Category Archives: punk

THE RATBOYS – Are Stupid Brats EP

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Recorded in just three days, Belgian garage rock/pop punk band The Ratboys’ full-length debut ‘Cash, Gas and Trash’ was a low budget romp that packed twelve songs into approximately half an hour. Capturing a balance of 60s twang and garage ethic, dished up with an enjoyable punky sneer and farfisa organs, it was destined to gain a cult audience.

Their 2012 record ‘The Ratboys…Are Stupid Brats’ follows a similar blueprint, it’s four songs sharing a love of old rock ‘n’ roll records, Jonathan Richman, Joey Ramone and The Real Kids.  It has a key difference, however:  a notable lack of farfisa sounds!  Those were almost pivotal to the debut, and their absence here has the odd knock on effect of making ‘…Are Stupid Brats’ sound rather more thrown together and even lower budget than need be.

For all of its self-proclaimed trashiness, ‘Cash, Gas and Trash’ actually had some very audible bass parts.  On this EP, we aren’t always given such luxury.  Bassist Ratboy Vince is there, but never as distinctly as he deserves to be, since throughout these four tunes, Ratboy Manu and Ratboy Ricky’s guitars dominate.  The lack of warmth all round works best on ‘Stupid Brats’; their slightly slapdash playing giving a sense of urgency to the tune, while Ricky delivers a simple chorus hook straight out of the Joey Ramone school of dumb fun. With plenty of repetition, it’s reminiscent of Ramones, The Dead Boys and other CBGB trash from ’77 and even with a European vocal slant, it’s a good example of brainless punk song writing that really works.

A guitar part heavily inspired by The Real Kids’ ‘She’s Alright’ initially promises great things for ‘School Bus Driver’.  Despite initial excitement, the track descends into fairly run of the mill garagey sounding punk-pop that even an upbeat guitar break never quite rescues.  On this and the following ‘Rock N Roll Vacation’, Ricky’s vocal style is wobblier than ever before, and he even appears slightly unsure when tackling any longer notes.  But even his vocal instability isn’t quite as bad as the ensuing fiery rock ‘n’ roll solo, which has a generally sloppy air and contains enough missed notes that even Paul Westerberg would baulk.   ‘Bangkok Action’ has a sharper lead riff and a louder/stronger bass part, a few gang vocals and a much better guitar solo, meaning it has plenty of potential all round.  Attempts to stretch it over a minute longer than necessary weaken its overall impact, but it is enjoyable enough in its bubblegum pop/punk approach.  Let’s just say – like a couple of these other songs – the ideas are solid even if the general fidelity and performances are a tad lacking.  In short, if US surf/pop punks The Queers got their hands on this track, it would sound absolutely terrific.

Although in the scheme of second outings, ‘…Are Stupid Brats’ was never likely to equal Ramones ‘Leave Home’ in terms of brilliance, it should have still been a little better than it is. The minimal running time means it is still possibly worth checking out, but since nothing here matches the standards set on the debut, it is best not to set your expectations too high.  Without the farfisa organs that previously gave The Ratboys a more distinctive sound (and a sense of retro cool) they no longer stand out from the pack in the way that they could.

[You can stream or download ‘…Are Stupid Brats’ via the player below.  You can also check out ‘Cash, Gas & Trash’ by clicking here]

September 2012

THE BLACK STOUT – A Pint Of Riot

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A Pint of RiotOn the title track of The Black Stout’s 2011 debut EP ‘Voices of Generation‘, the band promised they were “going to kick your backside”.  As good as their word, they did just that on a handful of tunes which blended attitude, riffs and a love of Rancid with top results.  This second release – an eight song 12” vinyl – stretches the musical boundaries a little farther developing more of a punk ‘n’ roll sound in places.  While some of the music may be a touch more sophisticated, in terms of grit, there are still plenty of hooks and an attitude that’s as hard hitting as a large Doc Marten boot.

