'Yer Granny's Fireside
Favourites' CD (Self Release)
Fraserburgh's Snaba is the best
known punk ligger that Scotland's
spit out since the fat fucker who
Product fanzine. He also once
upon time broke bass strings for
early 80s Scottish punk band
. So whats a seasoned punk
fan to do in the Scottish Highlands
apart from getting pissed listening to
punk or fishing? The answer is to
succumb to his lusting for the stage
and string together a 21st century
motley crew of like minded souls to
play all their favorite punk tunes.
That is when he ain't hitting the punk
fests. The aptly named outfit are
Decontrol, and no not a
D-Beat in sight. Lead singer Snaba
does look the part from the live gig
shot that adorns the impressive
colour cover. Sort of a Scottish
version of
TV Smith in bleach and
zipps. His singing however leaves a
lot more to be desired.
are a covers outfit who recorded
these 12 numbers before they took a
unplanned break which was bought
on by there 15 year old drummer
getting grounded for a month for
getting pissed and being caught by
his parents tee hee. But fear not
dear reader, for they have left us with
a varied selection of karaoke punk
covers on top of some pretty nifty
playing. You get to hear these early
attempts which are plucked mainly
from Snabas monumental record
collection spanning the late 70s/early
80s, and not a yank in sight! To be
fair most are the regular cuts you've
heard hundreds of times before and
steer close to the original featuring
bands like
the Subs, the Business
and Cock Sparrer. But theres also a
few anomalies like
'East of Dachau',
'Tube Disasters', the Pistols
'No Feelings'
and finally the
'Police Oppression'. Since
this was recorded however,
Decontrol have got quite a few gigs
under their belts and gained way
more composure. So much so they
are now introducing their own stuff to
the set which seems to be well up to
par with whats going under the
banner of punk these days. And it
has to be noted Snabas vocal
delivery has come on in leaps n
bounds. You can hear their larest  
efforts on my space link below. This
collection however is probably nest
kept for family, friends and cunts like
me. For more info go here...
2007:     PAGE 1 - PAGE 2
SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
'Beyond Redemption'
(Self Released) CD
November 2007
Who'd have thought this once fly by
night mess about for Belfast's punk
nutters, scoundrels and vagabonds
would manage to squeeze an albums
worth of material out, let alone do a
series of gigs? But they have!
Violent Fuckwits
are a band who
like to have a bash and a laugh,
while their various more serious
musical projects imploded or were
taking a breather. We get a
whopping 19 tracks on this their
debut full length. And low and behold
they actually manage to deliver
despite numerous lineup changes,
apathy and the lure of Buckfast. The
production however is still pretty
limited, with I suspect a less rowdy
more tamed version of the songs that
they can unleash live on stage. But
with tracks like
'Call Back To Arms'
with its addictive guitar riff it rises
above expectations and certainly
propels these fuckers into a more
major league arena, where even the
snigger's from seasoned muso's
might stop laughing for a second at
least. Since their less adventurous
debut demo CD EP in 2005 and with
a load more gigs under their Belfast
strait jackets, they definitely have a
more refined sound on this recording
that actually resembles something
more than just a piss about. They still
opt for that clean guitar sound which
can leave 'em sounding very thin in
places. I'd much prefer and think
they'd benefit greatly with a chunkier
rhythm track upfront. We could also
do with Bills vocals up more in the mix
too, as they are prone to sometimes
get smothered by the backing track.
Don't get me wrong, they must
actually like this kinda presentation,
and at least they ain't gone all
serious on us. You can hear
elements of '77 punk on the put down
track of
'You Usta Be A Punk'. And
we even sample some rockabilly on
the bird ditching
'Your New Girlfriend'
which shows signs they could be
starting to nudge the bigger boys like
Runnin Riot if they ain't careful. Billy
Riots lyrics are funny as fuck, taking
potshots at a lot of misdemeanours in
this thing we call life, including his
fave hate...PC Punks. I cant really
see this album being on rotation at
the 1 in 12 club that's a fact, but the
aim of this release is to give
Violent Fuckwits
their deserved 15
minutes of fame, which no-one can
really deny.
