2006:     PAGE 1 - PAGE 2 - PAGE 3
SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
'Shitty Demo' CD 2006
All I know about the Hypocrites from
Belfast is they feature ex
Mr Nipples
Joed on bass and Kev on guitar.
Along with a geezer called Barney on
vocals and members from other local
Bombshell Bastards and
Half Cut to be precise. From this first
6 song demo they look set to be the
more adventurous (music wise) of the
Mr Nipples offshoot bands. This
exotic mix of
"skankin' spikey spide
ain't usually my bag at all. But
I was enjoyed a fan of how the
Subhumans and later Culture
cultivated that Ska punk mix.
The Hypocrites take all the best
elements and contaminate it with
enough hardcore edge to make it
work. And its that element that's
missing in most of the numerous
other Ska punk bands out there in
the stratosphere. They also have a
resilient song structure that gives em
a head start amongst their skanking
peers. And one other major point is
they sing about important issues like
'Never Drink Again' which is a well
crafted raucous salute to the amber
nectar! It features jerky guitars,
pummelling bass and yob vocals that
are well worth investigating. Although
I gotta say from track 1 Barney the
vocalist seems to be the weakest link
in this band by a mile! Anne
Robinson would have him strung up
by his balls and crucified at dawn on
this display of mumbled out of sync
rat arsed gripes. But at least he did
make an effort on the chorus.
Another thing you notice is
have a vast amount of
spiked energy on tap which seems to
be their most redeeming factor, even
when they're chilling they seem
'Coffins Flags And Body
is a less frantic skank attack
that includes out of tune back up
vocals on top of enough slashing
punk chords to entertain even the
most anti Ska philistine. '
which I suspect ain't celebrating the
culinary delights of the rich mans
bacon, is an out and out energetic
hardcore stomper wrapped up in a
natty thin guitar lick. But once again
it's severely damaged by those shitty
lead vocals.
'Own Two Feet' is
another lively track which has some
good musical touches along side a
clever guitar solo that lasts just long
enough to keep you amused before
the lead vocal drags it back to the
stone age instead of the front page.
They really come back from the brink
during their most impressive track
called 'Poptastic'. Which is another
song that combines all the best
rudiments of Ska together with a
rowdy hardcore roar of
"I don't give
a fuck"
mood swing. Its rips out
intricate trebly guitars, a pounding
bass line and of course Barney, but
even he can't sabotage the catchy
chorus which will have guttersnipes
bawling out at gigs, no doubt. You
want crunchy powerful punk then
look no further than the last blitzing
track called '
Scrote' which is a
momentous shot in the dark and
seals this bands fate as the one to
watch if your young, punk and on the
streets of Belfast at this current
moment in time. However with all the
best intentions in the world and
clever compositions, If this band
really wants to progress im afraid a
new lead singer is paramount to their
development, not a brass section!
despite Barney .
'Rowdy Kings'
CDEP February 2006
Latest release from 1000 Drunken
who are probably Belfast's
spikiest reprobates since
Mr Nipples
left the building. With Mohicans at the
ready they continue in the same
chaotic vein as their 2004 split
release with
the Violent Fuckwits.
Only this time they're a lot more
together both musically and in mind-
set. They still have that ultra DIY
transistorized production that's just
begging for a decent mix. But the
actual songs here are starting to get
progressively more appealing even
with those rabid Rottweiler vocals.
'Rowdy Kings' kicks off with '
that makes full use of a side-
splitting Bush speech nailed firmly to
the bass and drum intro of this anti-
war vent. Loved those
menacing guitars, which build up into
a grand finale of "
blood for oil'"and
guns recoil'" While ˜High Street
is a bit more predictable and far
less engaging. From the lyrics printed
inside the cover it's all about that
never ending punk stance through all
its shitty commercial hijackings over
the past 20 years. Its noble
sentiments are to be applauded, but
I've often found it's the punks who
scream the loudest on this kinda
defiance that tend to be the ones who
sneak away when no-ones looking,
hope I'm wrong. On the other side of
the coin it was left to the defiant
standout track of '
to really make their mark. A
solid drum beat, nifty guitar work, mid
paced rhythm and anger that screams
a defiant roar to the masked men who
won't own these punks. From the title
alone you just knew this track was
gonna be good. Marty vocals don't
actually growl at us this time, which
gives this band a whole new direction
and one they should really exploit
more often. They skulk along to a
pulse that reminds me of  oh I dunno
the Restarts if they'd lived in
Belfast instead of Hackney. Great
lyrics, neat arrangements (especially
the guitars) and at long last a song
that should get em noticed outside
the confines of their Belfast sanctum.
