2012:     PAGE 1
‘Bored Teenagers Vol. 6’
(Bin Liner Records)
October 2012 2xCD
A massive double CD collection here
from the reputable Bin Liner records,
who are an offshoot from the brilliant
Bored Teenagers emporium for online
punk trainspotters and the desperate
collectors amongst us. This is a first for
Punk Rocker, as there's a massive 5
more volumes already out on CD from
their back catalogue. All of which host
in depth portrayals of a who's who of
late 70's British punk obscurities. And
without even a snifter of any of the big
names to take the glory. No, thats left
to just very blemished and often
unheard of collections by bands who
adorned the bottom of the bill at the
Roxy, or only played some god
forsaken boozer in the middle of
nowhere. 'Bored Teenagers Volume
#6' features 9 relics from our 77-82
past, and I for one barely recognise
any of the names, let alone the 30
tracks? But have no fear Mr Anorak,
for the jam packed liner notes tells you
each band’s story from the members
themselves in most cases. So here we
go onto the music, kicking off in
suitable style in the form of
from South Wales. They featured
Damned members Roman Jugg
on guitar and Bryn Merrick on bass
respectively. Their 5 track demo
recorded in April ‘79 in some
caretakers house of the local colliery.
Shows charisma and some great
tunes, despite its sheep shagging
Victimize really are quite good
with the band showing pop punk
sensibilities and some spot on back up
vocals, even at this early stage. I’m
sure this would've got em some John
Peel airplay had they sent a copy in.
Although it did score them numerous
support slots with the likes of the
and the Skids which I might've
seen at Barbarellas during the time, as
the name seems quite familiar? They
end with a cover version of
Cooper Clarke’s
'Innocence' which
has been slightly altered and renamed,
but was a really good start.
The Stereotypes are a '77 punk band
formed in Ilford and offer 4 tracks from
their one and only limited edition EP
'The Countdown'. Which was released
in July 1979. There was only a 100
copies printed up, giving them the
dubious honour of being one of the
rarest and most sought after records
from the late 70’s punk era. And fair
play to Bin Liner Records for tracking
them down and giving us all access to
this sought after disc. However
collectors item or not, they sound a
little less talented than
Victimize on
the EP title track, but pick up speed
and coordination during 'Champagne
Suicide' and 'Parisian'. Although final
track 'Telephone Affair' boasts what
can only be described as an over the
top guitar solo which will bring a smirk
to your face once you hear it lol.
Love the name
Unorfadox who came
out the Bromley suburbs in '76 and
offer some of the more interesting
lyrics on this collection, as they name
drop punk haunts like the Vortex and
even wrote a song about the Roxy.
Although on closer inspection
musically they sound like a band who
were embracing punk because it was
hip and not coz it was all they knew.
Which didn't really convince anyone,
especially with their R’n’B influenced
stab at the Roxy. However the lyrics
were certainly fun, but they seemed to
play songs well over the 3 minute mark
which may account for the not so
encouraging results. They certainly
had some good juicy tales of playing to
gangsters or being gobbed on by irate
French tourists who probably got
bored of the length of songs they were
playing? The dreadful looking
Machine come outta West Brom in
1978 and apparently played the Laff
which was my local punk haunt. They
recorded these 2 tracks 'Bored With
The City' / 'Brown Eyed Girl' at
Birmingham's Outlaw studios which
would 4 years later see home
recording debuts of
Dead Wretched,
and some yam yams called
Stench. They released the tracks on a
200 edition only single which came out
on their own label. But didn't manage
to obtain any distribution deals. Which
ain't no surprise, considering their long
hair 'n' flares attire. Sound wise they
offered pedestrian punk, well played,
but a little too tame for the era to gain
a name. Although to be fair 'Bored
With The City' is very reminiscent of
the times in sound. Meanwhile Brighton
F-X sound really good, and are
up there with
Victimize for nicking the
honours on disc 1. They offer us the
anthemic 'The South Rises Again'
which was adopted by the local football
club Brighton And Hove Albion and
actually got em some Jonn Peel plays.
'OBE' is another catchy ditty with
enough snot to make it of interest to
any condescending reviewer of punk
antiquities, or even you!
