Bladder Bladder Bladder - Giving Punk A Bad Name

I've been waiting a quarter century for someone to have the good sense to give the greatest '77-style Brit-punk band of the '90s (that was actually based in Southern California) the proper compilation album treatment. I always thought that if you collected all of Bladder Bladder Bladder's singles along with some choice comp cuts, you'd have something that could stand toe-to-toe with just about any punk rock album released in the '90s. Finally, in 2025, Marco from No Front Teeth Records has proven me right! NFT had previously reissued Bladder Bladder Bladder's lone LP, 2000's On the Job. But I always maintained that the band's odds and sods were just as good if not superior to the album. Now Giving Punk a Bad Name collects most of that stuff, and it's essential listening for any human who never tires of listening to first wave UK punk rock. Yes, these tracks were recorded in the late '90s in California, but this album will practically transport you to 1977 London. As British expats who relocated to the U.S.A., the Bladder lads stood out like a sore thumb in the '90s SoCal punk scene. In classic tracks like "White American National Killer," "Crime Pays," "Living a Lie," "U.S. Dole Queue," and "No Go Girl," you can hear the influence of the music these guys grew up on. They simply ignored two decades of punk rock's evolution and wrote songs that today's algorithms would lump in with the likes of The Clash, Sex Pistols, Chelsea, Cock Sparrer, Generation X, and The Damned. Mick Bladder was the larger-than-life front man — a big, brash personality with a sharp wit and sense of humor that was unafraid to offend. Sterling Paramour was the guitar hero and occasional lead vocalist. Bassist Alex Creith wrote and sang a fair number of ace tunes as well. This was a band willing to engage in serious social commentary but never willing to take itself seriously. These guys had swagger in spades and the tunes to back it all up. Their songs were meant to be enjoyed under the influence of alcohol and were most likely written that way as well. In my book, Bladder Bladder Bladder should have been massive. 

In today's sprawling digitalized underground music scene, Bladder Bladder Bladder has been largely lost to history. As you may imagine, Google searches for "Bladder Bladder Bladder" mostly turn up unpleasant medical information. Outside of the band's contributions to High Society International's The British Punkinvasion Vol. 5, its music cannot be found on music streaming sites (although you can find the collected singles on The Switchblade New Wave's YouTube channel). The release of Giving Punk A Bad Name on perhaps the planet's preeminent punk rock record label will introduce the band's music to a whole new generation of fans — and delight old ones like me who have been wishing this record into existence for decades. Bladder Bladder Bladder was one of a handful of bands that I'd describe as the soundtrack to the very worst years of my life. And when life is at its bleakest, the music matters the most. As I listen back to these songs, I'm encouraged to discover that they really hold up — that I wasn't 100% full of shit when I championed these hooligans the first time around. Included here are tracks from 7" releases on Pelado Records and 77 RPM Records as well as a number of cuts from compilations you may have forgotten about (who remembers the Battle For The Airwaves Vol. 1 7" on Radio Records?!). It has all been remastered for your listening pleasure. 

What I like about reviewing music in the streaming era is that I can absolve myself of any responsibility for you spending money on music you end up not liking. I'm merely asking you to hit that play button and invest a few moments of your time in something you might want to buy. But with Giving Punk A Bad Name, it's a tougher sell. I'm asking you to fork over some of your hard-earned cash for a record you cannot listen to first. Some of you will have to pay exorbitant overseas shipping fees. But trust me: you will not be disappointed. And it's not like No Front Teeth has ever let you down. Bladder Bladder Bladder are giving punk a band name, and I wouldn't have it any other way. 

-L.R.

https://www.nofrontteeth.co.uk/
https://www.instagram.com/terminalgagger/
https://www.facebook.com/p/No-Front-Teeth-Records-100063644735297/

Froggy & The Ringes - Ringe Rock Pond Scum

Ringe Rock Pond Scum, the debut album from the mysterious U.K. outfit Froggy & The Ringes, is far more than just the best amphibian-fronted punk album I've ever heard. It's one of the most brilliant punk records of recent memory, and you will be doing yourself a great disservice if you dismiss it as novelty. This, my friends, is garage punk music in all its primitive glory. Mix one part wild & thumping garage rock with one part obnoxious punk rock. Add a pinch of hardcore, some budget synth, and lyrics which one esteemed scholar has properly termed "batshit." This is a recipe for greatness. If you enjoy hooting & hollering, filthy guitars, and the sound of an individual trying to beat a drum kit to death, this album will take you to your happy place. Granted, the lyrics are frog-centric. But isn't it logical to expect a man-frog to write about what he knows best? From the opening strains of "Ringe Rock," I knew this album was going to be bonkers in a totally good way. "Pond Scum," an ode to the most disreputable crew in town, is a fiery anthem for all pond scum both literal and figurative. Smash hits such as "One Chord Frog," "Being Louche Is Not A Crime," and "Fuck You, Kermit!" prove to be every bit as raging and raucous. "Good Livin'" is Froggy's life manifesto and a crackling slice of Childish-inspired primitive rock and roll. "Do the Frog" is guaranteed to get the dance floor hopping. Never settling to be a one-dimensional front-frog, Froggy channels an American evangelical preacher on "Growin' Grapes" and works himself into an epic frenzy on the positively blistering "Tadpoles." 

