| 2011: PAGE 1 |
| NEW YORK DOLLS 'Dancing Backwards In High Heels' CD March 2011 A couple of days ago I managed to track down an advanced promo of the upcoming New York Dolls album 'Dancing Backwards In High Heels' and after giving it a listen my initial excitement soon gave way to despair! Personally speaking I think they've stumbled and fell on their collective arses this time. I'm now hoping that the DVD footage that will be included with the official CD release in March is more interesting than the music included here, because in my humble opinion this is the worst Dolls album yet! Apart from 'Talk To Me Baby' and 'You Don't Have To Cry' both of which are reasonably good songs. All the attempted 60s style girly backing vocals, parping bontempi organ and retro budget production can't disguise the fact that the other tracks are well below par, with the yardstick being the Dolls' own classic recorded legacy. I can't believe David Johansen and Sylvain Sylvain could tarnish the Dolls reputation with this collection. I've tried to brainwash myself into liking this new album but I'm sorry to say I just don't. 'Cause I Sez So' was bad enough and a warning sign we all ignored. I lost count of how many people told me last summer that the new (at that time) line up sucked live at Rebellion 2010. And it remains to be seen whether or not former Bowie guitarist and all round musical journeyman 'Earl Slick' can help halt the on stage decline. Sadly speaking as an extremely longtime New York Dolls fan who loves the band dearly, I definitely think this is one 'NYD' album too far. Changes in personnel don't seem to have worked in their favour and everyone knows that it was always going to be an impossible task to live up to the original line ups legendary status. It might be time to consider putting this once great band out of it's misery and call it a day once and for all. PLASTIC New York Dolls (Guest reviewer Joe Donnelly Belfast 17.2.11) |
| POUNDAFLESH (Freefalldrunkpunkrecords/ Poundaflesh records/ Winston records) CD/EP 2011 Zine writer Tom Freefall is not only happy with nicking tunes for his highly eclectic CD compilations, that he generously slips into each issue of his fanzine. He's now joined a trio of like minded individuals to put out the latest Poundaflesh EP. Who in case you didn't already know, hail from Derby. I seen them perform a few times in the 90's when I got to a lot more gigs, but they seemed to go off the radar for a while. Only to emerge with a reshuffled line-up. Cutting back to a lean 'n' mean 4 piece. There's no little bloke Flipper no more and have a new singer since I last heard them. Sounds like they gone back to basics on this, their latest 4 tracks of fast and uncompromising hardcore punk with a slight 'right on' vogue. The ultra frantic 'Over The Top' is pure and utterly raw but perfectly produced hardcore punk and a great intro to this rabid 4 piece's sound. 'Rotten' continues the momentum as the band growl about their rotten to the core ideology and how "their black hearts pumps poison". Indeed intensity seems to be their preferred cup of poison and goes hand in hand with the bands momentum. I don't always enjoy too much ultra fast hardcore punk these days, but this is really fresh and sparked my imagination. It's just a pity when they do take their foot off the break, the vocalist (no band line-up info on the sleeve?) couldn't vary his delivery. Some diversity would give the song an extra special kinda menace. However that was my only gripe. 'Hate Crime' features a Discharge like solo but with a more metallic edge. They end with an ENT cover of 'Show Us You Care' that sounds like they made it their own and makes me wanna go out and search for the original. Coz it boasts a fantastic riff as the music is left to seethe and ride giving us an instrumental interlude, before the vocal roar kicks in. You gotta love those guitars, rabid, raw and every other adjective you could think of to describe this kinda music. This EP is just what the underground hardcore punk scene is about, on a good day. After listening to these 4 tracks you can almost picture the dripping pools of sweat they must leave the stage too. And if these are on dope, it sure ain't slowed or nullified their performance. Not sure I could handle a full albums worth? But 4 tracks was just the right prescription. When crusty punk's played this well its a pleasure to behold, even for old tossers like me. Recorded and mixed in the back streets of Derby by Poundaflesh themselves. And comes dressed in an equally fitting skull 'n' bullet obsessed sleeve with lyrics. WORTH A LISTEN www.myspace.com/poundaflesh1 |
