'The More You Drink'
(Vera003) CD Summer 2006
Apocalypse Babys deliver their 6th
album which nearly didn't see the
light of day due to some cowardly
yank record label dropping their
bottle and the band at the last
minute! They gave the poor excuse
"the sleeve was offensive". So it
looks like this one particular Indie
punk label(who I've been asked not
to mention) is now trying to censor its
bands! What next? No swearing!? Its
only a finger fer fux sake!
Apocalypse Babys could only be
offensive to people with ignorance as
a constant bedfellow or the small
mind. They sing about reality without
getting too morbid or gritty. They like
a drink, a laugh and a pogo, and it
echo’s on this recording. They
also know how to knock out a decent
punk rock tune, having now
discovered a well oiled and
sometimes slightly flawed method of
deployment. So why change now
over a one fingered salute?
Especially after spending an eternity
(15 years) in the no label ghetto. All
was not lost however, as Vinyl Vera
Records their own label, where you
can use two fingers instead of one,
jumped in to save the day! The
closest to Porno you'll find on here is
when they sing about Porn Queen
Lizzi Drew. Another character from
the twisted imagination of lead singer
Asterix the Brat. She might send you
blind on this opening rocker, but
that's about as dirty as it gets. They
continue their long standing romance
with bop, during
'To Old To Dance'
which is another heads down
Ramonesque romp to add to their
growing collection. They maybe
accused of living in the past, but
is a band who has earned their spurs
and actually has a past to boast
about. Playing toilets for over a
decade creates very real and very
ugly bands so live with it! I like the
Baby's best when they create mini
punk soap operas as a storyline to
their punk rock racket. Take for
example the amusing but oh so true
'Mid Life Crisis'. A chugging rocker
that comes staggering out armed with
a nifty solo and the vein hope of yet
another encore. The token Charlie
Harper cover (their favourite
inspiration next to
the Ramones) is
Urban Dogs brilliant 'Limo Life'.
Which should only need an
introduction to those of you born
later than 1983. It's got a fucking
great lyric and is a first-class
interpretation, particularly with that
beefy solo. The ballad of this album
is the skilful
'It Always Rains On
which sees the return of
Asterix's most crooning vocal since
Gene Pitney bit the dust in Cardiff.
Comes complete with menacing
rhythm guitar rumbling away
underneath the acoustics. It begs the
question does the Brat serenade this
to his Mrs on those rainy Sundays
after an afternoon down the boozer?
They even have a poke at racial
bigotry on
'Consumed By Hate' which
is written from a nail bombers
perspective and has an odd almost
Celtic feel to the guitars. The track
which probably helped them get
booted off the label '
Sucking The
Dick Of America'
is the weakest of
the bunch, and is in actual fact
targeted at the UK Governments
constant puppy dog routine. So it
makes you wonder where the new
Republican wing of punks stand in
the big scheme of things? The late
lamented Dee Dee Ramones
'Chinese Bitch' gets the once over,
but again was also pretty throwaway.
They crawl back by giving us the
freeform, and almost jazz like guitar
'Mini Mafia'. Which made a
refreshing contrast to their regular
punk workouts.
'St Georges Day' is
probably the only other controversial
track on here. By that I mean in this
PC day 'n' age your seen as some
kinda Nazi if your proud to be English
and fly the flag of your country when
their ain't a world cup on. How mad is
that? It's one of those New Britain
stigmas were constantly stuck with,
which is a shame in the country we
were born in.
'The Oldest Punk In
which im sure the Apocalypse
are in their own Derbyshire
badlands, is another tongue in cheek
look at life in England and aimed at
every punk over 29. The title track is
proceeded by
'The Drinkers Prayer'
which the whole band duly deliver
aided by hangovers no doubt, before
launching into
'The More You Drink'.
Which is a hasty roughshod look into
the real world of gigging bands who
pile into the back of tranny's (as in
van) and head for glamorous
locations such a Stockport. They bid
us farewell with an out of season
cover of
'White Christmas' which will
be screaming to be heard this winter
round the boozers of Alfreton no
doubt. Oh before I go there's a 30
minute interview segment plastered
onto this featuring the bands guitarist
Jools. A man who seems to be the
object of ridicule and completely
oblivious to the fact? I managed to sit
through it once for the initial wit, but I
think its something the band will
enjoy more than us cunts sitting in
dog holes waiting for our giros to
2006:    PAGE 1 - PAGE 2 -  PAGE 3  
SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
(4 TRACK DEMO) CD 2006
I first came across the grubby Crack
via myspace. The worldwide
pick up joint, where it seems you can
also pick up raw new punk bands
from across the globe these days.
