'30TH Anniversary Expanded
Edition' Digi-pack
(Sanctuary Records) Feb. 2007
Classic Damned at their most
Damnedest! Forget the band that are
treading the boards these days, coz
they're a pale imitation. This time
capsule is when the band really were
a threat to the
Sex Pistols and
Clash's London domination of the
punk scene and scared the shit out
anyone else making a new noise. It's
the kinda record that throbs and
gobs like a vipers nest compared to
Bollocks more compact snarl or
Westway manifesto. But ain't
we lucky to have such an alternative
in punk? This 30 year Anniversary 3
disc box-set running in at 137
minutes, is a fucking bargain at only Â
£9.99. It concentrates on the Brian
James era of the band featuring the
classic first album Damned Damned
Damned on disc 1. Disc 2 comes with
a generous 26 track compilation of
demos and Peel session tracks from
76/77, plus a live in concert set
recorded by the BBC from May 1977.
And for the completest's amongst us,
we get on Disc 3 a vintage early live
set from 100 club when the band
were in their infancy, but you'd never
have guessed.
So something for everyone, but Disc
1 and the Damned Damned Damned
album that came out in February
1977 and what you should really buy
this for. The debut slab of
attack is an album they never really
did better musically or artistically.
Forget 1979's Machine Gun
Etiquette, coz that was a completely
remodelled less psychotic version of
the Damned than appears on this
disc. This positively sizzles with
demonic presence and has a certain
dark menace they seem to lose
without Brian James. Featuring the
frenetic guitar work of Mr James
whose songwriting prowess was at
fever pitch for this recording. Nick
Lowe's presence of mind as producer
and Stiff's tight record company
finances to record the band in an
almost live low budget studio
captures the bands raw presence
perfectly, harnessing the live power
blood 'n' guts of all their best takes
and infamous live shows down on
tape for us all to enjoy. Kicking off
with the anthem
'Neat Neat Neat',
which is still the highlight of their live
set today. Featuring Mr Sensibles
infamously clean bass intro before
Vanian screams and the guitars roar
in like some audio snapshot from a
lunatic asylum. Whatever you think of

the Damned
they were one helluva
tight combo when it counted. Brian
James was a psychotic master at
work on these songs, with screeching
guitar solos that were dispatched
within the blink of an eye. While
Drummer Rat Scabies was in hot
pursuit pounding his drums like there
was no tomorrow and supplying
enough drum fills for an eternity of
punk bands to emulate. Dave â
€˜Tombstone Eyes’ Vanian’s
dead pan vocal delivery is a perfect
foil for all the madness going on
around him, as he delivers the
deranged lyrics in that Hammer
Horror cum Brooklyn manner. Its hard
to pick a standout track from the 12
on show, coz they all ooze punk rock
desperation and hunger from every
malicious blow or sublime serenade.
"standing in the pissing rain"
perceptiveness on the groupie scene
of 'Fan Club' says it all before hurling
us into the rampaging Scabies written
'Stab Your Back' which for 60
seconds has more rowdy panache
than a stand full of Chelsea head
hunters. When
the Damned wanted
to put their foot on the accelerator
which they do with blinding regulatory
on this album it hits the mark every
time. However this is also a band who
know how to create atmosphere and
suspense amidst their own  
recklessness. They creep in with
numbers like the chilling
'Feel The
which builds up into one of the
best climaxes on the album. Vanian's
mockingly camp take on narcotic
abuse complete with snarls and
hisses sounds like he some sorta
sonic Medusa. Meanwhile the band
start getting itchy feet. You can
almost feel the tension in them
wanting to let rip as the track
escalates off into the night.
"Is she
really going out with him?"

introduces the most famous spoken
word 45 in punk as
'New Rose' the
first single with that
discordant guitar riff and those
addictive surges and falls gets
committed to vinyl. Its followed by the
blisteringly frantic
'Fish' all about
those girls who forsake hygiene
(yeah we've all met em!) which is
caught brilliantly here and has a
superb staccato guitar solo as
symbols crash and Vanian screams!
The Damned were one of the major
London punk bands who actually
dared to write about love or lust all
be it from an unrequited perspective,
which is stylishly displayed here as
the chords rip in on
'See Her Tonite'.
The adrenaline rush does not wane
as the band explode into the
'So Messed Up' which is
a hammed up tongue in cheek put
down, but done so cleverly its like
taking an amplified roller coaster ride
as Vanian screams
'so messed up
she ain't even gotta brain'
and the
guitars stutter and stagger to a
grinding halt. They finish off with their
own interpretation of
the Stooges 'I
feel Alright'
which possess a lot more
aggression and energy than the
original, as it disintegrates intro a
chaotic hell bound cacophony of
studio meltdown, fantastic!

Disc 2 is veritable historical goldmine
featuring the very first demos from
June 1976 which sound impressive
for a band less than 6 months old.
