'Silent Meow'
(TRASH2001) CD Sept. 1st 2008
You always knew Silent Meow would
produce an energetic debut album
that was preceded by the rather good
'Kitty Porn' EP (see below) and sees
the band going off in the same pop
punk direction. Some of whom you
maybe familiar with if you live in Santa
Barbara area of California.
maybe the latest siren led
bunch of punkers in CA but show their
experience from previous outfits
Derita Sisters/Coachroach
) on this their debut full
length. Which is rammed solid full of
catchy well arranged pop punk gems
sealed with a delectable Germanic
accent. Tight musicianship, good song
structures with a definite ear for the
charts if only. 'Angel Whore' has good
back up vocals as blonde bombshell
singer Sylvie Pussycat gives us her
confident vocal that has touches of
Debbie Harry. 'Hell' is less
frantic as drums pound but is one of
the best tracks on the album with its its
sinister synth led chorus and haunting
vocal. 'Born To Fuck You Up' which
reeks of punk rock snot and is
dripping with Miss Pussycat's most
attitude driven outburst to date, along
with busy drums and guitars that claw
right through this outfits catchy vibe. 'I
Hate You' features a grindy riff and
reminds us once again of primal
Blondie during 'Detroit 442' era.
Another novelty number which too has
possible chart potential is the
addictive 'Black Heart' which is ultra
sleek and laced with black humoured
fun. 'Gillian Anderson' the old
hit gets a Silent Meow
makeover with this chant-a-long live
fave saluting TVs most seductive FBI
detective complete with neat synths.
We also get scummy tracks like 'Nasty'
which I bet is a crucial heads down live
fave. 'Bloody Moon' slides in with
shimmering guitars as the haunting
chorus shimmers through your
speaker stacks as Sylvia purrs and
croons over resonating guitars. They
simply couldn't leave us without any
doubt and their best tune which is a
blinding cover of
Jim Greys dark and
mystical 'They Can See In The Dark'.
A song that lures us into the world of
Vampires. It circles and swoops giving
us that other world feel as our sexy
siren produces her best vocal amid a
dark menace of melody from Rock
Smash and Chance Void on guitars,
Pat Statutory on bass and Lurk
Armstrong on drums. This 17 track CD
comes with a cool cartoon cover fold
out lyric booklet plus a neat shot of
Silvie screaming into a mic. Since it
was recorded lead guitarist Chas
Smash and his lovely wife Silvie
Pussycat have now produced a baby
to add to their resume so the band
went on hold. But I now hear
are now back out gigging
again! Purrrrrr!
2008:     PAGE 1 - PAGE 2
SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
'Everythings A Mess'
Split CD (Hells Tone) July 2008
Never thought id be saying this after
witnessing a rather tame live
performance last time I seen em in the
summer of 2007. But Birmingham's
D'Ccorner Bois on this split are really
gearing up to be a strong contender
for West Midlands punk supremacists.
They leave the
Drongo's in Europe,
have more aggro than
GBH and they
fill in the vacant space left by
Contempt's more left wing policy.
They sing about real things that effect
us on a daily basis, not some fucking
war that barely makes the headlines
these days. Stuff whats effecting them
not whats expected of them! I like the
local outlook of songs a lot, which
merge well along side the more
national themes. Yeah Everything is a
mess! What makes a difference here
from so many others doing this kinda
thing is they got the tunes to back up
the rants. And sat next to some clever
duel guitars and the spot on
production its gotta be worth your
attention. They also know how to
convey it which is a major difference
from the rant 'n' roll formula. I wasn't
too keen on Al's vocals in his previous
the Nihilists, but he's now
showing us a more potent delivery as
they slag off the yuppies of Digbeth
with a lazy but potent guitar twang.
They revel in creating their own riot
which is more tongue in cheek, but
aimed at the local whinging populous
to get up off their arse. Its a fair
comment when they chant
people duped by Nazi's"
but when
there is no alternative and the UK is
over run with strangers from a strange
land who will not assimilate into British
culture but are quite happy to suck the
system dry. Duped seems slightly out
of context coz Joe Public despite what
punks think, can see whats goin on
and the majority just don't vote for
anyone when all your offered is a list
of cunts! Talking of which
'Spin' is
another rowdy track where they stick
in well aimed boots at the media
political game. Final track
'Throw Your
is an optimistic rally call for
everyone to have their say and not
keep it buttoned. There are definite
Oxymoron influences here in
the sound delivery and song
composition with neat short but
memorable anthems you could see
the Brummy hordes jumping around
too for quite a while yet!