This 2 girl / 3 guy outfit have a
fucking great song called 'Boys In
Town' which is ultra addictive in a
subversive kinda way and is seriously
worth your attention. That was what
initially gained my interest in the
band. Then I discovered their busy
rhythm guitarist Flea, also writes
Aussie zine 'The Hairstyles Of The
Poor And Contagious'. So when I got
a chance to do some zine trades she
threw this 4 tracker in as well.
have been together since
May 2002 and have released to date
3 singles. They tour extensively
around the Melbourne slums to feed
their filthy habits and seem to revel in
making the place look untidy. The
current demo features their latest
scuzzy dirges that wouldn't be outta
place on a bill down the Roxy or in a
back street dive in Detroit. If you take
your punk with a
Stooges lick
(courtesy of guitarist James Rotten),
Blitz sneer, and surrounded with
rough trashy edged workouts, then
you’ll like these! The bizarrely
named lead singer Stacy Gazoonga
sounds like she's just been
transported back from a late 70's
prison ship with an almost rock vocal
roar. It certainly gives these songs
plenty of attitude as she drags us on
a sleazy ride through the wrong side
of Melbourne looking to score. Sadly
we don't reach the crack house or
get to hear their best number, but
they do come close on the seedy
'On Your Knees', which
seems to be the favourite position
Crack Whore like their men to be in.
They're a band destined to paint
their town a dirty colour of red and
promote this practice during the next
track called
'Go'. Which is basically
all about getting out there and
looking for kicks. For a young bunch
of punks they have a decidedly
squalid world view, which I think is
essential. Coz we get pelted with way
too many NICE punk bands these
days. They've got that damaged 'live
fast die young' outlook in their song
writing and band vibe. But I suspect
they're really pussycats off stage.
But hey, who really knows? Coz the
'Bastards' has them cruising
the bars and taking out anyone
stupid enough to piss on their Barbie.
They end with the grinding
'Suck Me'
which sounds like a sleazy view of the
human street trade, but with
I suspect everything ain’t
quite what it iappears. Bet they're
entertaining live. I just wish they
could reach the majestic heights of
the must hear
'Boys In Town' next
time out.
CDEP April 2006
Hailing from Edinburgh in Scotland the
first come a cropper way
back in 1978. But like a lotta bands
without a record deal they soon went
off to do less dangerous activities like
buy 10 Woodbine or become a
Paramedic, as the initial punk thrust
waned. But for some punks the
primary draw never quite leaves you.
You can so easily get caught up once
more just for a laugh!  With so many
bands reforming these days it can
become a lottery to make a difference
especially when you get met by
"oh no
not another bunch of middle aged
chancers after that Wasted slot
But before you know it, your playing on
a Thursday night coz some bands
pulled out! Thankfully for us these
Ambulance chasers do wear their
years well and sound fresh and
distinctly angular on this EP. So fast
forward 28 years. Two of the original
line-up are still here, including bass
player Arthur Axident. He's joined by 2
new recruits one of whom Deek you
may recall sings in Edinburgh
's best
unsigned punk outfit
Sad Society.
The Axidents
however are gigging in
and around Edinburgh as we speak
and have recorded this brand new 5
tracker to show they have some
interesting new sounds to offer the
punk scene and are open to gig
invitations. They still got that 'post
punk' experimental vibe about em and
make good use of drops outs with an
ever present bass run and jagged
guitar taking a big chunk of the mix.
Bands like
Gang Of Four spring to
mind with maybe less abrasive attacks
similar to
the Scars come out on the
title track
'Rejoice'. However with a
seasoned singer like Deek in their
ranks they have a new combined
sound that suits this style pretty neatly.
Best track and most commercial of the
bunch is
'Bingo Town' which has
certain elements of
Chelsea's 'No
' especially with those backing
vocals. And talking of flowers the
guitar has elements of that other
Scottish band
the Flowers, but with
less tension, which is another positive
element. Especially on those intricate
runs during
'Lifes Too Short'. The
will no doubt be pigeon
holed in the pop punk category, but
't dismiss this well crafted punk with
catchy tunes as something as artificial.
This is more what punk was all about
in the first place. You don
't have to
follow a thousand others or blitz your
way through the speakers to get your
point across. But they do take a dig at
the National Scottish Radio on
', which by rights is exactly the
sorta sound that clued up young radio
's should be playing to their public,
amongst the real pop crap. Im sure
John Peel would
've indulged. Last
'Behind The Picture' sounds like
one of Deek
's sinister lyrical forays, as
he comes under attack from some mad
bird! And believe me there are plenty
of those around these days. Yeah
another good band to keep your eye
out for, from the hotbed of punk rock
talent they call Edinburgh.
For more information.
'Umea Punk City'
(cmf/wasted sounds) LP 2006
I've been lucky enough to have seen
or should I say listen to this band
evolve from a ragged Stockholm
bedroom duo with a temperamental
drum machine in 2003. Into their
current high energy, punk 3 piece,
who stamp their snot all over this
Disconvenience has now
played all over Europe and beyond,
in their brief 3 years together. Which
ain't bad for any band, particularly
one from Sweden? So for
determination and charisma alone,
you gotta give these kids respect
where others have failed. Some
bands don't even release a 45 in that
amount of time, let alone hit the
spray painted Mecca of CBGB's!