We also get early b-sides like the
cover of the Beatles
'Help' plus
'Stretcher Case' and 'Sick Of
Being Sick'
which are the only tracks
deemed worthy of inclusion from the
slated Music For Pleasure era, but
both have that distinct
primal trash pinned to their lapel. The
Peel sessions are always a great
thermometer of a band of the time
and place, and feature sessions from
November 1976 and May 1977 with
great alternative takes that are by no
means less exciting as the actual
album cuts. The live in Concert set
recorded by the BBC for radio
broadcast on May 19th 1977 in
England, proves that these punks
that everyone was reading about in
the media could actually play which
must've been quite a revelation to
the music elite out there at the time.
They blast out a feverish ten strong
set that gets dispatched with a rabid

Disc 3 Is quite a find for
Disciples. Its a Sony cassette
recording hidden in a sports bag by
some bloke who recorded them coz
he liked the name and was there to
the Pistols who were
headlining. Considering its basic
technology this previously
unreleased recording sounds fucking
great for a glimpse from an era when
punk was just in its infancy. It
The Damned's first official
London appearance on tape and
sees the songs are still in their
formative stage but the basic delivery
is as excellent as ever, you also get
to hear a song lost in time called

the rest of the set is mostly
what turns up on Damned Damned
Damned, along with their cover of
'Help' plus an early version of 'Alone'.
Oh and Chrissie Hynde can be heard
in the sparse audience cheering the
band on.
This whole 3 disc package comes on
Stiff reprint labels with some great
vintage pix and cuttings plus a
seriously informative 16 page booklet
that features interviews by all the
band members plus some long lost
artifacts from the era.
2007:   PAGE 1 - PAGE 2
SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
Live!!! Loud and Out of Tune
(TKO Records) CD/DVD
March 2007
I'm not a big fan of live recordings but
this is one of the few modern day
exceptions. From the striking cover
shot of lead singer Bones De Large
feeding the LA frenzy you knew it was
gonna be worth checking out.
Class Brats
offer us not one but two
slices of their live set (The other
being a blistering live DVD film of
them in action in Seatlle in 2005 (see
DVD reviews for the full whack). This
live audio recording is taken from
one of their sellout Allen Theatre, LA
dates last summer on July 28th 2006.
It's a venue which seems to be the
bands second home by the roar of
teenagers who greet them.
So it was of course innevitable their
Record Label TKO were gonna
the Brats 'Live And Out Of
Tune' at some stage, and why not
this year as this respected indie
celebrates 10 years in business and
with a band like
Lower Class Brats
on their books, they should be
celebrating in the future no doubt.
The Brats have captured here a live
set for posterity and a 'thankyou' to
their fans. Recording wise its a clear
sound desk recording sometimes a
bit too clean for my liking, as it
doesn't quite capture the power the
band really emit from a frontrow
perspective. It also shines a spotlight
on a few average numbers sat in
amongst their 17 song set. However
we all know once their latest album
'New Seditionaries' has been fully
incorprporated its gonna be water
tight from here on in.
Lower Class Brats in case you
didn't know are easily one of the
most popular current breed of punk
band touring the planet today. And
the reason is they got the tunes, they
got their own look and they tour their
ragged arses off. They also have
been together for over a decade
now, yet still keep it simple and in
your face! They have an uncanny
knack of spitting out enough hooky
anthems to keep that Texan swagger
LCB can appeal to your
senses in more ways than one, either
on record where they can create
suspence. Or at the source in front of
a live audience where they really
excel in rowdy comeraderie. They
haven't crossed the
Green Day or
Rancid peak in terms of popularity
yet. And I doubt they ever will, not
being the youngest band on the
circuit. But their die hard and ultra
loyal suburban fanbase across the
globe don't care, coz this band are
safety pinned and sick! They are
also a band who need to be heard in
hot sweaty clubs as this recording
"How you guys doin. It's been a
long fuckin time... how about some
Ultra fuckin' Violence?"
Bones as he greets the eager kids
before the band shakes up the pit. It
immediately bought back impressive
memories of their exceptional
performance I was lucky enough to
witness last year in Birmingham.
Lower Class Brats are one of the
few genuine street punk bands out
there today who can make songs like
the 'stick together' anthem
'Bite The
complete with crowd
"whooahhs" sound believable.
Bones is a lively frontman who
connects with the audience straight
away. Well he should do by the
amount of mic time he gives the kid's.
However on this recording he seems
to be singing on all the main
choruses leaving only his sharp ad
libs in between numbers to set the
scene pefectly. Guitarist Marty has
some good rifferama under his
Motley Crue cut and seems to shun
solos like some sorta deadly disease.
But this suits
the Brats sound so
much and is great for band
momentum. They add tension to the
proceedings via possibly their most
potent number
'Clockwork Fuse'
which sounds great live complete with
bum notes. We get a newie from 'New
Seditionaries' called 'I
'm A Mess'
which sounds like its gonna be
another smouldering hit before giving
us their rebellious theme song
Writes Your Rules'.
Finally as Bones
gives a generous namecheck to the
support bands and dedicates the
next number by whispering in the
audiences ear
"Its called 'Addicted
To Oi!'"
