Hound Gawd! Records announced the new album by The Cutthroat Brothers and Mike Watt on the back of the RSD release that featured Watt and its fair to say I got a little excited. I love myself some Cutthroat Brothers anyway and the added Mike Watt was always a blast. Whilst having a bass guitar on the older tunes was quality it was always going to be interesting to see how that dynamic would work on hearing new tunes and it was a proper buzz and lived up to the hype and standard I’d imagined in my fuzzy head. ‘Devil in Berlin’ is set to drop in record stores in early December but it can’t come quick enough.

Might as well start at the top and ‘Bad Candy Girl’ kicks in like a motherfucker with a bass that’s growling like a Mack truck with no brakes doing 100. but after the sonic boom, it settles into a cool groove and already this record has my attention. The breakdown is like a dust-up at the crossroads and those Bad Candy Girls are twerking with old nick before leaving with these three cats.

Love the tunes as they roll off the record from the swirling grind of ‘Been Away’ Colliding with the jig of the title track that’s splendid with its fuzzed-up bass and finger-clicking goodness. Its like you’ve entered some late night tiki bar thats got harleys out the front and the band kicking out the james are these three reprobates oozing equal parts Gun Club, Stooges, Elvis, The Cramps and just about a dozen other cool as fuck bands from history all spilling out over the grooves of ‘Devil In Berlin’.

To be fair I could go through each track dishing the dirt and drooling over the coolness of this record as the Brothers have really hit their groove and found the missing piece of the jigsaw in Watt who adds that little something extra that the dynamic duo couldn’t quite reach without him. Sure, the tunes would have been good but not this freakin good. ‘Love, Drugs Etc’ has some wicked slide that’s got some cool 70s glam running through it like an unearthed Sweet song played by some punks who found it washed up on a beach in some bottle.

In contrast, the fuzz of ‘Cold Dead Night’ has some Grunge running through it, either via Sonic Youth or a bit of Husker Du with a smidge of Kobain for good measure. The vocals remind me of some Black Francis in his Pixie days. Without a single duff or remotely below par track on offer, this album is excellent as one track detonates the next and the band move through the gears so smoothly from one tempo to the next and tracks like ‘Cherry’ has the band so comfortable and confident they it just sounds so confident like they knew when recording these songs how damn good it was going to be once it was handed over for production. In three years The Cutthroat brothers have served up some fantastic music that has gotten better and better with each record right up to this point and there is no filler just all killer its a close shave as to the best track maybe its the swirling backbeat of ‘Like A Zombie’ that sounds like its being pounded with sledgehammers courtesy of Paychecks drumming as the overdriven fuzz of Watt compliments the licks of Jasons guitar and devilishly cool vocals.

But wait they sign off with a song that’s like the beyond the grave rumble of Lemmy beating up a sonic youth Goo period thumper before menacing its way to the close and the final notes of an extremely exciting and bloody good record. Never mind the King being dead The fuckin’ Devils In Berlin aparently and this is his soundtrack.

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Author: Dom Daley

Hound Gawd! Records recently announced the new album by The Cutthroat Brothers and Mike Watt. Titled ‘The King is Dead’, the album will be available as vinyl LP on Record Store Day, June 12th, 2021, followed by a digital release on July 9th. The venomous blues-punk, swamp-rock sounds of The Cutthroat Brothers and Mike Watt conjure bands like The Gun Club, The Cramps, The Stooges and The Hives. You can check out a new single called “Wrong” now and download/stream the album for review below…
No Echo says “Basically, if you love bands like The Cramps and X, you’ll be an instant fan of what these fellas are cooking up.” adding, “Mr. Watt’s mind-fucking bass lines colors the material in a beautiful way that makes you go, “Yeah, this is sick.”
This collaboration began when Mike Watt interviewed Jason and Donny on The Watt from Pedro Show. When the real-life barbers casually asked Watt to play bass on their next album, they didn’t expect to hear ‘yes’.
Mike Watt added his magic and is now an honorary Cutthroat Brother barber by blood. Watt’s gritty, powerful playing will blow your greasy black pompadour back like a jet engine.
Hailed as ‘the Sweeney Todd’s of punk’, The Cutthroat Brothers and Mike Watt are a mean and murderous match made in hell.
World-renowned visual artist Raymond Pettibon (Black Flag, Sonic Youth) contributed the cover art, making ‘The King is Dead’ packaging hotter than a wet shave and twice as slick.
Take this blood-soaked bash-a-thon and file it where it fits: right next to punk rock greats like Misfits or The Damned.
Jack Endino (Nirvana, Soundgarden, Mudhoney) produces, mixes, and masters again (his 4th collaboration with The Cutthroat Brothers in only 2 plus years since the band was formed), honing ‘The King is Dead’ to a razor sharp point.
‘The King Is Dead’ opens with the aforementioned ‘Killing Time’, an anthem for miscreants everywhere. Up next is the rockabilly and drug influenced ‘Medicine,’ finding Mike Watt in a fuzzed up bounce reminiscent of The Minutemen’s ‘Corona’.
The third and title track ‘The King is Dead’ is a spooky blues burner that slips into the room like a night stalker, then slashes everything into a brash, bluesy bloodbath. The rest of the album pummels forward in the gritty, grimy, grinning fashion that leaves the listener sliced, shaking and twisting on the barbershop floor wanting more.
The Brothers and Watt enjoyed working together so much that you can expect further collaborations in the future!