| 2017: PAGE 1 |
| DARKO 'Bonsai Mammoth' (Lockjaw / Blind Attack) CD February 3rd 2017 These days promo Cd's are usually by bands who have absolutely nothing in common with punk musically or aesthetically, but you have to review them just in case they might surprise you. I was hoping Darko may prove me wrong. 'Bonsai Mammoth' kicks off quite melodically until the shouty vocals of Dan Smith kick in, which have a few less frantic moments during first track 'Life Forms'. But I'm afraid it was just the precursor for what we are about to hear and it all went downhill pretty fast from here on in. What grates most about the Darko sound is definitely the gnarly vocals, which really do put your audio attention span through an endurance test just to sit through even after one track. And lets not forget there are 9 more of these fuckers on this release. The music is played tight and the production is bang on, but theres no immediate flow. It stops and starts with infuriating monotony, then goes off on a tangent with annoying regularity. A sound that goes melodic one second, then rages on in another, then goes into HM twiddling country and thats all in one song. It's like the Darko philosophy is to tinker with the song structure once they hit on somert good, which is a shame as they can play with precision and power but their style is so mind numbingly varied it becomes a mess. It seems playing the same rivvum track for any length of time is unacceptable in this bands ideology. They are either way too clever for their own good or just like showing off, which just leaves us the audience with a mass of audio schizophrenia to deal with. I also get the feeling we have a Heavy Metal guitarist in their ranks just waiting to explode from their stop/start hardcore confines? Meanwhile Smithy screams on and on and on in the foreground. His vocals do have the capacity to change direction, which could've saved him from being the prime suspect, but like the music its all too little or too late before that mind numbing screech takes over his sand papered esophagus. There are some pop punk elements too if your lucky enough to spot em, but these are way too fleeting to catapult these hairy fuckers for a career of pop punk hits. Darko are destined to be touring the indie circuit of skater spaces and empty swimming pools across the globe, which is great if thats what they really want or the promo machine behind them want? However they must be eternally grateful to the Japs, who seem to like em, but we all know Japan is dishpan. 'Set In Our Ways' seems to be the story of this bands life. They aren't about to offer a new direction or a more anthemic style that we could maybe wrap our ears around or capture our interests. But I did like the title of one song 'I Should've Taken A Left At Albuquerque', but the title alone was about it and I'm afraid they didn't carry on driving to the Mexican border and beyond. I reckon Darko are a romanticised wanna be 'road band'. If they really wanna break America so badly, they ain't gonna do it on this offering. Besides i suspect there are way more qualified bands doing this routine in the States already and if you know of any please don't point em in my direction. I did like the beginning of 'Hiraeth' for about 10 secs, but then the singing kicked in and it all deteriorated into more of the same. I'm sure even the skater punks amongst us (whom I'm told are Darko's core audience) must get sick and tired of this particular sound. They hail from Guilford but have about as much in common with the Stranglers IV as the Guilford four. Was half hoping 'In The Company Of Wolves' may just show a glimmer of gold dust amongst the torturous toons but who the fuck was i kidding. This album should be used in Guatemala Bay as audio torture it's that unpleasant. 'Bonsai Mammoth' ain't punk rock, its a student take on fast songs for the Darko fan club in Tokyo or wherever they reside and probably features like minded individuals with bug bushy beards and lots of sweaty testosterone growling along in synchronised head banging. PLASTIC! DARKO |