Gotta say now
Barse is no more due
to lead singer Gazz's untimely death, it
looks like its time to resurrect some
Barse demos and long lost singles
on the strength of the brilliant If You
Can't Fuck Them, Cut 'Em Up! album.
However their early pop punk
workouts which kick off the 17 tracks
on offer here, seem more mod than
snot! Which don't really suit em well
and seems pretty tame. As we shuffle
'Dirty Girls', 'Purple Hearts'
'Chelsea Flats' you can hear the
Barse tuning up in the wings.
We still get the sarcy tone of the lyrics
which are the giveaway on these early
demos. But if your fix of
Barse is
hankering for some major distortion
and common as muck grit after
hearing the the defiant 'Cut' album
you'll have to wait for the zany
Be Ready'
single which is where the
band were really starting to produce
the sound and velocity they will go
down in legend for.
'You Better Be
their ghoulish Charles
Manson gloat, complete with manic
paced guitars and theme park clown
laughter, to add a slightly sinister
surreal effect is a song that makes
you feel the blade of a knife.
is less frantic but another
enjoyable shirking responsibility song,
and great advise for future shirkers.
Barse are a band who had no morals
which I think is fucking great! I like
Wayne's crunchy guitars on
Wanna Know You'
which harks back
to '77 in style but comes out the bar
with a 21st century viewpoint. Bands
singing about what goes on in
England instead of adopting an
American outlook is always gonna be
worth your attention, it's grim but ain't
it always been that way? That's why
we as a nation are world leaders in
ripping the piss. there ain't much
alternative, and
Barse were great
ambassadors .
'Waste Your Time'
sees an array of production line sound
effects come into the fray and makes
this track the standout of the bunch,
especially with a blazing zombie guitar
solo, manic vocals and sick laughter.

weren't just interbred Geordie
low lifers they were punks from the
Real side of life? For completetists we
get two tracks from their 2006 split 45
the Heartburns, that could've
come straight off the classic album.
The side splitting and frantically paced
'Spunk In Her Tea' followed by the
'Breaking Up Is Easy To Do',
which with hindsight is
Barse at their
most prophetic. Comes with neat liner
notes detailing
Barse's history and
D'Corner Bois lyric booklet.
Cheers to Ben for throwing me this
and the settee to doss on last summer.
£4 within UK and £5 outside.
Trades welcome too.
Hells Tone Records
'Kitty Porn'
(Kotumba) CDEP July 2008
Latest 5-song CDEP out now featuring
four songs NOT on the forthcoming
debut ST album which is available as
we  speak!
Silent Meow are very
much making a noise on the CA Punk
circuit and you can see why with
opening track
'Born To Fuck You Up'
which reeks of punk rock snot and is
dripping with Silvie Pussycats most
snot driven outburst to date, great
stuff. Rock Smash's ability to keep
churning out quality punk tunes is
continued with
'Kiss And Kill' which is
less frantic but has hidden depth as
Silvie's powerful vocals create an
intense atmosphere and the guitars
roar with menace.
'Rock And Roll
is more poppy and sweet but
don't be fooled into thinking its lame as
its equipped with another driving punk
backdrop that won't fool even the most
gormless out there, and of course
Silvie's vocals put the icing on the
cake. 'Bad Habit' is probably the
weakest of the bunch but they all have
claws that will do damage and knock
spots off most new bands entering the
punk rock fray. They finish with the
'Suicide Bar' all about drinking
hovels that don't excite and coz its got
a female vocal tends to be unique as
far as bar room songs go. Good set of
tracks to wet your appetite for the
album which is will be reviewed here
soon! The cute cover cartoon of Sylvie
Pussycat on the front with her kitty
porn stars is in stark contrast to the
vampish live shot on the back which
endorses what this band are all about.
They promise a darker edgier sound
for the new recordings. Comes with a
classy production and packaging, with
only 100 released makes for a very
special inclusion into your punk
Get it now if theres any left for $5
postpaid anywhere in the world.