Before launching into thieir
rousing Oi! anthem that you find
yourself singing along to, they then
leave the stage. The crowd chant

over and over
before the Brats return with not one
but two songs with the addictive
'Safty Pinned And Sick' and the
'Orphans Don't Don't Run'. If
you can't get to see
the Brats live,
then this will be your closest sniff. But
I highly recommend the live
experience coz thats where
really rule!
'Hopes And Illusions' Split 45
(Pure Punk Records) 2007
A high quality split 45 here featuring
two of the best new young Italian
punk, bands both of which have
something different to offer.
show the most promise
with a rough shod sound thats
reminiscent of early
Blitz, creating
angry and enthusiastic tunes in the
grooves that would've been big in '82
and definitely should be heard in
2007. They are also compared to
One Way System and Chron Gen
in their promo, but I detected definite
touches of
Oxymoron in there too.
They got neat arrangements for a
young outfit harnessing big
boisterous chorus's and thrashy
guitars with heavy drums being the
order of the day. They sing about
'War Machines', 'Perfect Tunes For
and 'Winds Of War'
which is probably the standout track.
Final track
'All In The New Age' is
less frantic but has a powerful riff with
touches or early
Subhumans. My
only bone of contention and this is a
minor one is the thrashy production
has that same muddy mix
debut 45 suffered from. But that
thrash is part of their energised
makeup. Would be good to hear what
they come up with using a better
production, impressive debut all the
No White Rag hail from Modena in
Italy have been around a bit longer
than the
Psycho Negatives and this
is their 3rd release. They have a
more political bent lyricially speaking,
with a snarling singer called Zanna
who comes from the Justin Sane
school of pissed off snarls. He bawls
his head off on top of a more intense
backdrop of raging gutars that has
positively no room for slouching.
They kick off with their best track

which translates into 'Cages'
and throws in a neat little solo to
confuse us even more on this anti
restriction rant.
'Dissilution' comes
snarling out the bunker with a
resentful angry rap on top of a
another one note solo which was a
nice touch. Last track
comes with the best riff of
the bunch amidst a big drum roll and
another latino guitar solo. Think or
Anti Flag with the same kinda
sentiments and you won't go far
wrong. The production on these 3
tracks are a lot less trashy which
adds a certain power to the
proceedings. Im not sure I could
handle an albums worth of No White
Flag, but in short sharp doses like
this they certainly make their
pesence felt. It all comes in a truly
outstanding package with no
expence spared featuring a neat
foldout sleeve with lyrics and
translations and a foldout poster
reminscent of
Crass if they were
around today.  
'No Parasan' Split CDEP
(Rowdy Ferrago) April 2007
Rowdy Ferragos records decision to
release 'only friends bands' is a very
noble gesture down the boozer on a
Saturday night. And fucking great if
the bands are good or at least
diverse. But in reality this kinda Posh
nepotism was destined to backfire.
These restrictive split releases
wouldn't be such a grueller if your
mates bands sounded different. But
with splinter groups like the shitty
$UP its a bit like musical chairs. $UP
boast members from other bands
who've already been tagged onto
Destructors666's releases and
its getting a bit boring and
predictable now. Fer instance
frontman Sean Phillips
makes another over the top
appearance here, only this time he's
backed by a quirky sax driven
directive which could only work in the
minds of the new punk puritans who
read Metal Hammer. Is Mr Ruined
holding the purse strings in the
Peterborough punk scene? You'd
think so due to the amount of times
he's appeared on this labels
releases, coz believe me it ain't for
his crooning. Maybe he's just bribing
the record label to let him fullfill his
alter ego by screeching his way
through the Guinness book or
records? Cut to the music indeed.
Stop/start biscuit tin drums add to the
tedium with only brief moments of
guitar frenzy to take your mind off the
rest of this vehicle for over
indulgence. Highlight of
$UP if you
could gag the singer and beef up the
drumming has to be the anonnymous
sax which is
X-Ray Spex /Neon
inspired. But I bet the band
claim its some new breed of ska
punk, well they would wouldn't they?
Ska punk my arse!
Destructors666 after the three see
through dirges that preceeded them
are a welcome reprieve indeed. First
'Decadence' bellydances its
way through the haze with a neat
pseudo Arabesque 'Come Out And
Play' riff, which was good. I wasn't
quite sold on the rest of the song
though, coz it sounds like it was
slapped on in the studio at the last
minute without due care or rehearsal.
Which is a pity, as this could've been
singer Allen Adams big chance to
show us just how much rhythm and
abuse he could muster while we
dance in the streets as the homeless
burn, the punk scene gets infiltrated
by metalheads and Ziggy humps
Chanelle. But this is the
Destructors666 were talking about
here, so its read off in deadpan
'Psycho' on the other hand
does actually show plenty of rivvum,
mind you its a cover but strikes a
chord in a punk rock 'n' roll way. Its
also got elements of
the Stranglers
the Ramones in there, but im
still trying to work out who the fuck
done the original? They end with
their best number
'Flying Saucer
. Which boasts a rowdyish
drumbeat and bass twister delivered
in tongue in cheek fashion. It's all
about Aliens and comes with an
hilarious lyric of
"why are they here,
what do they want/ looks better
dressed by Mary Quant".
this looks destined to become a
Destructors666 live encore for a
long time to come maybe?
