| APOCALYPSE BABYS '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 of "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 AB 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 the 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 Sunday' 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 of '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 Town' which im sure the Apocalypse Baby's 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 arrive. WORTH A LISTEN APOCALYPSE BABYS |
| SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future |
| CRACK WHORE (4 TRACK DEMO) CD 2006 I first came across the grubby Crack Whore 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. Crack Whore 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), a 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 opener '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 vengeful '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 Crack Whore 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. WORTH A LISTEN www.myspace.com/crackwhorerocks |
| THE AXIDENTS 'Rejoice' CDEP April 2006 Hailing from Edinburgh in Scotland the Axidents 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 Flowers' 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 Axcidents will no doubt be pigeon holed in the pop punk category, but don'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 'Allergic (NSR)', which by rights is exactly the sorta sound that clued up young radio DJ's should be playing to their public, amongst the real pop crap. Im sure John Peel would've indulged. Last track '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. WORTH A LISTEN For more information. www.myspace.com/theaxidents |
| DISCONVENIENCE '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 record! 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! Maybe 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 Pervert' 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. WORTH A LISTEN DISCONVENIENCE |
| SICK 56 'Punishment' (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 regarding 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 'Violence' 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 threat "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 its "uncivil service" line and the gang chorus sets it off a treat. Sick 56 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 the Sex Pistols for fucks sake. I enjoyed the lyrics to 'Got Nothing To Say' 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 instrumental '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 better. WORTH A LISTEN www.jsntgm.com/ |
| VARIOUS 'Anti-Capitalism' (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 Superior' 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 incarnation 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 time. 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 PIL's '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 Machinist'. 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 the Epileptics 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 Killer' from their furious first vinyl explosion in 1981. Tears Of Destruction from Hampshire were a bunch of hunt saboteurs influenced by Crass surprise suprise. They offer a melodic folksy edge with just enough angst on their tape release, to justify inclusion. Danbert NoBacon better known for his other combo Chumbawamba gives us an acoustic '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 end. 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 Innocence 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 'Religious Wars'. Funnily enough the next track by London's Anathema features vocalist Lol Coopog who sounds a spit of Dick Lucas of The Subhumans, on 'Your Ulster'. The Committee from Harrow gives us a neat musical interlude with random vocal intrusions as sharp guitars and synths run rampage during 'Ring The Bell'. 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 enough Ulterior Motives amongst other less beneficial activities like poetry recital. He recorded 'Road Crash' 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 music. 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 month. WORTH A LISTEN www.overgroundrecords.co.uk |
| MOUTHGUARD '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 80'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 could'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 'Sheep Dressed In Wolves Clothing'. I still ain't convinced Mouthguard can shake off that obvious early 80's 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 'Sasquatch'. 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 hilarious '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 could've and probably did occur on more than one occasion? 'Exit Wound' 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 they'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 Dead' spoof sleeve with the band taking the piss out themselves and looking positively gruesome, plus you get all those cheesy lyrics too. WORTH A LISTEN for the first 4 tracks only. www.myspace.com/mouthguard |
| HEAD CLINIC 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 Neon Maniax around on their UK tour. I didn't know what to expect musically? Maybe some Skeptix workouts or that stop/start kind of new punk thrash that'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 aren'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 appealing "Imitation Situation" gang chorus and that crazy psychedelic guitar lick at the end is a definite standout. I also liked the riff to 'Tear The System Down' but it seemed to lose its momentum as it goes into chug mode, but was rescued by Nat's 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 Natalie'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's hope not. WORTH A LISTEN if you can stay with it. www.myspace.com/headclinic |
| DESTRUCTORS 666 + THE RUINED '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 from 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 the Misfits 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 Clash's 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 from. The Ruined end on 'Zombie Takedown' that comes armed with their most riveting riff of the 3 tracks on show. It had elements of early Damned 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 of 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 vocals. '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 Stooges 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. AVERAGE www.destructors666.com www.the-ruined.com |
| VARIOUS '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't gonna be nowhere near as popular as it's predecessor. However 'UTAB' kicks off in fine form with Fleetwood's very own Sick 56 who explode out the speakers with 'Violence' off their recently released album and sets the aggressive pace alight. They're followed by the valiant Kraul who deserve praise for being the only band in 20 years brave or mad enough to cover 'Raspberry Cripple' by Stench in a recent gig. And full marks for also giving us their punkiest number 'Social Cycle'. 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 Sluts' 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 Superstring 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 Karina's neat vocals, but that was about all they have to offer. One Way System knock out an unreleased track called 'It Could Be You' which has conviction and energy, but despite claims of greatness from the label, it don'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 Neon Hearts. Higgins ++ perform their best track 'Cool Britannia Uber Alles'. Pity it's a cover, but the revamped lyrics make up for purloining this Californian classic. Lupus In Fabula has gotta be one of the worst band names ever and what they offer musically ain't much better. When People Become Numbers stir up a cauldron of influences from the Screamers, to death metal on 'Heart Shaped Exit Wounds'. But too many styles in one song fails to leave a longer lasting impression. 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. The Streetlight have a cocky confidence about 'em with their trashy guitars and chugging delivery, similar in some instances to bands like the Cherry Reds. 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 on '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 band, 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 Heroes are more Indie rock with about as much to offer as a teenage lobotomy. 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. The Interruptions don't improve matters with a self obsessed shitty vocal on top of a stop/start Indie drone arrrrgghhh! 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 Fanzine. AVERAGE You can order on line via www.jsntgm.com |
| DESTRUCTORS666/ 925'S 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 you'll see these days is on the cover artwork. 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 they'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 of '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 by 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 Destructors666 deny this claim but apparently it also got em kicked off the Wasted bill for crossing the Masturbators 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. The Destructors666 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 UK Subs 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 solo. 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 Destructors666 by sharing the drummer who has now swapped his drum stool for lead vocals. However that'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 AVERAGE but the 925's were unashamedly PLASTIC! www.destructors666.com |