Summer is almost here ladies and gentlemen, and this all new twelve track album from New York ska outfit The Slackers is going to provide the perfect soundtrack.
That’s right folks, because after the high intensity punk and post punk stuff I’ve been reviewing elsewhere on RPM this month, ‘Don’t Let The Sunlight Fool Ya’ actually came as something of a welcome respite. Indeed, cranking this one out of the RPM boombox over the recent bank holiday was like a much-needed foot on the brakes of life, providing me with a chance to reflect on matters whilst also enjoying the first rays of 2022 sunshine on my face.
‘Don’t Let The Sunlight Fool Ya’ has been seven years in the making for Vic Ruggiero and his bandmates, and for once that old adage about the best things come to those who wait has really never been more apt, because this record really is a right bobby dazzler.
The New York Times recently dubbed the Slackers part of ‘the sound of New York’, and just one listen of ‘Windowland’ later I’m suddenly whisked off to an upstate Manhattan bar one Friday night supping on a cold one totally absorbed in the band playing on the small stage in the window, with the rest of the assembled weekend crew going suitably bananas all around the place. Yup, The Slackers are bringing their A -game via their special brand of ska party to your living room, and all you have to do is pick up a copy of this record to gain entry.
At this point I do have to admit that Nev Brookes should really be reviewing this album, because after all he is RPM’s resident expert in everything with a skanking rhythm, but after hearing the album’s superb title track (which got a video release a few months back) I just had to hear the rest of ‘Don’t Let The Sunlight Fool Ya’ and here within the context of the full album said title track still makes me think it’s a song custom bult for Elvis Costello to one day cover.
Elsewhere, the likes of ‘Hanging On’ and the riotous ‘Nobody’s Listening’ shine through via some truly inspired vocals from Ruggiero, whilst it’s the band’s impressive horn section (of Dave Hillyard and Glen Pine) that get to steal the show on the glorious ‘Way Of A Woman’ and on the subtle soul stylings of the sultry ‘Second Best’. Things get political for the powerful ‘Statehouse’, and dare I say that during the lament of ‘They Are Losing’ the long shadow of a certain Tom Waits looms large over proceedings.
‘Don’t Let The Sunlight Fool Ya’ is very much a dance album though and when you follow the aforementioned ‘They Are Losing’ with the almost 2Tone-esque ‘Shameboy’ you’d have to be one tough cookie (or perhaps an idiot) not to find yourself immediately caught up in the dance craze The Slackers generate.
Look, we’ve all had a couple of tough years, right? Well, it’s time to heal, and great music is the perfect medicine to help us do just that. So, treat yourself, go get a copy of ‘Don’t Let The Sunlight Fool Ya’, smile, dance and as The Slackers themselves wisely say whilst ‘Time Won’t Set Us Free’ great music most certainly will.
It’s the season to be jolly… oh shit wrong season. Never mind this sitting of the singles club is choc-o-bloc with great songs for you to check out whilst you demolish your kids easter eggs so fill yer boots why doncha
Kurt Baker & Bebe Buell – ‘Blood & Roses’ (Wicked Cool Records) This is a cover of The Smithereens’ 1986 hit, ‘Blood & Roses’, which hit #14 on the US singles chart this time it’s given the Kurt Baker and Bebe Buell treatment. This is their first musical collaboration between the pair with Buell complimenting Baker on his music. It’s fitting that this is a tribute to one of their mutual favorite bands, The Smithereens. Baker says, “The Smithereens were an integral part of my rock n roll education growing up…without [their] music I wouldn’t be where I am today” Both artists inject their unique musical styles into a track and the finished product is outstanding. It’s a no-brainer for us here at RPM we love Kurt’s music and Wicked Cool doesn’t release bad records. Get on it kids – Here
The Sweet Things – ‘Brown Leather’ (Spaghetty Town Records) Wooh easy tiger the Sweet Things just turned up the heat on that sloppy exile on main st tip and flipped the Black Crowes the bird with this authentic sleazy barroom rocker ‘Brown Leather’. This is the real deal kids 100% kicking ass and taking names. from that honky tonk to the horns this is as exciting as you can get. Whilst the Quireboys implode The Sweet Things get back in the game and throw this bad boy boogie right in the ring and step to the top of the pile. Make no mistake kids this is the record of the month. The album is gonna slay. Find more about THE SWEET THINGS online at: FACEBOOK | INSTAGRAM
Bitch Queen / Scumbag Millionaire – ‘Split’ (Lux Noise Records/JanML Records / Maja von Lobeck) As you know we do love ourselves a split and when it’s containing two-band we fucking love it’s always a win/win. With limited pressings on these they’ll sell out pretty damned quick so don’t muck about kids – you snooze you lose. Bitch Queens offers up ‘2000 & Late’ and as it builds like a forest fire into a thumping, raging mosh pit happy slice of death rock. It’s uncompromising and further proof that its an outrage that Bitch Queens aren’t on the cover of the alt press magazines and headlining festivals.