'The Best Of Runnin Riot' CD
(Solitude Urbaine)
April 2007
Runnin Riot are the kinda
street-punk/Oi! band who give this
kinda genre real credibility. This
band positively excel in a studio
enviroment, compared to their
raucous and often chaotic live
appearances. To really appreciate
what this band has to say and offer
without the drunken shennanigans
and shitty PA's they encounter, you
just gotta slot this CD in. 'The Best
Of...' displays a certain gritty edge
that bands like early
Menace once
had, but this time it comes from the
streets of Belfast. So y'know its got
enough street cred to make bands
like the
Dropkick Murphys take em
on tour for 6 weeks across the US
and lightweights like
Beerzone seem
like a buch of method actors. One
thing that hits you straight away is
they got their own sound. It ain't
sabotaged by any awkward, meat
fisted slog that usually grunts out the
Oi! scene. And at last we got a band
who steer clear of the Americanisms
or hardcore bollocks to spoil our fun.
This is raw brutal working class
protest music here, and comes with a
great no thrills powerful production.

Runnin Riot
offer solid well executed
compositions of life in Belfast today,
so don't fuck with them and they
won't fuck with you, unless your from
Madison, Wisconsin! When the first
half of this collection was recorded
back in the late 90's they were hardly
known to the outside world and didn't
have the exposure they so truly
deserved. I first remember reading
about 'em in HAGL zine and you
knew if Trev Hagl was getting excited
about a band maybe they were worth
checking out.
Runnin Riot formed in
Belfast 1997 they released their
debut album the superb 'Reclaim The
Streets' within a year, which is by any
standards an exceptional debut for a
band only 12 months old to spit out. It
hits you straight away with brilliant
snapshots of Belfast life.
is a song you can almost
sniff the boozer to. Belfast heroes
Georgie Best and Alex Higgins (who
both liked a drop of stout) may not be
punks but they get the best send off
a local band could give em!
are a band who like the craic
and it shows in their addictive
boisterous witty anthems. They also
have a serious side and the
sectarianism and violence that
blighted Belfast over the years is
never far from
Runnin Riots
themes. You can whiff the
antagonism on the outstanding

'Divide And Conquer'
that has a
certain edge provided by those mean
guitars. Lead singer big Colin Riot
might not have the musical dexterity
of his hero Colin McFaul from
, but he certainly knows how
to direct his spit 'n' sawdust delivery
which comes with an unmistakable
Belfast brogue. And together with
intelligent tunes makes for a
formidable arsenal of weaponry on
this release.
'Johnny Reggae' is a
bass driven cheeky little number
similar to the Piglets hit, but with a
90's perspective about some
loveable rogue and displays some
neat guitar licks that give this song
an almost unique sound on this
album. Their biggest influence is
Cock Sparrer and the
. But without sounding like any
of them,
Runnin Riot seem able to
tap into a universal need for a good
tune and a rowdy anthem. They
deploy good backing vocals that has
touches of
the Undertones at times
so theres lots on here to please all
tastes in punk. This is predominant
on songs like
'Right Through You'
that rips open the hypocritical
polticians set on top of an infectious
riff. Other standouts like the defiant
'PTA' and the potent 'Were Not
Gonna Take It'
hammer home the
quality in
Runnin Riots grasp on
creating great punk rock. By now
however the original band had split
with only Colin remaining amongst an
ever shifting line-up. I have to say the
quality of recording takes a swift dive
by the time they recorded 'Built In
Belfast' their official second album in
2004, which is a pity coz the later
songs on this 20 tracker suffer. If
they were given that early raw
production they would be vying for
your attention nearly as much. They
do come close on
'Divided Loyalties'
about corrupt unions and
grating footballs rich fan elite but
again the inferior production what
make up these later sessions ruins
the spoils and takes the sulphur out
of these tracks. They were recorded
in a place called the Warzone which
dont really live up to its name one bit.
They do come back to their raw
rowdy best with the chanting
Not Gonna Be Used'
which shows
they've still got a knack for good
defiant tune in the 21st century. As
they tinkle us out with the 'Buckfast
Tonic Wine (Outro)' which has some
clever piano and the chink of glasses
its cheers from
Runnin Riot. They
also do 3 covers by
Blitz, The
and Twisted Sister but
its really their own numbers what will
keep you coming back for more.
There's also a video of
that comes with some
versions of this album, but not on my
promo copy grrr! Cheers to Billy Riot
for passing this on.
for the 'Reclaim The Streets' session.