Ringe Rock Pond Scum has reportedly been flying off the shelves since its release last week on Kibou and Amok Records. All the punk rockers and garage fanatics know this record is no joke. I have not heard this style of music executed this perfectly in quite some time. Musically, lyrically, and spiritually, this album is what all garage punk records should aspire to be. It begs to be played loud while the drink flows. Order a copy while you still can!

-L.R.

https://kibourecords.bandcamp.com/album/ringe-rock-pond-scum
https://kibourecords.bigcartel.com/product/froggy-the-ringes-ringe-rock-pond-scum-lp
https://www.instagram.com/kibou_records/
https://www.facebook.com/kibourecords/

Slow Faction - Culture & Other Wars

Slow Faction has been one of the UK's finest political punk rock bands for nearly a decade now. Having already issued a digital retrospective that would be envy of most punk bands (political or otherwise), Slow Faction seems poised to launch the more "mature" phase of its career. New album Culture & Other Wars is an auspicious start to the next era of Slow Faction. If you're worried that John might have finally turned to dub mixes and children's choirs, fear not. Such things will have to wait until at least the next album. But on Culture & Other Wars, you can definitely hear the musical progression from earlier releases. Style-wise, the band remains firmly planted in the territory of '77 punk. That said, John's songwriting has evolved to highlight proper musicianship and give songs more room to breathe. Three of these six tracks exceed the four-minute mark, and one even stretches to five and a half! Yet as I listen to this album, none of the songs drag or feel unnecessarily long. When you get to the heart of the matter, this is a vintage Slow Faction record full of anthemic punk rock songs with a political message. It's bookended by a pair of songs that all fans of the band will be familiar with. "Culture War" laments the way the powers-that-be have utilized the media to get us fighting amongst ourselves while they stick it to all of us ("Living Marxists sucking Koch/They seem to like his money a lot" has got to be the greatest punk lyric since Joe Strummer made that one particularly keen observation in "Death or Glory"). "Bubblegum for Josh", a song inspired by a quip I once made about the band's lyrical content, is nothing short of a Slow Faction mission statement. At this bizarre moment in time when "social justice warrior" is some kind of put-down, this song reminds us that it ought to be a badge of honor. "You've Been Fooled Again" is an impassioned indictment of post-Brexit Britain that pulls no punches. Elsewhere, the band turns its attentions away from contemporary politics and towards the lessons of history with songs about the Paris Commune of 1871, the consistently tragic consequences of imperialism, and the last 75 years of American foreign policy (absolutely spot-on, John!). 

While Culture & Other Wars clearly finds Slow Faction progressing musically, it does so without veering from what the band does best: politically-minded punk rock in the classic style. Of course you can't separate Slow Faction's music from its message. But if you had too much time on your hands and chose to cover these songs with re-written lyrics about pretty girls or drinking beer, they'd still be terrific tunes. With all that's going on in the world right now, I can't wait to hear the songs this band will write next. Tonight I will drink to another decade of Slow Faction -- at least!

-L.R.

https://slowfaction.bandcamp.com/album/culture-other-wars
https://www.facebook.com/slow.faction

Da Groins - 100% Groin

Now here's something right up my alley! U.K. trio Da Groins play pissed-off punk rock in the classic style. With a band name like Da Groins, you would expect some kick-you-in-the-balls music. And that's exactly what you get with the new EP 100% Groin. Think old school British street punk if it were produced by Billy Childish. The gag uniting these four songs is that there's just one letter separating the words "public" and "pubic". I've been waiting for a band to capitalize on this quirk of the English language since I was 12. Da Groins are that band, but they are no joke. On this brilliant debut, they dish out raw, hard-hitting tunes that are chock full of fury and profanity. What more could you possibly need in life? This, my friends, is punk fucking rock in all its glory. 100% Groin is available now on vinyl from Amok, No Front Teeth, Kibou, and Serial Bowl Records!