Teaming up with Swedens Scumbag Millionaires is a great pairing as they bring the rage of ‘Fast Bob’ and with that seal of Scandinavia Quality its a blistering song from the six-string licks that Chuck Berry would be proud of to the tempo in the engine room holding this rager together – it’s a single you need to hear. Now off you fuck and order it before they’re gone! Buy here:
ELECTRIC BOYS – ‘Into The Midnight Sun’ (Mighty Music)ELECTRIC BOYS decided to release a couple of new tracks. These are songs that the Swedish band recorded during the ‘Ups!de Down’ sessions. A classic, psychedelic Bloom-riff over a hard shuffle beat, not usually associated with the band. Martin (Thomander) and Andy (Christell) are singing lead in the verses. In 2018 the return to studio albums finally happened and since lockdown, the band has managed to record ‘Ups!de Down ‘ bringing different shades to the Electric Boys sound. The band adds plenty of swing to their classic rock roots and along with some big guitar solos, this makes for an excellent new sound and songs. If you don’t believe us check it out here
Dub War – ‘War Inna Babylon’ The rousing ragga-punk cover of the Max Romeo and the Upsetters’ classic “War Inna Babylon”, features guest vocals from the legendary Ranking Roger of The Beat in his last ever recording before his sad passing in 2019. The vivid reimagining of the track sees the band deliver angular guitars, frenetic rhythms, and powerful and uplifting vocals from the band’s frontman Benji. What you’d call a banger right there kids.
Snuff – ‘Green Glass Chippings’ (SBAM Records) the second SBAM offering this edition of the singles club sees punks Snuff deliver the goods via moped with a great chest-beating slab of punk rock that will have them singing along in the bars and mosh pits everywhere. Lifted from their upcoming album “Crepuscolo Dorato Della Bruschetta Borsetta Calzetta Cacchetta Trombetta Lambretta Giallo Ossido, Ooooooh Così Magnifico!” yeah go on you say it. Pick it up here
The Darts – ‘Love Sunami’ (Beluga Records co-released with Adrenalin Fix, Dirty Water Records, Ghost Highway Recordings). Fantastic keyboard twitching psyche garage rock and roll from The Darts. Man, this single has an attitude from the hypnotic beat to the mind-altering chorus this is a great single for sure. It doesn’t end there because ‘Shit Show’ is almost as good. A cooler backbeat yeah! this EP is freakin awesome and the more I play it the louder I want to hear it and those retro keys are superb. Then to twist your melon a little more the third track is a psychotic romp through some great fuzzy bass guitar and lead guitar and ‘Underground’ is bouncing with energy. I would have this at number one in this bunch of pop choons kids but the Sweet Things have it by the single thread of a molting afghan coat fringe but when the album drops from these ladies I’m all over that!
Bottlekids – ‘NOWT’ (SBÄM Records) Three mates from Chepstow, South Wales announcing their brand new EP ‘ZILCH!’ to be released by SBÄM Records on May 27th lead it with ‘Nowt’ a raging slab of punk rock with obvious influences from Stateside punk like Green Day and Bad Religion and why the fuck not? Its excellently delivered and a real contender. ITs got the vital ingredients to take them far and if the rest of the EP is as good as this then why not. Love the bass line and tone it sets this up to go for it and give the Anti Flag bands a real run for their money. Quality song.