| EPIC PROBLEM 4 track demo February 2011 Had this sent in from Mackie the original bass player in Blitz the former early 80's punk band, who made a fucking classic raw debut and gave us a clutch of stunning follow up singles and one rather potent album. Before sadly going off tangent and splitting up in the 80's. With original singer Carl AWOL and poor Nige the guitarist dying in a tragic road accident in the US. Mackie is back with a new line-up and has now switched to guitar for a studio project just to test the water and because he still loves punk rock, and why the hell not? Its by no means a Blitz comeback and the band has no intention of becoming one. But from listening to the 4 tracks I'd have to say a comparison is inevitable. Especially in the sound and delivery. You can tell they're a new band but the essence of potential is there for all to hear and it will be interesting to see how this project develops. It's early days yet, but these recordings were made available with a copy of fanzine Suspect Device which also featured an interview with Mackie. So worth getting if you wanna find out more information. For sneak previews go to the bands myspace site and listen for yourself. 1.Recoil 2. TV War 3. Reaction 4.Reason WORTH A LISTEN www.myspace.com/epicproblem.com |
| HARD CASE 'Not Right In The Head' (Hard Records 1) 2011 CD Been a long time waiting for this debut platter from one of Belfast's real street level punk outfits. Hard Case have been playing regularly with this line-up for the last 18 months building up a strong rowdy fan base both at home and overseas. Thanks mainly to singer Billy Riot's continual networking both at home and abroad. Not Right In The Head comes in a mohawk festooned front cover shot of the band in action and a out of character camera shy Billy beside himself with anguish. Which is a good introduction to a generous 15 tracks. The soothing tones of a Harp playing 'Greensleeves' deceptively introduces the romping 'Hail The New Dawn' (and the new Dark Age) with a compulsive riff, which was promising. Hard Case then pay humble tribute to Joe Strummer on 'Come Back Mr Mellor', which ain't quite as good or as impressive as the opening track. But it explains why Bill (a massive Clash fan) created that 'Riot' jacket he wears religiously to gigs. They then offer us a worthy Cock Sparrer cover of 'Where Are They Now?' But its on their own songs where Hard Case really do excel with varying degrees of success. Good to hear Bill's vocals becoming more ambitious as the band gets more confident. 'Wacked Off Her Tits' slows things down before building up into chunky anti drug ode about pretty young vibrant punk girls who start taking drugs and inevitably their life turns to complete shit! It must make the local Belfast punk populace wary of extravagances, just in case the observant Mr Riot gets to hear about it and writes a song on the subject tee hee. "Hard Case deliver a mixture of old style, cheesy punk rock with the odd fastasfuck, demented, angry rant along the way", and that description is so true. I particularly enjoyed the eery 'I Am Jack' which features a French spoken chorus that roughly translates "i am the great i am", in this ska tinged observation about arrogant serial killers who believe they have some higher raison detre. 'Welcome To The Romper Room' gets revisited from a previous life. A song that tours the dark underworld of Belfast vigilantism as local drug dealers get their come upance. 'Danni 15' is more upbeat focusing on the numerous nubliles that dwell within the Belfast punk scene. I somehow don't think this young girl will be too pleased about her inclusion, but hey, she's got her 15 minutes! The lyrics to 'Monkey On His Back' sound really good, its just a pity their wasn't enough room or cash on a shoe string DIY budget to include all the lyrics, as I'm sure there are a few pearlers included. 'Hard Case' is the bands signature and this new version seems to have tightened up a lot compared with an earlier recording. The thought provoking 'Our Guitars Kill Fascists' lives up to the title, on this fast number that has some good guitar overdubs included for better effect. They then turn on the humour big style which is never far away from this bands sound and ideology. The hilarious 'I'm Here For The Ginge' has a compulsive sinister riff and a side splitting chorus as ginger people get un-mercilessly attacked. Comes with the brilliant line of "even god don't like you, and mother nature wants you dead". Hard Case ain't a band to pull punches as far as their annoying contemporaries go. 'Crusty The Clown' features even more hilarious put downs on the noise polluters of the punk scene. The overall effect and sound Hard Case have engineered on this release has elements more akin to Half Man Half Biscuit than the Rejects, especially with its low fi production. And the hysterical 'Glitter To The Gloom' that singles out the Emo crowd has one of the funniest sketches I heard on a punk record since maybe the Sloppy Seconds. Featuring a Bart Simpson type of piss take of the gloomy Goff fraternity. They end with a raucous recorded live rendition of the Pistols 'Bodies', which captures the bands more chaotic hardcore live approach and its a pity they couldn't quite capture that heavier guitar sound onto tape in the studio. But they seem happy with the results and it entertained me in parts. But as the band point out on the sleeve "if your a ginger, emo/goth, fascist, crusty, tory voting drug dealer, then this album is probably not for you". Ha! WORTH A LISTEN www.facebook.com/Hardcasepunk |
