Anti Flag – ’17 Song Demo’ (Cleopatra Records)

Anti Flag – ’17 Song Demo’ (Cleopatra Records)

Released a few months ago it took a crazy amount of time for my copy to get over the ocean from the USA to the UK but after a few weeks of playing it I’ve decided Anti Flag should record all their records in this fashion and fuck polishing them just hit record and lay the damn things down – it sounds fabulous.

Anti-Flag formed in Pittsburgh in the late 1980s, as a reaction to the turgid Reagan years that melted into the Bush reign. America was a right wing powerhouse the only good thing to come out of those administrations was a wealth of punk rock kids who were motivated to kick against the pricks and in the early 1990s, Anti-Flag released a cassette titled ‘17 Song Demo’, full of raw fury and Clash inspired energy, and they weren’t afraid to say what was bothering them.

To be fair to bands like Anti Flag it’s like Groundhog day with Trump leading America for four years that same anti-Regan and Bush movement had someone else to rage against the machine which kept them relevant musically and lyrically. 17 Song Demo, has been released on CD and vinyl, with an eighteenth track, a cover of “That’s When I Reach For My Revolver.” Some of these songs would be re-recorded for their 1996 release ‘Die For The Government’.

The LP kicks off with ‘They Don’t Protect You’, a song about how the police don’t protect the poor. You’d never think it was written several decades ago! This song has great, harnessed energy about it, and whilst being a demo it sounds tight. It’s followed by “Red, White, And Brainwashed,” which comes at us at a furious pace, and touches upon the systemic racism of this nation. “They call that being a patriot/Well, I just call it ignorant/If you don’t fight to make thing better/Then you’re the one betraying this country.” Oh yes! “Your Daddy Was A Rich Man (Your Daddy’s Fucking Dead)” is a middle finger to people who come from privilege and do nothing good with it, the exact people who think their riches are some kind of superior status and put them at odds with the real world. This spirit and energy is something they manage to keep harnessed throughout the record, it should be given away in schools to disenfranchised kids to show them that music can set you free and be worthwhile. Get away from the phones, computers, social media there’s a great big world out there.

Anti Flag were ahead of the curve when these songs hit as they were a tight unit who had principles and a punk rock ethos that is admirable and more than anything, needed in a world that seems to not give a shit day after day after day.

“Kill The Rich” is like the bastard child of ‘Sonic Reducer’. ‘Betty Sue Is Dead’ is another great song that shows how the band could groove and it wasn’t all crash bang wallop. They could do covers as well and make them their own like the extra track, a cover of “That’s When I Reach For My Revolver,” originally done by Mission Of Burma. All in all a very respectable collection of songs that are well worth investigating, It’s great to see how the band evolved and how they broke out from the first official album that set out their road map for success on their own terms and they’re still going strong.

Buy Here

Author: Dom Daley

The Hip Priests / Deathtraps / Electric Shakes – Le Pub Newport – 03/10/21

The Hip Priests / Deathtraps / Electric Shakes – Le Pub Newport – 03/10/21

Holy shit! It’s been way too long since I stood in a room with these reprobates knocking out loud filthy anthems for the more discernable music lovers amongst us. But Saturday the 3rd of October with enough people doing the right thing this event was going to happen and boy did it.

Bournemouth’s The Electric Shakes opened proceedings with a most enjoyable set of rapid bad boy boogie and tinged with enough Garage rock n Roll to shake off any long overdue cobwebs it was a pleasure to hear a trio knock out tight tunes with songs like the excellent ‘Hound Dog’ riff-a-rama grinding away at your eardrum these gentlemen are well worth checking out and are a fantastic opener on tonight’s triple bill.

 

Next up were the local boy’s Deathtraps who had a whole bunch of new tunes to air from their Argos book of tunage. To be fair the new ones were instant toe-tappers and slotted in very nicely alongside the more well-worn numbers from their previous recordings and on the strength of tonight’s performance, I think fans old and new will be in for a treat when the new record gets released. The band sounds tight and the dual vocal attack works really well to add texture to their sound.

