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Bugman - HMP POlite
The latest project from Petrol Terriers/Ryan is Fun frontman Ryan Siddal is an interesting mix of musical styles rooted in a psychedelic variant of Brit-pop. Imagine the sound track to a ‘Gorillaz’ mushroom trip and you should have a good idea of it. I have put off reviewing this record for some weeks simply because it’s genre defying nature makes comparison very difficult and as such it has taken several listens to quantify (if you will) it’s merits. Those accustomed to popular musical formulas will likely find this rather difficult listening but the musos amongst you should find a wealth of audio delights amongst it’s dozen tracks. A departure from his previous band based projects this new solo album heavily utilises fx and synths to create it’s complex sound-scape. I think this album is more or less the definition of what you might call ‘a grower’ with each listen I am able to pick out another little detail and what on first listen, taken at face-value may appear as something of a cacophony of noise- jazz is in fact an in-depth complex abstract of modern life and society. I’ve listened to this record through at least half a dozen times and I feel that I haven’t yet begun to scratch the surface of its intent nor content. Due to its unusual nature it is difficult to pin-point specific tracks as listen alone examples. The closest thing to a single on it is track 5 ‘Jellyfish’ with its up-tempo rhythm and relatively conventional melody and harmony structure. That said, placed amongst just about any other musical genre it still stands out as sixties psychedelia meets nineties brit-pop track, the two genres feeling each other out like two blind people high as hell on MDMA knee-deep in Glastonbury mud. Definitely a record for musos and those who long for the days of the art of the album rather than 3-minute hits. A grower and potential aural mind-fuck for those prone to ‘flash-backs’ but at just £5 for a hard copy or absolutely free for digital download definitely worth a peek. Un-plug the phone, lock the doors, get this in your headphones, spark a ‘bine and let this record wash over you. If that sounds like your vibe, you certainly wont regret it.
http://bugman.bandcamp.com/album/hmp-polite
http://bugman.bandcamp.com/album/hmp-polite
The Cundeez - Lend Wiz Yir Lugs
Setting the scene with opening track and instrumental ‘Caleil’ Lend Wiz Yir Lugz is an album steeped in tradition of class struggle and a pride in heritage. That said, to call the Cundeez nationalistic would be inaccurate due to the ignorance, violence, imperialism and colonialism attached to the term. (When your culture is oppressed, there is pride in maintaining it whereas taking pride in an oppressive culture is inherently fascistic, but that’s another post for another time)
Further highlighting the point ‘Oary Tull Eh Deh’ is righteous flag-waving anthem standing against British colonialism, proudly singing out their message in their own local dialect in the face of a still ongoing campaign to anglicise the way people from ‘the colonies’ behave and speak. Members of the band have appeared on local news and radio forwarding this cause proving it to be much more than a mere gimmick but a genuine resistance campaign. You’d be forgiven for thinking at this point that the Cundeez are hard-line politically motivated group but they are as much about having a laugh and making great music as they are forwarding their own dialect and culture as illustrated in their regular ‘Skeemee Radio’ youtube posts.
The Cundeez are highly active band all told churning out records, videos and tours like there’s no tomorrow (A personal favourite from this album being ‘Yir Talkin Shite’ which I often use as a dual purpose post to inform people of a great band whilst also informing them that either they or the politician from their post is ‘talkin shite’) and are always of the highest quality. (Dundee punk bands head along to Seagate studios and ask for Graeme Watt, he’s done a cracking job mixing recording and mastering this record)
It’s difficult to pick out favourites from this record since it’s all top quality. I’ve played almost the entire album on the podcast at one time or another. Tracks like ‘Fightback’ and ‘This is Britain’ show a heavy serious politically motivated side to the Cundeez but sit comfortably alongside the nostalgic ‘Summer of 78’ and the light hearted dig at politicians and runaway celebratory culture ‘Yir Talkin’ Shite’ I’m only going to have space for a single track here but I strongly recommend that you go and look them up on facebook and on youtube and immerse yourself in Cundee culture. It’s as gritty as it is joyous and is the true sound of the skeems . 9/10
Further highlighting the point ‘Oary Tull Eh Deh’ is righteous flag-waving anthem standing against British colonialism, proudly singing out their message in their own local dialect in the face of a still ongoing campaign to anglicise the way people from ‘the colonies’ behave and speak. Members of the band have appeared on local news and radio forwarding this cause proving it to be much more than a mere gimmick but a genuine resistance campaign. You’d be forgiven for thinking at this point that the Cundeez are hard-line politically motivated group but they are as much about having a laugh and making great music as they are forwarding their own dialect and culture as illustrated in their regular ‘Skeemee Radio’ youtube posts.