Disconvenience realise
longevity in the punk scene ain't
always an option on a tight budget.
And with so many inconvenient rival
outfits vying for our attention in the
spotlight. Who can blame em! They
celebrate this meteoric rise amongst
the Swedish and Euro DIY punk
cultures. By presenting us with their
debut slab of vinyl. An album
adorned on the front cover with their
favourite choice of zip wear and a
suitable sneer! To think I once
thought this band could be
disillusioned art students making a
racket on a boring Sunday afternoon,
coz they had nothing better to do!
Huh, how wrong was I? They now
seem to have taken on the band as
their own living, breathing entity and
performing arts creation. Which is a
lot more fun I bet? 'Umea Punk City'
features 10
Ramones influenced
UK82 tracks of intense, non stop
punk action. Their speedometer
clock reviolves between fast to very
fast! Ten tracks might seem a bit thin
these days for an album? But with
this amount of dischord is unleashed
it might not be such a bad thing!
Finnish born guitarist Rickard is a
Scandinavian Johnny Ramone
reincarnated. His guitar action rarely
breaks away from the Forest Hills
formula. And your lucky to spot a
guitar break amongst the buzz saw
workouts that dominate this albums
grooves. Mr Lungberg seems
obsessed with a sonic fixation and
express delivery indeed! Check out
'Grab Twist And Pull' for some good
examples. And on the hilarious
'Im A
a sinister guitar shimmers
away briefly on the intro before being
wiped from your sub consciousness
completely by the frantic chord razor
attack that follows. Not satisfied with
that they then compound things by
that neat bass vibrating away in the
dropout? New drummer Victkor
seems to have fitted well into the
band dynamics although he ain't half
as good looking as Nina. He supply's
that constant backbeat that keeps
these songs at a high level of speed
and intensity. However the real star
of this album is bass player and lead
singer Emma. And that's not coz she
sports the biggest fantail Mohican in
Swedish airspace. But actually coz
she writes all the lyrics (even the bad
ones), sings them and brandishes a
mean chunky bass as her weapon on
choice. On this session she's really
got her vocal technique well honed.
She wraps her larynx around the
songs like some slinky python, which
is way more effective than on
previous recordings. Subject matter
varies from the sublime to the
ridiculous. This is a band who likes to
sing about Perverts, Nazi Popes and
Mental Meltdowns. The title track
'Umea City Punk' named
affectionately after their 110,000 city
HQ that boasts a thriving punk
community, is one of the standouts if
not an enigma? However it's hard to
choose a real contender from the
battery of high energy salvoes that
rain down on you. Other tunes of
note are
'Rotterdam' which is all
about some Dutch punk who gave
Emma a bad time. But for me it was
'Mental Meltdown' that works best. Its
not quite as reckless as the rest, and
together with that beefy bass run and
the ever present axe mania makes
for a true psychological performance.
They close with
'The Visitor' which
has an alluring
"Watch out im here"
retort from Emma. Which could see
punks everywhere falling in love
every time she spits it out. Yeah
Disconvenience on this album has
definitely arrived. But you know
what? Id really love to hear the band
perform a slower more menacing
number, just to add some texture to
their heads down landscape. I wont
hold me breath though, coz this band
seem to thrive on high energy attack
and if that's your preference you'll
fuckin' love these.
(jsntgm020) August 2006
Having read the label hype and
heard the rumours circulating from
the North West of England regarding
this long awaited follow up to their
critically acclaimed debut 'Recipe For
Disaster'. I eagerly slotted this CD
into the player And let it run. I have to
agree that the buzz is almost true
Sick 56. They are
absolutely Fleetwood's 21st century
successors to the
One Way System
throne. On 'Punishment' the band
has finally bought out a piece of work
that is heading for the realms of punk
that they so desire to be revered in.
Sick 56 are a band who feels they
are the real deal and deserve
recognition for it. They would
probably annihilate all rival
contenders within a 200 mile radius if
they fancied a sonic duel. And I don't
dispute that fact at all. They're
genuine geezers from the street
playing punk with a passion and a
dogged determination not seen
round these parts since the early
80's. So it's such a pity the
annoyingly clean production on this
album soaks up all the guitar energy
and power from a band that thrive on
letting it rip during live performances.
What the fucks happened to the
guitar? We don't wanna hear it; we
wanna feel it ripping through the
speakers! Was Craig Halliday on
holiday when the final mix was being
done or wot? Despite this production
glitch, they do manage to salvage
some good from the suppressive mix
coz it's potentially a well composed
follow up. It's just lacking punch in the
final mix. Opening track
has aggro written all over it. And
along with singer/guitarist UK Nige's
most rugged vocal to date it comes
crashing in with a collision of guitars,
as anger and hatred fuel the fires of
frustration! Good opener, pity I
couldn’t load the enhanced video
track that accompanies this?