'Ignore The Pain' CDEP
(Self released) 2008
The Violent Fuckwits return with a
skanking dare I say it
influenced type of slagging which
actually works very well. Pity I ain't got
the lyrics to see what they really think
but you get the message if you know
the story. Billy's vocals are really
coming into their own on this track as
the punks who preach and quite often
do the exact opposite when no-ones
looking, come in for a pasting! It's all
engineered in a rather subtle,
inventive way showing some clever
tricks up t
he Fuckwits DIY
'Ignore The Pain' indeed.
The Violent Fuckwits seem a lot
more confident in this skanking
melodramatic arena, which well suits
their clean guitars, so its a pity the
guitarist who recorded it and wrote the
music for this track has long gone, but
its featured here for posterity.
'Fucked Beyond Redemption' churns
up the gears as the band go into an
all out anti fascist thrasher which
would help greatly with more meat in
the rhythm track, but the band blame
the studio, which means another
studio is required next time I reckon!
'Guaranteed For The Boys' is less
frantic but has that
Violent Fuckwit
signature guitar running all through it.
Last but by no means least
'The Diary
of Johnny Nobody'
was another
highlight and has a bit more power in
the guitars as
the Violent Fuckwits
give us a
Clash type stomper about
punks and nobodies who don't last
the campaign. Hmmm I can think of a
few who I'd wished had fucked off a
long time ago, but that's wishful
The Fuckwits however are
definitely progressing and looks like
they could be around for the
foreseeable future with a scheduled
split album with New York band
pencilled in for the near future.
For more on the band go here...
'Caveat Emptor'
(Rowdy Farrago) Split CD
February 2008
Another 7 tracker from the production
line of Rowdy Ferrago record label,
this time endorsing wannabe pop
White Clouds And Gunfire
who offer us 3 well produced very slick
indie rock tracks with synths. A band
for anyone who wants some street
level Kaiser Chiefs or cheap skate
Killers. Not really my bag at all with the
radio friendly vocals and overall vibe.
The same can be said for track 2 only
this time they opt for a female lead
vocal which must be a first for the
usually male dominated Rowdy
Ferrago show band stable. Nice safe
vocals don't always constitute a very
memorable or original impact in a
market already drenched in female
artists. Maybe you should've posted
this to Big Cheese or NME? On the
final track they combine the duel
vocals on top of another well played
but extremely tame indie pop
escursion that will probably be a big hit
with indie kids who like their Ipod music
melodic and played at a reasonable
level so they can hear their mom shout
when dinners ready or sense the
muggers on their way home at night.
Destructors666 bring us a load more
grit on their standout track 'Electronic
Church'. Which has a driving riff similar
the Upstarts on 'Police
Oppression' as they condemn the flat
screen TV culture to the depths of hell.
They then slide down a gear and
provide a decent grindy cover of the

Flamin Groovies
'Teenage Head'.
Which has sufficient howls from singer
Allen Adams and is dirty and sleazy
enough to get endorsed for a spot on
Groovies tribute album. 'TVODUC'
is another attack on the goggle box
culture, with a more melodic touch and
haunting back up vocals, along with a
Heartbreakers swaggering solo and
football chants...and all in one song! If
you persevere there's a sneaky quirky
untitled final track that kicks in after 60
seconds or so, which has
as its main chant and comes
with some neat guitar licks, but also an
irritating wooden clicking sound which
reminds me of primary school music
lessons for some strange reason?
Great puke green wallpaper on the
sleeve must get that for my TV room.
for the Destructors666 tracks only.
'Dead Town'
(Stop Thief! Records) CD
September 2008
The mighty Bug Central return from
a 7 year period of inactivity recording
wise, and deliver their second official
album after the highly rated 'The
Meek Will Inherit Nothing' gained them
critical aclaim amongst the
underground punk presss back in
1999.  Noodles Romanov
(guitar/vocals) and Bruce RiffRaff
(bass/vocals) remain from the earlier
lineup. With Charlie Bug comin in on
drums in 2000 to cement this
incendiary three piece.
