| SILENT MEOW '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. Silent Meow maybe the latest siren led bunch of punkers in CA but show their experience from previous outfits (Derita Sisters/Coachroach Candies) 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 early 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 Derita Sisters 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 Silent Meow are now back out gigging again! Purrrrrr! WORTH A LISTEN www.myspace.com/silentmeow |
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SNOTTYNESS... Punk Rock Classic - World Contender - Worth A Listen - Average - Plastic - No Future
| D'CORNER BOIS/BARSE '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 outfit 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 "British 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 Shit' is an optimistic rally call for everyone to have their say and not keep it buttoned. There are definite early 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 old 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 through 'Dirty Girls', 'Purple Hearts' and 'Chelsea Flats' you can hear the future 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 'Better 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 Ready', 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. 'Safety Net' 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 'Don't 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. Barse 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 with the Heartburns, that could've come straight off the classic album. The side splitting and frantically paced 'Spunk In Her Tea' followed by the immortal '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 glossy 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. WORTH A LISTEN www.myspace.com/dcornerbois www.myspace.com/barsefilth Hells Tone Records |
| SILENT MEOW '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 Romeo' 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 catchy '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 collection. WORTH A LISTEN Get it now if theres any left for $5 postpaid anywhere in the world. www.myspace.com/silentmeow |
| VIOLENT FUCKWITS 'Ignore The Pain' CDEP (Self released) 2008 The Violent Fuckwits return with a skanking dare I say it P.A.I.N. 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 the Fuckwits DIY sleeves...'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 thinking. 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 the Blame pencilled in for the near future. WORTH A LISTEN For more on the band go here... www.myspace.com/theviolentfuckwits |
| DESTRUCTORS666/ WHITE CLOUDS AND GUNFIRE '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 proteges 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 to 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 a 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 "POLICE STATE" 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. WORTH A LISTEN for the Destructors666 tracks only. www.destructors666.com |
| BUG CENTRAL '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 is 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 hold"...the kids with knives who come back to haunt us. Seems Bug Central 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... "everyones 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 "id 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 action. UK CONTENDER www.myspace.com/bugcentraluk |
| LONDON PX 'Orders' (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 verses. 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. WORTH A LISTEN (for Punk collectors only). www.myspace.com/thelondonpx Pure Punk Recprds |
| BROKEN MINDS 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 class 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 chords. WORTH A LISTEN www.myspace.com/brokenminds666 |
| DESTRUCTORS666/EASTFIELD '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 Eastfield's 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 the Destructors666 going into experimental mode and is the best track on here. As the Destructors 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/tunnel...next stop Peterbrough! AVERAGE www.myspace.com/thedestructorsuk |
| THE RABBLE 'The New Generation' (Big Cheese) Promo August 2008 New band (to me) who are getting some amazing publicity via Big Cheese 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 Dropkick Murphy's 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 "I AM FRUSTRATED WITH YOU!" 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 inspired "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. WORTH A LISTEN www.myspace.com/therabble |
| DEVILISH PRESLEY '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" underlining "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. UK CONTENDER www.devilishpresley.com |
| DESTRUCTORS666/DIRTY LOVE '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 Dirty Love 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 pony. 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 Destructors666 couldn't mess up and came complete with honourable J.T. 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. AVERAGE www.myspace.com/thedestructorsuk |
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