They finish off with the mid-paced
Kerbstones' which has some good
back up vocals to give it an extra
dimension as the band report on
community breakdown, desolate
landscapes and those painted
kerbstones you only get in Belfast.
Lets hope
1000 Drunken Nights can
stay together long enough to produce
even better tracks of the '˜Downtown
Depravity's' calibre. We wait with
baited breath!
6 Track Demo 2006
Inglorious Bastards formed out the
Ashes of hardcore outfit
Bad Habit
about 3 years ago. They have since
been dogged by drummer problems.
The band have however managed to
keep hold of a drummer long enough
to record these 6 tracks at the arse
end of 2005. This Swedish 3 piece
who can all play, create a no messing
heads down, full on, mid-paced, punk
rock resonance. With hints of the early
80's, mixed in with a more traditional
'77 setting. They've been compared to
everyone from
the Business, right
through to the
US Bombs. But on this
6 track session they remind me more
of a 21st century
Lurkers. From the
opening number '
Fake', you soon
realise that Thompa's vocals ain't
really strong enough to project these
songs onto another plain. He seems to
be struggling to stamp his mark on
them. Maybe if he concentrated on his
more than adequate bass playing and
backing vocals, and drafted in a
stronger singer they'd register a lot
more impact on your senses? The
bass driven 'Jaded Glory' has some
ANL qualities, especially with that
addictive rhythm section. 'Sick Of Yer
Bullshit' has a neat guitar riding on top
of a pounding rhythm track. But quite
possibly the best track after a lotta
plays, was the more urgent 'UnSung
Anti-Hero' which had some
atmospheric dropouts and one of
those distant guitar solos wailing away
in the background. The last track was
called 'Untitled' and was more of a
prowling beast, till it upped the ante
and gave us another '77 stylised guitar
solo resonating away as a decent
Inglorious Bastards are
due to release a split single with fellow
countrymen The Confession very
soon. So look out for that which will
feature their rowdy anthem
'I Wanna
and 'Jaded Glory'.
You can find out more about
the band here
'Hosanna Beads From
The Gates Of Hell'
CD 2006
Killing Joke return with the follow up
to their sinister classic 'Killing Joke'. An
album which was their most deadly to
date. So the profane 'Hosanna Beads
From The Gates Of Hell' had a lot
riding on it, and although it ain't quite
as powerful or as spellbinding as its
2003 predecessor, it's a bloody good
stab in the dark! This album pierces
your heart with a chugging frenzy and
enough strings attached to make even
the vilest of puppet masters grin with
glee. From the opening slab of '˜Tribal
Antidote', which is a rejoicing call to all
Killing Joke legions out there,
and total rampage! This album
indicates the power ain't left em one
bit! And in the words of the prophet
Jaz Coleman he roars
Celebrants, In a state of merriment,
This sickness Cleanse us with fire
and music!"
I dunno about
purification, but
Killing Joke have
always had the means to rip out
crunching anthems of almost cinematic
magnitude and nail them firmly to your
senses. The beast is definitely stirring.
By track two the wrath hasn't receded
as the black wizard debates whether or
not to kill us. And as an after thought,
he'll pour petrol on us and himself as
he declares the
"Killing Joke waits
for me there"
. Is he trying to tell us
something? This 9 tracker rarely
changes tempo from its steady roar.
We don't get as much variation as the
previous release, but as the drums
boom and bass pulsates in the sonic
death knell beneath the battering rams
of guitars, it makes for compulsive
audio. It was the 3rd track what really
stood out for me. 'Invocation' has the
best instrumental passage that your
gonna hear from
Killing Joke, for a
very long time. This brooding sprawl
crawls across your aural landscape
conjuring up imminent doom. It's as
though something colossal is
approaching and it ain't benign! This
could be the soundtrack to battalions
of blood curdling Orks as they march
to war over middle earth poisoning
everything in their wake. An
imaginative use of strings adds tension
as it advances relentless while the
"whore bitch goddess of Babylon"
lays waste to humanity. Powerful stuff
indeed as 8 minutes worth of depravity
unwraps itself around our speakers
and pounds our eardrums into
submission. If you ainâ't beaten into
capitulation by now, 'Majestic' was
waiting in the wings to do just that, with
its pounding war shields of rhythm
making an impressive entrance. This
song hints at Alien contact amongst
the super powers as Jaz spews out

"we feel majestic amongst the
critters from the stars"
Geordies multi tracks of power chord
mayhem rips out in the background
mopping up remnants of your
Killing Joke are not a
happy bunch and this album ain't
gonna be suitable listening to the
lightweight pop punk scenesters. But I
suggest they at least give it a listen
just to see how claustrophobic muscle
can be harnessed on tape in a
basement in Prague.