| PARANOID VISIONS 'Outsider Artist' (FOAD Records) 45 late 2011 Dublin's long serving punks Paranoid Visions are a band I find a struggle to get into. They have a great name and put on a good live performance as I recall from the last time I caught 'em. But musically I find there's just too much going on to leave you with an everlasting vision of paranoia or just rampant pure punk audio pleasure. There always seems to be a glitch, a mad tangent or an uncomfortable segment to contend with. And like their band, there seems a lot of people involved with this release. Too many if the truth to be told. Along with 3 labels and the end product of a measly 3 tracks could leave you feeling a little short changed. Although I must be in a minority as this limited edition record reached the top 10 in Eire last year, rubbing shoulders with X-factor types in the main pop charts. How many do you have to sell to get into the Eire top ten...300? There's a host of guest artists involved, which do little if anything to enhance the recordings. Best track of course was 'Outsider Artist' which comes at us with an addictive chugging guitar riff and sublime bass that conjures up impending doom, as TV Smith crackles "outsider artist won't you come in from the cold" (his only line). Let's just say TV's his once unique ultra potent delivery from the Adverts era is not with us any more and feels more like a cranky old nuclear wastrel. Which I spose he is. Luckily for us Paranoid Visions Deko Dachau the giant front man takes up the rest of the vocal chores which are a lot more believable as he gives us his level best Boris Karloff impersonation. The chorus reminds me of Devilish Presley somehow, with co vocalist the brilliantly named Sarah Bellum jumping in the fray as they sing "so this is why I cling to punk, so this is why my life is fun", but I somehow get the feeling they ain't a band who are running round with smiling happy faces even after chart success. The black lyrics are more interesting than most, but you'd need an literary degree to suss ‘em out? Maybe that’s the point? They knock out a middle Eastern guitar solo which ain’t exactly as addictive as that famous one by the Offspring, but the overall riff on the song was the best moment of this track that grows on you despite its annoying chorus and mish mash of sounds. I suspect the Paranoid Visions are dying to become way more arty if their punk brethren would let them get away with it, but we all know if thats gonna work they gotta nail it good and proper, but so far the hammer they're wielding ain’t hitting its target all of the time, except maybe in Eire? Flip it over and 'Control' is an off the wall piece featuring The Shend from the Cravats infamy on vocals and Theremin. I love the Theremin sound but lets just say a spaced out waste of space with lone drum, sci fi synths and some abhorrent Redditch vocals isn't gonna worry Barry Gray or his ilk. Liked the early Cravats, but I’m not a big fan of the Shend’s off the wall solo stuff and certainly ain’t now. I just think this particular collaboration was experimental crap! 'Prophet For The Lost' was a little better and considering it was recorded in New York seems a lot of trouble and a long way to go to put together a rant put to music which was supplied by some outfit called the Blame. It offers an interesting lone solo guitar and a dementoid vocal which reminds me of something Dee Dee Ramone would come up with. Except the lyrics are a little more adventurous. Lyrically it closes with a nod to Crass with the refrain "do you wanna come closer". Comes in an eye catching fold-out sleeve similar to Crass, but with a paranoid and visionary collection of images and artwork. AVERAGE! Cheers to Mike Clarke from Inflammable Material for sending this. |
| EXTERNAL MENACE 'Early Demos E.P. (1979-84) (Loud Punk records) 45 December 2011 Neat little artifact here from the days when External Menace were but kids under 16 and dipping their toes into the punk bubble. Despite their youth, inexperience and the basic production taken from shitty little cassettes (the masters are long gone) these demo time capsules recorded in 1979, '81 and '84 respectively, show the band had talent which enabled them to develop their style through the ages. You can tell by even the earliest recordings they were set to become one of Scotland’s punk mainstays for the simple reason they had more tunes than most, they possess an idea of song structure when most kids were creating a tuneless racket. Finally they knew how to play 'em! Sneddy the band’s leader and eternal member since day one must've had a calling to play guitar and create catchy, gritty punk songs. And along with being angry, paranoid penniless punks, their hunger makes for a volatile mix. Side A. feature's 'Tomorrow Today' and 'Ban The Bomb' from the '79 demos. We have to realise in the late 70's nuclear war not Terrorism was a major concern, it could literally happen any time and this scenario fuelled the more in tune punk bands like External Menace. But instead of taking the Crass route these Livingston punks were influenced by the Ramones and Dead Boys musically, and produced a raw rabid hybrid sound that you could actually sing along to, which would catapult them way ahead of their peers. Its a shame they didn't get more breaks. 