'Tonight' was less intense but
showed signs of getting there with
solid backup vocals and a neat guitar
sequence that was a pleasure to
hear coming into play. It made a
change from the usual well produced
hardcore. This track takes its
influence from the
Dead Kennedy's
as much as anyone else, which gets
the thumbs up here in the Wolfs Lair.
Im still not sure the doom 'n' gloom
line of attack that haunts their subject
matter will suit punks who wanna be
entertained as well as informed on
what's kicking off around 'em? But at
least this mob ain't living on their
laurels. They're still as angry as the
day they got into punk and thank
fuck it sounds genuine! 'Losing The
War' is a midpaced number attacking
the weak promises made by the
Government on fighting street crime
and the eternal drug menace! Comes
with a rousing chorus that includes
an atmospheric dropout with the
"hey Tony I got something
for you!"
And you can bet it ain't a
pat on the back for services
rendered, as a gun shot rings out!
Sick 56 are dead right. The
punishment should fit the crime but
I wonder if Mick Armistead who mixed
this album is listening? I liked the
wordplay on
'Broken Promises' with
"uncivil service" line and the
gang chorus sets it off a treat.
must really owe Andy Higgins to
let him loose on the lead vocal during
'Got A Revolution'. Yeah I know he's
their label boss, promotes them
incessantly and probably give em a
good chunk of that Council money he
duped the local council with to fund
this whole project. But I ain't quite
sure he'd have been my first choice
on a
Sick 56 album. Id liked to have
heard a version with UK Nige on lead
vocals as I think it would've give the
song way more impact. But hey what
do I know? I was only bought up on
Sex Pistols for fucks sake. I
enjoyed the lyrics to
'Got Nothing To
where the Sick (they'll fuckin'
hate that!) stick the boot into all
those sickly, plastic punk bands that
pour out their hearts on the MTV.
And have even started hitting some
of the toilets round Europe and the
UK! Is nothing sacred these days?
'World At Its End' was notable for
being built on a chugging nihilistic
vision for us all to be aware of. As the
leaders of the world drag us down to
oblivion or the council estates of
Fleetwood maybe? The choice ain't
yours! They finish with the impressive
'Last Generation' which
features some splendid sound bites
from worldwide conflicts and chief
baddie DW Bush. As a machine gun
fire rattles off a few rounds while a
marine rolls off his killing drill as the
band play on with possibly their last
chance rhythm track before the
Apocalypse! Comes in a slick very
attractive package of dark serpia
images from the other side of
Blackpool the tourists rarely see. But
the geezer lying in the rubbish tip
was the best dressed vagrant I've
ever seen since Frank in Shameless!
A good album, despite the mix. If only
the guitars were ratcheted up a notch
or two this could've been so much
(over111vp) CD October 2006
Final CD in this well documented
series of UK Anarcho punk. Comes
with a great cover shot of Anarchist
punks rioting in Europe. Which is
reinforced considerably by the
intriguing foreword inside written by
Penny Rimbaud of
Crass. I actually
found this a lot more compelling than
some of the tracks on this the
weakest of the series. However
Conflict a band who still carry the
protest bomb are represented well
here by one of their better more
involved numbers called
'Mighty And
from 1985. Up next are the
Living Legends from Wales. Not
legendary by any means, but pretty
dubious as one of the many bands
who seemed to latch onto the
Anarcho punk scene in the early
80's. They deliver
'Island Wars' from
1982 which is rough round the edges
but in fact turned out to one of the
better tracks on this compilation. The
Crass demo of 'What Do You Want'
sung by bassist Pete Wright
complete with spoons is a novelty in
its own right! But the bad quality
recording is a disappointment
considering how much material must
be lurking in the Rimbaud archives.
Atomic Filth from Cardiff is the
prototype of their better known
Icons Of Filth and chuck
out an energetic buzz saw bash.
Anarka And Poppy from Preston
generate a different mood with their
jangly pop on
'If It Dies We Die'. This
could almost be Indie in comparison
to anything else in the scene at that
D&V were a drum and vocal
duo from Sheffield. I remember
reading about, but never actually
heard them, till now! And they're
quite a surprise. Imagine
'Flowers Of Romance' without the
Virgin budget or Rotten's whine, but
with a conscience.
Cold War are
another good discovery. These
Hornchurch punks remind me of
Colin Latter of
Flux vocally, but
musically offer a
Gang Of Four
approach on their 1981 45, 'The
. Legion Of Parasites
from Bedfordshire never quite lived
up to their brilliant name. However
they summed up perfectly the legions
of protest bands that followed in the
wake of
Crass round the UK at the
time. I've always rated
from Bishops Stortford.
This 1979 demo of
'What Have You
Got To Smile About'
sums up the
bands attitude in the late 70's
completely. What can you say about
Rudimentary Peni? Easily the most
outstanding track on this collection.
And next to
Crass probably the most
revered band 25 years latter. That
insane intro greets us menacingly,
before lurching into the savage,
twisted mentality of
'Teenage Time
from their furious first vinyl
explosion in 1981.