Killing Joke
these days, are very dark even by
their murky standards. But they'll
never get depressing when you have a
soundtrack like this to accompany us
down to damnation. On ˜We Walk With
Gods' you imagine divisions of
Panzers rolling by as we come to terms
with the
Killing Joke ideology "we
fight by day, and fuck by night and
prepare to die at dawn"
it's as simple
as that. This is
Killing Jokes battle
cry; they demand you sacrifice
something even if it's only your
lugholes as the chugging monsters of
doom send out their bawl! Death is big
Killing Joke circles, whether it's in
the form of apocalyptic doom, man
made plundering of the planets
resources or religious wars. I get the
distinct impression Jaz Coleman has
his own Jihad going on here. You won't
get any answers on this album but lots
of questions; check out 'Light bringer'.
They end with the laborious grind of
'Gratitude', a gesture which don't come
often listening to
Killing Joke. They
thank no-one for the privilege of still
being around after all these years. But
you do realise especially in a live
situation, that behind all the mysticism
of the
killing Joke regime they are
grateful for their diehard fans and
eternally grateful for still being able to
make this kinda music.
'Oh My God! We're Doing It!'
(imb6009) CD May 2006
The re-released debut album by
P.A.I.N. the scrawny South London
outfit on Birmingham's Iron Man
Records. Some punk circles hailed it
to be a mid 90's punk classic when it
was originally put out in '95! Well I
dunno about classic, but it surely
deserves to be heard in a wider punk
circle and totally overshadows their
last effort 'O.U.C.H'.
P.A.I.N. if you
ain't already familiar with them,
combine and successfully deliver
atmospheric, laidback dubby licks,
with a rowdy punk attack. They shift
with ease between upbeat Ska
numbers daubed across a recurring
protest backdrop. 'Oh My God' is a
crusty collection of styles and you
can almost sniff the campfire smoke
of the midsummer festivals, dope and
stinky London squats as they spit out
their radical politics. 'Beltane' the
opening track is a rustic recall to mid
summer nights madness and road
confrontation, as clean cut guitars
ring out among a moody bass driven
rhythm, while our folksy narrator
gives us an impassioned delivery.
They pick up speed on 'Everything
Must Go' which is a shoplifters
rallying call, as they pilfer Sainsbury's
and the local offy for their beloved
Special Brew. I like its reckless
sentiments, but I somehow get the
feeling the middle class militants in
this band only nick because it suits
their nomadic lifestyle, not for
necessity. I mean when your hungry
and desperate do you really nick
Special Brew? 'Pork Dub' is a good
example of
P.A.I.N.'s flair for dropout
and authentic spacious dub
arrangements. It comes with some
excellent fading guitars, clever piano
work and selected sound bites that
give this instrumental the respect it
deserves. 'British Justice' combines
fuzz box punk grit with more razor
sharp guitars as they lampoon their
favourite figure of hate...cops, along
with magistrates and all the bent
lawyers that skulk under the scales of
our legal system. 'No Leaders For
The Free' showed signs of dare I say
it commerciality! This well worked out
pop tune with some inspiring lyrics
and an excellent vocal, could with the
right backing reach a far wider
audience than the convoy factions
and poll tax vets that this group
usually attract. 'Money' is a catchy
reggae tune sung with conviction
about the vice of the damn dirty
green wads. But it was left to the
albums standout track and
most popular punk anthem 'Oh No It's
The Pigs' to steal the real thunder.
They really make good use of Phil
Pains authentic guttersnipe vocal as
he spits out the plight of being
banged up. They sign off with
possibly the bands most alluring
track the epic 'Punks With Guns'
which is reminiscent of
the Clash's
Guns Of Brixton' but with some
modern day observations and a neat
guitar interlude that will give this
brooding anthem a place in punks
folklore, the landing party has truly
landed on this release! Comes with
original artwork and a lyric poster
pullout all produced with the ever
present attention to detail from Iron
Man Records.