F-X are the
first band to offer some real angst and
attitude with songs like 'Slag', but they
spoilt it all with a clumsy cover of
Bowie’s 'Queen Bitch', which was a bit
of a let down compared with their
obviously superior original material.
Cover stars
Vox Phantoms soar in
straight outta Gloucester. They
released a split EP with local punks
Dead Airmen (who are next band up
on this compilation) in 1979.
secured a short lived
support slot on
the Ruts tour of the
UK, but was cancelled after only two
dates due to
Ruts singer Malcolm
Owens drug indulgence. The two
tracks in question sound promising
despite being recorded in one take.
'The Time Is Right' promises to grow
into a monster, but seems held back
by some off key guitar solo's droning
on in the background and just as it
starts to speed up disintegrates into an
abrupt halt. However their best track
'Nothing New Under The Sun' which
has an infectious chorus and decent
solo is a good addition to this time
piece period, complete with reverb. For
trivia freaks, they were engineered by
the then unknown Adrian Sherwood
who obviously didn’t have a clue what
he was doing even then. From the
same session come Cheltenham's
Dead Airman who seem a more
livelier outfit and offer us the
compulsive 'Search And Destroy',
which is without a doubt their best
track and has absolutely nothing to do
Iggy's masterpiece, but adds a
mesmerising twist to the much over
used punk call to arms! Bicesters
seem to be the most well
known band on this compilation. And
spit out 4 tracks that are gleaned from
a recording session in 1978. Singer
Hugh Watkins is most notable for his
almost surreal vocal that swoons in on
the bands transistorized punk attack.
He reminds me of Jarvis Cocker or
Rikki from the Last Days Of
coz they own that similar art
school plumby vibe with a decidedly
sarcy demeanour. Especially as their
name was coined from an Evelyn
Waugh novel about decadent young
London. But on second thoughts and
more plays were left a little bit
disappointed after all this time.
The Daze were a trio from
Birmingham and close the album. This
mysterious outfit (no pics included),
seem to have had the most interest
from labels including EMI (pre-
Pistols). For which they recorded 8
demos in 1976 under the hideous
Five Knuckle Shuffle
according to their singer/guitarist.
However they were promptly dropped
in favour of Rotten and co by the end
of ‘76 before splitting up disillusioned.
They reformed as
the Daze in ‘77 to
play original material. Four of which
are previewed here, but you can sniff
the pub rock covers culture they grew
up from sneaking into their laid back
approach far too frequently. And was a
cross too much to bear for our punk
rock conscience, especially if you
really were a bored teenager in '77.
Interesting compilations like this
despite its ups and downs means you
always wanna go back for more for
curiosity's sake, and if the others are
of this calibre, they’re definitely worth
pursuing just to set your mind at rest.
Volume #7 will be released in 2013.
Bin Liner Records
‘This Maybe The Reason Why The
Men That Will Not Be Blamed For
Nothing Cannot Be Killed By
Conventional Weapons'
(Leather Apron Records)
October 2012 CD
Steam punk ha! Who’d have thought
it? This industrious wing of punk
seems to be a growing, thriving
obsession within the splintered 21st
century punk scene. Especially within
certain quarters of old London town
The Men That Will Not Be
Blamed For Nothing
(a nod to Jack
the Ripper) reside. They look like a
bunch of Victorian bohemians, misfits
and goffs sacre bleur! And come
complete with costumes and
outrageous hosiery from the time
period. The type of blokes you'd
probably find at some Steam Engine
rally, rather than in the hot sweaty
punk dives they frequent whilst fighting
their corner. And I hate to spoil your
dream for you combustion freaks, but
there’s not one shiny brass horn to be
seen or heard throughout the whole
album. Not even as much as a
on the engine whistle in ear
shot. Unless of course you read some
of the hilarious lyrics these steam punk
pioneers blow out at every god
forsaken minute. We had peace punk,
rail punk, street punk so why not steam
punk? The punk scene does need
something new in this god forsaken
barren outcrop to liven things up, and
the way some of these numbers speed
along you be hard pressed not to be
swept off ya feet as the steam rises up
from the platforms edge.