Tears Of
from Hampshire were a
bunch of hunt saboteurs influenced
Crass surprise suprise. They
offer a melodic folksy edge with just
enough angst on their tape release,
to justify inclusion.
better known for his other
Chumbawamba gives us an
'A Million Wat Tyler's'.
Geezers like him sums up everything
suspect and hypocritical about 'right
on' punk. University students who
hijack punk till it gets stale and
serves its usefulness just make you
wanna cringe with hindsight. More
sincere outfits like the obscure
Kulturekampf from near Barnsley
deserve your attention. They at least
spit out a protest stomper that
sounds familiar for the genre, but at
least hasn't got an ulterior motive. It's
followed by the intriguingly named
Dominant Patri from Luton. These
angry sods deliver a well pissed off
rant with vocalist Chris particularly
rising to the occasion on their 1983
anti war track
'Death Of Thomas'.
Look out for a slight twist at the very
The Cravats are a surprise
inclusion on here. Although having
recorded on the
Crass label in 81,
this track
'XMP' is lifted from the
previous year's debut album on Small
Wonder. Lyrically its bang on as their
experimental freeform freefall come
crashing to the ground with an
amusing sax slur!
Slaughter Of
is more pissed off hunt
sabbers from Brighton. They sound
like they could've stepped off one of
those Brighton Vaultage compilations
with their catchy
'Back To The New
Dark Age'
from '87. Freeborn are
another obscurity from Wisbech.
They apparently grew despondent
with the crimps in black sheep's
clothing brigade. But who could really
blame em eh? The overrated
Culture Shock give us 'Ten Per
Cent Off'
which is a good track. But
this band always sounds like a side
project for Dick and his cronies when
they get bored with singing
. Funnily enough the next track
by London's
Anathema features
vocalist Lol Coopog who sounds a
spit of Dick Lucas of
, on 'Your Ulster'. The
from Harrow gives us a
neat musical interlude with random
vocal intrusions as sharp guitars and
synths run rampage during
'Ring The
Nick Toczek used to be a punk
promoter at Leeds Adam & Eve
venue in the early 80's. He also
fronted his own band called funnily
Ulterior Motives amongst
other less beneficial activities like
poetry recital. He recorded
in 1980, just before the band
split. It's got about as much to do with
anti capitalism as Richard Branson.
But it's also one of the quirky
standouts, and comes complete with
mouth organ inserts. I love the name
Hex ever since I discovered its
meaning on the
Poison Girls 12inch
back in '79. But these Sunderland
punks sound way too poppy and
weak to be involved in this cursed
affair called punk, let alone protest
Antisect from deepest
Daventry bring this collection to a
close with the heavy doom laden
'Heresy' which sounds pretty good
today. However this band amongst
others would be guilty of igniting a
whole new breed of metallic punk
during the late 80's punk/metal
crossover. Like its predecessors this
compilation comes with some probing
band histories and sleeve notes by
our compiler Sean McGhee. And if
nothing else will be the perfect
soundtrack for when you read the
'The Day The Country Died' Anarcho
punk book which is out later this
'Killed By Mouth guard'
(OneLast DrinkRecords) CD
July 2006
I have to thank Dek Drongo for
handing me this platter. I think he
was trying to convince me of some
hidden promise I missed following a
local appearance from these
Brisbane punks when they visited
Blighty last summer? This 12 tracker
was released to coincide with that
tour. And you know what, on record
these dags show us for the first  4
tracks at least a more inventive side
to their seemingly one dimensional
street punk outbursts. Think of early
's mid paced hardcore with a
dubious twist in the black humour
stakes as they spread a lotta gore
across their Aussie landscape. Lead
singer and Mensi look-alike the side-
splitting Otto Bin Laden sounds more
like a young Lemmy on this
recording. He roars without a pit stop
on their heads down straight down
the line rowdy outbreaks which is
great for a couple of tracks. But with
such a neat stage name it
's seems a
shame he can
't add something more
motivating from his own delivery or
inherit Lemmy
's knack for wrapping a
tune around his larynx. Musically
Mouthguard are a lot more compact
in a studio setting. They also got a
good production on this slab. Which
've been slightly improved by
the guitars being cranked up another
notch maybe? But they can also get
pretty routine towards the latter part
of this album especially after a few
servings of songs like
Dressed In Wolves Clothing
'. I still
't convinced Mouthguard can
shake off that obvious early 80
Black Flag tribute fixation that
seems to dog this band. I bet these
would do it pretty close to the bone if
they ever decided to go down that
route. However let
's not speculate.
They come crashing in with their
most impressive and explosive track
to date, the rampant
This beast of a song comes lurching
out the outback with a blood thirsty
glint in its eye and a chant to match.
The striking lead break from Darren
is the final touch, as Mr Sasquatch
runs wild and ruins another day
camping. It
's quickly followed by the
'He Looked A Lot Like Dee
Dee Ramone
' which sums up
Mouthguards dry Aussie humour
perfectly. The subject matter
highlights a case of mistaken identity
with a local bum and the Legendary
Ramone. Which in later years
've and probably did occur on
more than one occasion?
