these guys would
get killed in a van wreck"
has gotta
be doing something right lol. Despite
slugging their wares across the US
and Europe since 1992 with nothing
more than a deserved thank you,
some groupies and a small band of
loyal fans to show for it, they still give
out a great show and still found time
to enjoy themselves. As they poked
fun at the usual subjects like...
following through, tranny magnets,
rednecks, bent cops plus the English
in the so true it hurts
'Isle Of Apes'
you could not help but be
entertained. The comparisons with a
souped up
Buzzcocks or Ramones
don't do em justice. Those lazy
writers don't see the joke. For this
band have engineered their own
twang in the punk rock ghetto and I'm
sure the music will speak for itself
when future bands start getting
Derita Sisters comparisons. But for
now and before their plan to make
everything they recorded available
for download, buy this package and
regret never seeing them live!
Disc 2   
35 Tracks of
Derita masterpieces
re-done by the masters themselves
and imaginatively entitled 'A Basket
Of Snakes' certainly lives up to its
description. Featuring fast blasts
gleaned from the 13 years they were
together, that vary from the hilarious
'I'm Crowning' to the side splitting
'Born Without A Punk Rock Name'.
The true to life
'Last Gasp Of Youth'
slips through to the autobiographical
'Nobody Cares'. Songs that are all
reworked. By that I mean they are all
played with a break neck pace and
seem a lot faster than I remember the
originals, but without becoming a
messy blur. These fuckers are vice
like tight in their playing. Just how
many bands accelerate with precision
as they progress with age, not many I
guess? But it looks like
the Derita
broke yet another mould. We
also get a live set from probably their
favourite venue... the 'Wild At Heart'
club in Berlin where they seemed to
be recognised for their true potential
and includes such cult faves as
'Butterface', 'Itie 69', 'Wino A Go Go'
and of course the
'77 Forever'
theme song. As always with
Derita Sisters release it comes
with a typically colourful foldout lyric
booklet with shots of steak, toilets
and a band-shot on Morecambe sea
'New Seditionaries'
(TKO Records) CD Sept. 5th 2006
Austin's Lower Class Brats
epitomise the positive aspects of
punk in the 21st century. They come
from the streets but embrace and spit
out all the best elements  of real punk
rock! Great tunes, spot on attitude
and a seditious production, none of
which is fake or manufactured. 'New
Seditionaries' is probably one of their
best, if not their best album in their
14 year career. The 13 songs differ
in sound and content which makes
them one of the truly
multi-dimensional punk bands
around. Why can't other punk bands
do this or even comprehend such a
thought god only knows? Or maybe
its coz these guys have got talent!
And if you like your punk with chunky
guitar riffs, a vocalist who has that
wicked gleam in his eye and a rhythm
section who keep the momentum
running all the way around the globe,
(although as we speak they have
been replaced). You know your
gonna be playing this for years to
come. Marty Volume keeps his guitar
solo's to the bear minimum, but that's
all they need as Bones De Large
"This one goes out to all the
punks we rule the fucking world".

Ha that may sound like bravado in
print, but having witnessed the band
live they actually do rule their world
on stage. Sedition is such a great
theme, and sums up
the Brats
ideology perfectly. They sing about
goin insane and being in a mess
which are all old subjects. But even
old wankers like me can empathise,
coz records like this makes the kids
out there who play em see some
sorta escape within punk rock. The
subject matter may seem negative
sometimes, but they make negativity
sound good, which is what all the
best aspects of punk does or should
do. On the instrumental
'Lip Music'
which incorporates a great piano
inclusion and shows us these snot
buckets can create some inventive
musical landscapes when they ain't
busy touring the bars. How many
punks do that these days? Even
Rancid with all the studio time at
their disposal would be hard pressed
to come up with something so inviting
these days. The gang mentality on
tracks like
'See you Go' could sound
contrived with other less talented
individuals, but
the Brats propel
themselves forward forever optimistic
theres a bar or a dollar round the
next corner.
'The Worst' has some
dare I say it
Johnny Thunders
touches on guitar as the band repel
their early detractors with a derisive

"1 2 Fuck You"
. Lower Class Brats
are at their best when they go for
menace which the brilliant
is full of. Combining a fucking
blinder of a riff complete with heavy
breathing and subversive feedback
on this drug soaked manifesto.
'Beware' continues a sinister vibe as
CT surveillance is spotlighted and a
low in the mix organ get hijacked with
good back up vocals. They
encounter alleyway romance gone
wrong on
'Two In The Heart' ..."one
in the back".
As they walk off into
the fire of the summer heat down on
the street.
The band are currently writing a
follow up with the new rhythm section
can't fucking wait!
TKO Records
'Gott Mit Uns'
(RF005) Split CDEP
November 2006
The Rowdy Farrago label is
becoming the most prolific
independent punk label in the UK at
the moment. I think I think they
dished out about 5 releases last year
alone, and like most of this labels
cargo they feature yet more tracks
the Destructors666 growing
catalogue. A band who must have
numerous material circulating the
Peterborough suburbs and E-bay as
we speak. Well here's 3 more to add
to your list. And once again they are
joined by another local outfit....
Radicus are a new age young punk
(rock) band from
backyard. They've
been together 3 years. On first
impressions this is the kinda band
that you'd be reading about in mags
like Big Cheese instead of punk
sewers such as here. Not sure I could
stand hearing an albums worth of
tracks by em! Especially with the
nauseating rock vocal and those
horribly taut bass lines, but the tunes
were OK.
