2011:     PAGE 1
'Dancing Backwards In High Heels'
CD March 2011
A couple of days ago I managed to
track down an advanced promo of the
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
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
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.
New York Dolls
(Guest reviewer Joe Donnelly
Belfast 17.2.11)
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
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.
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
2. TV War
3. Reaction
'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
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
"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
, 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
"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
Hard Case have engineered on
this release has elements more akin to
Half Man Half Biscuit than the
, 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
your a ginger, emo/goth, fascist,
crusty, tory voting drug dealer, then
this album is probably not for you".

'Outsider Artist'
(FOAD Records)
45 late 2011
Dublin's long serving punks Paranoid
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
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
. 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
Cheers to Mike Clarke from
Inflammable Material for sending this.
'Early Demos E.P. (1979-84)
(Loud Punk records)
45 December 2011
Neat little artifact here from the days
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
. 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
e 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
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
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.
$6.50  postage paid in the USA
or $12 PPD for both
'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
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
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
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

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
Only Fit For The Bin Records
'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

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
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.
(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
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
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
. 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
Vibrators John Ellis era
crossed with maybe
. 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
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.
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.
Angels In Exile Records
Demo #2
(Pumpkin Records)
CDEP October 2011
Long overdue review of the latest Epic
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

might've or could've sounded like
had they not moved onto futuristic
territory before finally fizzling out in the
Epic Problem are certainly not a
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
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
here) is the most catchiest tune of
the bunch. Singer Jake pleads
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
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!
You can obtain the full 3 tracks for a
quid from
Pumpkin Records
or email the band at