Runnin Riot
'Deaths A Career -
Singles & Rarities' LP
(Pure Punk Records) 2007
Now here's a blast from the past as
Drongos For Europe
who are currently more popular now
than they ever were back in 80's dust
off their hard to get early material
dating from 1981-84 for Pure Punk
Records in Italy. What you get here is
a must for any new
devotee who wants to discover what
the band sounded like when they
were as young and rabid as most
their current following. Its also good
for old wankers like myself who
missed out on a lotta these rare
recordings due to excesses we wont
go into here. Gotta say compared to
their current material not many of
these tracks have made it to the 21st
century, but for split breeders like
meself its a welcome additon to their
growing discography. They slip in
with the 'Adverse Chorus' EP which
was self released in 1981. Which
features 4 tracks of t
he Drongos in
prototype form.
'Peace' sounds
extremely tame compared with
numbers they blast out these days,
but 'Black Cross' and 'Destruction'
showed a glint of future grit. The final
track 'Hope And Glory' along with
'Black Cross' are the only numbers
from this era to merit a 21st century
rerecorded ressurrection with a much
needed power surge. Coz to be
honest these recordings sound really
weak in comparison. But it's suprising
what a year can do in the life of a
punk band, coz 12 months later
unleashed the 'Deaths A
Career' EP on Birmighams Tempest
records. A release  which shows a
considerable improvement both in
attack and a severe tightening up in
band dynamics as they pummel into
the title track which is still my fave
Drongos track. The speed is
notched up, the guitars have just
unloaded a wagon load of grit and
Tommys vocals are a lot more in your
'Split Breed' boasts a rare
guitar solo that reminds me strangely
of nights spent in Digbeth's Civic Hall,
'Russian Delight' just goes
mental!!! Still on a European theme
'Dresden' recorded in 1984
appeared only on a recording studio
compilation album and sees the band
going off in a more commercial vein
with possibly one of the most
involved numbers on this album. Side
two continues with the follow up EP
on the Tempest label released
towards the end of '82 called
'Eternity'. This is another memorable
track with a chugging verse and sped
up chorus which changes pace in all
the right places.
'British Summertime'
is inspired by the riots of Britain that
were rife at this time, while
is another track begging for a

ressurrection as its got a
neat chorus with a catchy riff and
shines a spotlight on the
Kingstanding punks as they run the
gauntlet in early 80's Birmingham.
The last 3 tracks were never
released officially anywhere but were
recorded between 1983 and '84 and
the Drongos in a more
creative mood on
'Dripfeed' which
has an early
Ants feel and is the
pefect soundtrack to
"overdose on
. 'Force To Change'
which later turned up in revamped
mode on 2004's 'Barcode
Generation' LP see's the pace drop a
notch as they opt for power over
speed on this menacing number
which rumbles on into the distance.
They end with
'Breakdown' which
didn't quite capture the spirit of the
previous two tracks but seals this
punk rock time capsule for posterity.
This is definitely aimed at the
collectors market but with a band like
the Drongos who are still going
strong with a good new following im
sure it will be a must have. Only 300
copies of this album are available on
Italys most daring record label Pure
Punk Records.
Comes on black vinyl with a neat
ripped up Union Jack and
leopardskin cover which will please
Dek Drongo no doubt.
Pure Punk Records
'Many Were Killed,
Few Were Chosen' CD
(Rowdy Ferrago) June 25th 2007
Well it had to happen the
Destructors 666
have been on a
whirlwind of recording frenzy output
over the last couple of years, with an
avalanche of CDEP releases. So
threatening to release an album was
a foregone conclusion. Now its here,
their debut with a reincarnated
lineup. Many Were Killed, Few Were
Chosen is an 18 song album
featuring an embarrassing amount of
selected tracks off their recent output
with only a handful of new or
reworked compositions. They kick off
with one of their more memorable
'Decadence' from the last EP
that glides in on Arabic riff while their
world crashes to a halt around them.
Catchy and addictive ain't words
you'd normally associate with the
Destructors 666, but this track does
the job in a strange kinda way. It's
also a precursor to the big theme
running throughout this apocalyptic
album, that comes in a not very eye
catching Alien invasion sleeve. Inside
the lyric booklet the artwork turns
decidedly goffik black and the tiny
lyrics require binoculars to read. But
don't worry too much about that kids,
coz this is a band who don't really
have a lot to say outside their
paranormal universe. Rowdy Ferrago
records always does a professional
package, just wish the overall sounds
were as inspiring. I think with a band
like the
Destructors 666 your either
gonna like em or loathe em! I know
they ain't been getting too much
positive feedback from what I can tell
reading fanzine reviews, but they
apparently sold a 1000 copies of last
years '6.6.6.' EP in just 20 days! So
maybe my sources are wrong or they
got a hidden fan base secreted in
the suburbs of Peterborough? Songs
'Baby Heart attack' has a more
rock 'n' roll feel while
'SERB' with its
"Static Electric Repulsion Bomb"
choral chorus gives us a neat surreal
'Bullshit' sees the band
goin' back to their early 80's roots.