'Wankin In Work' was for
me the other standout (no pun
intended) track. Its got that neat
skank attack that featured heavily in
off shoot outfit
1000 Drunken
. It has a definite appeal and
proves these fuckers can knock out a
decent tune when they ain't down the
pub. They amalgamate their own
songs with a couple of varied covers
P.A.I.N.'s best number the
'Oh No Its The Pigs' which is
a spot on alternate version. And an
amusing attempt at
'Ain't No Feeble Bastard'
which don't
quite suit Bills lesser Rottweiler, more
scrammel vocal style.
'All Out
their penultimate aggro
number has a funny spoken intro
from some cockney geezer who i
should probably recognise, but i
don't? Before blitzin right into the
fray. The last half of this album
however is a sing-a-long
version of the previous songs for all
the punk karaoke crooners out there.
Maybe it sounded a good idea in the
studio, but it don't really need
including here and spoils their
previous hard work.
Comes in a very DIY punk cover
which is given some sexy snazz by
number one fuckwit Fiona. Their next
release is scheduled to be a split
album with New York band
due out very soon!
'They Can See In The Dark'
(Kotumba Records) CDEP
October 2007
Apologies to the band for not
reviewing this earlier, as it came out
as a limited edition 4 track CDEP to
introduce this dark pop punk outfit
last Halloween 2007.
Silent Meow
features the delectable vocals of
Silvie Pussycat, the former
Cockroach Candies singer and
Plastic Bomb fanzine columnist outta
Dinslaken, Germany. She''s since
relocated from her native Eastern
Europe to Southern California joined
forces with ex-
Derita Sisters
mainman Marky in what looks set to
be a productive collaboration. Silvie
has a certain Debbie Harry vibe to
her vocal on the highly addictive
opening track
'They Can See In The
An hypnotic number which was
a cult hit for Canadian Jim Gray's
Darkroom back in 1982. Its a classy
song that entices us into the world of
Vampires, a track you could see
re-denting the mainstream record
charts with some clever record
company push. It also swoops in with
some great guitar work giving it that
other world feel.
Silent Meow are a
band who have all the ingredients of
fulfilling that pop punk dream, and
more so than most of the other
contenders out there today. They
possess a sexy siren, some musical
muscle to give it sincere grit and a
good ear for production. They
display a more hard hitting slant on
the 3 accompanying tracks which
features ex-
Deritas Mark Gilman
(AKA Rock Smash) on guitar,
Chance Void on guitar, Pat Statutory
on bass and Lurk Armstrong on
'Taste Of Blood' is more
tongue in cheek with some
memorable guitar and backing
'Dead Boy' and its "1 2 fuck
intro lets slip their punkier
roots and is by far the snottiest
number as they sink their fangs into
good looking corpses. Final track
sees Silvie regain her vocal
composure as she croons her way
'Angel Whore' another
catchy little number that would
appeal to a wider audience. The
band have gained a rather good
reputation in the Santa Barbara area
and beyond as a formidable live
entity and already have their debut
album due out now! Comes with a full
colour foldout insert and postcard.
SPLIT CDEP (Rowdy Ferrago)
July 2007
Continuing Peterboro's UK based
Rowdy Ferrago labels penchant for
releasing product on iconic dates.
This time round this 4 tracker was put
out on the 7th day, of the 7th month
in 2007. Not quite as iconic as the
previous years '666' release, but you
get the picture. Its dark its moody
and another dose of local outfit
. These undead punk rockers
(in the loosest sense of the word)
come apparently from hell, but don't
appear too bad with only a couple of
tracks to trawl through. And if you like
your punk with a definitive rock edge
and theatrical vocals you might just
get off on these. It does work well as
they chug and cut their way through
the opening track
'Poison Ivy', whose
laughable lyrics are printed on the
sleeve. The chorus is the key as it
draws you in before spitting out a
musical workout that speeds up and
out the green clutches of death.
Dead Are After Me'
however has
some really cheesy synths thrown in.
The kind you'd associate with the
diodgy 80's disco scene or
something Howard Jones would come
up with. They try and salvage the
situation by letting the guitars do the
talking, but not long enough to erase
that smell of cheese!
