The Vibrators – ‘The Albums 85-90’ (Captain Oi!)

The Vibrators – ‘The Albums 85-90’ (Captain Oi!)

A follow up on two successful Captain Oi! box sets by the band, ‘THE EPIC YEARS’ and ‘THE ALBUMS 1979-85’

Disc One is the band’s first-ever live album that includes Punk classics like ‘Baby Baby’, ‘Automatic Lover’ and ‘Troops Of Tomorrow’. The recordings are vibrantly captured and the band’s boundless energy is well captured. When I’m listening it dawned on me how overlooked the band’s catalogue has been in general terms. Knox and the gang wrote some really great slabs of power pop punk rock and had it down to a tee and did it better than most of that time period. None more outstanding than ‘Amphetamine Blue’ which has stood the test of time and is still a stone-cold classic.

The second disc is 1988’s ‘Recharged’ album which features the single ‘String Him Along’ that opens the album in a more countrified power-pop but the band was able to go from that to the more aggressive and choppy ‘Hey Little Doll’. ‘Go Go Go’ is pure Rock n Roll’ and indicative of the time with regards to the production. One of my favourites off the album is the acoustic ‘Every Day I Die A Little’ maybe a predictable rise and fall middle section as the drums kick in but a top track all the same. Rounded off nicely with a crowd-edited rendition of ‘Disco In Moscow’.

Disc Three is the ‘Meltdown’ album which now adds the previously non LP ‘Wasted Life’ as a bonus track. ‘Office Girls’ kicked off the album and the band had lost none of their appetites to pen spikey punchy power pop, tight verses and uplifting chorus. Again I love the balladeering on ‘So Young’ with its great saxophone break from Waterboy Anthony Thislewaite that took the Green On Red sounding track into another direction making it one hell of a song. The band mixed the songs up quite a bit on ‘Meltdown’ running through their repertoire of influences from the balladeering to the tougher punkier songs and other genres getting some oxygen which helped make The Vibrators one of the best bands to emerge out of punk and beyond.

In under twelve months the band released the follow up to ‘Meltdown’ with the fourth disc in this set 1989’s ‘Vicious Circle’ album which features the Billy Fury cover of ‘Halfway To Paradise’ single and the rare bonus B-side ‘Drive’. With a better fuller more rounded production that really suited The Vibrators songs, ‘Vicious Circle’ kept the show on the road with topical ‘Polltax Blues’ adding some grunt to proceedings and that Stooges piano tonk underpinning the rolling riff.

Whilst ‘Fire’ was still snotty having it lean on the Billy Fury cover still sounds weird such is the contrast.

The final disc is the band’s tenth album, imaginatively called ‘Volume Ten’. Opening with ‘Losing It’ is something of a classic sounding Vibrators song with a strong pop melody and chorus glued together with a sharp guitar riff that leads to a palatable chorus. ‘Hot For You’ is more uptempo and yet another example as to how good the band was even when they did a cover of ‘Rave On’ which I’m still not sure about. It’s not like they were struggling with writer’s block and could have gone with just original tunes but hey ho what do I know.

The clamshell box also has a booklet containing detailed liner notes overseen by Jon ‘Eddie’ Edwards which are pretty cool.

For a relatively cheap amount of dosh, these Vibrators box sets are a fantastic purchase and people who possibly got blown off course and missed out on these recordings now have the chance to fill those gaps with some great records. Pick one up it’s a no-brainer!

Buy Here

Author: Dom Daley

Pack Rat – ‘Glad To Be Forgotten’ (Drunken Sailor Records)

Pack Rat – ‘Glad To Be Forgotten’ (Drunken Sailor Records)

The driving keyboard is what will get you in the end. Insanely catchy as the songs drive on mowing down everything in its wake. It’s like hypnosis through punk rock. ‘A Casual Death’ is anything but. Christ pre-pandemic (remember that?) there was a band out of Vancouver called The Corner Boys and they released one fantastic album then split. Another great record was Chain Whips well since Covid drummer/songwriter Patrick McEachnie has stayed as active as possible using his time to great effect by picking up a guitar and playing. Basically, he made an excellent record all on his own, and if you were paying any attention to his other releases you will know. Those who do just simply know what to expect, sure, of course, this is fucking right up there flat out excellent.