'Burning Bush' kicks off this albim and
Bug Central as we remember
them, snarly, persistent and in yer
face. The subject matter on this
number maybe out of date since it
was recorded in late 2006, buts its
delivered with a rowdy finger in the air
that was always part of their angry
personna. Wonder what they'll make
of Barrack Obama's reign in the hot
seat? 'When Man Becomes God'
shows the band going into a more
heavier mode musically speaking, as
powerful guitars, pounding druims and
extensive bass runs give it a more
matured vibe, which I like a lot. 'Your
Children Are Coming To Get You' is a
great title and theme as the band roar

"No holds barred, No bars
...the kids with knives who come
back to haunt us. Seems
blame their parents and
society. 'Isolation' features screaming
guitars as
the Bugs denounce the ills
that bug society. 'Tomorrows
World' tackles climate change as the
sun burns, the planet starves and the
ozone reeks havoc. This stark
warning comes with the worrying but
very true  punchline...
watching but no-one cares".

'Annonymity' is great (if you can get it)
coz it features more sussed lyrics and
some great intensive playing as
guitars wail, drums thunder and bass
booms and closes with the defiant
this, we will resist!"
chant. 'Another
Day' sees bass player Mr RiffRaff take
on the lead vocal role as
"Land of
dreams, home of the free, hidden
despair and misery"
sets the scene
for this songs gloomy backdrop. A
Bug Central album would'nt be
complete without the vivisectors and
company directors being brought to
book as eerily pigs squeal, and
Beagles whine on this foreboding
track called 'Twisted Tormentor'.
'Champagne Socialist Meets The
Barcode Anarchist' is another
ingenious song title, just a pity the
lyrics didn't match up to the
questioning theme. 'This Is The Day'
seems to be the best track so far,
maybe its cos its the soundtrack to
tanti capitalist mayhem on the streets
of London and is featured on the
bands myspace. So if you want a
sample of what the band are capable
of, give it a blast and see if it dont
register a reaction in your mind.
'Blood On Your hands' is good as
they shine a spotlight into faces of all
the hypocrites, usurpers and the
usual cunts on the street who take
without thinking. The manmoth 'Dead
Town brings this album to a close as
Bug Central drag the grim reality of
21st century living to our speakers
with a bass driven breakdown as the
drums roll and bells chime!
Not exactly the most positive album of
the year, but these are negative
times. But 'Dead Town' is definitely
one to play for sheer relentless anger
frustration and committed beliefs in a
world thats easily raped by corrupt
MP's, big business and murdering
guarduans of the state. And probably
the first protest punk album your likely
to play without obscene language in
any of the songs! I told you these
were clever cunts. Comes in a stark
black and whte cover with lyrics and a
solitary live colour shot of the band in
(Pure Punk Records) 45 July 2008
I remember hearing London PX on
the John peel show back in June '81
when this 3-track 45 was first out on
the intrigingly named New Puritan
record label. It brings back fond
memories of hearing loads of minor
punk bands you were never gonna
see but could actually hear for short
snatches on radio a few nights a
week. So it was reassuring after all
this time to get hold of this long lost
out of print reissue. As always
intricately released with attention to
detail by Pure Punk Records, even
down to the DIY cover shot. This time
out it comes on a light blue slab of
vinyl in a limited 300 edition run. I
never got the original back then, but I
suspect this plays just as good at 33
rpm. A very stark production greets
you which has all the hallmarks of the
period as bands went into a studio for
a day and made do with the takes they
could use if any?
London PX on this
release come from the late 70's era of
Punk, more so than the early 80's.
They're way less brutal and more mid
paced with a buzzsaw riff defiant
vocals and even a hand clapping
accompaniment during their most
famous track 'Orders'. 'The Man They
Could Not Buy' starts off suprisingly
slow and gradually speeds up but is
less memorable and seems to suffer
more from the shoddy production of
the day. On the flip 'Eviction' is similar
to the 'Orders' in that it has an
inventive riff with more expressive
vocals and energy from the original
singer Cliff Hanger, who also has a
certain Rotten take on a few of the
London PX remind me of a
less impressive
Pack or maybe a
more amplified
TV Pesonalities if you
want a rough comparison. Always
wondered what the
PX stood for?...
Punx? You can find out more about
the band who have now reformed
minus the singer with a compilation of
tracks available on myspace.
Available for 3 Euros + postage.
(for Punk collectors only).