'Soundcheck' (their best
track) has some good backup vocals
on the chorus.
'Fodder' veers more
into that rock harmonic territory, and
is begging for column space in
Kerrang! As is
'FashionXcore' which
sums up today's new breed of punk
band. They look like students in non
descript t-shirts and baggy jeans who
revel in creating a bland rock
soundtrack and repackage it as punk
for an ipod generation...next!
The Destructors666 let rip with
'AK-47' which has a bit more grit, way
more grease instead of hair gel and
at least does some damage. It sees
the punk vets hitting a higher gear as
a machine gun rattles off a few
rounds on this weaponry salute.
They then return to the back streets
of Detroit with another cover. This
time it's the
MC5's 'Kick Out The
. Which turns out to be a
faithful rendition of the original, but
without Rob Tyner's more boisterous
delivery. This new direction sees the
band adopting a very definite Detroit
scuzz on these 3 tracks. Which is
underlined by the final track
'Dig My
Grave (45 Rave)'
that has more
Stooges and early Damned
elements thrown in on its reckless
mix. Nothing really new to get excited
about, but they do keep churning out
this product and give younger local
bands a showcase. Which lets face it
more higher profile bands wouldn't
even consider. Maybe one of these
days they're gonna really deliver the
goods? Comes with more impressive
artwork of a speeding cyclist about to
take a deadly bend.
'Here lies....'
CD Halloween 2006
Now here's a band with a great name
but only seem to be here to bring us
songs about the undead, graveyards
and all the other over used themes
we get every Halloween, which is
when this was released. But this ain't
Halloween as I slip the disc in its slot.
And from a few plays I could endure I
can't see it being a new Halloween
classic for years to come either.
are a band who seem
unsure about where they're heading?
So hedge their bets conveniently
between the punk and rock circuit.
This CD is only 10 tracks long coz
they must've run outta material to
sing about, but this skeleton crew
actually sound OK for the first couple
of numbers, opening with
'Death Will
Be A Lady'.
However it does have
dare I say it touches of Iron Maiden
on the screechy Sean Phillips vocals.
But at least the band keep the
punkier vibe going to good effect.
'City Of The Dead' was also
noteworthy with that solid drumming
keeping it primed. I'm still deciding
about the vocals which are slowly
starting to grate as they get
progressively theatrical in that rock
arena kinda way.
The Ruined supply
a weak version of the song
'Do Ya
Dig My Grave'
which was done way
better by
the Destructors666 so
work that one out? I enjoyed
'Generation Braindead' with its
atmospheric intro, but yet again it's
ruined by a bombastic vocal
interpretation. I reckon Bruce
Dickinson's young
AFI protege ain't
the right man for the job, although he
does have the tattoo and loses the
squeals as the track closes.
'Dead By
sees the band putting their
foot on the accelerator which is
where they score best. I just wish the
singer would actually
"run to the
and let the band play on coz its
becoming a joke by now.
remind me of a rock band
who want some punk action but find it
hard to camouflage their real metallic
aims. They probably still play up to
prospective rock/punk audiences
which is never a good sign for a
band. Good organ sequence ushers
'She Must Die' and it even had a
decent chorus before our hero spoils
it all by auditioning for a slot on some
LA Rock station.
'Brains' confirms our
worst fears, ain't these bands
learned nothing from past mistakes
of the
Varukers/Discharge late 80's
period? By the time the last track
'Skeleton Crew' hits your speakers
your glad to get it all over and throw
this bag of bones in the bin.
Comes with a stylish lyric booklet with
50's looking illustrations that seem
such a waste when there's genuine,
sharp, fast, punk bands out there
waiting for this kinda opportunity. I
think the Farrago A&R men need to
cast their net wider than the local
rock venue.
(RF666) CD Single
Released June 6th 2006
I like this one for its stark black and
red packaging and the novelty value.
A 2 track CD single released on wait
for it...June 6th 2006 and only 666
copies are available. With the 666
prefix in the bands name being the
catalyst it was just waiting to happen.
I'll also remember this date coz it was
the same day I had a batch of
Stench records arrive which were 12
months late so something was
definitely afoot. But back to this
release and the
continue in their
"write it - rehearse
it - record it - release it"
Which has had more misses than hits
over the last 12 months. But even the
bad reviews don't seem to deter 'em
from banging out these slickly
packaged releases. And thats gotta
be applauded for downright cheek
'Fast Fast Forward To Hell'
begins with a devilish incantation that
slowly turns into some demonic rage
as the bell tolls, the wind blows and
the band slouch into hades on top of
a mid paced rocker. Its one of their
better tracks and comes armed with a
simple riff and Allen Adams clinical
vocal delivery, along side some over
the top fiddly guitar solo's. Not quite
as haunting as something like
'The Antichrist Is Here' from
the early 80's, but a novel attempt all
the same.
'The Neighbour Of The
comes next which must make
Peterborough the Devil worshipping
capital of Great Britain if Satan is on
the housing list? This is another
wicked bit of
tomfoolery with a tongue in cheek
vibe and a drum roll straight off the
Banshees 'Metal Postcard' as they
spell out a list of the beast next doors
anti social behaviour and lecherous
coz in the words of the record label...
"this is new, were little,
please give it a listen".
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