-L.R.

https://amokrecords1.bandcamp.com/album/da-groins-100-groin
https://kibourecords.bandcamp.com/album/da-groins-100-groin-7-e-p
https://serialbowlrecords.bandcamp.com/album/100-groin

https://www.facebook.com/Da-Groins-103709492234024

https://www.nofrontteeth.co.uk/

Slow Faction - "Bubble Gum For Josh" (Demo)

Well I can definitely say that in my long "career" of writing about music, this is the first time that a band has ever dedicated a song to me! I must say it's an honor! This all started when I wrote, "Slow Faction doesn't write songs about bubblegum and pretty girls". Born from that joke is a brilliant new demo titled "Bubble Gum For Josh". What I appreciate about this song is that it's an impassioned reflection on Slow Faction's purpose and singer John Youens's growing sense of alienation from a culture that has become desensitized to injustice. Essentially this song explains why Youens doesn't write songs about bubblegum and pretty girls. It's not that he's a miserable human or some kind of Debbie Downer. Simply put, his songs reflect the world as he sees it. 

Clearly I have no objection to bands that do write songs about bubblegum and pretty girls. But there's also plenty of room in this world for music that aspires to make the world better a place or at the very least rage against the forces that oppress. The history of protest music is practically as long as the history of music itself. Slow Faction is a politically-minded punk group in the classic style, and "Bubble Gum For Josh" is a vintage Slow Faction track. It delivers its message loud and clear. But first and foremost, it's a great anthemic punk tune in the tradition of The Clash and Stiff Little Fingers. 

The modern use of "social justice warrior" as some sort of slur is the ultimate Orwellian perversion. Who in their right mind wouldn't want to be a warrior for social justice? Slow Faction ought to wear that tag like a badge of honor. Not everyone wants to hear the message, and that's perfectly okay. But contrary to what is said in this song, people are listening. Give 'em hell, boys!

-L.R.

https://slowfaction.bandcamp.com/track/bubble-gum-for-josh-demo
https://www.facebook.com/slow.faction

Slaughter and the Dogs - "Manchester Boys"

I suppose it's no surprise that the best '77-style punk single of the year comes from a band that's been playing this kind of music for over 45 years! It's not quite accurate to say that Slaughter and the Dogs are "back" when they never really went away. But Wayne Barrett has definitely reinvigorated this storied group with a young, aggressive lineup and a crackling new single. "Manchester Boys" is nothing short of classic Slaughter and the Dogs. It's a powerhouse pub punk football anthem with an infectious melody and a rousing chorus that will compel you to sing along (unless you're not a Manchester fan!). And Barrett sounds great on lead vocals! In the midst of a pandemic, this song may have you longing for a time when people could gather in mass, drink copious amounts of beer, and cheer on their team to the bitter end. We can all look forward to a time when those things are again possible. In the meantime, you can blast "Manchester Boys" in the company of smaller groups or even when you're alone - because love of team will prevail even during a global pandemic! The B-side of this release will be familiar to all of you. It's a newly recorded version of the band's classic song "Where Have All the Bootboys Gone". For this new rendition, Barrett and the boys have chosen to give this iconic number a kick in the ass for 2020. It's a faster, harder, and tougher update of the original. It really shows the power and fierceness of this new Slaughter and the Dogs lineup. You're facing a high bar when you re-do such a beloved tune, but these guys absolutely killed it. What a raging cut! Once this band is able to get back on stage and tour again, you will want to be there! 

"Manchester Boys" is no run of the mill effort from an oldtimer punk band. It's a first rate shot of old style sing-along punk from a band that's got as much desire and energy as ever. The single is out on Blighty Records. If you want to hear it, you'll have to do it the old fashioned way and buy the vinyl. For more information, check out Slaughter and the Dogs on Facebook or send an email to Florianschueck@web.de!

-L.R.

https://www.facebook.com/Wayne-Barrett-Slaughter-And-The-Dogs-1526559330957187/

https://www.facebook.com/slaughterandthedogsuk/

https://www.discogs.com/Slaughter-And-The-Dogs-Manchester-Boys-Where-Have-All-The-Boot-Boys-Gone/release/16029072

https://slaughterandthedogsuk.bandcamp.com/

Young Francis Hi Fi - "I Wanna Hold You Tight (Tonite)"

So just the other night,  I found myself craving something punky and poppy. As luck would have it, I woke up the next day and found the debut track from Young Francis Hi Fi in my inbox. This was exactly what I had in mind! "I Wanna Hold You Tight (Tonite)" is 94 seconds of high energy punk rock with crazy pop hooks. This Brighton-based band features Young Francis (One Man Punk Band, Rotten Foxes) on guitar and vocals. The band calls itself "bubblegum punk", but don't let that fool you into thinking this is all pop. There's just as much punk in the equation. This song is like Radioactivity meets the Ramones meets Red Kross. It'll get you tapping your toes and bobbing your head at a frantic pace. And after it ends in a flash, you'll want to play it again...and again! This is a super impressive debut, and it has me very excited for what's coming next from Young Francis Hi Fi. Stay tuned!