Pure Punk Recprds
CD (Demo) 2008
Wolverhampton trio with a singer,
guitarist and a sampler who I caught
live at some Wolvesfest gig in 2008
where I had this disc given me. This
ten track demo mixes samples and
punk riffs on top of a pissed off rap
forming a suprisingly intense sound
scape. Not really my thing at all but
these seem very good at what they do.
The lyrics are politically motivated but
with no sloganeering or preaching, just
basically the fuck ups that life throws
at you on a daily basis. They are
deployed with a
Beastie Boy (it's the
only comparison I can think of) style
along with a Wolvo accent. So no
cabaret or black gangsta intrusions to
spoil the vibe here. Pity I didn't have a
lyric sheet as I suspect they are pretty
interesting. Opening track 'Class Sick'
is quite impressive with it's heavy metal
riff but as I'm no hip hop guru I just
enjoyed the sentiments, big guitar riffs
and energy they display on record.
Live they are harder act to endure as
its lots of hardcore posturing by three
sweaty white geezers rapping and
scratching with some up front heavy
metal guitarist, which can seem
comical from an outside perspective.
But behind the weird live entity
Broken Minds have some good
ideas, sound effects and a attitude
that covers the same ground as
today's version of punk. They maybe
using different weapons and modes of
confrontation to do it, but it does work.
They have been playing a lot of punk
bills lately. It seems the rap crowd
don't wanna know em, but I doubt
whether they will make major PUNK
inroads either as people may judge
before hearing what they can unleash
in the studio. At least they will get
some stage time and exposure to a
bigger audience. In the studio is where

Broken Minds
excel. They will appeal
to almost anyone who likes loud sound
scapes with real life situations and
ingenious samples. Sorta of a working
Prodigy with gangsta
perceptions and a punk attack. They
sing about being skint, on the dole,
class struggles, drug addiction and the
paranoia of terrorism. The usual quota
for any up to date punk outfit, but
suprisingly no guns, gangs or sexual
put downs for their bitches. Some of
the tracks can sound similar in style
and riffage, particularly 'I Blitz The
Stage' and 'Relight The Fire' which
both have almost identical song
structures. But I suspect they have at
least a couple of albums worth of
material brooding inside their
obviously disturbed minds! 'Eyes Of
The Dead' is less frantic with some
great synth samples and atmospherics
on this grim mammoth track. The most
punkiest tune has to be 'Strike A Blow'
about the working class taking back
control. The penultimate track 'Needle
In My Arm' gives us a deadly ride on
the council estates of Smak addiction
which is a good lesson to hear coming
from a younger generation. 10 songs
of imaginative hardcore rap and power
'Labor Omnia Vincit'
(Rowdy Ferrago) SPLIT CDEP 2008
This collaboration was something I'd
never have put money on. First time
I've heard
Eastfield in a very long
time. It's a good rendition of my live
memories when they were based in
Brum's back street boozer punk scene
with quirky, gritty views on life and a
wandering minstrels overview on the
21st century. Particularly on this
opening track bemoaning nasty stuff
like 'Money'. 'Jumping Under Someone
Else's Train' should not be mistaken
for a Cure song, as this comes similar
in style and territory to 'Money'. Only
this time
Eastfield have taken on
Blyth Power's penchant for train
spotting odes and give us lots of rail
road scenarios and situations. They
still deliver with duel male/female
vocals which has an early
Chumbawamba vibe to their sound,
but I can vouch Jessi Eastfield is the
genuine article. They close with an
original interpretation of
TRB's 'Glad
To Be Gay' anthem which comes with
the chugging guitars and
view on homophobia. Strangely Mr
Robinson who wrote the original is
now a happily married Dad with kids.
Destructors666 roll out once more
with 'Duty Unto Death' which sounds
not unlike their previous releases and
with the usual polished studio
performances that just doesn't quite
ring true. Although the chorus is as
catchy as a Swine Flu outbreak in
Handsworth. This months cover
comes in the shape of
the Seeds 'No
Escape' which has the well known riff
punked up and hijacked to the
Destructors666 satisfaction, but not
necessarily ours. 'Warhol Wilson' sees
Destructors666 going into
experimental mode and is the best
track on here. As the
gears slide down, the vocals sound
otherworldly and slow chugging
guitars churn out yer speakers.
