Bright, bold and unashamedly glam with punchy synths but caustic time changes adding some Crass to the party. This is the second album from Daemönik Fonce. The album is my first introduction to the band, and whilst it doesn’t shy away from the Big Bowie Glam rock, it has hooks, big chords, swirling keyboards and a dramatic edge. Look no further than ‘Speck’, there is a 70s feel to proceeding, no doubt about it.

Whilst there is a dream-like quality to some of the arrangements, it doesn’t always agree with me, but that’s ok. It also has a down-to-earth working-class feel to proceedings, and if one can’t dream big, then why dream at all? The quirky sound on ‘On The Skids’ is very 70s in spirit, reminding me of Roxy Music and various hits from the Top Og The Pops albums you’d pick up in the 70s.

At the heart of Daemönik Fonce are twins Paul Summers (guitar) and Stewart Summers (vocals), whose rock ’n’ roll journey stretches far beyond the band itself. Raised on Welsh anarcho-punk, they cut their teeth in Shrapnel before moving through Ten Benson and The Sharp Tongues. Alongside this, they’ve travelled the world looking after countless other bands, from escapades in Lemmy’s dressing room to bowling with Jack White – sometimes reality can be more absurd than fiction.

But the brothers aren’t the only ones raised from the sewers of rock + roll.  Bassist Sam Mansbridge was a member of The Rumblestrips, Keyboards and vocals Hannah Edgren previously served with the magnificently named Tits of Death and latest recruit Andy Prestidge weaves his drumming between Warning, Osiris Club and Angel Witch.  All bringing their distinct personalities to the Fonce cat-faced table.

Imagine your influences are Thin Lizzy, Bowie, Bolan, Roxy Music and then the Pistols, maybe the energy of Stiff Little Fingers, and the edgy John Cooper Clarke, now the challenge is to mix these influences together and make a cohesive album that might not always make sense but offers the listener a good time and one they want to hear again and again. I particularly like ‘Solar Man’. It’s retro and nostalgic, and the time changes and sound changes can be bonkers, but in a good way. Besides, who doesn’t like hearing a wailing saxophone in their Rock n Roll?

The record is perfectly summed up by describing ‘DFII’ as a band embracing who they are: thinkers disguised as glam rockers, punks grown older but not quieter, and storytellers still in love with the noise that made them. Amen to that, go check em out at the link.

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Author: Dom Daley