'One Day It Will Please Us To
Remember Even This'
Promo CD 2006
I received a promo copy of the
New York Dolls album in
the post from a mate and I set down to
listen to it with some trepidation, as I
feared the worst! Happily I can report
that it's definitely not the massive let
down it could have been. It's a very
mature polished sounding album,
which only occasionally recaptures the
excitement and feeling of those two
legendary groundbreaking reckless
albums. In saying that, it is over 30
years later. Times have changed and
it's virtually a new band albeit with a
giant legacy to live up to. On a
personal level and against the odds,
the Dolls have come up with the
goods in 2006, which I'm sure must be
a great relief to them. How the fans will
receive it is another matter?
Sometimes rocking out ('We're All In
Love', 'Dance Like A Monkey' which is
my fave track and 'Punishing World'.
Sometimes MOR country sounding
('Ain't Got Nothing', '˜Maimed
Happiness'), though with a sleazy
whiskey soaked edge. This album is a
mixed bag of influences and the
Shangri La's still stand proud ('Plenty
Of Music', 'Rainbow Store'), and I
believe this album could be the
York Dolls
first bona fide chart hit,
especially in their home territory. I
have listened to it constantly for a
week now and it's a real grower.
Although very little resembling the
proto punk rock attitude they once had
in spades lurks within the tracks. The
album does dip here and there
because of the amount of mid paced
tunes. I'm not sure if this is the finished
running order as I don't have the
completed CD Booklet, but I do have a
scan of the cover pic and its fantastic,
the wonders of modern airbrushing.
Give the album a listen without
prejudice and I think you might just like
We're All In Love
Runnin Around
Plenty Of Music
Dance Like A Monkey
Punishing World
Maimed Happiness
Fishnets And Cigarettes
Gotta Get Away
Dancing on the lip of a volcano
Ain't Got Nothing
Rainbow Store
Turn On The Light
Good Look
(Guest reviewer Joe Donnelly
Belfast 23/5/06)
"81 2 85" LP
(PPR011) 2006
Early 80's Cardiff Punks Soldiers
, seem to be the Welsh Capitals
best kept secret. And 20 years on
you can understand why. Coz lets
face it on this collection they're easily
a notch below in the talent stakes of
their better known contemporaries
such as Bridgend's
Partisans or
Picture Frame Seduction for
that matter. This album optimistically
presented by Pure Punk Records
from Italy includes all the tracks from
both of their ultra-rare 'What Do
They Know?' and 'Taste Of Blood'
7"s, plus 9 previously unreleased
demo and live recordings. It all dates
back from that much championed
and well overrated period of British
punk circa 1981-85 hence the title
'81 2 85'. You don't have to be a
brain surgeon, to suss out what your
gonna get. They have influences
ranging from
GBH to Blitz and even
Rejects guitar work creeping
into the later tracks. Not really a
varied ballpark to play in, and with a
punk by numbers scrawny vocalist in
the suitably named Fester to lead us
over the top. It was pretty hard to nail
down the outstanding numbers. But
despite all this mediocrity there are
actually a handful of tunes on here
which would've sat quite impressively
on a CDEP rather than a full length
platter. From the opening ditty of this
16 tracker you can see why the
Soldier Dolls ain't ever gonna be
painted across a thousand leathers
coz we don't get hit with anything
substantial until 'Your Not Wanted'
which shows the band developing in
leaps and bounds towards their later
stage of their career. Its followed by
their best track 'Gotham City Is Dead'
with has some good guitar licks and a
unique style all of its own, as it builds
up into a dark little anthem with
piercing guitars and a distinct riff. It's
spoilt only by a rough live version of
the song following immediately
afterwards, which really deflates its
initial impact! Also worth mentioning
is the less frantic 'Rat Training' that
has an ominous vibe and shows
wasn't afraid to go for impact
rather than haste on the rare
occasion. However this album suffers
from way too many low fi inferior
tracks and becomes something of a
chore to sit through till the good stuff
arrives. Side one closes with a live
version of 'Fun Time' that reflects a
more adventurous side to the band
as they greet us with a neat riff. Pity
we didn't get a studio version of this
one. Side two kicks off with a full out
thrasher called 'Iron Curtain' before
they dispatch the
Blitz inspired
'Victims'. Although this was really
coarse round the edges, it shows the
Soldier Dolls giving it a bit more
thought with neat backing vocals,
productive bass runs and a rare
distinctive lead vocal.