Kicking us off after a short monologue
intro by Sylvester McCoy is ‘Victoria’s’
Secret’, which has a startling heavy
rock kinda vibe as they regale the
mental state of King Albert. Not what I
was quite expecting from these steam
heaters. Followed by the acoustic
‘Margate Fhtagn’ which transforms
from a safe little holiday ditty into a
chugging crust, slush, monster as our
happy Victorian family meet a giant
Octopussy on the south coast. An idea
which might’ve sounded good in
concept, but didn’t really gel on record.
However they regain composure on
the impressive ‘Doing It For The
Whigs’ an optimistic rowdy tune which
is where
TMTWNBBFN really do excel
and proved to be the albums other
stand pout track. Victoriana was as
kinky an era as most, if not more. So it
came as no surprise to be offered
another wanking song. Only this time
from a Victorian medical advisors
perspective. Which has elements of
Derek and Clive set in a period
comedy sketch, with its acoustic rants
all about spanking the bishop. ‘Free
Spirit’ signals more Tommy Steele
circa ‘Half A Sixpence’ sing-alongs as
the men with the long name, go all
acapella on us. Complete with
cardboard Cockney brogue. The lyrics
are highly amusing mostly and
historically correct, as we are
confronted by an hysterical look into
the dark distant past with tongue in
cheek cheekiness. However ‘Brunel’ is
by far their most accomplished steam
punk number to date, and easily the
best track on the album. As they speed
through a rabble rousing take on
Isambard Kingdom Brunel’s
engineering genius. So check out its
must see promo video on
which has attracted over 28,000 hits.
It’s gloriously followed by the rip
roaring, short but sweet  ‘A Real Dead
Ringer For Albert’. Their mood then
takes a down swing musically, as we
are confronted by the great stink. A
song which owns a decidedly mid
paced sinister pong as our heroes
take on London’s sanitation system.
Don't get me wrong it ain’t shit but a
rather good stench, just check out the
fumes off those riffing guitars. The
hilarious but scary ‘Tesla Coil’ is
another fave as the Victorian form of
contraception gets plugged in amid
grinding guitar riffs and enough shocks
to steer even old Jack well clear of
those bouncing bustles. An anti war
theme creeps in during mud soaked
‘Mutiny In The Common Soldiery’ which
has a new twist, where the cannon
fodder in the trenches ponders the
thought of bayoneting authority
instead of the Hun, as the lowly foot
soldier screams
"i got more in
common with the bugger on
bayonet that the toff who tells me to
stick it in his guts"
which I’m afraid is
still relevant today. They end light
heartedly with a taxidermy tale,
complete with its very own Mid-Sommer
Murders haunting vibe.
have created an album that’s definitely
worth a butchers, even if its just to
hear a new twist on punk. It comes with
a professional package and a 12 page
booklet that features all the lyrics plus
some art. Its released on the bands
own highly amusing Leather Apron
So cheers to Jez Miller on drums and
producing this album. He is prone to
playing drums for
Walter Lure on his
UK travels when he ain’t busy dressing
up in velvet and drinking brandy. And
don't tell anyone but once upon a time
he played in old Wolvo punk combo
the brilliantly named but short lived
Pulex Irritans.
You can post them a letter via
facebook at
‘Bitten And Twisted’
(Antipop Records)
Summer 2012 CD
A rare Liverpool punk supergroup
here.... no it ain’t Frankie or even a
sniff of
Jayne Casey’s  pigtails, but
our very own lovable Richie from
Dead Men
on guitar and the Charlie
Harper of Birkenhead, Hocky from
Instant Agony on vocals and bass
respectively. They powered along by
Rob from god knows where, on drums?
They only formed this Scouse punk
rock trio in 2011 and have already
unleashed their debut full length album
on us by May 2012. Phew, there’s no
fly’s round their dog shit. Are these
mutts on speed, or just addicted to
pedigree chum? Whatever the case  
'Biitten And Twisted’ comes dressed in
a neat chocolate brown semi
Slaughter And The Dogs artwork,
featuring a rabid dog blowing chunks
or is it wind? And no, we ain’t talking
Richie here after a night out on the
Carling. The album is released
primarily as a digital download, but
Punk Rocker has had almost
exclusive access to this unique limited
edition CD release, so cheers lads I'm
totally exalted.