The bells chime and the wolves howl
for the arrival of
Destructors 666
tune 'The Vampires Kiss', which has
more of a punk edge and some good
guitar solos for a change on a
Destructors record. They also chug
along quite merrily with the undead
and a
"Vampires Kiss". However
they can't save themselves from
falling into the precipice during their
last number
'The Graveyard Stomp'
which seems to be trying really hard
for a
Cramps vibe and utilises a jolly
good riff, but is doomed to absurdity
by the moronic lyrics and the tongue
in cheek delivery. They must've killed
themselves laughing at this when
they recorded it. We are also spared
the usual cover track, so lets be
thankful for small mercy's eh.
As with all Rowdy Ferrago releases
the sleeve comes dressed very
neatly with the usual goff artwork and
those throwaway lyrics reprinted.    
'Sachen Lassen Mit Fremden
7 track Mini CD (Rowdy Ferrago)
November 2007
A new 7 track mini album from the
Destructors666 kicks off
surprisingly in fine form with the
'Strange Days' that has late
70's new wave written all over it,
especially with its clinical vibe and
cutting guitars reminiscent of
and those other worldly vocals.
Definitely shines a whole new beam
of Alien light on this band
. 'Plan 9'
From Outer Space'
is more tongue in
cheek fun, with dumb lyrics and a
psychedelic guitar lead. But proves
there is some imaginative touches in
this band despite contemporary
perceptions. We then get
the cover from the Count 5
complete with mouth organ which was
by far the worst track. Not for content
but coz I've never been a fan of the
original, This version done absolutely
nothing for me but could please you?

'The Weirdness'
sees the band going
back to their more punkier roots. And
along side enough imaginative lyrics
to make you wanna read em as they
list the strange the wonderful and
weirdness that pin pricks the
Destructors666 universe. 'Ray
is the most impressive
musically, with a neat chugging guitar
and over the top solo as they sing
the delights of Mr Ray Gunns a 21st
century gun slinging hero for
destructors and all sci fi enthusiasts.
They then fire at us another cover,
this time with
Bowie's 'Hang Onto
which is sped up in a more
punkier outburst complete with hand
claps (irritating clicking) and coming
out like a latter day
Finishing off with the
'Asylum mix' of
their opening number, which is more
guitar based and uses a
Rejects like
'Bad Man'
riff to good effect, but also
has that annoying clicking. Gotta say
the Destructors666 are definitely
getting better, and so they should be
after numerous attempts. This
release seems to be their best all
round effort to date.
CD (Scandinavian Leather) 2007
Turbo Negro's most recent album
was late arriving in the Wolf's Lair,
but thanks to Welshy it has. And
continues their theme of bringing us
sophisticated lecherous assaults with
kinky lyrics, but sadly opting for that
rock themed plain instead of their
punkier grind. The snot and guts of
the epic punk classic Apocalypse
Dudes isn't part of the bands studio
output these days, but you still sense
they could unleash something
spectacular at every turn. They have
a more matured delivery these days,
but with enough punky dose's to
make you wanna come back for
more. Put alongside the better
albums of recent years like
Scandinavian Leather, Retox is
lacking somewhat. However opening
'Were Gonna Drop The
Atom Bomb'
has all the hallmarks we
love about
Turbo Negro. Grinding
riffs, sarcy vocals and that driving
power, so its a good start.
To The Garbage Dump'
the apocalyptic theme as lead singer
Hank hollers
"Rope Burns, turn the
boy loose, Retox and turn the boy
amidst more unsavoury
cryptic lyrics.
'Hell Toupee' seems to
go too far into the rock realm for my
liking, although the hilarious lyrics
about hair loss will keep you
entertained as they descend into
metal territory where you cant help
tut think its one big piss take!? Same
goes with
'Stroke The Shaft' a caster
plaster phallic ode to masturbation
lol. They restore their male pride and
tear up the ante during the
 'No, I'm Alpha Male' with
a short but great bass run along with
Euro Boys dazzling guitar workouts.

'Do You Dig Destruction'
harks back
to the glory days as they give us the
Turbo riffs, some creative
vocals and even the odd calypso
rattle for brilliant audio effect. Going
in a totally different direction they
slink in with a 60's sounding and
totally laid back
'I Wanna Come',
which creates a totally different vibe
from any of the other track on here.
And despite its nonchalant approach
it really starts getting under your skin
with more plays. However they soon
boot the doors in with the more
power driven
'You Must Bleed/All
Night Long'
where they revel in rock
n roll excessiveness and inhabit a
place where all the real men wear
their thongs all night long tee hee.