Soldier Dolls
sound better when they ain't
bouncing off the walls. However the
sound quality on this album really
does push the barriers. Even Alex
the label boss apologised for its
rough quality. But even with a bad
mix songs like 'Scheme' shows they
had some good ideas bubbling under
the frantic paced bravado.
seem to have a fetish for
Russia and 'KGB' was another
example that stuck out from the
crowd as it speeds up and slows
down to good effect. 'Be Like You'
shows the band gaining in
confidence and it was that good they
repeated it again for a live track.
Soldier Dolls have now reformed
with the obvious hope they can
expand and deliver a better and
more updated version of their ideas.
But I feel this album despite superb
packaging and a glossy insert is
wasted on these inferior recordings,
and could've been better spent
promoting something totally now and
hungry like the Welsh version of
PAIN who fucking rock! Only 500 in
existence, so aimed at the early 80's
punk vinyl collectors!
Pure Punk Records
1993-2001 CD Summer 2006
It's been a long old slog for the
Antibodies from Essex, and this the
first Antithology from their back
catalogue covers their recordings
from the first 8 years of their career
1993-2001. Its a good time capsule
for Harlows best kept secret and
anyone who likes their punk with a
diverse soundtrack and don't mind
the hiss of DIY demos, will enjoy this
very much. The band although
having to endure a long line of bass
players are now with a stable line-up
and getting their name about the UK
as we speak. Having witnessed them
twice in the last 18 months I can
recommend them thoroughly both
live and on record. But if you ainâ
€™t had the curse or the pleasure of
their live soirees already, here's a
good place to start with 23 tracks of
snotty innuendo, rabid punk rock
assaults and quirky snot driven
attacks which are influenced by a
wide array of bands from the last 30
years of punk. They're the most
individual punk band in the country
that still ain't been signed up by
some record label, which is a
complete travesty! But I suspect the
wait won't be for very long.
Antibodies are original and
compelled to drive out their jerky
quick fire insults to a growing
fanbase. From the prototype demos
that featured 'Pro Lies' and that
heavy metal solo' or the
foreboding claustrophobic Tokyo
subway beat of 'Nerve Gas Disco',
complete with spluttering coughs.
You can tell they have a novel take
on punk. And it gives you some early
inclinations of the ideas this hugely
neglected 3-piece are threatening to
unleash. The Harlow hoods
incorporate some evil little twists to
their dose of punk rock, with the
PIL bass line, synthesiser
bleats and that 'No Future' riff
incorporated into 'Shut Up' to good
effect. Add all this to the jagged
guitar and the multi-faceted drum
workouts and you have plagiarism on
a grand scale, you might think. But
no, this is punk right off the beaten
track and adds a new dimension to
today's often piss stained alleyway.
Singer/guitarist Pete Doff, who is the
mouthpiece on this perverse dose of
anger and author of those wicked but
very witty lyrics, is a man on a
mission. He'll make you think but also
giggle as he adds an extra large
dose of sarc into the mix and is hell-
bent on ramming his rants down
anyone's throat who's listening.
Check out the 'See You Empty' AKA
'CUNT' for graphic evidence. Even
the 4 covers on here are diverse and
done with refreshing arrangements.
KRIS's 'Sound Of Da Police' given an
Antibodie vocal excercise or and
John Cooper Clarke's 'Innocents'
even gets drummer Iain 'Warlock' in
on the act. This is a genuine
snapshot from the excess of
London's overspill and the sound of
90's England, and all without
rehashing old ideas. Look out for
Volume 2 which brings us up to date
and has also just been released
featuring the studio recordings which
will be reviewed next.
Take a listen for yourself here...