‘Coming After You’ is rapid and right to the point. Making a racket and finger-wagging and full of menace. The title track is a tub-thumping cross between some bedroom homage to the UK Subs and Tubeway Army it’s the synth that’s humming away throughout as the guitars sound like a twenty-year-old Tascam four-track at best only adds to the intensity and manic feel.

‘Two Sides Of Your Heart’ is akin to Chubby And The Gang in some ways – just thrashing away around a hypnotic melody and a blitzkrieg keyboard solo that is a face melter. The record isn’t hanging around either bopping til it drops with songs around the one and a half to two minutes long. Kick-off turn in an awesome melody – kick the listener in the tits then fuck off. Jobs a good un- Next!

When the tempo is turned down a shade (‘I’m No Sustitute’) it’s a killer with a twisted melody and that fuzzed-up synth. It’s not new at all, it’s not big or clever and it’s nothing to write home about if you’re after a polished modern production. Its infectious, banger after banger – twisted melodies layered upon thrashing guitars and monotonous melodies playing with your head. You know you like it but you haven’t the foggiest why? Is it the ripping pace? The Melodies? the mindless pogotastic beat? is it the Ramones love in of ‘Lost Cause’ and ‘Stay Away From Me’ reminding you what it was like to fall in love with punk rock? Of course, it’s all of it. A top tune is a top tune no matter what style it’s done in.

Hell, that was a blast! Ten songs in twenty-something minutes – perfect punk rock for the masses. Now how do we get to the masses? People need a face full of this DIY bad boy as soon as possible. Quality record – just buy it!

Buy Here

Author: Dom Daley

Tits Up – ‘Greatest Tits’ (Self Release)

Tits Up – ‘Greatest Tits’ (Self Release)

Kicking off the release with track ‘get ya on’ with the “if it’s not broken don’t fix it” punk rock formula. Ensuing pogoing is guaranteed! Things turn dramatically by the next number, ‘baby’. Almost as if we have taken a shortcut down a dark alley in the wrong side of town. Creepy and haunting in all the right ways. This first recording is a great testament to the group.


What I love about this EP is that it seems to get more and more aggressive with each passing track without losing any of their style and mystique. The ladies seemingly have the ability to be intimidating without losing any character and credibility and leaving the listener wanting more. 


This five track release is nothing if not consistent, every track is a stomper and leaves you unable to isolate any track as a stand out. Repeat listening is a natural side effect and the material keeps it strength every time. There is a run of the mill tradition when reviewing powerful releases from those of the feminine persuasion, to play some sort of “riot grrl bingo”. Name checking artists, whether they are actually all that similar to our subjects. I don’t want to go down that route as it’s over travelled already. All I will say is if you like Punk Rock and Alternative Rock from the past 40 years, check out this release because these three individuals rock the fuck out! 


I’m pleased to say that the first lot of physical copies of Greatest Tits has sold out already. A great achievement and the band has announced that they will try and get some more copies reissued soon. Keep an eye on their social media and their Bandcamp and also check out the live dates that are coming through for 2022. 

Buy Here

Author: Dan Kasm

CUIR – ‘ALBUM’(Rockstar Records)

CUIR – ‘ALBUM’(Rockstar Records)

Well, here’s a late contender for one of my favourite albums of the year. I love finding things by accident. I saw a Facebook post on my local venue’s page for a gig next January. The photo alone grabbed my attention. As you can see. A strong image, I was intrigued, so I searched out the album via Bandcamp. Eleven tracks, only two that run over two minutes. A short, sharp shock.

From the off, it gets under the skin, with ‘Maniac’ setting the tone. Gloriously basic drum machine, punk riffs aplenty, 80s synths and barked vocals in French. Don’t panic! You really don’t need to know what’s going on. Whether it’s ‘Blouson Noir’ or ‘Cut Cut’, this is gonna have you pogoing around in no time.

While it’s not ‘OFF’, he has a similar approach in brevity; if you can’t do it in two minutes, forget it. Somewhere between a demented, sped-up Sigue Sigue Sputnik and Spunk Volcano, there’s not much more I can add. If it’s your thing, you’ll love it immediately. How it transfers to the stage remains to be seen. I’ll find out next month. Stay tuned, punk-pop pickers. Not arf!

Buy Here

Author: Martin Chamarette

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