Friday, 23 September 2016

SUBWAY SECT










































"1978 now"
Year:  2007
Country:  UK
City:  London
Label:  Overground
Format:  CD
Tracks:  14
Time:  38 min.
Lyrical themes: social issues, pacifism
Genre:  rock
Style:         Punk  Rock






























SUBWAY SECT are one of the first british punk bands. Although their commercial success was limited by the small amount of recorded material they released, they have been credited as highly influential on the "Postcard Records" scene and the indie pop genre which followed. The core of the band was singer/songwriter, Vic Godard, plus assorted soul fans, who congregated around early gigs by the Sex Pistols until Malcolm McLaren suggested they formed their own band. Subway Sect were among the performers at the 100 Club Punk Festival on Monday, 21 September 1976 - sharing the bill with Siouxsie and the Banshees, The Clash and the Sex Pistols. The first line-up of Godard on vocals, Paul Packham on drums, Paul Myers on bass and Rob Symmons on guitar lasted for 4 gigs before Mark Laff replaced Packham. Laff himself would leave for fellow punk group Generation X after the White Riot tour. SUBWAY SECT is not limited to one style: starting off with as singer / songwriter sound they plunged the London late 70s punk scene recording from punk to jazz to folk to mod music.
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Monday, 19 September 2016

THE FIEND



























"greed power religion war"
Year:  2015
Country:  UK
City:  Newcastle
Label:  Candlelight
Format:  CD , LP
Tracks:  14
Time:  39 min.
Genre:  rock
Style:         Punk  Metal






























I've always loved those "forgotten bands" acts whose influence was largely ignored and yet who predated some of the kings of their respective genres. The Fiend seems to be one of those bands to me, and perhaps that is what makes their new record "Greed Power Religion War" one of the angriest punk records I have heard all year. Utterly anarchist and triumphantly destructive this is the kind of punk metal album that gets to the heart of what the entire thing is about and will speak to the ungodly power the genre holds. The intro to the record, the unsettling Intro To War leads to the almost Carcass derived title track "greed power religion war". The fusion of punk and thrash metal ideas on this record is especially interesting to me. Though Greed Power Religion War is definitely a punk album there are more than a few metal ideas that sneak in and help make this thing even more powerful. The fact of the matter is that The Fiend are still doing it four decades into their career, and if that means bringing in thrash metal ideas here and there so be it. The lyrics are spat out with an almost Tom Araya like precision and the riffs are simmering with rock and roll energy, both things that help keep this record exciting for a jaded old metal dude like me. The way that The Fiend seem to boil over with hatred, even this late in the game is stunning and it proves to me the eternal power of punk rock. These guys understand what it means to be angry and they have a message behind their music. It makes for easy listening that gets you pumping your fist, but also thinking about larger societal issues. The Fiend are in 2016 still making hardcore punk in the grand old style and for that reason dudes like me will have to be forever grateful. Get fucked up in the pit because these guys won't have it any other way. (*NOTE =  this review was writen by Matt Bacon ).
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Saturday, 10 September 2016

THIRTY SIX STRATEGIES











































"strategy three"
Year:  2016
Country:  UK
City:  Three Counties
Label:  Boss Tuneage
Format:  CD
Tracks:  12
Time:  36 min.
Genre:  rock
Style:        Post Hardcore





























"strategy three" is the third release by THIRTY SIX STRATEGIES. This, unsurprisingly, is the follow up to last years critically acclaimed "Strategy One" mini album. Coupling veterans from the hardcore punk scene from bands such as STAMPING GROUND, SHUTDOWN, DECADENCE WITHIN amongst many others, and featuring the wonderful vocals of Kirsty, someone described them recently as "Debbie Harry singing for DAG NASTY" which isn’t too far off the mark. The band have already had introducing features in the british press (Terrorizer and Big Cheese) and already in their short existence had some high profile support slots including the likes of GRANT HART and NO MEANS NO "strategy three" is not only released as a taster for their debut full length album later this year, but is also complemented by a guest appearance by Andy Cairns (THERAPY?), who is a big fan of the band too.
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Friday, 9 September 2016

CHELSEA













































"saturday night sunday morning"
Year:  2015
Country:  UK
City:  London
Label:  Let Them Eat Vinyl
Format:  CD , LP 
Tracks:  13
Time:  36 min.
Genre:  rock
Style:         Pop Punk



