The Cundeez are highly active band all told churning out records, videos and tours like there’s no tomorrow (A personal favourite from this album being ‘Yir Talkin Shite’ which I often use as a dual purpose post to inform people of a great band whilst also informing them that either they or the politician from their post is ‘talkin shite’) and are always of the highest quality. (Dundee punk bands head along to Seagate studios and ask for Graeme Watt, he’s done a cracking job mixing recording and mastering this record)
It’s difficult to pick out favourites from this record since it’s all top quality. I’ve played almost the entire album on the podcast at one time or another. Tracks like ‘Fightback’ and ‘This is Britain’ show a heavy serious politically motivated side to the Cundeez but sit comfortably alongside the nostalgic ‘Summer of 78’ and the light hearted dig at politicians and runaway celebratory culture ‘Yir Talkin’ Shite’ I’m only going to have space for a single track here but I strongly recommend that you go and look them up on facebook and on youtube and immerse yourself in Cundee culture. It’s as gritty as it is joyous and is the true sound of the skeems . 9/10
Flat Back Four - You Can’t Have Everything
4/12/13
FB4 are back with another top quality working class punk rock album. I got the hard copy version which includes some evocative artwork proclaiming the bands Holy trinity of Guinness, Punk and Football on the inside back and scruffy mongrel dog (whatever happened to punk rock dogs?) on the front cover who looks as pleased with the record as I am. The inlay also pulls out to reveal lyrics, which is always a bonus and whilst they are crowded on to a single page I won’t hold that against them. I’d much rather that than have to pay the extra cost for booklet printing or alternatively, no lyrics sheet at all.
The first track ‘This Time Next Year’ sets the album off in good stead with reference to the comedy classic ‘Only Fools & Horses’ and it’s protagonist’s dreams and struggles to become a millionaire “this time next year, Rodders” which anyone who ever had to hustle can surely relate to.
Continuing in a similar vein track 2 ‘Fail’ forwards some of FB4’s patented lyrical philosophising (I still regularly quote ‘Reach for the Sky’ from their previous release) with the lyrics “What a man really needs is someone to love. If you can’t give him that give him some form of hope. If you can’t give him that, give him something to do. If you can’t give him that, give him that, then you’re fucked!” Accompanied by a solid driving beat that insists “A man’s gotta do what a man’s gotta do” Evidently expressing some metal influences the track builds to understated shred soloing before dropping back down to the hook reaffirming that “I. Won’t. Fail!”
Flat Back Four are a very conscious band without coming off as sanctimonious. Each track is another relatable protagonistic anthem and whilst the odd riff or lick is a little off it only adds to the charisma and accessibility of the record (much like the classic TV sit-com Only Fools & Horses which is referenced throughout the album). It’s the type of punk record that makes you want to pick up your guitar, get some mates and some beers together and write some songs about your life, your town, your job (or lack of one) and I think that’s what a really great punk record should do. My only criticism would be that, with the guitars showing quite a strong metal influence at times they can seem a little understated and under produced, that said to produce them as polished soaring metal guitars would probably detract from the working class anthemic sound that I love so much about the album. Not a bad track on it and plenty of depth that leads you to find something else to enjoy on each successive listen. 8/10
The first track ‘This Time Next Year’ sets the album off in good stead with reference to the comedy classic ‘Only Fools & Horses’ and it’s protagonist’s dreams and struggles to become a millionaire “this time next year, Rodders” which anyone who ever had to hustle can surely relate to.
Continuing in a similar vein track 2 ‘Fail’ forwards some of FB4’s patented lyrical philosophising (I still regularly quote ‘Reach for the Sky’ from their previous release) with the lyrics “What a man really needs is someone to love. If you can’t give him that give him some form of hope. If you can’t give him that, give him something to do. If you can’t give him that, give him that, then you’re fucked!” Accompanied by a solid driving beat that insists “A man’s gotta do what a man’s gotta do” Evidently expressing some metal influences the track builds to understated shred soloing before dropping back down to the hook reaffirming that “I. Won’t. Fail!”
Flat Back Four are a very conscious band without coming off as sanctimonious. Each track is another relatable protagonistic anthem and whilst the odd riff or lick is a little off it only adds to the charisma and accessibility of the record (much like the classic TV sit-com Only Fools & Horses which is referenced throughout the album). It’s the type of punk record that makes you want to pick up your guitar, get some mates and some beers together and write some songs about your life, your town, your job (or lack of one) and I think that’s what a really great punk record should do. My only criticism would be that, with the guitars showing quite a strong metal influence at times they can seem a little understated and under produced, that said to produce them as polished soaring metal guitars would probably detract from the working class anthemic sound that I love so much about the album. Not a bad track on it and plenty of depth that leads you to find something else to enjoy on each successive listen. 8/10
Gimp Fist/Last Rough Cause
Last Orders
4/8/12
At last the two mightiest titans of Northern Oi are together on one album and by hey what a corker. Gimp Fist open the album the storming ‘Them and Us’. It starts out with this dark atmospheric ambient sound and gradually builds through grungey bass and crunchy as fuck guitars to one of their trademark hooks that it’s almost impossible not to skank to. Seamlessly (but with a proper outro and intro thank fuck) they come back with another hit ‘Day In Day Out’. Two tracks in to the record and I’m already making plans to go to a punk show tonight, God I wish I was at Rebellion this weekend because I too am ‘sick and tired of the same old shit, day in day out’. Track 3 ‘The Violent Few’ is another absolute killer. I think by now you’re beginning to get the point, Gimp Fist are one of the best Punk acts around and every one of the 5 tracks they have on this record are absolute stonkers. They have that high energy, positive sound firmly rooted in their working class roots. Heavily influenced by the likes of Stiff Little Fingers and Early Clash these boys have it locked up solid and if you get the opportunity to go see them and pass it up, punch yourself in the face, hard and repeatedly because you are a grade-A idiot.