Like a lot of music seeing the light of day it was written in lockdown it’s about kicking out the jams and all that pent-up aggression had to come out in the music and to my ears, Bottlekids made some great choices. With a sparkling production, this ‘Zilch’ EP could be time for the band to blow up!
Supersonic Deuces – ‘Bored & Stoked’ (Devil’s Beat Records) We’re all about the quality in the Singles Club and it’s often a great gateway into an album or EP that’s coming down the track. To celebrate the first year of activity, Supersonic Deuces just released the ‘Hey Now!’ ep. It includes the single “Hey Now!” plus the previously released singles “Haze the Hides” and “Bored & Stroked”, and “Strutter” from the upcoming Kiss tribute album on Devil’s Beat Records. If you don’t dig this slab of garage punk n roll then we won’t be friends for long. Banger no doubt about it and you can join the cool kids by checking out www.supersonicdeuces.com and tell em RPM sent you.
Sons – ‘Nothing’ (Pias) Having landed the support slot with Jack White the future looks bright for Belgium garage ragers Sons. Here’s their latest video for ‘Nothing’ taken from their album ‘Sweet Boy’ released in the week. It’s a loud, aggressive slice of post-punk garage rock, (if you like your pigeon holes) not a million miles from Idles, and ‘Fontains DC this is set to blow up everywhere.
KOMBI KILLERS -‘Sick World’ (Riot Records) Old school 82 fuck you punk rock from Kombi Killers. Pulling no punches a direct slice of social commentary about the pandemic and their succinct feelings about lockdowns and covid. Brisbane heat and lockdowns must have got to them because they make no bones about their feelings here and let the world know in an old-school assault. Batten down the hatches Kombi Killers are on the loose again spreading their disease – punk as fuck!
So, an old friend of mine (who has been working with, managing and writing about cool bands for the best part of three decades) said to me a few weeks back. “Come and see Crows in Cardiff, you’ll love them”.
“Nah – they’re too Indie for me” I quickly replied.
He even asked me again on the day of the gig, and yet again I replied in the negative.
Then, as I woke the morning after said gig, I found another friend had tagged me in a live video from the gig on social media, only for me to click on it and think. “Hang on this is actually really really good.”
And, a few quick spins of ‘Beware Believers’ (the London band’s recently released second album) later, and boy oh boy am I regretting my decision.
Why all the fuss you might wonder? Well, this week whilst the world and its dog are all seemingly losing their shit over Wet leg’s new album, Crows have crept out of leftfield with next to no media fanfare and have released one of the albums of 2022.
Having witnessed the very good The Imbeciles supporting Killing Joke just a week or so earlier I cannot help but think the self-styled Lords of Chaos missed a trick not getting Crows out with them too, because whilst Killing Joke’s flame still burns very brightly indeed Crows are (to my ears at least) the voice of a whole new generation of disaffected UK music fans.
Take ‘Garden of England’ for example, this tune bristles with the spirit of post punk circa 1978-79 and even adds a soupcon of Mr Lydon (In the “England” phrasing) towards the end of the track – yet with its subject matter of a diseased country falling to rack and ruin it is very much 2022.
Elsewhere, the gargantuan ‘Only Time’, the Mark E Smith fronts IDLES drone of ‘Room 156’, the Division Of Laura Lee-like ‘Moderation’ and the truly sublime ‘The Servant’ are all standouts in an album jam packed full of them, and it’s only when the pace (and indeed intensity) drops for album closer ‘Sad Lad’ that I actually get a chance to reflect on the greatness on offer throughout all of the record’s eleven songs.
‘Beware Believers’ is an album I could easily write 10,000 words about, but the litmus test will be you going out and listening to it and loving it too. This is all killer no filler post-punk, and in a rock world seemingly crammed full of lip synching manufactured beige bollocks it’s bands like this that really keep old farts like me interested and excited about the UK scene.
Oh, and Andy, you were right all along… I do love them.