Even in the early days, CHELSEA didn't pursue the buzzsaw punk stereotype, instead favoring a less-fevered, sometimes lumbering intensity, redolent of an ignorant, lower-class background. CHELSEA does offer plenty of thrills, however. The band was since the first moment influenced by soft pop melodies, clear voices and some kind of attitude closer to The Clash, The Jam or The Ruts, than other punk bands more anarchist or nihilist oriented. This "saturday night" album probably is the most clear sample of its atraction for the classic, mid-tempo and elegant british pop music of the 60's decade, some ones even describe this album as a "britpop" long play... everybody can to listen to it and to judge yourself.
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"faster, cheaper and better looking"
Year:  2005
Country:  UK
City:  London
Label:  TKO
Format:  CD
Tracks:  12
Time:  34 min.
Genre:  rock
Style:         Punk  Rock





























Once more into the breach, dear friends. The continuing saga of Chelsea has rarely failed to throw up at least a handful of invigorating surprises, and Faster Cheaper and Better Looking, the band's first studio release since their 1999 reunion, maintains that tradition. Indeed, with three members of the "classic," late-'70s lineup still on-board (Gene October, James Stevenson, and Chris Bashford, joined by latter-day Buzzcocks bassist Tony Barber), the band has arguably erased the memory of the chaos that reigned through the 1980s and 1990s and finally delivered the follow-up to Alternative Hits -- not at all coincidentally the last album to feature the same trio. A dozen-songs strong, Faster Cheaper and Better Looking opens with the one-two punch of "Living in the Urban UK" and "Sod the War," disaffected war cries that prove the Chelsea pen remains as sharp as it ever was -- Chelsea's greatest asset in the early days was its frontman's ability not simply to identify with his audience, but to actually morph with it, until his very lyrics became the slogans that decorated a million T-shirts. That remains true today, although the rage is also tinted with resignation -- like it says in the closing "If We Knew Then," "when we were 15, we thought we could rule the world. But now you're 50...." That, however, is the album's only acknowledgement of the years that have passed since Chelsea's youth, and this is wholly the sound of a band in its prime, vital and powerful, melodic and marching - faster, cheaper and, yeah, if you like, maybe even better looking as well. Good punk rock
(*review writen by Dave Thompson ).
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"traitors gate"
Year:  1994
Country:  UK
City:  London
Label:  let them eat vinyl
Format:  CD , LP
Tracks:  12
Time:  36 min.
Genre:  rock
Style:         Pop Punk

































CHELSEA were noted for their socialist, left wing ideas and the raw emotion of their early live gigs. Their first single, Right To Work, dealing with unemployment, was their most popular song. After spending 1977-78 touring in the UK and overseas, they released their first LP, Chelsea, in 1979. Their second LP "alternative hits" was released in 1980. The band released this studio album "traitors gate" in 1994 (the seventh one in its large discography), but the record label finally decided to "censored" the cover and to publish this ONE . Later it appear a limited edition with the original cover design, which you can see here above. Since 1976 they continue to record and tour.
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Saturday, 3 September 2016

ABRASIVE WHEELS










































"skum"
Year:  2013
Country:  UK
City:  Leeds
Label:  Rebel Sound
Format:  CD
Tracks:  12
Time:  36 min.
Genre:  rock
Style:         Punk  Rock































Oriniginally recorded in 2009 through label "Crashed Out", in 2013 was re-released with some sound changes and a complete new artwork. Despite the band started in 1977, this is its third studio album and the result is frankly good and more than satisfactory. Simple punk rock with few touches and influences of classic rock'n'roll or even hard rock with lyrical themes about social issues, politics, life on the streets, anti-war, etc. If you liked its debut album but not much its second one, this "Skum" turn to its roots, I mean its debut. Great guitars, great and lyrics and great album no doubt.
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Wednesday, 24 August 2016

RADIO BIRDMAN








































"Radios appear"
Year:  1977
Country:  Australia
City:  Sydney
Label:  Warner Music
Format:  CD , LP , Box
Tracks:  12
Time:  36 min.
Genre:  rock
Style:         Garage Rock




























Although the best-known band of the early australian proto-punk or already punk scene of the late 70s was The Saints, the first band to wave the punk rock flag in the land down under was Radio Birdman. Formed by Deniz Tek and Aussie surfer-turned-vocalist Rob Younger in 1974, Radio Birdman's approach to rock & roll and garage rock was rooted in the high-energy, apocalyptic guitar rant of The Stooges and New York Dolls, sprinkled liberally with a little East Coast underground hard rock courtesy of Blue Öyster Cult. Their first EP "burn my eye" released in 1976, was a great record and still remains a seminal chunk of Aussie punk. Loud and snotty, with Younger bellowing his guts out and Tek on a search-and-destroy mission with his guitar, this was a great debut that set the stage for the impending deluge of Aussie punk bands waiting in the wings. After the release of their debut LP, Radios Appear (the title comes from a lyric in the Blue Öyster Cult song "Dominance and Submission"), in Australia a year later, Radio Birdman seemed poised to break Aussie punk worldwide.
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Monday, 22 August 2016