| THE CRAVATS 'Dustbin Of Sound' (Underground) CD September 29th 2017 Had this sent in from Overground Records who are fast becoming a really diverse punk label, concentrating on a more wide spectrum of bands and sounds that erupted from the initial wave of punk. Unlike most review material its an actual CD (not a download) but this is also available on vinyl too. Was a bit dubious as to how The Cravats was gonna sound after hearing some of lead singer Shend's solo material on the 'Outsider Artist' 45 back in 2011, But I have to say 'Dustbin Of Sound' is the Cravats as I remember them from my sole Cravats 45 'The End' back in '79. They're older and they're not necessarily wiser, but they still have that unique saxophone driven punk orientated sound, along with the trashy guitar and rumbling bass. The sound we loved so much on the John Peel show. When you think punk and sax, X-Ray Spex usually springs to mind, but this is way more Neon Hearts /Jame Chance in style, but with that quirky transistor guitar and the baritone wacky outbursts flavouring the proceedings. It certainly becomes something more. 'Dustbin Of Sound' brings back all those sounds, smells and DIY jobs from towns like Redditch that littered the UK music scene back in the late 70's. So if your a Cravats/ Very Things fan you will love this. Even cunts like me like it! For a band to capture that unique spark and allure they had 35 years ago is truly exceptional. The only difference is production, which is bang on and pristine with today's technology and throws light on the individual sounds. 'King Of Walking Away' has a sinister deep sax growl courtesy of Svor Naam that I can't get enough of. It's mean bass riff by Joe 91 means you'll probably love it, but as the lyrics say 'hate me one day'. Air Raid sirens are always great to hear on records and ushers in 'Batterhouse' with its shimmering guitars and grinding sax that conjures up some neat chugging power. Lead singer the Shend goes on a Nick Cave, as the bass rumbles and the drums pound by the delightfully named Rampton Garstang. 'Motorcycle Man' makes the pleasure of cruising on your chopper, whilst overtaking hearses (tee hee), and 'kissing the wind' with just 'the flick of his wrist' never feeling so good. It's not quite as gritty as Motorheads 'Iron Horse' but more Marlon Brando in feeling. '100 Percent' highlights Shend's word play, a talent of conjuring outta thin air a topic from everyday sayings, statements and life in general. He also has a knack of creating songs which make you think! However it used to be the 1% in punk folk lore, but in the Cravats universe its 100% all the way. Last years single 'Blurred' is probably their most commercial song to date. Its made even more accessible with its neat promo video which is probably the most up to date snap shot of what the Cravats are like live these days, if you haven't seen them already. Morse code introduces 'Power Lines Up', which is a majestic ode to electric pylons that stand tall and poke into the sky all over the UK and give us and the Cravats the power to turn up the amps and turn on our consciousness. See what I mean about this bands every day observations, which only the Cravats excel in. 'Jingo Bells' the other 45 from last year is a glorious dig at the rich, the wealthy, and the people in power and boasts a mischievous cameo role in the video of Penny Rimbaud collecting fares. 'Bury The Wild' has hints of James Chance if he come from Redditch or Brighton and not Milwaukee, it positively stinks of an attack on carnivorous carnivores with psychotic sax and those rabid guitars as the penultimate 'cattle bomb' is deployed. 'Big Band' speeds in as the Shend teases us with a short lived croon of "aaaahhh aaah aaah uuhhh" which we wanted more of but was sadly denied. 'Whooping Sirens' is the slowest track and features a rather eerie sci fi vibe or is it a mental state, who knows? But i like it a lot. 'Hang Them'...'shoot them, electrocute them' the lyric concludes is all about the opposite sex according to Shend. Well he does write the lyrics and sings the songs so he should know. Viscount Biscuits on guitar gives us an East Bay Ray shimmer in amongst an lyrical dialogue. Trashy guitars ring in on 'All U Bish Dumpers' as another Orson Wellian like dialogue steers us through a remarkably off the wall, out the back of beyond Dada Cravats Laboratory lyric as the Shend informs us "all you bish dumpers will be rosecut' which was adapted from a sign they found a few years back which was missing letters and should've read 'ALL RUBBISH DUMPERS WILL BE PROSECUTED' HA! WORTH A LISTEN! THE CRAVATS Overground Records |
| HOOLIGAN featuring CHRISTY DIGNAM 'Teenage Rebel' (Reekus) CDEP October 18th 2017 Dublin punks Hooligan have teamed up with Éire rock star Christy Dignam from Aslan (who I wasn't familiar with at all until now). Mr Dignam is a major celebrity and definitely a colourful character, but not someone you'd immediately associate with punk. However he certainly does this cover justice by giving us a bonifide 21st century twist of the Outcasts classic 'Justa Nother Teenage Rebel', which first came out back in '78. This strange collaboration with Hooligan came about through singer/guitarist Dave Linehan and Christy crossing paths back in the 80's with Dignam offering advice and inspiration to young Linehan. Nearly 25 years later they met again by chance and Dave recalled the story, which moved Christy so much so, he agreed to collaborate on