'Hot And Filthy'
veers back to the
metal age as they sing about sex and
teenage lust. And makes you wonder
Turbo Negro (now they're an
established name on the live gigging
circuit) going through a lean period
creativity speaking? The last couple
of albums seem OK but nothing
special. But after nearly 20 years in
existence you cant take their
longevity with a pinch of salt.
From Nowhere'
had a promising title,
but the song itself was unmemorable
with only the chorus redeeming them.
And just as they seem to have shot
their last bolt, they storm in with the
best riff on the album during

'Everybody Loves A Chubby Dude'
. A
track not about the lead singer but a
brave attempt to tackle the spectre of
consumerism only in
Turbo Negro's
very distinct way. We are then left
with the grand finale as synthersisers
introduce the final track and best one
'What Is Rock?'. Which is full of
crunching guitars and the best lyrics
on the album as Hank lists some of
the funniest lyrics your gonna hear
on a modern day rock album. They
rip the piss outta every rock
metaphor you can think of including
their own roadies but giving a sly
wink to
Iggy, AC DC and the Pistols
along the way, its superb
"coz we're
doing blow and they smoke pot!"
manifesto sums em up perfectly.
Before finally succumbing to the
strains of the string section from Sid's
'My Way' and the obligatory "wheres
the cash"
chant as the final bell tolls.
'Death In Soho'
(Overground) CD
September 2007
Ain't heard an 999 album since their
debut back in '78 which was pardon
the pun
'quite disappointing'
compared to the blistering singles.
So nearly 30 years later and 10
years since their last ('Dancing In
The Wrong Shoes') I was more than
a little curious to hear what they
sounded like in the studio these
days. With lead singer Nick Cash
carrying a few extra pounds and
resembling a clean shaven Bob
Hoskyns, you cant help but be
amazed at how his unique snotty
English vocals ain't changed one bit
from his
'Nasty Nasty' heyday period.
999 sound wise are still lean, still
clean and still
999. Along with the
Cash/Days musical songwriting
partnership which is still together and
forms the nucleus of these latest
recordings with original drummer
Pablo La Britain, still residing on the
drum-stool. Bass duties these days
are done by Arturo Bassick of
, whose cheekily pictured on
the back sleeve donning a
t-shirt (bet Mr Cash wasn't amused).
Musically they're pretty much the
same as always, with clean duel
guitars that emit some decent power
though with not quite as much energy
as the late 70's.
999 for me were
always a great 45 band and spit out
at least two classic punk anthems in
'Nasty Nasty' and the slick paranoia
'Emergency' during the bands
formative years. But as with their
debut album, 'Death In Soho' is an
extremely patchy affair. Opening
'Gimme The World' is totally
complete with rousing gang
backing vocals and those taught
guitars from Guy Days.
'The System'
carries on the distinct theme and
grows on you with more plays.
has elements from their edgy
past with jerky guitars and anthems
galore and some crazed elements.

'99 Days'
is another highlight but it
then started to get bland for me.
'Horror Story' is a strange track and
shows the crazier elements of the
band are still intact with Nick Cash
doing his level best to sound scary,
but doesn't quite pull it off. However
999 start writing love songs like
'Stealing Beauty' it becomes
obvious they're running outta snotty
quirky ideas that made a name for
themselves in the days of 'My Street
Stinks'. Its almost as pathetic as
writing about
"living in a rock'n'roll
which may suit the band, but
don't exactly entice the average punk
to go join em with its Status Quo
delivery. They do try different styles
on tracks like '
Deep Peace' with its
lone guitar interludes and haunting
chorus but you don't quite believe
them enough for it to smother you. It
looks like its gonna be a long wait till
999 can deliver a really strong punk
anthem to add to their back
catalogue. This 15 track album
however was pretty
even the first class production and
competent musicianship couldn't
create more impact.
Recorded in July 2007 and released
on Sept 24th 2007 with original
members Nick Cash (vocals/guitar),
Guy Days (guitar), Pablo Labritain
(drums) and Arturo Bassick (bass),
and was engineered by Pat Collier
Overground Records
2007:     PAGE 1 - PAGE 2