Biteback have been
gigging their dogs bollocks off since its
release to promote it. They claim to be
old school punk influenced, which is ok
in my book. And I can condone that
perception after a few plays. They
certainly have the ability to spot and
craft a tune as we snarl through this
‘Bitter And Twisted’ 14 track debut.
Another bonus is, it comes with a
generous production. As we unleash
the hounds with the chugging opening
"be yourself" number called 'No
Imagination'. Which owns a nice
Heartbreakers solo, while Hocky
slags off all the uniformity in the punk
scene. A good start, but as the album
progresses, you can’t help noticing
Hocky's limited vocal range. Which
veers from raw to horse drawn. I
reckon they could hold back some of
the tracks if they ain’t too careful. I
mean you can't fault him for punk
hunger and integrity. He’s been
around the block and has genuine
ideals as his rebellious lyrics and
middle aged Chas Harper stage
presence bears this out. But those
gravelly gruff vocals could do with a bit
more snarl and a lot more variation, to
make ‘em really hit home. We ain’t
demanding Pete Wylie fer fux sake,  
just a little more melody or a shot of
rhthym could do wonders for this band.
I ain’t familiar with any of his
output on record, apart from a
live gig I caught em at in Brum circa
2008. But I suspect its of a similar
style. So if your a fan of
, you’ll be satisfied no doubt.
But musically
Biteback seem a lot
more adventurous. 'She's A Rebel’ has
a little more energy and Hocky’s vocals
stand up to the bar (pardon the pun)
as they rejoice all the heroines out
there. It’s followed by the chorus laden
'Ignore Those Fools'. Which is a good
fuck ‘em all anthem, that has a neat
chorus and shows they're band with
some potentially powerful tracks in
their dog kennel. They eventually sign
off with the rowdy 'Smash Up Town'
which ain’t quite on a par with the
Dead Kennedys 'Riot', but
omits potentially the same sentiments
from a Toxeth perspective. Sadly we
don’t get any room for lyrics in the 4
page booklet, but there's a brief
explanation of what each song
represents to the band and hopefully,
you the record buying public. It all
comes printed above a neat live colour
shot of the band in action. A band to
watch out for, no doubt, and quite
possibly playing a support slot some
where near you in the future. It’s kept
in house and released on the local
Antipop record label. So for more
information check out.
'Waiting For The Ship To Come In'
October 2012 CDEP
Latest self released promo 4 track EP
from Belfast's street punks
, who are slowly but steadily
building up a following to rival the
bigger boys on the scene. Its been
hard earned after gigging more regular
both in Belfast and the UK mainland,
and could easily make the current
daddy's of Belfast street punk
, look over their shoulders with
apprehension. Especially if
Hard Case
could secure a more stable line up
which would probably see this band
taking a more rigorous approach to
their creativity. This is thankfully a
taster that is penciled in for vinyl, for
an imminent future release, but Billys
holding the details close to his tattooed
chest for the time being. They set sail
with the rumbling powerful EP title track
'Waiting For The Ship To Come In'.
Which has the makings of a credible
street punk anthem. Only this time
round features a vocal duet between
Hard Case main man Billy Riot and a
buxom Belfast skin bird, who goes by
the name of Nikki Guttersnipe. I used
to pick faults with some of Billy’s
delivery in the past, but even he has
transformed his technique and made
this song a credit for the band to play
at their eventful live outings. So its just
a pity miss Guttersnipes flat, lifeless
verses weren't quite as passionate or
as meaningful as the riot clone himself,
but its still by far the best track. And
with the added bang on production
highlighting those duel guitars being
their favoured weapon of choice, we
finally get the feeling that
Hard Case
have found their sound and can
deliver some much needed damage.
'God Sent Me An Angel In Fuck Me
Boots' is back to the usual boisterous
bollocks, and full of the double
entendres you'd expect from this
Buckfast swilling crew of malcontents,
skins and punks such is
Hard Case.
Billy has made good use of some of his
beloved favourite punk records from
the past as he loots them
unmercilessly in the lyrics. Making this
a totally sexist track to boot (no pun
intended). It'll definitely go right down
well with the PC brigade in fanzine
reviews which is always a positive note
Punk Rocker circles. It also boasts
the best line on the EP with the
"Got me barking at those
tee hee. Its finally nailed to
the mast with an authentic vintage '77
sounding guitar solo which sold it me.