 

 

All you can ask for is that your favourite bands make every album better than the previous one before they inevitably break up or come to a messy end. Deathtraps have tunes kids and are carving out a style of their own by fusing the best parts of the ones that influence who and what they are. Rumours of an encore of ‘Tears Are Falling’ Newport style were sadly unfounded but they did leave the stage to beaming smiles and very warm applause from the discernable audience.  they did kick off proceedings with an excellent new song ‘Red Eye’ and peppered their set with new songs ‘Rip Em Off’ and the set closer ending on a real high ‘Never Had It So Good’ and to be fair it summed up the moment as lockdowns (fingers crossed are a thing of the past) and people get more comfortable with getting out and about with friends and fellow gig goers and its a pleasure seeing beaming smiles all over the venue as the bands entertain and blow off any cobwebs that might have gathered.  Deathtraps left us wanting more – great set (and more of that cowbell, please).

Onto the main course and Nottinghams finest The Hip Priests who have managed to not lose anyone through lockdowns and had enough pent up aggression to fuel five bands let alone one.  Never mind fuel crisis either because they could have got across country on the fumes of hatred for where we currently sit with Brexit and a continuation of tory lies and bullshit being the catalyst for some of the bands best most recent songs.

 

As always von Cruz was moving between guitar swings like he’s some fluid airbender punching and kicking his way through some classic Priests songs that seemed to get louder and louder as the set developed and the bookend duel guitar maestros of Ben and Austin compressed the energy and absolutely slaughtered Le Pub.  There were no signs of rust or the fact they’d not been doing this for so long it was as if they’ve been energised by the layoff and kicked the living shit out of the set as Priests classics from opening with the appropriate ‘Survival Of The Shittest’ then ripping headfirst into the latest albums title track ‘Stand For Nothing’ it was obvious the kings of Garage punk were on fire.

 

New track ‘Tiger In My Tank’ sounded fantastic and wedged between the epic ‘Zero Fucks Given’ and their thirtieth single ‘No Stranger To Failure’ was simply sublime and the band were hitting the groove lots of us know they’re capable of.  At times it seems effortless but the evening was moving through the gears and tonight the Hip Priests were simple on fire.   There were a few classic Priests track omitted from the set and an excellent flow to proceedings, sure ‘Jesus Died’ was played as was ‘Mother Fucker Superior’ and ending the evening with a sonic flying kick to the temple with ‘Juiced Up’ was nice.  

 

Still the champions of shit Island and still the best noisiest band in the underground, I know it, they know it and you know it but how long can they be our secret.  Post pandemic wish list is for these bastards to break out and show everyone how it’s done.  Fast, Loud, filthy and most definitely rocking. Nobody does it quite like the Hip Priests – Maybe not so young but definitely loud and always snotty! I fuckin’ love the Hip Priests and it’s great to be back! Newport as always delivered, see you next time.

 

Author: Dom Daley (spasm Gang member #3)

 

15 years of misanthropy, noise, confusion, hate, and contempt. Join the celebrations/commiserations on Saturday 4th December at Fiddler’s Elbow – Camden with FLASH HOUSE, Seven Days and Doesn’t Die and Continental Lovers.

&

Saturday, December 11th and you’re all invited (obvs) Bring the Xmas cheers and Liquid Light Brew Co Tap Room will bring the beers.

Jim Lindberg (of Pennywise) – Solo Project – “The Palm of Your Hand” Video

Jim Lindberg (of Pennywise) – Solo Project – “The Palm of Your Hand” Video

Most known for his role as songwriter and lead singer of punk rock band Pennywise, Jim Lindberg has been making inspiring, thought-provoking music since the 1990’s. Musically, he is influenced by an array of genres from punk and folk music to old school country and americana. Lyrically, Jim takes inspiration anywhere from transcendental philosophers to real life events; seeking always to tell a story or find the answers to life’s big questions. Today, Lindberg shares the first glimpse of his solo project with the track “The Palm of Your Hand” produced by Ted Hutt (The Gaslight Anthem, Lucero, Flogging Molly). The track features David Hidalgo Jr. (Social Distortion) on drums, Joe Gittleman (The Mighty, Mighty BossTones, Avoid One Thing) on bass, and Marc Orrell (The Dropkick Murphy’s, The Walker Roaders) on guitar. Check it out here and the new lyric video HERE:

