| THE DAMNED '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 The Clash's 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  £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 Damned 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. The "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 Pain' 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 Damned 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 hyperactive '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 singles '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 Damned 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 proficiency. Disc 3 Is quite a find for Damned 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 record 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 captures 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 'Circles', 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. PUNK ROCK CLASSIC www.sanctuaryrecordsgroup.co.uk |
| 2007: PAGE 1 - PAGE 2 |
| SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future |
| LOWER CLASS BRATS 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.Lower 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 capture 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 fresh. 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 proves. "How you guys doin. It's been a long fuckin time... how about some Ultra fuckin' Violence?" sneers 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 Bullet' 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 'Who 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 "ONE LAST SONG" over and over before the Brats return with not one but two songs with the addictive 'Safty Pinned And Sick' and the defiant '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 the Brats really rule! WORTH A LISTEN www.tkorecords.com |
| PSYCHO NEGATIVES NO WHITE RAG '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. Psycho Negatives 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 Destruction' 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 Blitz's 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 same. 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 'Cabbie' 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 'Still Screaming' comes with the best riff of the bunch amidst a big drum roll and another latino guitar solo. Think or early 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. WORTH A LISTEN www.purepunk.it |
| DESTRUCTORS 666 + $UP '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 past Destructors666's releases and its getting a bit boring and predictable now. Fer instance the Ruined's 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 Hearts 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 song '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 glory. '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 and 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 Man'. 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". Actually this looks destined to become a Destructors666 live encore for a long time to come maybe? AVERAGE www.destructors666.com |
| RUNNIN RIOT '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. 'Alcoholic Heroes' 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! Runnin Riot 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 Cock Sparrer, 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 apparently Cock Sparrer and the Clash. 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 'Corporate Box' 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 'Were 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 Oppressed and Twisted Sister but its really their own numbers what will keep you coming back for more. There's also a video of 'Alcoholic Heroes' that comes with some versions of this album, but not on my promo copy grrr! Cheers to Billy Riot for passing this on. UK CONTENDER for the 'Reclaim The Streets' session. Runnin Riot |
| DRONGOS FOR EUROPE 'Deaths A Career - Singles & Rarities' LP (Pure Punk Records) 2007 Now here's a blast from the past as Birmingham's 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 Drongos 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 the 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 the Drongos 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 face. 'Split Breed' boasts a rare guitar solo that reminds me strangely of nights spent in Digbeth's Civic Hall, while '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 'Violence' is another track begging for a Drongo 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 captures the Drongos in a more creative mood on 'Dripfeed' which has an early Ants feel and is the pefect soundtrack to "overdose on makebelieve". '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. WORTH A LISTEN Comes on black vinyl with a neat ripped up Union Jack and leopardskin cover which will please Dek Drongo no doubt. Pure Punk Records |
| DESTRUCTORS 666 '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 tunes '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 like '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 intrusion. '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 form the Destructors. After just reviewing the Damned's classic first slab and their supreme take on the Stooges, 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 the Destructors 666 version leaves a lot to be desired. They add a bit of fun to the proceedings during 'Flying 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 'Pavement 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? AVERAGE www.destructors666.com |
| DOLL STAKE (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. Doll Stake 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 days. '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. WORTH A LISTEN www.myspace.com/dollstake.com |
| ANTIBODIES '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 'Reality Cheque' 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 Antibodies 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 Dead Kennedy's 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 defiant..."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...."the buses never arrive and the people are cunts". 'Glamour Of Backwardness' has transformed from the name of an Antibodies 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! UK CONTENDER www.myspace.com/antibodiesuk |
| BARSE 'If You Can't Fuck 'Em,Cut 'Em Up!' CD/LP (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 lust". 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. 'My bird' 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 world. Barse then go in the opposite direction with that zany over the top humour in songs like 'Die Die "Ya Fuckin" 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 sinister '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 "slash 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 of "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 "idol 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! UK CONTENDER www.myspace.com/barsefilth Hells Tone Records |
| ALCOHOL LICKS '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 Stunt 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 'Alcohol Licks' 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 heroes... "Jimmy Hendrix, Joe Strummer, Johnny Ramone, Phil Lynott"...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. AVERAGE alcoholicks77@yahoo.co.uk |
| DESTRUCTORS666/ FLETCH CADILLAC '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. 'Twisted Views' 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 during '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 'White 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 Destructors666 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! PLASTIC www.destructors666.com |
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