However this was a game of two
halves. Things go swiftly downhill from
here i'm afraid coz next track ‘Beauty
And The Bitch' was spoilt by not
playing on my CD player and skipping
merrily even on my laptop? So i’ll only
have to guess how good it really was,
but the lyrics seemed very intriguing.
Last track ‘3000 Septic Kisses (dana
mix)’ suffered the same fate grrrr. I was
really looking forward to hearing this
track coz all kinds of everything remind
me of you! C’mon Billy if your gonna
burn a promo CD make sure the fucker
plays on at least one format lol. Coz I'm
sure MRR or even Trev Hagl won’t be
half as forgiving. To dear street punker
I suggest you wait for the vinyl offering
which will guarantee a turntable mix of
the missing evidence. You can find out
more about
Hard Case and future
gigs at your friendly neighbourhood
WORTH A LISTEN for 2 tracks
‘Wage Rage Live At The Fleece’
(Stoned As A Post Records)
May 2012 CDEP
New Bristol ska-punks, Subversive
have released a neat debut live
CDEP called 'Wage Rage'. Featuring 8
good quality live recordings straight
outta the sound desk at Bristol's
intimate, but by now exalted punk
venue, the Fleece. All captured on one
night back in May 2012. I’m not the
biggest fan of ska-punk, but the live
intimacy of this gig actually reminds me
of the quality of the now legendary
'Live At The Roxy' recordings.
Especially with a smattering of small
applause in between numbers, and
you can actually hear everything.
Including a few drum mistakes, but ain’t
that what’s good about live recordings.
Another bonus is this to me sounds a
lot more spiky and punky than a lot of
the other ska-punk outfits doing the
rounds. Particularly the first track
'Squat Rave' with its "been there, done
it" view of the current London squat
scene. Which is underlined by lyrics
"Gabba Drumo, reggae star,
Jungle dub and punk guitar,
hippies, rude boys, ketakids, All
united subversives"
and sums up
21st century squatting succinctly. From
what I can gather
Subversive Fire
are a new outfit, so there’s bound to
be a few teething problems especially
if you smoke that much crack (only
kidding kids). I’m sure some of these
songs would benefit greatly and maybe
sound a lot more powerful in a studio.
However their flying by the arse of their
pants attitude, has to be commended.
They conjure up a fun based and
having a good time attitude which I'd
say is more on their agenda. Well it
ain’t no bad thing in our current climate
of austerity is it? Joking aside, they still
have some gems hidden in their ruck
sack to delight us with. Take for
instance their most accomplished
number 'No Pity For The Victim', which
shines a torch on fashion victims, ooh
la la! Tommy Free the singer/guitarist
and all round spokesman of the band,
likes to sing about the everyday local
scene that affects him personally. And
the lyrics so eloquently hand written in
biro on the inner fold out sleeve, tells
you exactly what they're saying. It also
gives this release a neat glow and
offers us a personal touch, as they
take us on a stroll round Bristol's
Stokes Croft area, where the Tesco
got attacked and looted in the riots. It
comes with the best heavy riff of the
lot. Which certainly makes a change
from their regular treble guitar
Subversive Fire do have
elements of London ska punk outfit
P.A.I.N., but without Phil’s unique
Cockney delivery. Tommy’s vocals ain't
quite armed with that much impact, but
they’re scrawny enough for some fast
proto punk, but leave us a little ragged
for the ska portions, even with the foil
of shaky Ellie’s female input. I think
their vocal delivery needs more work,
although they do have a pinch of
on the manic 'Carcrash!' number.
I quite like the 'diy' integrity of this
package as it come's together with a
band autobiography, a full lyric sheet
all on a nifty red stencilled arty design.
My copy was numbered '99. There’s a
bonus acoustic track with Tommy and
Ellie duetting nailed to the end, which
wasn’t quite finished or had that effect.
But overall 'Wage Rage' as a debut is
would be worth hanging around to see
how they can engineer their sound in a
studio. Overall were left with plenty of
Subversion with a lot of fire, just needs
more petrol to really set us alight. Its
available now on the hilariously named
Stoned As A Post records, which takes
the biscuit as the most ingeniously
named record label I've reviewed in
quite a while. You can contact the
band themselves at
to get your copy or catch em at a gig.