 

Lindberg began writing “The Palm of Your Hand” over fifteen years ago, coming up with the chorus at the time but the song remained predominately unfinished until 2020 when he entered the studio to work on his forthcoming solo record. “I wanted to create two fictional characters who are struggling with shame, guilt and self-delusion to match the chorus lyric and so that’s how ‘Left-Handed Sal’ and ‘Walleyed Sally’ were created,” notes Lindberg. “It’s a song about two people who for one reason or another can’t seem to get out of their own way and end up inflicting all kinds of damage on the people around them. The only way they’ll get out from under all their problems is to ‘Let that ego drop’ and let their feelings show. The answer is right there in front of them, in ‘the palm of your hand’”

 

 

The Dogmatics – ‘Est 81’ (Rum Bar Records)

The Dogmatics – ‘Est 81’ (Rum Bar Records)

It’s always great to come across an act like the Dogmatics, new to yourself and a complete revelation. With an air of East Coast Replacements about them, with rockabilly elements and enviable songwriting skills. Much like the aforementioned Mats, you come to the conclusion: how have I, or indeed everyone never heard of this group.

This retrospective is a strong compilation for newbies and completists alike of the early 80s’ Boston-based group. Wielding different genre specifics, vocal styles track by track like a guitar-heavy Squeeze in their approach. Opening the record with dance floor friendly New Wave numbers ‘Sister Serena’ and ‘You Say’ (think Plimsouls, the Romantics), moving on to gruffer sounding but still resonating material like ‘MTV OD’ and ‘King-Sized Cigarette’ before to descending into the very “of the time” cowpunk tinged tracks like ‘gimme the shakes’ and ‘Pussy Whipped’.
Further on we enter the completists territory, novelty songs like ‘Hardcore Rules’ and ‘Shithouse’ not likely to win over any new fans, but serve their purpose in a retrospective for those who have been with the band every step of the way.
After this brief trough, the record certainly peaks again in the form of what should be an alternative rock classic ‘Everything Went Bad’, with tinges of Mission Of Burma and even a little bit of Buzzcocks, this one is certainly going to be on the playlists for new converts. Followed through with the melancholic and bitter-sweet “Cry Myself To Sleep”, making you appreciate the good times whilst reminding you of times that you couldn’t possibly envision things improving.
Overall this retrospective is a strong portrait of a band that is walking proof to the more obsessive music fan that the cream does not always rise to the top. Get your hands on this release. You will not regret it.
Buy The Dogmatics Here
Author: Dan Kasm

Scumbag Millionaire – ‘Poor and Infamous’ (Suburban Records)

Scumbag Millionaire – ‘Poor and Infamous’ (Suburban Records)

If Godzilla was Swedish he’d be playing hard, fast and nasty rock & roll in a band just like Scumbag Millionaire. He may even grow a moustache and change his name to Max.

Now you’ve got the picture, let me introduce you to “Poor and Infamous”, the second long-player from these four Gothenburg gutter deviants. The record that’ll get you safely through the rest of this Covid craziness.

From full-throttle opener, “Demi-God” to sleazoid closer “One For The Road”, “Poor and Infamous” is an ass-kicking classic. Think early ‘copters (obvs), think classic Motorhead and you’re almost halfway there. Where ever there is !?!

Lead single “Ain’t No Doubt” is everything The Backyard Babies used to be, totally Total 13 and a bang on dyed in the wool classic. Check out the video.

“You Had It Coming” gets a little Mick Taylor-era Stones groove on, while “Chasing Dawn” pummels you in the ears into submission.

The distorted bass intro to“Put A Price On My Soul” is pure Boss DS1 magic courtesy of the legendary Sunlight Studio.  Tomas Skogsberg’s production is spot on, the man is the Phil Spector of the garage punk metal universe.

“Desperado” is a monster. A face-fucking distorted onslaught.

“Subterranean Twist” reminds me of the early Scumbag singles (check out US compilation “Fast Track Big Pack” if you missed them).