And while they are there, they also
resurrect the old
Blanks song
'Northern Ripper' which has its
moments after being adopted into
the Destructors repertoire when
various ex-
Blanks jumped ship to
the Destructors. After just
the Damned's classic first
slab and their supreme take on
, it becomes a chore when a
band like
Destructors 666 attempt
the same quest. You can see the
chasm between the two bands is
frighteningly obvious, so lets just say
Destructors 666 version leaves
a lot to be desired. They add a bit of
fun to the proceedings during
Saucer Men'
which is another track
you'll wanna play more than just
once. However things go even
further into absurdity as they
straddle a
New York Dolls pose
complete with mouth organ and rip
the piss during
'Ive Been Watching
(The New York Dolls)'
tee hee. Great
arrangement but Allen Adams one
dimensional vocal interpretation ain't
gonna get him in
the Dolls tributes
top ten. They finish off with a song all
about spewing up called
Pizza Song',
not quite sure where
vomit fits in with the impending Alien
takeover plan? But but I'm sure
there's a subtle link somewhere?
Yeah this album does have that
'taking the piss' vibe hiding beneath
its dark veneer. But it makes you
wonder if the band are just playing
bad to piss you off or in reality they
ain't got that much to offer? They are
a band who seem to have a
disturbing personality disorder and
seem quite happy experimenting with
a variety of styles. The only problem
is they don't quite nail any of them. I
suspect its that middle aged punk
syndrome. You have the seeds of an
in house band at your disposal, and
a record label to put your stuff out.
So why not flood the market with
whatever trash you can knock up in
the studio after a few beers and
release it. Which is fair enough in
this day and age of do it yourself
expressionism, but whether or not
every one else is gonna be as
entertained as their local fan base
remains to be seen? Can't see this
being an album ill be regularly
spinning, but someone OUT THERE
might like it?
(Demo) CDEP 2007
Doll Stake are a new Female fronted
punk band from North/East London
who are playing the London circuit as
we speak. I come across their
myspace site, liked what I heard and
upon further investigation they sent
me this 3 track demo to review.
have a very definite
uncomplicated but sometimes
plodding UK 77 style about them.
Although they probably weren't even
born back then, it makes a diverse
change in today's shouty million miles
an hour punk climate. However it
sounds more like the band are still
sussing each other out as a unit so
hopefully a more fluid approach will
crawl out NE London one of these
'Six Months Ago' is a quirky
track on relationship breakups with a
memorable chorus that could've
been on a Streets or Raw Deal
compilation. It certainly has that kinda
feel with a basic rivvum section and a
raw guitar sound that are all
hallmarks of the period, with only its
title as the only give away it was
recorded more recently. 'So I Married
An Axe Murderer' continues in the
same pace and style complete with
sinister riff and those dark witty lyrics
about a domestic killer who pays the
bills and keeps the garden tidy. You
can almost sense that
Doll Stake,
despite threats ain't gonna be
singing protest songs about the
nerve of Gordon Browns spin when
there's axe murders and domestic
fallout to dramatise. Vocalist Sarah
who hails from nearby Telford has a
distinctly reserved English delivery
when she sings which sounds very
novel. You'd almost expect her to
have been resident at some posh
boarding school and run off to join to
a punk band. Guitarist Mick has a
neat guitar sound and can knock out
a solo or two when he wants to. To
close they add a live version of
'Bloodbath At The Ivy' as the final
track which gives us a good taste of
what to expect in a
Doll Stake live
situation, and features their latest
drummer who seems to add a more
reckless dimension to their sound
which aint no bad thing. I think they
could do with a few more frantic
numbers to colour their set, coz with
more gigs and a regular rythm
section to absorbe into they could
produce more dynamic stuff.
'Concrete Rockers Go Up Town'
45 (Choking Hold) 2007
Well this was a long time coming,
over a decade in fact, but the wait is
finally over thanks to Choking Hold
records in Canada for sniffing out a
quality punk outfit when they hear it.
How come home grown British punk
labels don't seem to notice whats on
their own doorstep? Well their loss
and our gain coz Harlow's
Antibodies were always a band that
given the right studio enviroment
could show us exactly what they're
capable of. And thank gawd we can
now hear them in their infinite glory
on black plastic. This is definitely the
best 45 and debut release this year.
Last years promo CD featuring a
taster of studio tracks was good, but
this fuckers excellent! Hurtling out yer
speakers like nails in a dirty bomb
with a raging mix, no flab, very Lean
and extremely mean with all the punk
snot you could fit in an envelope and
post to Canada. As the eery guitar
licks in for opening track
amidst feedback, oil tanker
drums and a snarly bass plus those
Dalek like vocals you know your
hearing something worth writing
about. Lead singer Pete spits out a
long list of real life grime and
ignorance in the eye of the storm
before once more it closes as it
begun in a subdued but definitely
sinister format.
'Plan B' which is
rapidly becoming my fave

song of all time is next.
The sentiments about how life is
cheap in a disposable age are all
very true but its the actual delivery
and and arrangements of this
particular number that hits home
every time. Great back up vocals that
add a whole new dimension to their
sound and Pete's stabbing lead snarl
exposing the shit. You could almost
hear elements of the
on this track, it has that
same sorta vibe but from a very
English perspective and even a
Crass influence rears its dark head
for a few seconds as the last verse
gets detonated...they close with a
"I'm the body in the forest
that no-one ever finds, I'm a
deserter in this army of lies."