The line-up history of Chicago Power Pop legends Enuff Z’Nuff is a complicated thing to follow. In a nutshell; After 15 years and 10 albums singer leaves band – guitarist (not original guitarist) becomes singer. Guitarist quits band – singer rejoins. Singer quits again – guitarist becomes singer again and subsequently quits…bassist and founding member becomes singer. In-between all this, add the usual band antics including drug addiction/stints in rehab, lawsuits, being shafted by record label/band members, and the tragic deaths of 2 band members. Are you still following?
Fair play, Chip Z’Nuff is still holding the Enuff Z’Nuff flag flying high in 2022 and if he looks a bit disheveled in his trippy, hippy attire then, he has good reason to be. Not only is his third studio album as lead singer of Enuff Z’Nuff to be released later this year, he precedes that with this, his second solo album entitled ‘Perfectly Imperfect’.
You could be forgiven for being skeptical when Chip took over lead vocal duties from the estranged Donnie Vie. Yeah, the harmony vocals of Chip & Donnie were sublime, but could the bassist possibly pull it off without his longtime songwriting partner? Well, with 3 EZN albums under his diamond studded belt as lead singer and his second solo album on the shelves, it seems the rose-tinted bespectacled Chip is doing just fine on his own.
Of course, the ghost of his former singer is never far from any EZN related release and this album is no different. The first single ‘Heaven In A Bottle’ is an old Chip & Donnie tune that harks back to the early years of the band and has been doing the rounds in demo form for eons. It’s a typical, mid-paced ode to Cheap Trick, the sort of tune they could knock out in their sleep back in the day. Chip’s trippy, laid-back tones are more subdued compared to Donnie’s Lennon-like rasp, and that feel sets the pace for the whole album.
It’s impossible to review this album and not make comparisons to his past songwriting partner. And Chip doesn’t really help matters on ‘Doctor’ by pilfering the main hook from Donnie’s ‘Light Shine On’ from his 2014 release ‘The White Album’. But that said, the duo co-wrote so many tunes the original idea could be from either of them, I guess.
His reworking of ‘My Heroin’ (cunningly re-titled as ‘Heroin’ here) from EZN’s 1995 album ‘Tweaked’ is quite frankly the highlight of the album. I was skeptical on first listen, as its one of my favourite EZN tunes, but fair play, he somehow improves on it. The original was a bare bones recording, a masterpiece of the acoustic slide, harmonica and gut-wrenching sadness, an ode to the pitfalls of addiction. I didn’t think a full band version would improve it, but somehow, with just the addition of bass and drum tracks, it does.
Of the originals on offer, album opener ‘Welcome To The Party’ brings to mind ‘We’re Alright’ (again from ‘Tweaked’) and is a fine listen. It chugs along on the cool hook, again coming on like a long-lost Cheap Trick poptastic dittie that would not sound out of place on ‘Live at Budokan’. ‘I Still Hail Ya’ has a quirky vibe, it’s full of dreamy pop melodies and euphoric vocalisin’. And I’m still not sure if ‘3 Way’ is a driving song or a euphemism for kinky sex, but it’s one of the more upbeat Power Pop ditties on offer and I like it.
Still dressing like a late 60’s Carnaby Street reject at 53 years old, Chip Z’Nuff is flying high again with a selection of old melodies, reimaginings and new ideas. But listening to ‘Perfectly Imperfect’, I’m left wondering why this album is released under the ‘solo’ moniker? It is no real departure from the signature Chip sound, but it is a departure from the Enuff Z’Nuff signature sound, as are the last 3 albums without his songwriting partner.
If you are an Enuff Z’Nuff fan you will love it I’m sure, but at just 9 songs, it speaks volumes to me that the strongest offerings are the last two on the album; the aforementioned ‘Heroin’, a song Chip wrote a lifetime ago, and a 48-year-old Mott The Hoople song called ‘Honaloochie Boogie’. Maybe it’s just a stop gap to keep the fanbase happy, or one of those ‘contractual obligation’ albums, but as the title suggests, this solo album feels a bit cobbled together, out of time and out of place. But you know what, I do quite like it.
Records from the beginning of popular music or modern popular music way back in time called the 1950s. Pre Beatles and Stones, pre-Britpop, pre-grunge. There was always a subculture going on and music was no different and it wouldn’t surprise me for one second that Lux and Ivy would have owned a fabulous and largely unknown record collection. They were hardly easy listening themselves and they drew their songs out of the fringes of music be it Jazz, Blues or pop. You just know it’ll be an interesting and informative ride.