“Highway Blues” calls on those super sexy bass tones again. Not as full on as its “Poor and Infamous” bed fellows but it’s a tune that BYB would kill for.

“Trouble City” is pure Motorhead magic and “Dead Man’s Hand” ain’t no slacker either.

Rounding things off with the aforementioned Sea Hags-tastic “One For The Road”, “Poor and Infamous” is simply the bollocks.

Pre-order the album Here on limited transparent magenta vinyl, regular black vinyl or on ye-olde traditional CD.

 

While you’re at it grab the US comp “Fast Track Big Pack” along with debut album “Speed”. You won’t regret it. Guaranteed !!!

 

Bandcamp / Facebook

Author: Frazer Munro

Public Eye – ‘Music For Leisure’ (Drunken Sailor Records / Pop Wig Records)

Public Eye – ‘Music For Leisure’ (Drunken Sailor Records / Pop Wig Records)

Public Eye’s second album ‘Music For Leisure’. Written in the wake of the US presidential election in 2016, and surrounded by the sinister political voices that seemingly felt legitimised by Trump, it’s the sound of fury, Boredom, Alienation, exercised through repetitive solid basslines, raw guitar stabs that loop (‘Awful Questions’)  and a production that sounds cold at times and angular, sharp and isolated. Arty punk if you like videos that would be black and white and feature urban landscapes apartment blocks and concrete you know the drill.

Formed in Portland, Oregon in 2016, Public Eye’s membership takes in three-quarters of notorious punks Autistic Youth,  vocalist Nick Vicario delivers his words through a one-paced tone it remains melodic taking a leaf out of Joy Divisions Ian Curtis’ book (possibly) as he remains impassive throughout its tastefully melodic stuff.  There is a certain amount of metallic industrial Buzzcocks going on as well like the borrowed licks on ‘New Years’ which is totally early Shelley and Diggle.

The vibe might be one of worry about how the world is turning to shit due to all the right-wing nonsense we’re currently experiencing in countries around the globe and not just America which helps resonate these songs. It’s not a warm fuzzy record but a jarring jolt and they encapsulate that on the excellent ‘Lost Dog’. I guess they’re preaching to the converted here because I can’t imagine a Make America Great again trucker hat-wearing no to immigrants or let’s help the less fortunate is going to gravitate towards a record of this nature anyway.

It does soften and the mood isn’t always one of despair honest! ‘Neat Machine / Red Flag’ is a great mid-paced song with great arrangement and I love the bv’s and gang vocals on the chorus. If you want to escape the madness tracks like the lo-fi riffs of ‘The Fiend’ is basic and simple but that doesn’t take anything away from the energy it creates. Certainly, the second half of this record gets warmer if you know what I mean and the penultimate slab of black and white ‘The Duet’ is excellent with its rolling bassline taking centre stage before the headfuck whig out of the saxophone comes crashing in. It only leaves the decidedly frosty but strongest track on the record ‘You’re Being Laughed At’ to wrap this up all the best bits of this record all poured into one three and a half minute song.

If all else fails and we’re indeed heading to Hell in a handcart thanks to governments who only serve themselves then we’ve got a pretty decent mixtape for the trip and this would make the cut.

Bandcamp

Rob Moss and Skin-Tight Skin – ‘We’ve Come Back to Rock ‘n’ Roll’ (self Release)

Rob Moss and Skin-Tight Skin – ‘We’ve Come Back to Rock ‘n’ Roll’ (self Release)

After a 35+ year hiatus from music, Rob Moss recorded an album of 14 proto-punk-inspired rock ‘n’ roll songs, featuring 14 different lead guitarists, including:

Bob ‘Derwood’ Andrews – Generation X
Nels Cline – Wilco, Nels Cline 4
Don Fleming – Velvet Monkeys, Gumball, Dinosaur Jr
Franz Stahl – Scream, Wool, Foo Fighters
Billy Loosigian – Willie Alexander and the Boom Boom Band
Mario Monterosso – Tav Falco’s Panther Burns
Marshall Keith – The Slickee Boys
Brian Gay – Government Issue
Stuart Casson – Smash Fashion, Dove, The Meatmen
Saul Koll – The Lovesores

In addition to top lead guitar talent, Spit Stix (Fear) drums on two songs and Francesco D’Agnolo (also of Tav Falco’s Panther Burns) plays piano on another.