' is a frantic paced rampage
based around the bands fascination
for ghoulish imagery and blood
soaked theatrics. And for a few brief
seconds it actually slows down which
was screaming for Otto the drongo to
grab his chance and exercise
another vocal slur from his by now
one trick sawdust pony. But I
'm afraid
he fails to grab his moment and spits
out his regular tried and tested growl
which was I spose as much as we are
ever gonna get, before the band
speed up once more as they try to
dodge the scalpels.
'Plaster Cast'
maintains the ante as Otto ponders
words of wisdom written on a plaster
cast. You
'll have probably guessed
Mouthguard ain't a band who has a
deep message in their songs. All they
need is a beer and a pissed up
audience to do their thing in front of
and they
're in their element. But this
kind of approach doesn
't usually
have a long shelf life in punk unless
're really ingenious. And this
album seemed to lose impact from
here on in and become quite
pedestrian towards the end.
Musically this band ain't ever gonna
go over any new ground and it
seems like they are happy to stay in
their one gear mid paced raspy
domain for the duration of their
career. Things might
've been
different if they
'd included songs like
'Brisbane Bitter' which is one of their
live faves but it didn
't happen.
Mouthguard are amusing in small
doses but need something more to
keep us coming back for more. This
CD comes in a tacky
'Dawn Of The
' spoof sleeve with the band
taking the piss out themselves and
looking positively gruesome, plus you
get all those cheesy lyrics too.
for the first 4 tracks only.
Promo CD 2006
Wasn't really expecting to like this
FREE 5 track promo CD handed to me
by Fish (
Skeptix/Head Clinic
guitarist and UK punk producer
extraordinaire) in the bar of the Market
Tavern one dark night back in 2006.
He was at the time driving the
around on their UK tour. I
't know what to expect musically?
Maybe some
Skeptix workouts or that
stop/start kind of new punk thrash
's rife in rags like Kerrang!
maybe? But naaah
Head Clinic are
showing early signs of something that
you could grow very much attached to,
if they keep at it and offer us less
complicated pieces. They really
should concentrate more on their
anthemic outbursts that they let out
the bag every now and then. Coz
these Stoke punks are a band who
could appeal with more plays to a
mass audience, but you have to stay
with them to reap the rewards at this
stage. They
're also a band who can
play which ain't always a commodity in
the punk scene. But don
't they just
love to flex their diverse musical
prowess for the sake of it! Which at
times can fuck up good songs and
must be a right bummer for the singer
to adapt to. I was never a big fan of
that punk/funk crossover, and this
band were called
Thunk (scare bleur)
before seeing the light and switching
to a less awkward
Head Clinic. Funk
however you spell it actually sends
shockwaves around my safety-pinned
universe. This was the kinda thing
Punk was born to kick in the balls. It
represents everything derogatory to
me; it
's like a piece of shit hanging off
your shoe.
Head Clinic thankfully
't shit but they do employ some of
those infuriating stop/start almost
funky hardcore workouts with those
annoying biscuit tin drums! Despite all
that thankfully for them and us their
secret weapon is singer Natalie who
has a good range for a bawler in a
punk band. Her style suit
's the
textured tracks and makes you wanna
stay the course.
'Fear=Control' with its
"Imitation Situation" gang
chorus and that crazy psychedelic
guitar lick at the end is a definite
standout. I also liked the riff to
The System Down
' but it seemed to
lose its momentum as it goes into
chug mode, but was rescued  by Nat
vocals and strong backups, before
growing into a mean
'n' moody number
that hits every target. You won
't get
any heads down
Skeptix thrashes in
this bands set. They prefer a more
adventurous approach with well
thought out lyrics dissin
' the usual
targets but performed in an unusual
way. Though it would
've been really
good to hear a less busy power chord
track from this band, coz I reckon
these could knock
'em out to good
effect and with the added bonus of
's unique vocal it could only
end in a high-quality car crash. They
finish off with possibly their best track

'Vortex' which is a more addictive
flowing number with less intrusions
and loks odds on favourite to be a
crowd favourite on stage? They
threaten us with an album called
'Insubordination' out anytime now? But
I heard rumours on the grapevine that
Natalie may have left the band? Let
hope not.
if you can stay with it.
'Plus Ca Change Pour
La Meme Chose'
Split CDEP February 2006
This CD features the first
Destructors666 related recordings in
22 years im reliably informed?
However I've only just had this EP
come in so for me it's 3 more tracks
the Destructors666 who seem
to be spitting these split CD's out like
there's no tomorrow. This time round
they are joined at the hip by young
horror hoodlums
the Ruined which is
a great name for a band of any genre.