'Blood Sweat And Towers'
(TVT) CD June 20th 2006
The much anticipated debut album
from the
Towers Of London. A
band who bring us their snotty
York Dolls
stance, crossed dressed
with almost prime time
Sham 69
rowdiness. And what's more
important, make it work! The
unimaginative title however didn't
bode well for me. It seemed rushed
and almost like an afterthought. I was
hoping for a bit more impact for their
first full length appearance. However
this album is very well produced, tight
and in your face. And with no
expense spared it was recorded both
in LA and the UK. Nevertheless it
definitely has it highs and quite a few
lows. As the air raid sirens over
London roar, 'Im A Rat' kicks things
off in fine rifferama fashion. Lead
singer Donny Tourette sounds
almost like a resurrected Sean
Purcell of
Raped infamy, as he spits
out his snotty philosophy on life, on
top of this midpaced induction. 'Air
Guitar' continues the high kicks and
high standard in this rowdy rocker
with some huge power chords and
that gang chorus, which mirrors this
bands rock star affiliation. It was left
to the battle cry of 'Kill The Pop
Scene' to usher in their bad boy
guttersnipe tag, they've been making
the most of since the British music
press latched onto it. These wideboy
belligerents attack the synthetic
charts and the wanky acts which
populate them. But we secretly know
Towers Of London wanna be
part of it and I hope they are. Imagine
these on TOTP's. But let's not forget
this is a good time rock n roll album,
nothing more nothing less. It doesn't
have the edge of something truly
explosive, but for here and now it
certainly looms large for me. They
even have elements of
Turbo Negro
with Dirk Tourettes growing guitar
prowess cranking out during
'Beaujolais'. Then they go and spoil it
all by including an acoustic version of
'Fuck It Up' which signals a filler alert!
Especially if we get the superior
electric version later on. They also
incorporate Andrew Oldham's
Orchestra on 'King' which has
elements of ELO for the opening
brief moments and did sound quite
promising, before turning into some
kinda Bowie escapade vocally. But
they shake off the glitter and strings
sufficiently enough to bang out the
best track on the album. A fucking
addictive grinder called 'Good Time',
which comes with a first-class seedy
riff straight out the Steve Jones hand
book. The single 'On A Noose' which
bought them to my attention
underlines the 'yob' in this bands
makeup. A trait they should exploit
more often, coz they are at their best
when they're kicking over monitors
and knocking out fans. 'Start
Believing' was a totally naff and bland
track, but they pull themselves back
out of obscurity with the rocky
'Northern Lights'. This rocker is a
great especially covered in snot!
They finally lurch into their rowdy
stage favourite 'Fuck It Up' and all is
forgiven. I was impressed with 'How
Rude She Was'. Which was a
midpaced 4.25 anthem on the
delights groupies and red lights. It
featured a lingering lone guitar signal
running throughout giving us the
come on
"lucky for me it was light
indeed. The
Towers wave good bye with the
impressive 'Seen It All', which
could've come straight off the 'Great
Rock N Roll Swindle'. Check out the
dirty solo and power chord
raunchiness for proof. Abd catch em
live coz these are solid entertainment
Cheers to Joe Donnelly for
passing this onto me.
'Fuckin' Do It!'
CD 2006
Manc gobshites 3CR threw 'Fuckin
Do It' their latest 14 tracker in my
direction after Dave their manager
and promoter bumped into me on my
space. We traded
vinyl copies for this, so
I dunno who come off worst? I was
shocked to hear the band have been
around in one shape or form for 14
years! However when I caught em
live in Wolves a few years back I was
disappointed and expecting a bit
more considering what id been told
by their growing Midlands fan base.
Maybe if id have known the songs
better the karaoke version I endured
might've registered more positively,
but I doubt it. Now I dunno about you
3CR who are currently
challenging Charlie Harper for the UK
road rat crown have played over 200
gigs with this line-up. From UK toilets,
to European squats, they've even
managed to secure a gig in the
States. So you have to admire their
dedication for getting it about. Either
they've got powerful friends in high
places or you just can't forget their
ugly mugs in a hurry. And with that
much exposure they're gonna be
picking up a lotta attention. Although
I suspect it's through their vigorous
gigging regime, more so than their
sound on this album. This is
for vile perverts"
(their words not
mine) and despite bragging about
enhanced studio mixes on this here
record. It still sounds very rushed
and in demo stage to these ears.
Maybe they run outta cash whilst
buying another wrap of Charlie and
some extra Kebabs, coz Fish the
geezer responsible for mixing this
needs to severely dampen those
drums down. But hey I hear em
"this IS punk rock!" were
talking about here. We shouldn't
care about sounding good, should
Well ill leave that one to 3CR
to answer. They do play tight and
can knock up a tune, but never
manage to leave a lasting
impression. It's sorta hardcore by
numbers with a feigned
obnoxiousness that's a division or 2
below the brilliant
Macc Lads. Check
out 'She Bummed Me' for conclusive
evidence. I was hoping we'd get more
songs of the calibre of 'Oldham's
Burning' definitely their best claim to
fame, but sadly that ain't included on
this album. Oh well, the title track
come pretty close with a good heads
down rocker publicising all the
dastardly deeds you were tempted to
carry out, except maybe plate a
minger! Which was naturally left to
the bands dedicated, almost poetic
tribute song 'I Fell In Love With A
Minger'. As they show the Yorkshire
PC punks the end of their finger!
