This four-piece outfit from Exeter are going to beat you into submission. No kidding – from the minute you hit the play button, The Computers are going to grab you by the knackers and not let go. Even on the couple of occasions where they manage to slow things down, there’s an intensity which borders on threatening.
From the opening kick of ‘Teenage Tourettes Camp’, The Computers pound their three chords into your skull with unrelenting attitude. On their fast numbers, they sound like New Bomb Turks jamming with Supersuckers (with extra metal guitars thrown in) and then fronted by The Suicide Machines’ Jason Navarro at his most screamy. ‘Love The Music, Hate The Kids’ shows no sign of letting up and by the tracks end, you’ll either be reaching for the stop button, or convinced The Computers have been sent like aggro-filled messiahs to bring no-nonsense thrashy rock ‘n’ roll/punk to those audiences in need of a shake up. ‘S.O.S’ slows things down to a 4/4 mid-paced stomp. While the musical approach might provide a much needed change in pace, the track itself is weak as it offers little lyrically and feels a little repetitive by the end. ‘Please Drink Responsibly’ marks a return to the three-chord sweatiness of the opening numbers. I assume the group backing vocals represent some kind of chorus, but as with most of the songs here, vocalist Alex’s delivery is so intense, it’s pretty hard to make out any important messages.
I know what you’re thinking. It’s probably something along the lines of “if only someone had the foresight to create something which sounds like a high speed romp through a Motörhead classic with added Rocket From The Crypt-ness, coupled with the vocal melody from ‘Lipstick Vogue’ by Elvis Costello”. Well, you’re in luck! ‘Hell Yeah’, does exactly that – and in doing so creates the EP’s absolutely essential moment. At just over two minutes, it doesn’t mess about.
‘City Ghosts’ – which ends this 20 minute statement of intent – feels somewhat out of place. It’s got a slow, grinding approach, somewhat like ‘Dirt’ by The Stooges, but where some people have the charm to pull off this kind of material, it doesn’t work here. While Alex’s screechy vocal style seems to work fine with the material played at breakneck speed, it becomes difficult listening without that speed to back it up. Still, it’s the only negative point from an otherwise potentially great EP. Please don’t think I’m getting at Alex…his vocal style can be difficult, but it’s well suited to most of the band’s material. Its unrestrained approach shares a lot in common Jason Navarro (check out The Suicide Machines’ swansong ‘War Profiteering Is Killing Us All’) or Frank Carter from Gallows…and sometimes that’s a good thing.
‘You Can’t Hide From The Computers’ is fun, (mostly) fast and uncompromising. If this doesn’t make you want to jump up and down and hit things, then there’s something wrong with you.