Would've sounded great with way less
polish! The unnamed final track sees
the band going full pelt on some rant
attacking the punk scene and its
pigeonholes, with the defiant chant of
"No Rules". However the very best
thing about this release is the rather
good surreal artwork on the front
cover featuring a skull locomotive
rolling through a sinister clowns
mouth/ stop Peterbrough!
'The New Generation'
(Big Cheese) Promo August 2008
New band (to me) who are getting
some amazing publicity via
magazine and the stages of
the big UK punk festivals like
Rebellion this summer. Whats even
more surprising is they come from
Auckland, New Zealand not Southern
California which is what they sound
like vocally. Kicking off with the
melodic guitar work on 'Carry On' that
does have elements of
contrary to my initial
findings and in equal amounts of this
album has that kinda
Rancid vibe
running through their songs but
without the skanking Melody's. They
do keep their own identity despite,
which is a 21st century version of
punk with tunes and attention to
detail, cosmetically as well as aurally!
The 13 tracks on this promo come
from the bands previous 3 releases...
2005's 'No Clue , No Future' LP, 'This
Is Our Lives' EP from 2006 and
2007's 'The Battles Almost Over'
album. 'Friday Night' boasts a big
catchy chorus and has that buzz I
once got many moons ago in my
Stench days about the best night of
the week. I do see the appeal they will
have with the pristine Mohawks and
squeaky clean punk rock look that lots
of young kids and chicks will love. So
much so they have had chart hits in
their native New Zealand. However for
a band who have been around for 7
years since they were 15 theres
something just not quite right?
They're too clean, too perfect, too
dare I say it...manufactured and
harmonic for punk. I know they're
three very talented young punk
musicians (with shared vocals) but ten
years down the line I can see 'em
playing the blues lol. Joking aside,
you can't take away the powerful
sound they rip out. 'Frustrated' is buzz
saw at its best as they scream
which is
probably the best
Rabble tune for full
on punk attitude. On the other hand
the melodic radio friendly 'The Coast'
complete with a full accompaniment of
bagpipes was a suprise. If it wasn't for
the strangled vocal and
"Oi! Oi! Oi!"
it could've been the Proclaimers!
'Blood And Whiskey' is another big
anthem they seem to be able to
produce with ease, with its East Bay
"Hey Ho's". 'The New
Generation' title track isn't quite so
original and stinks too much of their
obvious heroes
Rancid 'Lets Go' era.
It would be good if they start losing
the influences and see where their
obvious talent takes em. This is a
band with tight musicianship in all
areas just listen to the impressive
bass run in 'Sick And Tired' for proof.
'Step Back' is their most Rancified
influenced track, complete with duel
vocals but with good enough
arrangements to silence the critics.
More bagpipes dominate during 'The
Battle' but I wonder what kinda battle
these kids are actually fighting? I'd
say they're having a ball! The lyrics
sound very liberal and oblique but the
soundtrack is good? Leading into the
final track the anthemic 'Start Again'
which was a big hit in NZ and comes
with (not unsurprisingly) acoustic
arrangements chugging guitars and
harmonies. If you want melodic, clean
cut punk rock with just enough edge
to attract the Mohawk crowd who find
Blink 182 too tame these are for you.
If you want nasty, sleazy, snot maybe
you should look back in the gutter.
'Flesh Ride'
CD (November10th) Oct. 2008
6 years, 300 gigs, 4 albums and
counting. The devilish duo of Johnny
Navarro on guitar and lead vocals with
the lean 'n' mean Jacqui Vixen on
bass/vocals have gotta be one of the
UK's busiest duo's at this moment in
time. They gig for most of the year
complete with drum machine taking in
all the UK toilets and now Europe's
squat scene. I think America is only a
flight case away for
Devilish Presley
after I caught a memorable
performance at a Psychobilly
Halloween bash a few years ago. Can't
believe this is my first real taste of the
band on record. All the critics were
right, they're demonic, deviant,
decadent and deadly! All the D's you
ever need to know or associate with
high octane rock n roll, psychotic
psychobilly and puerile punk. Music to
slink through the alleys to, a
soundtrack to lust after and the odd
classic to make you take notice from
whatever wing of the scene you hail.