It's just a pity they don't quite live up
to the defiled trademark. For instead
of something a bit creative and
corrupted they bring us more tongue
in cheek graveyard gore which I find
pretty fucking repetitive after
and the Cramps et all set
this genre alight decades ago and did
it so much better. They also boast an
excited vocalist in Shaun Phillips who
despite the tame moniker probably
has blood dripping off his chin as his
mascara flows from his sweaty brow
on his nightly vigil down the crypt. But
that rock 'n' roll delivery is way too
hard rock for my liking. During
'City Of
The Dead'
which is not a cover of the
classic they do show signs of
more deathly pursuits as drummer
Alex Cox (no not that one) drums us in
and the band move into a more
spectral field that is sure to attract
someone out there!
'She Must Die' is
more of the same but with a gothic
organ humming away towards the
end, which Id like to have heard more
The Ruined end on 'Zombie
that comes armed with
their most riveting riff of the 3 tracks
on show. It had elements of early

till the vocals come in and
ruin it all as the band fall into one big
dark mess. They just released an
album so let's hope they can add
some meat to this skeletal genre.
The Destructors666 kick off the
proceedings with
'Bullshit'. A number
that's musically more akin to their
former selves (mid paced UK82 punk)
than their latest incarnation. Despite
the subject matter it does boast a
first-rate guitar interlude as singer
Allen Adams informs us of all the
bullshit that manifests itself in the
punk scene. I was a bit taken aback
by their next choice of song, a cover
the Stooges '1969'. Not so much
for style which is way off their beaten
track but coz they could've easily
have gone for
'Search And Destroy'
which is a way better song and goes
perfectly with their name like some
twisted match made in Hell. But the
Destructors666 don't seem to do
things the easy way, so this is a brave
attempt with some psychedelic guitar
workouts simmering beneath Mr
Adams deadpan and slightly clinical
'Existence' is another
Destructors666 original which sees
them dropout to a drum solo before
the guitars fade in. Which seems to
ber carrying on with that
vibe so ain't no bad thing. At least it
shows this band of reformed
characters ain't governed by today's
punk climate and can go off and
experiment in other less fashionable
directions which has to be applauded
coz it will no doubt turn off anyone
who ain't familiar with their punk roots.
This CD on a whole seems to suffer
from a quiet mix? Which they should
take up with the engineer coz I think a
few more decibels into the red by a
braver mixer could give both bands
that extra clout that these songs so
badly need.
'The Ugly Truth About
Blackpool Volume 2'
(jsntgm021) CD August 2006
Volume 2 from breezy Blackpool town
and the promo sheet attached is dead
right! Who
'd have thought such a
varied bunch of soldiers, prostitutes,
dykes and punks could emanate outta
the North West
's stag mecca and its
immediate surroundings. This
compilation features the current
alternative sector. But with only a
handful of the 27 tracks showcased
coming from the punk wing, it ain
gonna be nowhere near as popular as
's predecessor. However 'UTAB' kicks
off in fine form with Fleetwood
's very
Sick 56 who explode out the
speakers with
'Violence' off their
recently released album and sets the
aggressive pace alight. They
followed by the valiant
Kraul who
deserve praise for being the only
in 20 years brave or mad enough to
'Raspberry Cripple' by Stench
in a recent gig. And full marks for also
giving us their punkiest number
'. The Tommy's with the dreadful
name are actually a hot pop punk all
girl outfit who play as good as they
look. They offer the sickly, sweet but
highly contagious
'The Day The World
Turned Chav
', which has some great
lyrics too. The quality control drops
drastically with
Fes Parker whose
somewhat of a local legend, but lets
hope it stays that way.
Walter And
The Knobheads
has elements of
John Cooper Clarke circa 'Cycle
' on their very own 'Crew Slut'. So
if that
's your bag you might like em,
but I
'd seriously lose the stupid tag.
Talking of which,
Hit By An Apple (tee
hee) offer 15 seconds of angst which
was short
'n' totally irate but lots of fun.
Pity the same can
't be said about
Limousine who are as Indie as a
Stone Roses convention
...yawn! The
same can
't be said for The Sound Of
who create an
interesting lyrical ride through the
cosmos during
'OPC' which comes
complete with atmospheric
arrangements involving an hypnotic
choral piece, weird but good!
Litterbug deliver 'Laugh Out Loud'
which is bolstered considerably by
's neat vocals, but that was
about all they have to offer.
One Way
knock out an unreleased track
'It Could Be You' which has
conviction and energy, but despite
claims of greatness from the label, it
't come near the height of their
early 80
's heyday. Section 25 give us
a live track from gay Paree, but it only
made you wonder what all the fuss was
about? For novelty aspect alone,
Outl4w pump out the best track of the
bunch musically speaking. Considering
these kids are about as old as my
paper boy, they can
't half deliver. 'Get
In The Van
' is what Eater must've felt
like all those years ago except the
musicianship and intensity is amplified
tenfold. Dunno what
'll happen when
the lead singers voice breaks but for
now Jimmy Osmond singing rampant
punk is a very good option indeed.