'Tomorrow Today' is External Menace trying to break free from their drab reality, but it was 'Ban The Bomb' which is the most impressive with its driving riff and Wullie's snarly vocals as the sussed lyrics declare "ban the bomb or there will be nothing left to ban" and highlights this early demo's potential. By 1981 the band had picked up more speed and a new drummer on the chant led 'U Dictate U DK' which is a simple but catchy call for defiance. 'Live N Learn' is like the band motto, they were living and learning their craft as External Menace become more powerful with this full on attack that shows glimmers of their superior tuneage. By 1984 the last track 'No Mean Feat', sees the fiery Scots delivering their more familiar sound with tunes and melody combined with enough balls to underline their anger. Sneddy their accomplished guitarist and songwriter shows off some of his great riffs and his distinctive vocal delivery always seemed a preferred choice. This EP is well worth checking out if your a fan of the band. Comes on neat limited marble vinyl with a fold out lyric sheet and cover plus a short history by External Menace main man Sneddy who still fronts the band today. Cheers to Welshy for passing this my way. WORTH A LISTEN! $6.50 postage paid in the USA or $12 PPD for both www.loudpunk.com/ |
| SHAM 69 'Dare To Win' (Only Fit For The Bin Records) CD Single October 2011 Gotta be a first for Punk Rocker reviewing a one track promo CD? Is this the shape of things to come? Or was the b-side omitted because its that bad, or heaven forbid are ‘Only Fit For The Bin’ label tight gits? The missing track in case you wondered is called ominously 'Just Ordinary' so say no more! It says a lot about a record when the story behind this track was way more interesting than the actual song. Also I'm not so sure this is as rare a find or as sought after as the hideously named 'Only Fit For The Bin' records proclaims. The promo sheet regales it as being some long lost treasue, but sounds like it was recorded last year. However just to enlighten you, the story goes... when Jimmy Pursey left Sham 69 (for the first time in '79) lured away by a certain Malcolm Mclaren to front punks first super group the short lived Sham- Pistols along with Paul Cook and Steve Jones. It must've left Dave Parsons his songwriting partner gritting his teeth with anger, and of course on the rebound. So the remnants of Sham 69 quickly drafted in a replacement. Who was an old mate of the band (which is always a bad move, just look at the first Menace reformation). His name was also Jimmy, Two Jimmy's can you believe? Jimmy Edwards to be precise. Mr Edwards had previously made a name for himself in the short lived but highly enjoyable Masterswitch in '78, but they folded. However before Sham 69 swiftly side tracked Mr Edwards and reinstalled Mr Pursey once he'd been booted into touch by Cook and Jones, for the heinous crime of having a bigger ego than Rotten! They had managed to record a few tracks which have only now come to light. 'Dare To Win’ written by Edwards/Parsons is the track in question. It was never officially released in Pursey's absence, which says it all. So if you are still here after all that, well done! It actually has a Who vibe about it. Especially on the verse and is a lot more mellow with the tambourine high up in the mix. We are missing the more powerful terrace anthem of the Pursey version which eventually turned into 'Unite And Win', and the guitars sound a lot tamer. Vocal wise its not too bad Jimmy Edwards has that chirpy chip on his shoulder Cockney swagger, but seems old even then. I much prefer his Masterswitch vocal delivery coz on this track he seems rather ragged. This is obviously geared towards Sham 69 completists only. It's also not the best introduction to the label, although looking at their catalogue of releases there are some genuine artifacts worth checking out if your into 1977 punk rock, which has been known to send a shiver down your spine, this however won't. PLASTIC! Only Fit For The Bin Records |
| HOOLIGAN 'Prodigal Son' (Advance Records) CDEP 2011 See the cover of this release with the 3 punk kids from late 70's Dublin with those tell tale badges. Well the kid in the middle is Dave Linehan the guy who sings and plays guitar for Hooligan. I think a shot this good deserves recognition and what better place to beam it out than on the cover of your own bands release 30 odd years later. What’s even more impressive is Hooligan live up to the late 70's sounds in spirit and attitude at least. These days David may have lost his fresh faced youth and dog collar, but he's armed himself with a guitar, a bunch of songs and a band to deliver them to the masses. This 5 track CDEP is Hooligan's second release since forming 2009, and they certainly have that punk authenticity running through them that bands like Rudi and the Undertones brought to the Irish punk scene all those years ago. Makes a change to hear a punk band that’s not got one iota of American hardcore in its delivery. With a name like Hooligan I was half expecting a locker full of ham fisted Oi! But thankfully you couldn't be further