'Hymns For Dregs'
is a heads down
no messing buzz saw workout that
would give the kids in the blitzin
outfits a run for their money as its
spat out at an hyperactive rate and is
over before you can scream....
buses never arrive and the people
are cunts".
'Glamour Of
has transformed from
the name of an
collection that was self released a
few years back, into an actual song
and its good 'un. We get to hear of
the bands love affair with another
long list of bogey men, despots,
human failings and abuse that is
usually found in most Government
Policy's these days, but now we have
our very own soundtrack to all crap.
Perfect! This red white 'n' black
colored bomb see's one little boy
patting another big boy and comes
with a much needed lyric manifesto
thats stamped on top of a brick
throwing youngster on the streets of
Belfast. An Informative, entertaining
and realistic punk rock release for
the 21st century.
Oh and before i forget there's an
Antibodies album penned in for
release in 2008!
'If You Can't Fuck 'Em,Cut 'Em Up!'
(Hells Tone) Feb 2007
Got this via UK zine writer Trev Hagl
who is their number one fan. You
wouldn't be far wrong in thinking his
biased and devoted appraisal of the
band was a bit over the top, even for
him. But from the opening manic
chords of
'You Don't Know Me Yet'
"but you will") you soon realise
unless your a total freak like some
the wankers he ponces about with
online, all the hype he's been
spreading about these fuckers was
actually true! Its a rough diamond of
a production, but that raw appeal
don't take nothing away from the 15
tracks on here. What we get is the
gritty realism that all the punk
poseurs out there dream about
writing about, but never manage to
create in their fabricated safe
lifestyles. Lines like
"I must've had
fingers in my eyes"
and "I'm gonna
bite the smile right off ya face"

should go down in punk folklore for
decades to come. Most of the lyrics
will piss off some, but ain't that what
good punk is all about? If punk was
safe, polite and PC we'd never have
had bands like the
Pistols (77
version) or
Crass to keep the liberals
in vogue with brutal reality. And
Barse give head to realism in all its
grotesque forms, unlike say the
Buzzcocks who offered us "just
Barse actually add a crude
desperation and highly hilarious take
on failed relationships, betrayal and
domestic drudgery in the council flat
depression of 21st century Britain.
Lead singer/songwriter/guitarist and
the general beating heart of this
band is Gaz Brown. Probably the
best export from Stanley, UK the
punk scene's ever had. He however
sadly committed suicide shortly after
this album was recorded late in 2006.
So this is sort of his epitaph. BUT
what a statement to go out on! He
pours out all his demons on this
album via a roller coaster ride of
addictive punk rock done with
energy, attitude and some dynamite
anthems. They may not have Pete
Shelley's camp romance seal of
approval, but
Barse certainly deal
with real life that's as addictive and
almost as poppy in a giro kinda way.
With the right backing this album
could've seen 'em playing to a far
wider audience. If so called punk
labels like Fat Wreckords had
enough suss to get up off their fat
arse and go looking for real punk
outside Americanised wannabes,
maybe they could've broke these
cunts across the states? Well all I
can say is thank fuck for Swedish
labels like Hell's Tone records, who
do know the real thing when they
hear it. You have to really play this
album a few times before you soak
up all those little twists and
innuendos. Its well put together and
owns a subtle confidence you don't
often get in low life punk bands.
is an memento based on fact
and written from an daggering
perspective with Gaz sealing his
loved ones fate for all eternity. He
even conjures up his own language
with words like
'Towser'. 'Voices In
My Head'
is sad in a retrospective
way, giving us a sneaky preview into
Gaz's psyche. And with those
buzzsaw guitars, a twisted world view
and the voices which eventually led
him to his own demise reveals a sad
reflection of wasted talent coz
nobody really did care in Gaz's manic
Barse then go in the opposite
direction with that zany over the top
humour in songs like
'Die Die "Ya
Freak'. They can sometimes
be one dimensional with similar song
structures, but the
Ramones made a
career out of that. If it ain't the bang
on lyrics, the sarcy dry delivery or
just the fact they are all a pleasure to
listen to countless times over and
over, it makes you wonder just how
good punk rock is sometimes. I do
particularly like the slower more
'Breaking Up Is Easy To Do'
which has elements of 'Teenage
Kicks' in the riff, but dog rough
snipes along with that brilliant guitar
riff make it another
Barse master
piece. The recurring theme of
marks on my heart"
and "cigarette
burns on my soul"
is never far away
on this album. 'Something Happens'
is on a similar footing with more rabid
riffs and those biting caustic lyrics
about frustration and romance in a
world of slags 'n' drugs and council
estates, you can't help but laugh
along with. 'Terminal Breakdown' is
one of the best snapshots of life on
Britain's council estates since
'London's Burning', where chavs are
a curse and burglars more rampant
than the rats. But undoubtedly the
best and most hilarious track of the
album has gotta be the rowdy
'Tourettes'. This blitzin' piss take on
some sleazy Tourettes sufferer,
complete with symptomatic sound
effects, comes with the sneering lyric
"another boring day again ive
got nothing to do, i think ill get the
tins in and then re-enact world
war two, or maybe watch a porno
and pretend i am the star, or stand
on an flyover and throw bricks at
the cars"
tee hee! If that ain't
enough the killer line had to be
threats don't bother me, bring who
the fuck you like!"