The jangly guitar intro featured on ‘Join The Riot’ suggests the band are more assured in their craft, showcasing a sharp-edged but melodic twin guitar.  This musical motif re-appears elsewhere, but overall, this opening track displays plenty of the hefty, punky sounds you are expecting.  With an anthemic feel, it is a strong number, but not as good as some featured here.   The band anthem ‘Black Stout’ moves farther away from punk and more into hard rock territory with a collection of great riffs, while the shouty refrain “we are The Black Stout” is both catchy and simple.  Musically, the best moments are provided by bassist Al, who uses his instrument to bring a great rumbling bottom end to the faster sections.  He may not play with the unmatchable technique of Rancid’s Matt Freeman, but then few musicians do.  His technique and speed prove great enough for the job in hand.

During the first couple of minutes of ‘Drinking Song’, you won’t find anything particularly surprising, just more punk rock delivered with as much energy as this Parisian quintet can muster.  And then, for the second half of the track, The Black Stout wheel out an angry waltzing tune over which Vaness’ growls “Fuck you! I’m drunk because I want to be drunk!” .   On the whole, while it’s good to hear the band bringing in different ideas and influences, after a few plays, it doesn’t always sit as well as the more predictable high voltage punk ‘n’ roll/punk-pop tracks.  With a tough guitar sound and brilliant drum part, ‘Lover or Liar’ firmly embraces punk ‘n’ roll.  In this setting, the gravelly vocals show a great sense of style and the riffs are hard hitting. Delivered with slight distortion, Al’s bass parts are incredibly solid again, but this time he’s totally outshone by Xav behind the drum kit.  The fills and rolls during parts of this track give the punk ‘n’ roll edges a serious groove.  This track has no weak links – each of the band members brings something great to the table.  If you’ve not heard any Black Stout music before, this is a track you must seek out.  It deserves a place on a punk sampler CD from a hugely successful label.

The straight up punk/pop of ‘The Night’s Not Over’ pitches Vaness’ ragged voice against some well-placed (if slightly underused) gang vocals, as a bouncy riff recalls the best moments of the band’s debut EP.  Being the kind of riff that you’d find gracing many of The Queers and Screeching Weasel’s more complex tunes (complex being a relative term), the featured lead guitar parts have an instant familiarity, but the solo is perhaps more adventurous than either of the named bands could ever muster.  Throw in a commercial chorus and you’ve got a fantastic piece of punk worthy of any collection.  ‘There’s Nothing Here For Me’ is equally enjoyable.  Over a superb punk ‘n’ roll riff (somewhere between Rocket From The Crypt and UK band The Computers in a lightweight mood), Vanness’s growly voice drips with attitude, the gang vocals invite great opportunities for shouting along.  If the song doesn’t get you, the riff will. In punk ‘n’ roll terms, you’ll rarely find a better tune than this.  With simple in your face elements, The Black Stout hit their musical target square on.

Like the debut EP, ‘A Pint of Riot’ features a few tracks which ought not to be missed.  On ‘The Night’s Not Over’, ‘There’s Nothing Here For Me’ and (especially) ‘Lover or Liar’, The Black Stout’s brand of punk/punk ‘n’ roll sounds better than ever.  These tracks present a band ready to move farther up the career ladder.  Since The Black Stout now appear ready to send out the sounds of the Paris punk scene to a bigger audience, let’s hope Fat Mike and Brett Gurewitz are listening…

April 2012

GALLOWS – Death Is Birth EP

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In the summer of 2011, a big change occurred in the Gallows camp.  Founding member and lead vocalist Frank Carter announced his departure from the Watford-based hardcore punk band.  While such a major change can be daunting, it was only a matter of weeks before Gallows announced his replacement and seemingly barely any time at all before they unveiled new material, which suggests the changes were already in place by the time they went public with Carter’s departure.