from the truth. This is traditional punk rock played with a 21st century outlook. Hooligan kick off with the title track 'Prodigal Son' that smacks of '77 and reminds me of the kind of band that frequented punk compilation albums like 'Streets'. It's maybe a bit too laid back for the speed freaks amongst us, but comes with an impressive guitar solo and a certain Strummer-esque delivery on vocals, thats just missing the lisp. Pity there's no lyrics included, coz it sounds like a song paying homage to some of the characters and reprobates that made up the Dublin punk scene. It's all wrapped up by a top class production. They up the ante slightly with 'Back On The Piss Again' which again has a neat addictive driving riff reminiscent of the Ruts to these ears, before shooting off into Clash territory that’s laced with skanking riffs before recoiling back into that neat solid power chord. We then for some strange reason get a second mix of 'Prodigal Son' which upon further investigation could possibly be the superior version if you like your punk a bit more raw round the edges. Although its a shame this version was ambushed by some weird spoken word segment which totally ruins the song even with that superior beefy guitar solo that really did "kiss the world goodbye". The live tracks are recorded at Dublin's Fibber McGhee’s, and real good quality recordings. So much so, you can hear everything including the out of tune back up vocals which may need to be more tighter when the recording light goes on. It's a crying shame this song wasn't recorded in the studio as 'Rebel Heart' sounds like a memorable tune and owns even more Strummer like howls amidst atmospheric dropouts and not forgetting that by now tasty Hooligan lead guitar break. Maybe the live dynamics of one man and his dog audience didn’t really help, but the tongue in cheek 'Nowhere Man' complete with militaristic drum intro and Dave Linehan berating the drummer for coming in too quick adds some comedy to the proceedings. Not quite sure if it’s part of the act and intentional? Whatever it was, it was amusing as it turns into a mid-paced stomper that is another live staple by all accounts. Hooligan have been gigging like whores during 2011 so look out for them in a town near you soon. They are currently putting the finishing touches to their debut album which after hearing this sounds an interesting prospect. WORTH A LISTEN! HOOLIGAN PRODIGAL SON |
| THE MACHINES (Angels In Exile Records) CD December 12th 2011 Had this sent in direct from a band who are new to me, but were very much around in 77/78 and stake their claim to fame for being the first punk band in Southend. Which has gotta be applauded in staunch Dr Feelgood /pub rock territory. They were formed by founder singer/guitarist Nick Paul who is a big Stooges fan and they released one record the "True Life" E.P. on Wax Records in 1978. Which despite its shoestring budget got John Peel plays and is apparently now very collectible. However the Machines first burst of activity was short-lived and they broke down in 1978. So nearly 30 years later with Nick who now looks the spit of Agent Orange front man Mike Palm, and original bass player Duff who resembles a member from Spinal Tap reformed the Machines in 2006. They drafted in a new drummer Steve Machine, who just so happens to have drummed in early 80's punk outfits like the Sinyx and Kronstadt Uprising. So the local punk lineage is kept intact. They are now a full gigging unit and have generated enough material for this self titled debut album. Which features 9 new tracks, plus one reworking of an old number. We also get a generous 6 tracks from their 77/78 heyday, including the much sought after 'True Life' EP. The Machines certainly ain't major league punk players, but they have enough talent to create a neat little niche of their own in punk with their tongue in cheek delivery and knack for a tune. They definitely have enough energy and drive to draw in even the most die hard punk devotee on this 16 tracker which handily collates all the bands recorded product to date on one CD. But as they are a band in motion and gigging regular, new material is always on the cards. Their style is '77 era of punk, in sort of a Vibrators John Ellis era crossed with maybe the Heartbreakers. But lead singer Nick Paul ain't no Johnny Thunders or Knox, his delivery can be a little too fragile at times. He certainly owns an affable friendly vocal which will draw you in once those addictive tunes start kicking in your subconscious. And he certainly ain't no slouch on the guitar. Opening track 'Racing' is a reworking of an old number and was good but 'Cyclone' was even better until the guitar dropped out and the bass was left under the spotlight but seemed to lose its way but clawed its way back with a groovy sinister riff which was neat. 'Perfect Black' had a catchy "C'mon" chorus which you could imagine the crowd raising their arms too and shouting in unison. 'Pirate Times' had a dirty grind but the singing was a little weak for such a lawless song. 