The second half of the album is just as good as the first, if not better. Whilst Last Rough Cause don’t have the rough edge that Gimp Fist rock, they more than make up for it with rich rocking melodies. Lead singer Andy Wears has as certain tone to his voice (somewhere between Jake Burns and a young Feargal Sharkey) that I just fucking love. Don’t get me wrong, Last Rough Cause and Oi with the best of them as tracks like ‘Out with the Drinking Crew’ and ‘No Justice’ more than adequately prove. But for me it’s the melodies with LRC that really win me over. ‘Home is Where the Heart Is’ has this great progression through it which I think you really need in a punk album (verse, chorus, verse, chorus gets a bit repetitive after a while). And the final track ‘Worst Week of My Life’ pulls you right in with guitars upon guitars, slaps you round the chops with lyrics like “Some little fucker smashed up my car” (with a slightly Joe Strummer emphasis on the ‘fucker’ – listen to the song) and then drops you with a kick in the proverbial conkers with a hook that’s impossible not to sing along too.
This is certainly one of the best albums of the year so far in my humble opinion. Lie, cheat and steal if you have to but buy this album. Better still get along to one of their shows, get your socks rocked off, buy a CD and a T-Shirt and meet the lads while you’re on.
The second half of the album is just as good as the first, if not better. Whilst Last Rough Cause don’t have the rough edge that Gimp Fist rock, they more than make up for it with rich rocking melodies. Lead singer Andy Wears has as certain tone to his voice (somewhere between Jake Burns and a young Feargal Sharkey) that I just fucking love. Don’t get me wrong, Last Rough Cause and Oi with the best of them as tracks like ‘Out with the Drinking Crew’ and ‘No Justice’ more than adequately prove. But for me it’s the melodies with LRC that really win me over. ‘Home is Where the Heart Is’ has this great progression through it which I think you really need in a punk album (verse, chorus, verse, chorus gets a bit repetitive after a while). And the final track ‘Worst Week of My Life’ pulls you right in with guitars upon guitars, slaps you round the chops with lyrics like “Some little fucker smashed up my car” (with a slightly Joe Strummer emphasis on the ‘fucker’ – listen to the song) and then drops you with a kick in the proverbial conkers with a hook that’s impossible not to sing along too.
This is certainly one of the best albums of the year so far in my humble opinion. Lie, cheat and steal if you have to but buy this album. Better still get along to one of their shows, get your socks rocked off, buy a CD and a T-Shirt and meet the lads while you’re on.
Head of Light Entertainment
THE ENGLISH DON’T CARE
11/4/12
Charismatic cad and convention-bending creative, Carl Green is back with a second offering of lyrically driven psychedelic pop poetry and this time he’s joined by brand new band mates Simone Silvistris; backing vocals and keyboards, and John Taylor on bass. This new abundance of instrumentation has allowed a new depth which is most notable on The Airing Cupboard Fairies in which we are taken through the scintillating, slightly skittish soundscape of Carl’s Airing cupboard.
The title track from the Tyneside Trio harks back to the origins of HOLE in its initial minimalism before undulating through a sumptuous variety of subtle synthesis through to tub-thumping testimony to the traits of this green and pleasant land.
The crescendo of the album comes in the form of the anthemic “Last Case on the Carousel” which, through expertly chosen instrumentation and vocal harmonies; Silvistris’ folkish tone neatly complementing Greens distinctive style, depicts a quintessential Englishness, conjuring images of muggy summers, waiting room tea and disappointment.
For those who prefer their pop with a pinch of wit, a dash cynicism and a dollop of psychedelia this is certainly the record for you. I know it’ll take pride of place in my record collection alongside their precursory production [I Am Liberated]. Available on CD only this is a fine example of the lost art of the album, each track able to stand alone but together creating a of conceptual flight of fancy through the imaginings of ‘ageing lothario’ Carl Green. An excellent album in all and an absolute must for those with a penchant for poignant pop.
The title track from the Tyneside Trio harks back to the origins of HOLE in its initial minimalism before undulating through a sumptuous variety of subtle synthesis through to tub-thumping testimony to the traits of this green and pleasant land.
The crescendo of the album comes in the form of the anthemic “Last Case on the Carousel” which, through expertly chosen instrumentation and vocal harmonies; Silvistris’ folkish tone neatly complementing Greens distinctive style, depicts a quintessential Englishness, conjuring images of muggy summers, waiting room tea and disappointment.
For those who prefer their pop with a pinch of wit, a dash cynicism and a dollop of psychedelia this is certainly the record for you. I know it’ll take pride of place in my record collection alongside their precursory production [I Am Liberated]. Available on CD only this is a fine example of the lost art of the album, each track able to stand alone but together creating a of conceptual flight of fancy through the imaginings of ‘ageing lothario’ Carl Green. An excellent album in all and an absolute must for those with a penchant for poignant pop.
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