a track, to which this is the end result, and it works brilliantly. Christy doesn't give us his regular atmospheric crooning which he's famous for, but really goes for it and probably puts a lot of punk cover versions of this song over the years to shame. And considering his eventful past where he's had to endure rape, handle stardom, over come Heroin addiction and finally battle cancer, which he's still fighting. You really do have to take your hat off to the guy. What I like most is he offers a genuine vulnerability only the young Greg Cowan gave us on the original. Dave Linehan of Hooligan maintains a spot on musical adaptation, with a brilliant solo giving the song a catchy punch very few has come close to. And the Outcasts themselves have given their approval. My only tweak would be Eoin Page's bass could be more up front in the mix. It comes with a great promo video recorded at Fibber McGhee's which really sells the song. So you should check it out yourselves just to see if I'm bullshitting or not. If that wasn't enough, we also get 3 Hooligan originals which most definitely are not a side dish on this pink platter. 'Generation On Fire' kicks off with a neat intro before moving into a mid paced stomper with some juicy guitar riffs along with Dave Linehan's subdued, but rather compelling vocals. This tight 3 piece always bring a good tune to table, along with the added back up vocals that really add suspense to proceedings, as the chords drop and rise to great effect. 'Calling Joe Strummer' has a ring of the opening to 'Should I Stay Or Should I Go' with sole guitar and singer complete with an ambience of echo before the whole band jump in and really give us something you could imagine the Clash doing. Even the guitar sounds like Strummer's telecaster and the drummer Paul Price does his level best Topper Headon impersonation with fills and pounds. It's even got the ghost of a Guy Stevens production, with an almost neat Chuck Berry solo thrown in for good measure, powerful stuff. 'Gang War' is a more loaded track with rowdy out of control solo's that sound great, but with Dave Linehan's uncanny Srummer delivery giving it that great vibe along with the "wooagh ohhhhh gang war" chorus. Every time I hear a new release by Hooligan they never fail to impress. This one will get all the attention for the lead track, but Hooligan are a band who can do it as good, if not better than most of the punk acts around today, and if you've a penchant for Joe Strummer vocals, which most of us have, and punk rock with tunes and imagination. You'll fuckin' love it! Comes in a fittingly sparse take on the original sleeve. WORLD CONTENDER! HOOLIGAN Reekus Records |
| PUSSYCAT AND THE DIRTY JOHNSON'S 'Ain't No Pussy' (Johnson Family) CD October 26th 2017 First time I've heard this outfit from Basingstoke who have been around forever by all accounts. We are immediately greeted visually with a 50's era tiger print roaring out at you from the leather embossed cover, before one gigantic screech hits you between the eyes as the title track kicks in. Pussycat And The Dirty Johnson's have been releasing stuff since 2010, so I'm a little late coming to the pussy party, but from hearing their sound and seeing some of their neat videos online my curiosity was immediately triggered. I just had to buy their latest CD (2nd in a year). It's called 'Ain't No Pussy', which they've been touring round the UK. I have to say on first impressions, they are one of the most unique sounding trio's I've heard since god knows when? Featuring a big heavy looking drummer with a curly top and bouncer aggression as he pummels his kit and goes by the name of Filthy Antz. He's accompanied by a mammoth rockabilly giant guitarist, who plays rampaging power chords with hardly a hint of a solo, that gives the band their punk rock 'n' roll sound, his nom de plumb is Dirty Jake. Lastly and of course the focal point is a diminutive looking Su Catwoman look alike (circa the 'Great Rock 'n' Roll Swindle'), who actually jumps around the stage like a kitten chasing a ball and even her tail on occasion. Pussycat is her pet name and she's armed with one of the most unique vocal delivery's to come outta rock 'n' roll this millenium. Her vocals are absolutely brilliant and the selling point, coz she actually sings which is a shock in todays shouty, gnarly one drone punk arena. And this talent makes such a difference to the songs and to our audio pleasure. She even has a cute Toyah lisp to her rasp, which reminds me of the short lived Maneaters from the 'Jubilee' soundtrack, but this Pussycat has more feeling, more energy and way more appeal. She owns an equally raucous set of tonsils that spit, snarl and hiss with rabid regularity and throws in the occasional "whoaaaaghs" to really emphasize her commitment. Considering there's no bass the Cramps comparisons aren't far from public opinion, and even their song 'The Wasp' could engineer a certain 'fly' simulation, but Pussycat And The Dirty Johnson's offer a more punky version of insectoid frustration. If this CD is anything to go by, the band are an explosive commodity in todays punk scene which I reckon you should see/hear any time soon before the America's beckon. 