If Rob’s name is familiar it’s because he was a member of Government Issue and Artificial Peace — two iconic Washington, D.C. hardcore bands.
Looking to get back into the rock ‘n’ roll game, Rob called up old friends and friends of friends to record an album of new material. While a bass player in his past, Rob now plays rhythm guitar and sings lead vocals. From the opening proceedings of ‘Babble Tower’ to the curtain call of ‘Rock n Roll Is Dead’ Rob turns in an impressive array of songs from the confident punch of the opener, Rob calls upon his friends from back in the day to lend a hand and help out a Rock and Roll brutha and the array of talent does just that.
The list of guitarists lending a hand is impressive which also adds some colour to the palet of Robs straight up Dead Boys meets Social Distortion old school punk n roll. Chris Rudolph lets off some steam on ‘Babble Tower’ and straight into ‘Ugly Chair’ that has Rob drawling on a Lou Reed vibe with Saul Koll bending the six strings like a good un.
We take a slight detour on track four and wander through the Coops garden picking up a lick here and a shuffle there sounding like prime time Alice Cooper band is never a bad place to find oneself. Stuart Casson is the player who lends some Roll to the Rock that’s being cooked up. ‘No 48 Crash’ is solid 70s glam as a tip of the hat is made to the lady in leather who no doubt inspired the groove.
If you want another change of gear ‘Oxygenate’ has some classic rock swirling organ for good measure.  I must admit I always love me some sleazy rawk n roll with a snotty dash of punk rock swagger and ‘Real Fine Kitty’ might be generic but I love it and its strut all that’s missing is the horn section tooting surely Rob had a Memphis horn section in his little black book?
Brian Gay turns up for a little tip of the Johnny Thunders handclappin’ rock and roll on ‘A Maltese Falcon’ and when a record has too much Johnny Thunders licks on it I’m tapping out as well.
The track I anticipated the most was the final knocking with Former Gen X band member Bob ‘Derwood’ Andrews who to be fair plays the song and doesn’t use it to jerk out a bazillion notes where they’re not needed and besides he has the cowbell going on as well and when has a record ever had too much cowbell? Exactly.  Andrews is a fine addition but cmon guys ‘Rock and Roll Is Dead’?  Never, not on my watch and not on the watch of Rob Moss & Skin Tight Skin either.  If you still believe in punk rock and roll with swagger and plenty of ’70s inspired glam rock then what are you waiting for hit the link and pick it up.
Pick up the album Here

Kool And The Gangbangers – ‘Feel Bad Music’ (NFT Records)

Kool And The Gangbangers – ‘Feel Bad Music’ (NFT Records)

Kool name that to be fair.  How was I ever not going to open the file with a name as good as that? But hey don’t even bother searching for their Facebook profile or their Instagram pics of them with cats and dogs n booze n birds coz you know it’s not ever there right? Right!

Sixteen snotty fucked off punk rock tracks for your delectation with minimal mix, no autotune, no studio trickery just blistering stabs of short and sweet punk rock that’s what Kool & The Gang Bangers offer at the altar of Punk Rock.

‘Night Of The Living Deadbeats’ is the Ramones playing Dead Boys it’s as simple as that kids and if you’re looking for the ray of sunshine I guess you won’t find it on ‘Hate Your Guts’ or ‘This City Sucks’ nor are you finding a rainbow on the snotty ‘Full Of Shit’.  However, you can pogo and you can chew on the inside of your gums whilst shaking your head along to the beat, that’ll comfort you.

 

These Swedish punks have got a natty line in raw riffola and catchy lyrics but it’ll take a few plays to tune into the lyrics so low down in the mix they are on times but that’s perfect for the attitude and it doesn’t take a lot of concentration to get into each song seeing as almost everyone is under one and a half minutes from start to finish ‘Drag Me Around’ even has a spot on guitar solo.  But wait ‘Rats Crawl Back’ tips over the two-minute barrier almost the perfect TOTP length but that’s never going to happen (mores the pity).  Hang up the phone reminds me of when The Hives kicked off with a good hook over a repetitive riff ‘cept this is far more punk rock.