The Neon Trees bring us a haunting
acoustic melody with lingering vocals,
but im afraid I much preferred
. Higgins ++ perform their best
'Cool Britannia Uber Alles'. Pity
's a cover, but the revamped lyrics
make up for purloining this Californian
Lupus In Fabula has gotta be
one of the worst band names ever and
what they offer musically ain
't much
When People Become
stir up a cauldron of
influences from
the Screamers, to
death metal on
'Heart Shaped Exit
'. But too many styles in one
song fails to leave a longer lasting
UFX bring us more metal
but with a sonic nod to
the Stooges.
'Point' is a good rocker but they need
a new
Iggy, not whoever they got on
vocals to complete the package.
have a cocky confidence
'em with their trashy guitars and
chugging delivery, similar in some
instances to bands like the
But they're really Smiths fans
so don
't be fooled. Reporting Emily
are another faceless Indie exponent
that will no doubt be of interest to
absolutely no-one whose reading this!
I like the name of
The Senton Bombs
and this young outfit don
't disappoint
'Surf 6-66' which is a scuzzy little
number that incorporates some good
duel vocals, but has way too much of
an American vibe for Seasiders.
Dance Of the Dead are a gothic folk
, so don't all laugh at once! They
include an pleasing mouth organ that
reminds me of one of those Morricone
scores, but set in a Wytchfinder
General landscape.
Empty Headed
are more Indie rock with about
as much to offer as a teenage
Sinister Footwear
continue this compilations aim for
possibly the most outlandish band
name ever, which definitely gets my
vote. They even have a neat sci-fi
synth but it didn
't last and they
eventually settled for a poxy Mungo
Jerry covers band kinda sound
urrrgghhhhh! Earthling Society grind
out some inferior
Black Sabbath riffs
with psychedelic keyboards. But any
band name checked by Julian Cope
needs avoiding at all costs.
don't improve matters
with a self obsessed shitty vocal on top
of a stop/start Indie drone
Last track from
Das Hasselhoffs give
us some much needed distortion, but it
was sadly spoiled by insipid Indie
janglings from these Baywatch fans.
You can get full details on all the acts
on this CD with the Blackpool Rox II
You can order on line via
Split CDEP 2006
My first real taste of Peterborough's
newly resurrected
Destructors with
the added
666 prefix on the name, just
so anyone expecting spiky Mohicans
and Gizz Butt from the old guard line-
up ain
't confused. The only spikes
'll see these days is on the cover
The Destructors666 were
pretty prominent during the early 80's
second wave of UK punk and I always
liked the name, but was never really
compelled to seek out the band
further. Since then though and with the
arrival of the England
's Dreaming book
've reformed with only one original
member left in the line-up, that being
bass player Allen Adams who now
takes over vocals. He
's joined on
rhythm guitar by another name from
Peterborough's punk past, Steve Rolls
who played in local first wave outfit
The Now. They are both joined by
other members who were all probably
playing with Action Men in the summer
'77. Destructors666 have been
releasing a lotta stuff lately on Captain
Oi! plus a few splits of their own on
Rowdy Farrago Records (their own
label). They seem to be getting mixed
reviews. However they got some really
negative press on the punk gig circuit
after pulling outta of a UK tour set up
Barnyard Masturbator (can you
blame em?) earlier this summer.
Apparently the tour flyers were missing
the '
666 prefix, so the band pulled out
via email (tee hee) at very shot notice
much to
BYM's chagrin. The
deny this claim but
apparently it also got em kicked off the
Wasted bill for crossing
who seem to have long
stretching tentacles? Well who are we
to judge inter band politics here, but
you gotta admit it don
't half make life
more interesting for us passive
observers. However enough scandal
for one review onto the music.
launch 'Trinity' which
is a midpaced number with radioactive
guitars and lots of static and a semi
gruff vocal to send it on its way. They
then deal us a sorta laid back
vibe on 'Action Woman' which
covers their other fave subject matter...
sex. Strange bed fellows Armageddon
and shaggin’ but hey, each to
their own I say. They do revert back to
the Apocalypse theme on the final
track called
'S.E.R.B' which was again
ok but nothing to write home about
apart from featuring a strange drum
The Destructors666 sounds
are authentic and well produced to the
current standard but if they really
wanna compete with rest of the bands
in today
's highly polluted second wave
'last chance saloon' they gotta create
something a bit more special than the
3 tracks here.
The 925's are aligned to the
by sharing the
drummer who has now swapped his
drum stool for lead vocals. However
's about the only similarity. These
are way more pop orientated with
crooning vocals and that modern neu
punk feel written all over the 3 tracks
which verge into rock and even Indie
territory at times, leaving us with that
sickly bland feeling New Musical
Express readers call contemporary.
'Miss Timing' (snigger) has the best
vocal but failed to excite.
'Wake Up'
features what sounds like some
electronica guitar on top of a chugging
beat. Final track called
'Spiders' brings
in acoustics and just sent the final nail
into their Indie coffin.
Conclusion pretty

but the 925's were

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