Lots of melodramas are played out on
this album, some tongue in cheek
moments, some deprived twists as they
stroll through the dark underbelly of
21st century life. Entering the fray with
'Flesh Ride', which has big elements of
the Cramps in style and atmospheric
greasepaint. They also take their
subject matter from an array of genres
and rock legends with Billy Fury, Elvis
P. and a load more iconic names
splattered across their sulphur
landscape. 'Patron Saint Of Hate'
features Jacqui's ultra gritty Aussie
rock vocal backed by a chugging
heavy guitar riff. 'How I Became A
Hooligan' was for me possibly the
standout track with its glammy chorus
that's addictive as hell and has
elements of Bolan. It has to be said
there were a few average tracks of the
15 on show, but these were well
overshadowed by the better numbers. I
really like Johnny's nasal vocals. You'd
never expect a cloth capped
mouthpiece to expel such a clear and
concise delivery. That confident aura
gives the songs a sinister twist.
Devilish Presley make their own dark
nieche from an array of burlesque
ingredients, check out the acoustic
'Viva Las Vagrants' which has some
great lyrics and could possibly be a
future glimpse of the bands epitaph?
But I doubt it with two talented
musicians in a hellish quest for musical
glory and a date with destiny.
'Bloodsuckers' has a superb opening
riff as the band rip to bits all the
parasites and liggers who they come
across in this fickle business, with
Jacqui's reassuring
"whoah whoahs"
"who really is their
biggest fan"
. The very catchy
'Halloween Queen' must be a number
resurrected eternally for all the ghouls
out there. The hilarious 'You Can't
Spell Rock 'n' Roll' has some great
moments when the band get their
posters mis-spelt by ignorant
promoters who...
"if they cant spell
Presley they cant spell rock 'n' roll"
Ending with another tongue in cheek
moment as the smart acoustics of
'Losin Ground' paints a very vivid
picture of what life in a real
independent band is all about. My only
gripe is theres no lyrics sheet that
came with the albums sparse colour
booklet. I think the sharp lyrics in some
of these songs would benefit from
being displayed, but maybe that was
due to financial constrictions? As for
the music, well you will not be
disappointed catch em soon in a town
near you and see for yourself.
'Lex Talionis'
CDEP (Rowdy Ferrago) June 2008
Dirty Love open this split EP with an
intro sounding similar to
Slaughters &
The Dogs
'Where Have All The
Bootboys Gone' as 'Blow My Mind'
kicks in. Then it all goes into a tame
pub rock workout which has neither the
snarl of
the Dogs or the sleaze of the
pubs it could've produced with mind
blowing consequences. However it did
contain a neat guitar solo courtesy of
the hilariously named Albert Awful.
'£100 Hour' slides in with the same mid
paced swagger and yet another guitar
solo to add to Mr Awful's resume which
at least gave lead singer Lizzi
something to wrap her clear and
crystal vocals around. Don't think the
hookers in the Dam charge £100
pounds an hour, think its more like 50
euros if my mate at work is to be
believed? And I doubt mediocre rock
bands like
Dirty Love are worth that
much either. 'Don't You Say' again
moves in similar territory which I'm
afraid does get a trifle boring after 3
attempts. It would've been neat if
gave us more musical diversity
and more raunch, instead of the tame
rock option. Gotta say I was expecting
a lot more from
Dirty Love after
reading lots of zine coverage on this
band, but even with the hand clapping
and piano inclusions it's shows on
these 3 tracks they're a one trick rock
Destructors666 actually threaten to
steal the thunder from under their
noses with 'Agent Orange' but it veers
into clumsy, meat fisted early 80's
territory, despite another good solo.
Highlight of their 4 tracks had to be the
cover of
the Heartbreakers 'Chinese
Rocks', which even the

couldn't mess up and
came complete with honourable
impersonations, guitar wise. It did
however prove Allen Adams vocals
don't own any scope or desire to carry
a tune, which this song badly needs.
'Gun Culture' tries its best to be
contemporary broaching the gun
problem we all read about on a daily
basis, but was missing some genuine
intent. And finally the hidden bonus
track takes a poke at reforming punk
bands doing it for a fast buck. Which
makes you laugh considering the
Destructors666 have reformed purely
for artistic merits and ego. Don't
believe me?...just check out their
merchandise page. But lets not take
away the fact it come with the best riff
of the lot, pity some of the lyrics wasn't
as memorable.
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