This double CD also comes with a lavish booklet full of poptastic nuggets courtesy of MOJO magazines Davie Henderson.
There are fifty tracks on offer and everyone has the potential to blow minds it’s that far out and lyrically messed up for these modern times(I can picture Lux smirking down on us all). The fact there are two tracks with Tarzan in the title tells you something but as we swing from Jazzy RnR to big ensembles of bloated balladeering to weird Rock n Roll this is something to get the party started for sure.
A lot of music for your hard earned and a CD that will certainly have the guests impressed at your vast taste either that or they’ll be running to the hills and worrying about your eclectic collection.
The early years rama lama Rock n Roll is heavily represented here like the Charms. If you’re familiar with the bop n roll of Chris Cerf then I bow down to your knowledge. Imagine a song called ‘Too Big For Her Bikini’ coming out today. The insta tictokkers would have a lynching squad firing up the torches. To be fair Slim Marbles isn’t just a great name and how didn’t ‘The Switch’ catch on?
Anyway, fill yer boots and your speakers with a hefty slab of good time Rock n Roll. It’ll make you smile and fill your ears with top tunes in a world that gets madder by the day this will cleanse your soul.
The much-anticipated trip over the bridge to watch The Chats at the Bristol O2 had finally come, after being postponed a number of times due to COVID the place was finally packed full of mullets and Aussie brilliance.
The First support band Dennis Cometti (named after a retired sports commentator) started the carnage as a people crowd surfed their way to the front to ‘on the sauce’ (which is still on repeat in my head) A perfect setup for the evening to come.
After a stop at the bar, Londoners ‘Chubby & The Gang’ send the O2 mental with their souped-up UK HC. It seemed to go by in a flash of strobe lighting, dry ice and dimly lit red lights. With a mix of songs from both albums, Chubby led his band through a pulverising set that fitted in rather well with tonights up for it crowd. Chubby seemed really pumped and up for it feeding off the pit and onto the O2’s large stage, rather than some grubby little club where this style usually lives and thrives. Tonight Chubby & The Gang brought it on to Bristol and went down a treat.
Before placing ourselves out of the bear pit that is the front stalls and go for the safer option and prime spot on the balcony the lights dimmed and out they flew. In an absolute blur of limbs, The Chats hit the stage hard and the only thing moving faster than the songs was the lighting – strobing like crazy sending the pit wilder than a dozen boxing kangaroos. Everything was played at double, nah triple, nah quadruple speed, It seemed like a Chats classics masterclass. Favourites ‘nambored’, ‘temperature’ and ‘mum stole my darts’ sent the Kungfu kicking kids at the front absolutely mental.
With barely time to take a breathe Mr. Sandwith took a trip on some of the multiple liquids flung towards the stage and lay in the pool of beer that had gathered, in excitement he returned to his feet and smashed out a breakneck ‘smoko’ and their newest song, ‘struck by lightning’ and then it seemed to come to a crashing halt. Equipment was broken and chaos was all around which seems like the best way for a Chats show to go.
What felt like a prime frat house punk rock party Australian style – the set length was perfect it was all over and leaving the salivating mob with ‘Pub feed’ was about right. The crowd was duly told to fuck off and the band legged it. Soaked in beers and a cheerio-o their work tonight was done, Bristol was left to come down from The Chats tornado that just tore the O2 a new one. Until next time from a very, very sweaty O2 g’day and goodnight you bonza bunch of noisy swines.
As we move further into the new normal and as restrictions drop away and we begin the learning process of living in a “post pandemic world” as things move towards becoming endemic, live music has a huge part to play in the healing process, and re-invigorate our thoughts, attitudes and ability to function in a Tory led new world order. Thinking about new world order takes my thought straight to killing joke a band that have constantly pushed against the barriers of genre, attitude and predictability.
I mean as scribes we constantly bounce our thoughts around look for influences get hooks to our writing and try and introduce the reader to band’s they might like based on their current listening, now ask yourself two questions
Who are the influences that have helped build the Killing Joke sound?