This song should see em headlining
the 1 in 12 club and earn countless
middle page spreads in
fanzine for the next decade at least.
They aim to shock but you gotta be
really over the top or do it really good
in this day n age. I think you'd have
to be a Christian punk or maybe
Andy Cactus to get shocked by this
lot. They can create a racket there's
no denying that, but I just think
Boggy's vocals ain't half as repellent
as he and the songs would really like.
Which can leave tracks like 'Porno
Star' a bit flat in comparison? I prefer
the numbers where they try and go
for a bit of variation to the routine
sound. 'Split Roasted Groupies' has
touches of heavy metal thrown in,
which actually works and ends with
the funniest moment on this album as
they parody the
"to you, to me!"
routine from BBC's Chuckle brothers.
They close with 'Fish Face' a live in
the studio appraisal of this records
producer which has elements of
and that improvised 'Alcohol' track,
but wasnt half as memorable. They
finally fuck-off with one of those
infuriating hidden tracks that comes
slinking out the speakers ten minutes
later exploring the virtues of 'Old
Ladies'. For shock value and punk
rock presence this was pretty
and even the sleeves which they are
usually good at was bland.   
'Antithology Volume 2 1995-2004'
CD 2006
Volume two from Harlow's
Antibodies featuring their most
recent era of recorded debauchery.
And this disc exposes another 24
tracks with a more enhanced
recording experience. Early demos
like the inspired 'England's Atrocities'
sealed my first encounter with the
band on tape back in the Suffragette
days. And from here on in I've always
found their book of urban hymns
highly entertaining. Did someone say
"im fucked if I know?" Coz the
Antibodies are certain they're
"fucked in Harlow!" They sing
about experiences from where they
actually come from and live in,
instead of going down that dank punk
subway of glamorising nowhere
landscapes whilst living in some
plush suburban plot. 'A Town Called
Drab' is a perfect example which
highlights all the worst features of a
concrete rockers life in the satellite
towns of London. Clean guitars,
pumping bass and a ripping
drumbeat represent the soundtrack
for the
Antibodies bitter view on life.
With the majority of these improved
recordings you get to sample the
Antibodies crazy little twists 'n' turns
in full focus. Which has unfortunately
in the past been lost on inferior
mixes? Clever wordplay and
attention-grabbing song structures
make this selection begging to be
released on a real label. 'Wot
Happen To' shows us a dark humour
that's never too far away from their
spiky punch line. 'CUNT AKA Seem
You Empty' has a sorta jagged
Velvet Underground guitar intro
before going off into the mantra
C.U.N.T!" This song despite the title
is a first-rate rejection song and
boasts inventive lines like..
."Im the
neighbourhood Sadam Hussein".

'All the Aces' is muddy as fuck but
gives us a raw insight into one of
singer Pete's old songs from a past
that been pebble dashed with
Antibodie and could prove in time to
be another strong contender.
There's easily an albums worth of
exceptional punk rock here to corrupt
new listeners and rock the old,
especially as they move towards the
higher quality recordings. And the
standout tracks are the deadliest of
this bunch which is always a good
sign for a band with this much
history. 'Kamikaze Karaoke' has that
mocking intro, and is an attribute the
Antibodies seem to thrive on. They
rip the piss in their most English and
cynical way. The Saturday night lager
lout drinker gets annihilated as Pete
spits out
"Drink another, you stupid
fucker, reach for the stars and
which should make louts
everywhere (if they had the brain
cells) to flee with embaressment.
'Easymeat' incorporates a sax which
sends the insolent chorus into a
more raunchier outburst! And has
the cutting edge line of
"Bring back
National Service, it makes a man
outta you, and while were at it why
don't we bring back hanging too!"

are still the masters of
the Essex dropout which does give
their sound some real edge! But as
the ominous 'Game Of Soldiers'
looms into view, this for me is still
their best number yet. War drums roll
and menacing bass runs feed the
apprehension, alongside those guitar
slashings its sent home with one of
Pete's most unnerving vocals to date.