'Pain' comes at us with a pounding riff and a ultra addictive chorus. You'll find yourself unable to shake off Pussycat's unique way of prouncing "Pain". 'Suneal' is like a modern day punky rendition of 'Lucille' by Little Richard, but focuses on one of the bands uber fans, of which there are many and growing each time they play. It has a slight sniff of the Stranglers 'Go Buddy Go' in vibe and is completed with a kazoo lead break which actually works ha! 'Sylvia' takes aim at the mainstream press hacks, which no doubt will be sniffing round once this band go big, and features a blitzing dirty riff to go with all the lies and bias printed on 'Himmler's stationary'. 'One Of The Boys' is autobiographical. Pussycat is definitely a girl in a boys world, but even that can't hide or masque her feminine appeal. Call me sexist if you like, but I'm sure she carry's amps and loads the van with the rest of the guys. But for men and probably a few women whatever else she does its hard hiding that feminine appeal amongst a gang of talented big brutes, even when you try and deny it. Her howl is certainly from hell and is definitely her fighting call, so I hope she can embrace what she's got without it being an issue. They end with the mesmerising 'Midnight Motorway' that features..."Soft verges Hard Urges" which is unlike any of the other tracks, and boasts an alluring spoken word intro, before drums and guitar jump in and has us totally captivated, whilst a machine gunned "upside down and inside out" is spat out with an almost Eve Libertine circa "Screaming Babies" mode is unleashed. I'd love to hear more of this kinda song, as it builds up into a prowler before slowing down and ends the album leaving you wanting more. For all you rubber neckers, punks and rock head cases I suggest you give this dirty mob a blast coz you won't regret it! UK CONTENDER! PUSSYCAT AND THE DIRTY JOHNSONS |
| SOAP GIRLS 'Society's Rejects' (Self Release) CD May 2017 I have to blame YouTube for my first introduction to the hideously named Soap Girls (for a band this good and somewhat controversial). It was the excellent 'Bad Bitch' and accompanying video which got me hooked. Within a month I caught them live in Wolves (see gig review). I can report with confidence these young South Africans are very much the real deal. They play and compose all the material, even though they are portrayed in the media as media darlings. However they use the media with intuitive suss! Lets face it they're using the technology available to every band these days to publicise their output. It's just that most bands wouldn't look too cool in a bath fooling around with only soap suds covering their modesty lol. But thats another dimension to this band. Musically they can pull it off both live and in the studio. I brought this CD off the merchandise table at a gig for £12. 'Society's Rejects' features at least 3 anthems the rest were interesting, but not half as memorable. 'Bad Bitch' and 'Rather B Dead' were the only tracks I was familiar with previously, but they kick off with the impressive 'Society's Rejects' that features a drum heavy rallying call, as they scream "Fuck me, fuck you, fuck your mom too" on the ultra catchy opener. 'Johnny Rotten' ain't a nod to once the Finsbury park Antichrist, but a gun toting ex boyfriend whose out for blood. Blood seems to feature big in this bands world. It see's them roll into grunge territory, especially the roaring hoarse chorus. The Soap Girls compromise Millie on guitar whose tall, slim with a kinda Bambie eyed innocence. But don't be fooled she's doing all the axe work, power chords and harmonies. Their main protagonist has gotta be the bass demon and lead vocalist plus band raconteur called Naomie who is also her sister. She comes across as a really talented front woman, especially with a big black bass as her preferred weapon of choice. She shrieks, bawls, and sighs with equal abandon. She takes the piss and positively oozes star quality without being too snide or too pretentious. She owns a great vocal that gives the 15 songs the explosive tension and heart. The drummer is usually a hired hand and male. I've seen about 3 on the drum stool so far, but who cares as long as he keeps the beat. Songs that stood out were the atmospheric 'Air', 'Original Sin' has a certain Janis Joplin take, with its rock vocal and rabid chorus. 