guffaw! This is a
band who in the past were seen as
some grotesque Geordie in house
joke, but this album is their rude
awakening and scream from the
gutter, albeit in Gaz's case way too
late. Definitely another music in a
different council estate, only this time
we have Gaz Browns undeniably
scary, gritty, twisted version for a
21st generation to ape!
Miss this at your Peril!
Hells Tone Records
'Lick 4 Kicks'
CD (promo) 2007
Brand new band here from
Birmingham, UK who I caught live at
one of my rare gigs this year, which
is where I picked up this 4 track
promo. For a first band on they really
kicked the gig into touch with their
brand of high energy rock 'n' roll
punk. However by the time this review
hits the fan they will have no doubt
broke up so here it is for posterity,
just in case they are still pissing it up
the wall somewhere. Apart from the
dreadful name they feature Sam,
Birmingham's own 'Tank Girl' on lead
vocals and guitar, who has had stints
in bands like
Eastfield and Cupid
to name but a few. Not sure of
the rest of the bands history? But
they are all proficient musicians in
their own field. First number
has an almost Eddie And The
Hot Rods
feel about it, as they
unleash some feel good tunes with
sleazy guitar and some impressive
dropouts, before listing their
"Jimmy Hendrix, Joe
Strummer, Johnny Ramone, Phil
...wot no Sid? 'I Knew Nothin'
is a more moody number with
elements of dub from the rhythm
section with good drumming and
bass work, plus some slidey guitar
which makes a change before they
career into an all out thrasher at
various stages of this relationship
breakup song. I can sense elements
of folky punk in this bands
multi-faceted agenda, and this kinda
song reminds me of a female fronted
P.A.I.N. if thats yer bag? They then
throw in some angry rap during
'Obsession With Possession' which I
thought was their weakest number
and went on way too long, as it
turned into a rant with lots of musical
influences gettin thrown in which just
didn't quite gel. Sam's live presence
and singing probably needs more
work to make it count in a studio.
'You're Just A Bigot' was an all out
punk number with neat scuzzy guitar
as they tell all the racist, sexist,
homophobic bigots out there to go
"fuck off and die!"...err OK I get the
message. Neat introduction to a more
than capable new Birmingham band,
and if they're still together catch 'em
live coz they'll keep you entertained
before a shimmy to the bar. Comes
with a good production and with a
handy lyric sheet.
'Biberati Ut Gothi' Split CDEP
(Rowdy Ferrago) Sept. 2007
Oh its great to be bought back down
to earth with yet another hard to
decipher and exotically named 6
track split
Destructors666 EP. This
time paired with the hideously named
Fletch Cadillac. And compared to
Barse who have just left my
speakers these are definitely from
another planet!
Fletch Cadillac from Norwich to be
precise sound very Psycho billy on
their opening track
'Out Of Luck'
which has some neat clean
shimmering guitar work which I've
become quite prone too from a
recent night out at a Psycho billy
bash in Brum. They then kick in with
the singing which is OK but spoilt the
musical ambiance for me.
is more straight down the line
and reminds me of pretentious
Gothic bands from the early 80's like
Lost In Texas remember them?
They seem to like to flex their musical
prowess which is no bad thing and
sounds despite the name, to be one
of the better Rowdy Farrago
pairings. Final track
'Blind' sees em
going for a more atmospheric
approach with neat back up vocals
akin to
Adam And The Ants 'Kings
Of The Wild Frontier'
period, but is
let down badly by those rock guitars.
I hear through the grapevine an
album is due in 2008, and good to
see the label spreading its wings
outside the incesteous Boro confines.
Destructors666 land with a chopper
rotating its blades in the background
'Forces Of Law', which is their
vain attempt at a sort of street punk
attack on the police force which
sounds way too clean and over
produced for us to take em seriously.
Although this kinda track suits Mr
Adam's vocals way better than most
of their other attempts. We then get
the token cover from the past, and
this time its a 7 minute version of the
Velvet Undergrounds
amphetamine anthem
Light/White Heat'
which I spose is
great for a band to mess around
with, particularly in the studio. But I
doubt they'll be worrying Mr Reed for
royalty's on this inferior alternate
version. Final track is
'Axles Of Evil'
which could almost be about Mr Axel
Rose, but is where
have made their own little conspiracy
niche in the bands current modus
operandi. They still leave a lot to be
desired if they ever wanna compete
with bands like
the Briefs or Barse
who are a million light years ahead of
them in attitude alone. But middle
aged punks don't die, they just buy a
studio and languish in their own
indulgences. Comes with a desert
setting cover which will look nice as a
beer mat!
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