'Weekend' was another goody but the lyrics seemed kinda juvenile and corny. But maybe if you don't read the lyrics you'd be left with a good time punk number that will either get you humming or lurching for the eject button. They get a little serious on 'Girl In Black' which is all about the NY drug haunt Chelsea Hotel and is kinda dark for the Machines usual subject matter which utilises a Heartbreakers swagger until you hear the vocals which will have you in stitches, especially when Nick sings "johnny and nico said theres gonna be trouble!". There’s almost a 'Tommy Gun' drum intro during 'Chain Gang' which has another side splitting vocal about getting chained in the dark, and you wonder if the band are just taking the piss. If that ain't the case then 'Sue This Song' really is verging on the ridiculous. You can almost hear a slight snicker in Nicks vocal. You get the feeling that the band are either taking the piss big style or if not and they are actually serious the Southend and its locale should be very worried! Whatever their aim is they seem to enjoy what they do and I enjoyed it too. I doubt they're the kind of punk band who could offend your Grandma let alone anyone else. Which may put off the young snot buckets who wanna change the world and like a bit of danger and sulphur in their punk. But I found myself quite liking the Machines naivety more with each listen. Must be my age? They conjure up enough tunes and the occasional bit of flair to make it really good entertaining back ground music. In stark contrast the 6 bonus tracks are what the Machines sounded like in their youth circa 1977/78 and they sound a lot more rabid with way more speed and frenzy to their performance. Not sure which version of 'Racing' I prefer, the short fast original or the laid back later performance? Both have different aspects what appeal. You do notice a distinct change in young Nicks vocals from his current delivery. The Machines in '77 do actually sound like they would scare your Grandma, or maybe giver her a headache and the overall effect is way more intense. Finally there one and only 'True Life' EP gets aired from the vaults of obscurity in its original '78 recording which is a neat inclusion. They remind me of bands like the Killjoys with that same diy low budget attack. The chorus of 'True Life Real Life' has a strange resonance about it as they contend with new technology like answer phones which is an innocent insight of what was deemed as new and advanced in '78. Its all lovingly put out on drummer Steve Machines new label Angels In Exile which comes with a neat red and black full colour 16 Page booklet containing rare photographs and memorabilia plus all the lyrics and band history. WORTH A LISTEN! THE MACHINES Angels In Exile Records |
| EPIC PROBLEM Demo #2 (Pumpkin Records) CDEP October 2011 Long overdue review of the latest Epic Problem 3 track EP recorded live at Pumpkin studios, Manchester in September 2011. A few of the tracks should be available to download via the band’s Bandcamp website, so check them out for yourself. Epic Problem to those in the know are the 21st century version of what Blitz might've or could've sounded like had they not moved onto futuristic territory before finally fizzling out in the 80's. Epic Problem are certainly not a Blitz covers band either, and so far its all brand new material. However you can't help but hear the Blitz phantom looming over their output and within it. I bet they could knock up some great renditions of the Blitz back catalogue. Check out the gritty, raspy rough 'n' ready vocals by Jake and those chunky power chords supplied by Mackie. On this session they seem to have gained way more confidence and composure. They are starting to sound really together. They generate a dirty distorted guitar sound which was the Blitz calling card and is great when it’s rubbed up the wrong way by those roar course vocals. 'Battles' commence with a rather angry vibe. You get the feeling these guys ain't happy with their lot in their South Manchester confines, but sound wise they are gaining ground which should put a smile on their faces. It all unravels during the chorus as they growl "the bitterness is rising, rising to the top" before they drop out to a lone vocal and chugging guitar as a 'Tommy Gun' drum roll builds up into the main crescendo. 'Versus' (which has a video link here) is the most catchiest tune of the bunch. Singer Jake pleads "need to get away from here" or is it you? The typewriter lyrics supplied on the foldout cover are very bleak, but leave you with no clearer idea on what the song is really about, as they cut the vocals out for a musical interlude before launching into the grand finale. Last track '(Not So) Smart Bombs' is a chugging sort of anti nuke song which is a hard concept for the listener to conceive regarding a band whose clenched fists are so permanently tight in the grey world they inhabit. Maybe it’s a survival song? Although I'm sure now Epic Problem are a bonafide band they will be around for a little longer at least. The artwork is in a similar vein to something Joy Division would come up with, very grey oblique and very Manchester! WORTH A LISTEN! You can obtain the full 3 tracks for a quid from Pumpkin Records or email the band at epicproblem@live.co.uk |