’15 Minutes Of Pain’ starts on the bass and to be honest I wasn’t even sure there was one on there previously such was the raw lo-fi racket being kicked up. The album saves the best til last as ‘I Hate The World’ wraps up proceedings. I might leave it an hour before hitting repeat I might go out and pick some flowers or run through a field just to prove that it’s not all bad maybe I’ll cwtch a puppy or feed some birds then when I’ve had a tit full of being nice I’ll play some more ‘Feel Bad Music’.  Maybe you should too.

 

Buy ‘Feel Bad Music’ Here

Author: Dom Daley

The Ratboys – ‘Click’ (Rum Bar Records/Wanda Records)

The Ratboys – ‘Click’ (Rum Bar Records/Wanda Records)

The story of the RATBOYS goes back to the summer of 2008. In epic Def Lepard and Guns N Roses lengths of recording breaks, The Ratboys have taken their time between albums to let the first one breathe haha!

Truth is the band fell apart and it took them until 2017 for Vincenzo and Eric St John to reboot the RATBOYS. With little success at first until finally in early 2019 guitar slinger James and new drummer Reno entered the pictures.

Within a couple of weeks the sophomore album “Click” was recorded and, like the first album, it was mixed by the one and only Pierre Vervloesem. Proceedings get underway with their homage to the one and only Ramones with ‘Everybody Loves The Ramones’ which is a fair statement and using ever Ramoneclone trick in the book voila! a song is born. The retro crunch of ‘Swimming With The Sharks’ is more of the same to be fair with familiar Ramone like melodies its uptempo but with a mixture of Sweet glam thrown in for good measure which is the MO for the album I guess with various degrees of separation from the likes of The Heartbreakers and other sleazy Rock and Rollas thrown into the mix at various junctures.

 

‘Listen Closely To Your Heart’ has that johnny and Walter trade-off going on which is never a bad thing at all. The band change gears throughout the album with songs like ‘Summer School girl’ being more power pop and laid back it adds the classic power-pop jangle whilst ‘Stand Up And Fight’ is straight outta The Boys songbook with added attitude and a bit of a kick.

After a brief venture through Motor City territory, we end up at ‘The Golden Age Of Trash’ and one of the best tracks on the album as the band stray off the power-pop path and take a trip through the mid ’70s Mott like glam which makes for a really good tune.  They introduce a swirling keyboard to proceedings on penultimate track ‘Leave Me No Choice’.

Whilst it doesn’t break new ground its a really solid album blending all the components I love from power pop to punk rock to ’70s glam its great to hear bands like the Ratboys kick out the jams and I hope they continue to evolve and hope its not another decade or two before they follow this one up.

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Buy ‘Click’ Here / Rum Bar Records Bandcamp 

Author: Dom Daley

Bravata – ‘Pray For Today’ (Self Release)

Bravata – ‘Pray For Today’ (Self Release)

Italian rockers Bravata released their debut album ‘Pray for Today’ in May 2020 – as with so many bands, a very unfortunate time to release an album. However, the result is an accomplished, catchy collection of songs.

The Lecce-based band seem to effortlessly mix 70s American rock and roll with British-style Brit pop and beat, perhaps most notable in the song ‘Magpie’. There’s as much to remind me a little of New York Dolls as there is Suede, but the delivery is certainly not as hard as either. Offering up well-crafted songs with a laid back delivery, the album chimes easily from one song to the next, making each one a delightful pill to swallow.

It’s an easy album to get hooked on. While it’s punk rock and roll that drives it, it’s heavily layered with pop melodies and harmonies. The garage-infused title track is about as hard as it gets, whereas ‘I Don’t Know’ has a great The Cure-esque lead guitar hook and multiple harmonies. ‘Generate’ carries a bit of a darker sounds and definitely a highlight on the album.

Bravata traverse a lot of complementary genres to achieve these thoroughly enjoyable 10 tracks. They certainly do know how to craft a decent song or two.

Buy ‘Pray For Today’ Here

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Author: Craggy Collyde