This EP marks the first Gallows release with new frontman Wade MacNeil, previously of Canadian post-hardcore merchants Alexisonfire.  Before the release of ‘Death Is Birth’ he announced proudly that the new material sounded like a kick in the teeth.  Judging by most of these first spawned by the Wade-fronted Gallows, he’s not far wrong.  Things may have changed for the band – and with new blood comes new ideas – but the passion which has driven Gallows previously is still abundant; ‘Death Is Birth’ offers four numbers of a very high standard.

The opening number ‘Mondo Chaos’ musically suggests that Gallows have toughened up considerably to accommodate their new vocalist.  Frank Carter came with a severe rasp and plenty of edge, but MacNeil’s delivery comes fully loaded with an exceptional intensity.  The guitars at first have a similar grinding edge to most of the band’s previous output, but there’s more bottom end than ever before.  Combining that unsubtle amount of power with the deliberately confrontational refrain of “Hey, say fuck the world” makes an opening statement which is so intense, it’s almost ridiculous.  As the number progresses, there are hints of a slightly bouncier edge, but no sense of Gallows ever lightening up.  However, it’s a mere pop ditty in comparison to the uber-hardcore ‘True Colours’, a track which points at the aggressiveness of US government: “if moves like a snake and lies like a snake, the whole world knows it’s a snake / Your true colours shining through like the 4th of July”.  A direct statement backed by an even more direct riff gives this bile-filled thirty-seven seconds a sharp impact which never lessens on subsequent plays.

‘Hate! Hate! Hate!’ is the EP’s best number, mixing a grinding lead guitar with a slightly more groove-laden riff.  The faster elements here sound not unlike a pumped up Sick of It All, something more than reinforced by MacNeil’s shouty hardcore vocal; but, obviously, this is no bad thing – especially once the band finds room for a memorable refrain of “next stop revolution!” at the track’s end.  Looking beyond the fast riff, there’s even time during the relatively swift two minutes for a slow, pounding riff, which provides another blast of extreme intensity;  especially so when coupled with the suggestion that “you better run for your fucking life!”

Although driven by more similarly grinding guitars, the title cut has a very slightly lighter touch, and is perhaps the closest the EP comes to reproducing the sounds of “classic” Gallows.  Musically, it may nod to the band’s past, but since MacNeil’s in-your-face delivery stomps across any relative musical flourishes, it is best not to expect anything which overtly resembles Gallows’ past work.  Still, since it would have been unwise for Gallows to attempt to recreate ‘Grey Britain’ – let alone improve on it – it was definitely a wise choice to take a slightly different musical path.  And even when their newer-found, even more extreme hardcore elements meet the older strains of the Gallows sound, as they do here, they still excel as a musical unit…and Gallows still sound more essential and vibrant than their closest peers.

Arriving with the subtlety of a bomb, ‘Death Is Birth’ rattles the listener for little over seven and a half minutes before making a swift exit.  There are hints of the old Gallows throughout, but understandably with MacNeil out front, there are almost as many hints of Alexisonfire’s more aggressive tendencies in here too.  The tougher sound and different frontman might lose Gallows a few fans, but it’s just as likely to win them new ones with the big change.   Some people may have predicted the absence of Frank Carter would spell the end for the band, but this EP suggests anything but the end of the road.  With ‘Death Is Birth’s sledgehammer riffs and recurring messages of new beginnings, Gallows sound more determined than ever to succeed, leaving the punk world one of the year’s most brilliantly uncompromising releases in the process.

December 2011

REGURGITATOR – Superhappyfuntimesfriends

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As with so many of their peers, Regurgitator haven’t made much of an impact outside their native Australia.  However, after years of hard work, half a dozen full album releases and a bunch of singles, they’ve become cult heroes among the alternative community.  They’ve even secured support slots with Beck, Red Hot Chili Peppers and The Prodigy on their Aussie tours.

Regurgitator’s seventh album, ‘Superhappyfuntimesfriends’, presents a mix of jangly indie-rock, pop punk and occasional electronica vibes, served with a frivolous and sometimes uncompromising attitude.   There are various words which best describe the album, but if it were best described by one, that one word would be inconsistent.