THE KINKS







































"the ultimate collection"
Year:  2002
Country:  UK
City:  London
Label:  Universal Music
Format:  2 x CD
Tracks:  44
Time:  138 min.
Genre:  rock
Style:        Mod        Classic Rock






























The Kinks were an English rock band formed in Muswell Hill, North London, in 1963 by brothers Dave and Ray Davies. They are regarded as one of the most important and influential rock groups of the era. The band emerged in 1964 during the height of British rhythm'n'blues and mod movement, and were briefly part of the British Invasion of the US until their touring ban in 1965. Their third single, the Ray Davies penned "You Really Got Me", became an international hit, topping the charts in the United Kingdom and reaching the Top 10 in the United States. Between the mid-1960s and early 1970s, the group released a string of hit singles; studio albums drew good reviews but sold less than compilations of their singles. They gained a reputation for reflecting English culture and lifestyle, fuelled by Ray Davies' observational writing style. Albums such as Something Else (1967), The Kinks Are the Village Green Preservation Society (1968), Arthur (1969), Lola Versus Powerman (1970), along with their accompanying singles, are considered among the most influential recordings of the period. After a fallow period in the mid-1970s, the band experienced a revival during the late 70s and early 80s with albums Sleepwalker, Misfits, Low Budget, Give the People What They Want and State of Confusion. In addition, groups such as Van Halen, The Jam, The Knack, Pretenders and The Fall covered their songs, helping to boost the Kinks' record sales. In the 90s, Britpop acts such as Blur and Oasis cited the band as a major influence. The Kinks broke up in 1996, a result of the commercial failures of their last few albums and creative tension between the Davies brothers.
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Wednesday, 10 August 2016

MC5







































"kick out the jams"
Year:  1969
Country:  US
City:  Detroit
Label:  Warner Music
Format:  CD , LP
Tracks:  10
Time:  30 min.
Genre:  rock
Style:        Garage Rock






































"kick out the jams" is the debut album by proto-punk band MC5 and it was released in February 1969, through Elektra Records (own of Warner Music). Although the album received several unfavorable reviews upon its release, it has gone on to be considered an important forerunner to punk rock music  and in 2003 was ranked number 294 on Rolling Stone magazine "500 Greatest Albums of All Time" list. Despite its superficial non-political appareance, members of the band like Wayne Krammer or Rob Tyner, showed publicly their sympathy for democracy, socialism and activism pacifist. Their behavoir against Vietnam war and all wars in general, was repeated in different live concerts along USA during the first MC5 periode. This album is normally described as "garage rock" but it keeps also many similarities with rhythm'n'blues and classic rock. To mention also a curiosity which happened in 1993, when the spanish band M.C.D recorded a covers collection album, using the same classic MC5 cover (you can see HERE below the inspired design).
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"back in the USA"
Year:  1970
Country:  US
City:  Detroit
Label:  Warner Music
Format:  CD , LP
Tracks:  10
Time:  32 min.
Genre:  rock
Style:         Garage Rock





























Following this is more easy vibe of debut album, the first composition by guitarist Fred “Sonic” Smith to appear on record and it differs from all other MC5 recordings past, present and future in a melodic rumination on that eternal teenage strip/hang out where everything’s cool while you get to try out various styles of your own self to see what’s gonna fly with the gang and onlookers and there’s always some action going down somewhere to find and shake up; and therefore (like the rest of the whole shebang) teenage as fuck. And Sonic’s Midwestern drawl-vox is tuff comfort itself. As stripped down and economical as its monochromatic sleeve, “Back In The USA” is a barely-contained flask of combustible material and by my estimation the strongest influence on punk outta The MC5’s three LPs. And although imbalanced by compromise in a couple of respects, all you got to do is put the two cover versions behind you and realise how well the remaining nine hang together: tense, terse and trebly rock’n’roll as performed full throttle, under the gun and on the run. MC5 musicians had sympathy for the "White Panther Party", which was a far-left, anti-racist, white american political collective founded in 1968 by Pun Plamondon, Leni Sinclair, and John Sinclair. It was started in response to an interview where Huey P. Newton, co-founder of the Black Panther Party, was asked what white people could do to support the Black Panthers. Newton replied that they could form a White Panther Party. The counterculture era group took the name and dedicated its energies to "cultural revolution." Sinclair made every effort to ensure that the White Panthers were not mistaken for a white supremacist group, responding to such claims with "quite the contrary." The party worked with many ethnic minority rights groups in the Rainbow Coalition.
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