'Break You' features a positively heretic rant with some utterly demonic put downs in this revenge tale. Check out the hilarious promo video to it where what looks like the drummer gets his just deserts. But for the real class tracks its left to the two bonus tracks 'Bad Bitch' that comes with a classy grinding build up, before the blindingly addictive revenge chorus which will get you all singing along too. And is easily their best song to date with those soaring power chords and the slightly deranged vocal delivery. You wonder if they had any more left in their sparkling vanity case, and yeah they do, its called 'Rather B Dead' and is a close contender dealing with a more controlled form of emotion and rejection with a classic heart broken vocal from Naomie. Check out the videos if your not convinced. 'Society's Rejects' comes with a foldout booklet that contains all the lyrics which was neat. Its gonna be interesting to hear what they can come up with next in 2018, after a hectic tour schedule in 2017 to promote this all over Europe. We wait with bated breath. WORTH A LISTEN! SOAP GIRLS |
| ACID BLOOD "Dagger Eyes EP" (JanML Records) 7" Summer 2017 Acid Blood hail from Umea, Sweden and are a relatively new band (18 months old) and 'Dagger Eyes' is their debut release recorded 4 months into the bands existence March 2017. Not sure its wise to release stuff so early in a bands career as I bet their sound has tightened up or developed immensely by now. However their opening title track 'Dagger Eyes' has a definite Motörhead vibe which they admit is a big influence and is always a positive if your a fan like me. It's not suprisingly hard and fast with pounding drums with a slightly off kilter solo in the middle by Karl Backman (formerly of AC4,T-55's) which adds a new dimension to this female fronted outfit. 'Full Speed Ahead' stays in line with the high energy theme, but seems slightly less frantic considering the song title. Maybe its the English translation? But I can't make out any lyrics apart from "FULL SPEED AHEAD" so its good you get a lyric sheet to read what Jojo's singing about. War seems to be the prevalent subject matter of this EP and is underlined by the penultimate track 'Wartimes', which is easily my fave track. It positively stinks of Iggy And The Stooges with a fucking neat dirty riff which grinds into your brain and drives this tank along, while Jojo Anderbygd our buxom singer groans "war time, the peace is over". It drops out to chaotic drum rolls before the bombs drop and we try and read the tattoos on the singers thigh. The band are planning more dates this year and should be touring in Europe pretty soon. Comes in an array of limited coloured vinyl on German label JanML Records, so grab your copy now. WORTH A LISTEN! ACID BLOOD janmlrecords.bigcartel.com |
| THE ROCKIN HORSE CLUB 'Straight White Man' / 'All The Other Kids' (Self Release) 45 July 14 2017 The Rocking Horse Club are a fantastic punchy basement rock 'n' roll outfit from Brighton and offer us their 2nd release the ultra catchy 'Straight White Man' which has elements of late 70's Squeeze at their best, but with a 21st century perspective that will stick in your head like glue. The promo video is a stroke of genius and must see which really puts the point across in an hilarious way. It could by rights get 'em exposure their contemporaries could only dream of, but hey we know the powers that be wouldn't allow that. Late 70's new wave with hindsight was never as naff as we once thought. For it had tunes, hooks and brought a smile to our faces and the Rockin Horse Club reminds me of what bands like The Jags or the Vapors would put out, except the vocals are more John Lennon circa 'We Are The Walrus' era. You get the feeling they don't take themselves too seriously which is neat, but what a great sound and vibe they create even straight white men can get off on it. Image wise you couldn't get a more rag tag bunch of misfits, but who gives a fuck about image when you can kick out tunes this good. I believe they gig very spontaneously and probably have other things going on in their LGBT lives, but if you think its a one hit wonder which by the amount of YouTube views (79,000) and debate its conjured up, you'd be very wrong. On the flip side despite not being half as catchy 'All The Other Kids' still has a really good all round vibe. It shines a light on the kids who don't fit in but who get their own back, which is probably a reflection on what this band is all about and comes with a great guitar solo. One good song and one a modern day anthem ain't bad going and reminds me of the days when bands had really good B-sides. So check out the video and tell me you didn't sing along to it! UK CONTENDER! The Rocking Horse Club |