That’s not to say that it doesn’t have some good moments hidden among its messier elements, of course.  In fact, ‘Into The Night’ could well be one of 2011’s best individual tracks.  With a blend of electronic pop and sullen vocal, it’s the kind of track US band The Killers should record, if only they weren’t so horribly bland (and possessing such middling levels of talent).  It may be down to Regurgitator’s country of origin, but there’s a more than welcome hint of The Church during this number.  This could partly be the use of some very 80s keyboards, but it’s just as likely to be its slightly underwhelming vocal style – delivered in a way which would make Steve Kilbey proud.  Electronic treatments also provide the heart of ‘Devil Spell’, a short and wordless, yet brilliant piece; full of breakbeats and loops, it makes the band sound like The Go! Team reworked by Beck Hansen.  Simple but effective, never outstaying its welcome, it’s a number which works best with the volume properly cranked.

Most of Regurgitator’s other great moments on ‘Superhappy’ aren’t as reliant on retro pop or electronic features.  Their pop-punk tendencies – present on tracks like ‘No Show’ and ‘Uncontactable’ – prove them to be an outfit with great energy (and this also explains why they supported the much-missed CIV on tour).  On the former, a tuneful vocal is well suited to the bouncing riff, while the main hook of “it’s a no show!” is an effective one.  You’ll have heard a lot of similar material throughout the 90s and beyond, but Regurgitator more than hold their own in this department, making it a great three minute number designed to clear some cobwebs.  Due to a slightly more off kilter chord structure, ‘Uncontactable’ could potentially be the more interesting of the pair, though still doesn’t veer too far from punk pop.  A mid section featuring a phone call also demonstrates a silly sense of humour.  Overall, energy plus a reasonable hook more than carries this number off with ease.  ‘All Fake Everything’ is best described as “oddball”.  At first, it presents itself in the Ben Folds vein: a gentle-ish piano ballad intercut with jarring bad language.  Just as you think you’ve got it sussed, it’s all change…The second half of the track is loaded with fuzzy bass and a big groove, dressed up with rough-round-the-edges rap (a la Beastie Boys) – in short, a world away from where it began.  It might just work.  Even if you decide it doesn’t, at least you can’t say Regurgitator don’t kept you on your toes!

Moving things into more accessible territory, ‘Punk Mum’ is an upbeat indie-rocker with a throwaway feel, saved by some great bottom end on the bass and almost marching band drumming in places.  It’s maybe not as good as the likes of ‘No Show’, but manages to be great fun nonetheless.  ‘Outer Space’ brings some retro sounding, almost new wavish edges.  A strong and simple arrangement plays host to some muted guitar chords which recalls the best stuff by The Cars.  However, it’s downhill from there – with such a strong tune, it’s a pity Regurgitator couldn’t have backed up this good tune with a memorable hook of any kind.

Although there are some top tunes, ‘Superhappyfuntimesfriends’ suffers a little from too much filler material. As with any hit and miss albums, there’s bound to be stuff which passes the listener by without making a great impression.  In addition to a couple of such numbers, Regurgitator fill other parts of the album with near pointlessness.  For example: ‘Game Over Man’ fuses 8-bit computer noises with hardcore punk to create a thirty seconds distraction, while ‘D.M.T.42’ spends almost two minutes doing precious little. There’s a Daft Punk style electronic loop, a fuzzy noise and then a little shoegaze thrown in for good measure (which all adds up to a band definitely trying too hard) and ‘8PM’ is a short lo-fi acoustic piece which could have been a Smudge b-side.  None of these offerings reach this band’s true potential.

Given Regurgitator’s inconsistencies and attempts at squishing so many styles onto one release, it’s much better to approach ‘Superhappyfuntimesfriends’ as an individual collection of songs as opposed to a complete album.  Individually, you’ll certainly find some great tracks here, though it’s possible that these standout moments will vary wildly from listener to listener – and depend entirely on mood.

You can download the album on a “pay what you want” basis from the widget below.