An anti war rant which has a
vibe features the classic
line of
"bits of kids blown to bits in
a ghetto"
nuff said. Antibodies
have some of the most compelling
lyrics this side of Jello Biafra and you
can just predict a load more ideas will
come creeping out from the concrete
of Harlow real soon.
'Free To Speak...
But Not To Question'
(MORT A4) CD 2006
Sutton punks the Lost Cherrees,
are one of the rare gigging
productive protest bands from the
early British Anarcho set. They seem
to have merged into the 21st century
punk scene with ease and without
sounding old hat or lame, as some of
their other contemporaries seem to
be. This 16 tracker was recorded in
2005 but has been surrounded by
delays and the controversy of their
record label Mortarhate, who've been
under official scrutiny by the British
taxman. However the wait is over. I
should imagine the band are very
pleased with the outcome and high
quality packaging coz it looks fucking
fantastic. And it don't sound bad
either! From the opening siren call of
"Free To Speak, But Not To
we are shaken from our
slumber. 'Wake Up Call' kicks things
off in a jerky mode with elements of a
dubby almost transient middle eight
before ripping into the final verse of
this anti-apathy number. One thing
you quickly learn about
and that's they most
certainly ain't your stereotypical
Anarcho band. No transistor discord
or screaming rants on here. They
combine punk rock riffs with melodic
outbursts, atmospheric compositions
with almost folksy lullabies. Resulting
in a very individual release. I think
some of these numbers will be vying
with favourites from their past such
as the infectious 'Rat Catcher
Messiah' for positions in their live set.
I was impressed with the creepy
'Dear George' track that sports no
vocals but experiments with
harnessed feedback and some
impressive well cut sound bites from
DW making for a lethal combination.
Its followed by the more conventional
drums, bass and guitar approach for
the 'Dear Tony' track, which belittles
the scheming puppy on Bush's dog
Lost Cherrees gripes are
made all the more effective by tunes,
melody and imaginative
compositions. They have grown up
and used their awareness to full
advantage on this release. I
noticed just how much primary punk
rock is displayed especially in the
guitars. You'd be mistaken for
thinking the
Cherrees were just
Crass band as their
statements are from a dissenting
angle, but sung onto conductive pop
backbeats, adding a new dimension. I
have to say Bev's lead vocal can
make you feel like she's about to
burst into tears at any given moment.
She has that quiver in her voice and
on some of the tracks could maybe
use more impact . Although guitarist
Andy gives us the main male foil to
the songs, maybe they could use
another girl to fill things out a touch?
They adopt a skanky attack during
'Same Old View'. And I liked 'Killing
Time' coz it sums up a lot of the
audience attitudes at multi band punk
gigs these days.
"Your killing time
till the next band comes along"
Something we've all been guilty of no
'Youth Training Scheme' im
reliably informed is an oldie from their
past resurrected with glee and given
an almost happy go lucky feel, which
I bet it didn't have at the time it was
penned. 'Good Time' comes armed
with a solid riff and passionate vocals
from Bev but was slightly soiled by
the souped up ending which spoilt
the climax. Subject matter on this
album ranges from consumerism,
blood lust, war and tyrannical
governments. The usual targets for a
protest band you may think, but the
Lost Cherrees add a thoughtful
approach which is hard to pick holes
in. 'Blood Trophy' begins with the
chilling horns of a hunt and is
greeted with menacing guitars. This
song calls to hunt down the hunted,
ending optimistically with a
"tally ho gonna hunt ya
They end with the epic 9.32
minutes of 'Piece Of My Mind, Piece
Of My Heart' which features some
cunning arrangement's and
impressive vocal harmonics. This is
the track where Bev really comes into
her own as she sings her heart out
on this almost folky call for liberty. I
enjoyed the clever build up of the
vocals which are gradually joined by
a strumming guitar and eventually
the rhythm section as they raise the
bar on this album to new heights.
You know what, it almost sounds like
that Cola advert from the 70's? If
they'd been singing of autonomy
instead of Pepsi you wouldn't be far
off. To make sure we don't take them
too seriously, they chuck in an
anonymous upbeat track to finish off.
Comes with a neat lyric booklet in a
stylish foldout case.  
Cheers to Ged Babey
for firing this my way.
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