Who do Killing Joke sound like?
The answer to the first is there aren’t any, Killing Joke are constantly shifting the boundaries of music, they draw their power and intensity from fantastic musicians exploring the scope of their instruments with a frontman looking both inwards and outwards from an almost visionary perspective pulling the threads together.
The answer to the second? No-One !! Killing Joke stand out on their own an enigma pulled together by an enigmatic frontman, present post punk/post modernist future reaching music, moving ever outwards and dictating where music can go rather than following the masses.
Pulling things back there is a support tonight Brooklyn based anglo-American ‘The Imbeciles’
The Imbeciles are: Butch Dante (guitar and backing vocals), Ben Rice (guitars, lap steel, backing vocals), John Kent (lead vocals, bass guitar, backing vocals, drums, percussion), Joshua Lattanzi (guitars and backing vocals), Charlie Culbert (drums).
Youth played bass guitar and co-write the songs on their new album ‘Imbelica’.
Now I have to hold my hands up I didn’t dive in and research them prior through choice, sometimes its worth making your mind up raw without prior influence in the live setting and myself alongside the crowd really took to the band again not really a band you could pin down to a specific genre, at times hinting at REM, at times drawing on the grunge attitude Nirvana in particular, but staying in the Seattle sound with the Meat puppets and Soundgarden again coming through and all underpinned with almost a classic rock sound. The new LP will be well worth exploring and I would urge people to check them out live.
In all the times I’ve seen Killing Joke alongside the H Bomb’s experiences who provided tonight’s photos well into double figures between us ‘Love like Blood’ has only been experienced once and never by yours truly and they only opened with it tonight!!! Fair play and then to follow it with ‘Wardance‘ and ‘The Fall Of Because’ I was a happy man, in fact the whole gig was both intense and relentless, presided over by a frontman on top form, engaging and driven, the intensity just continued to ramp up as the band locked in and by the time we’d gone through ‘Money is Not Our God’ and ‘This World Hell’ we were on fire and then ‘Bloodsport’ just tore the roof off. There were so many highlights until we got to the end of the main set with ‘The Wait’ and ‘Pssyche’.
Time to take a breath and we’re back with Requiem dedicated to Taylor Hawkins, ‘I am the Virus’ and ‘Pandemonium’.
So returning to my initial thoughts Killing Joke are still bang on point as relevant today as they were in the beginning moving and dictating what music should sound like tearing their own path Brutal, intense, challenging and forward thinking as all music should be standing alone an Enigma but one that needs to be experienced by one and all.
2 years on from their covers opus ‘Cocaine And Other Good Stuff’, Warrior Soul return with a brand new album, the title inspired by their enigmatic singer’s past stint in the slammer.
The fact that Kory Clarke has been in trouble with the law may come as no surprise. The mouthpiece of Warrior Soul has been spitting bile for well over 30 years. A band well ahead of their time, Warrior Soul shoulda took the world by storm back in the early 90’s with their politically-charged diatribes and apocalyptical forewarnings, but sadly the world wasn’t ready for Kory’s metallic-tinged rage.
Band members have come and gone; some have sadly shifted off this mortal coil (RIP bassist Pete McClanahan) but the warrior remains…punk and belligerent to the end.
‘Out On Bail’ is a collection of 8 songs that has a running time of around 30 minutes. It has been self-produced by Kory and features a host of players in the ever-changing Warrior Soul lineup that currently includes Dennis Post on guitar and Christian Kimmett on bass. No less than 3 guitar players and a matching number of drummers (Kory even plays drums on one track) lend their talents to an album that was recorded during various lockdowns.
An atmospheric intro piece sets the cinematic vibe, before blasting into topical opener ‘We’re Alive’, a song that builds on urgent beats and that unmistakable 40-a-day gritty vocal that has certainly weathered over the years. The no-frills production suits the raw, punked-up vibe and this opener is a statement of intent for one of New York’s most outspoken sons.
‘One More For The Road’ recalls the Warrior Soul of old in both style and delivery. Road stories and past glories are all wrapped up in dirty riffage and crashing drums. It’s a hypnotic cacophony of new age noise, and we wouldn’t want it any other way, would we?