November 2011

DEAD GIVEAWAYS – Underneath Everything

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At the beginning of 2011, Dead Giveaways released their debut EP.  Across four songs, the Washington based band showcased a great energy, promising better things for their upcoming full-length release.   ‘Underneath Everything’ – that full length – features thirteen high-speed punky romps, and  if it’s high octane thrashiness you’re after, with its tales of partying, infidelity, partying, girls, booze and more partying, this should make an impression.

First off, the general edge to the band’s music, coupled with Aaron Moses’s slightly ragged vocal style, puts this firmly in the punk category as opposed to pop-punk.  Also, even though the band big up the rock ‘n’ roll elements in their sound, they’re not always as pronounced as they could be (unlike The Computers’ full-length for example).  With these elements combined, what we do have on our hands is a great high-energy disc and on numbers like ‘All Right Tonight’ and ‘The Best Thing’, the band proves they’re a force to be reckoned with.  Both numbers are straight up punk delivered with some simple but distinctive guitar leads, which recall moments from The Queers and Screeching Weasel back catalogues.  That should be enough to reel some of you in for a listen…

‘Right Now’ combines the speed of The Queers during their ‘Beat Off’ days with another infectious guitar riff which also echoes the best work of that band, while fusing it with a slightly more ragged lead voice.  As such, it doesn’t stretch the band’s talents, but is ultimately very enjoyable.  ‘The Devil On My Shoulder’ has a punk intensity, but hiding behind a wall of guitars is what’s essentially a bar-room country hoe-down played at breakneck speed.  A tale of cheating on your girlfriend is dressed up with fist-in-your-face subtlety and a sloppy guitar solo.  Joe Deal is a shining light behind the wall of sound; his fast bass runs – often very clear in the mix – save this tune from being one of the band’s more ordinary offerings.

‘Hell Yeah’ takes the power of numbers like ‘The Best Thing’ and injects a little rock ‘n’ roll edge, while never quite reaching the heights of punk ‘n’ roll.  There’s a definite influence from Supersuckers, and here, Dead Giveaways’ penchant for simple, infectious hooks is as subtle as a brick, making this one of many standouts.  Likewise, the hook from ‘Love Song’ is purposely designed to annoy and entertain in equal measure with its repeated line of “I want sex tonight!”  Musically, it’s yet another no-nonsense punky thrasher that’s a definite winner.  Originally featured on the band’s EP, ‘Dear Liver/9 Shots’ fuses punk with a hint of old style country (surely another influence from Tucson’s Supersuckers) and that drunken country vibe comes across stronger on the first half of this number than anywhere else on the release.  ‘Dear Liver’ acts as an intro sounding like an old scratchy record, while ‘9 Shots’ is another slice of punk with a slight influence from a country stomp.  While it could be described as great fun, chances are you’ll have heard something similar from a NOFX album in the past. Originality aside, the band are on form once more, with Matt Jones’s drumming sounding tight and furious…and yes, if you came hoping for another shout-along chorus, you’re not going to feel short-changed.

No decent punk album is complete without a cover tune, and ‘Underneath Everything’ is no exception.  While not an especially original choice (having already been tackled by fellow punks Humble Gods and ska-pop-punk band Dance Hall Crashers), Tom Petty’s ‘American Girl’ gets another airing here.  What it lacks in inspiration it makes up for with sheer speed, since Dead Giveaways hammer through it as fast as they can: the twin guitars of Erik Gidney and Aaron Moses buzz away, while Jones’s drums and Deal’s rumbling bass provides most of the power.  The brilliance of Petty’s composition seems to shine no matter who’s in the driving seat and this is no exception, especially once these guys soften up for the bridge section… File under “inessential, but fun”.

With regard to musical tightness, Dead Giveaways mightn’t always be as consistent as some, but they have a great energy and their gift for penning infectious choruses constantly wins out.  Though it’s not a perfect album by any means, ‘Underneath Everything’ comes loaded with enough hooks to make it a punk disc that’s well worth investigating.

October 2011