3 tracks in and ‘Hip Hip Hurray’ again takes us back to the early 90’s alt-metal sounds. A politically-themed diatribe set to crashing primal beats, sonically seductive guitars, and a trademark, anthemic Kory chorus that will remind you just how satisfying it can be to fist-punch the air along to a song! Somewhat ironically, the title track is an 80’s rock throwback. Featuring a familiar-sounding riff straight from the sunset strip, and an instantly addictive hook, it’s a song you can’t help but like. It has a ‘live in the studio’ feel and an AC/DC style finale that sits well.
Closer ‘The New Paradigm’ is Kory at his finest doing something a little bit leftfield. It builds on a stark yet hypnotic bass riff, Kory’s poetic lyric, and a guitar riff reminiscent of prime Jane’s Addiction. An atmospheric, alt-rock feel permeates throughout as the instrumentation ebbs and flows nicely, Kory’s sandpaper vocals leading us into the new world.
So, it’s pretty much business as usual for Warrior Soul in 2022. ‘Out On Bail’ is a solid, no-frills punk n’ roll album, just as you would expect it to be. A short, sharp shock to the system that is as raw, messy, and undiluted as its frontman. And while there is nothing here as exciting as my personal favourite ‘Space Age Playboys’ era of the band, it’s a satisfying listen from an artist who has weathered the storm, come out the other end fighting, and still has something to say.
Politically charged upstarts and agitators Asian Dub Foundation first showed up on my radar in the late 90s when I saw one of their videos and whilst not a huge fan of any of the genres they touched upon the whole package intrigued me and collectively it struck a chord – lyrics, the hard rock, the ragga rhymes and that trip-hop all mixed with an Indian flavour was certainly something I’d never heard before or since. although Fun Da Mental and ‘Dog Tribe’ was a genre highlight and possible pinacle but thats for another review.
‘Enemy Of The Enemy’ is an album that crosses the path of Rage Against The Machine, Apollo 440 with a bit of Massive Attack The openers, ‘Fortress Europe’ and ‘Rise To The Challenge’ bring the energy and fist-pumping rage ADF seem to have going on. Whilst ‘La Haine’ that trip-hop Massive Attack vibe. it also had fellow rager and politically charged Sinead O’Connor on ‘1000 Mirrors’
This new version features a trio of bonus cuts including one non-album cut of ‘Illegal Minds’ feat Mark Stewart.
Fresh from collaborating on an opera about Colonel Gadaffi (they did) alongside the English National Opera, The Asian Dub Foundation followed up ‘Enemy Of My Enemy’ with 2005s ‘Tank’ another altogether darker more menacing opus (if that’s even possible).
Asian Dub Foundation‘s certainly turned up the darkness on this album easy listening it isn’t, uncomfortable listening (if you happened to be a fan of George W Bush) – sure. Right from the off the opening riff of ‘Flyover’, a real crossover of ragga vocals and wild drums, it’s got more than a whiff of Killing Joke going on for good measure. in as much as its political – interesting and innovative.
ADF makes no apologies for their musical stance and being one of the most political music acts around they certainly did challenge the listener and the establishment. ‘Tank’ is their fifth album and by now had really found themselves and where they fitted in or where they didn’t fit in more like. Probably culminating in their most confident record thus far. Even if you didn’t want to engage on a political level the energy they create is intense and powerful something you can’t help but be impressed with. Hell, these are the guys who’ve collaborated with the one and only Chuck D what’s not to like?
They target Home Secretaries, on ‘Round Up’ Presidents on ‘Oil’ they collaborate with Mad Mike on ‘Powerlines’ and also include a collaboration with Perry Farrell on ‘Easy Man’ It’s an intense album named after the American soldier’s vehicle of choice as they blasted Metal through speakers as they drove through Iraq. The dub bass is infectious and the arrangements captivating.
In a world that just keeps on giving these albums are as relevant now as they were almost twenty years ago when they first came out. Have we learned anything? If anything politicians are the people who just keep giving and serving themselves up on a silver platter for bands as articulate as ADF. Not an album I want to listen to every day that would make me sad but an album I’m glad I have in my collection and can dip into every now and then when I want to rage against the machine.
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