-L.R.

https://youngfrancishifi.bandcamp.com/releases
https://soundcloud.com/youngfrancishifi
https://www.facebook.com/yyoungfrancis/
https://www.instagram.com/yyoungfrancis/
https://twitter.com/yyoungfrancis

Cold Callers - Dressed To Die

Out now on No Front Teeth Records and Boulevard Trash, the second album by London's Cold Callers splendidly walks that fine line between '70s U.K. punk and new wave. On lead vocals is No Front Teeth head honcho Marco (The Gaggers, Miscalculations, Telegenic Pleasure, The Flesh of the City, La Rabbia, Sanguisuga, Disco Lepers, Botox Rats). The Internet doesn't reveal much about who else is in the band, but I will say that whoever is on lead guitar is absolutely fantastic. As Mick Fletcher has astutely pointed out, Cold Callers sound an awful lot like Marco's other bands. So if you saw the "power pop" description and were expecting something along the lines of The Records or Kidda Band, you'd be barking up the wrong tree! Cold Callers are more like the middle ground between The Gaggers and Miscalculations, with the addition of pop and post-punk influences.

Several years have passed since Cold Callers released their debut album Covering Lies. And you can hear the difference in Dressed To Die, which sounds like the work of a band that has found its sound and fully realized it. In terms of production and musical sophistication, Dressed To Die totally blows its predecessor away. From track to track, the musical focus varies from jerky punk ("Numb Thoughts") to dark synth-pop ("The Runaway Returns") to 1980s British post-punk/pop ("Dressed To Die" ) to up-tempo jangly pop ("Trapped Between Pages") to old school sing-along punk not far removed from The Gaggers ("Remember My Name"). It's as if Marco took everything that was good about all of his bands and combined it all into one awesomely cohesive entity. This is a pop record, a punk record, and a new wave record all at the same time. As expected, the lyrics lean in the obsessive/creepy/disturbing direction. Yet the hooks are hard to resist. You may ultimately feel bad about merrily singing along to a song as diabolical as "From The Rooftops". But isn't that half the fun? I will always endorse a Marco-fronted band, and Dressed To Die is the strongest record he's made in quite a while. The album is available in three different versions, so get cracking while the alternate covers are still available!



-L.R.

https://coldcallers1.bandcamp.com/album/dressed-to-die
https://boulevardtrashpunk.com/shop/ols/products/xn-preorder-cold-callers-dressed-to-die-lp-lc8zxb
https://www.nofrontteeth.co.uk/
https://www.facebook.com/No-Front-Teeth-Records-117591658310943/
https://www.facebook.com/boulevardtrashtulsa/

Know Your '90s Punk: Apocalypse Babys

Continuing my series on the bands I championed in my early years as a music reviewer, we turn to a group that has been keeping the faith for 30 years now. It always struck me as odd back in the '90s that all of my favorite old punk bands were from the U.K., yet I wasn't really listening to any new bands from the U.K. That all changed the first time I mail-ordered an Apocalypse Babys 7" from Underground Medicine (the American distro that shaped the musical taste of an entire generation of punk/garage freaks). It was amazing to hear a current U.K. band that sounded very much like all of the classic English and Irish punk groups whose records I was playing on a daily basis. I soon began ordering new releases from Apocalypse Babys every time they turned up in an Underground Medicine catalog (Remember when we still ordered records from catalogs?). When Jim from Underground Medicine started his own label Rapid Pulse Records, Apocalypse Babys were his very first release! What I liked about this Derbyshire-based outfit was that in addition to its music being powerful and often political, it was also very melodic. It was a throwback to a time when punk groups weren't ashamed to write a song with a hook. Singer Dave "Asterix The Brat" Moran formed this band in 1990, and it's still going strong to this day (the group has released albums in each of the last three years!). The Apocalypse Babys to me are one of the most under-appreciated punk bands of our time. I'm particularly partial to later '90s singles like "Nuclear Rain", "I Don't Wanna Be A Nazi", Apocalypse Now, and Local Heroes. Most likely because it wasn't super easy for people to get a hold of its records on this side of the pond, this band has always been largely unknown in the U.S. Its newer stuff may be even more obscure since I don't believe it's available on any streaming platforms. So if you're going to get into Apocalypse Babys, you'll have to do it the old-fashioned way and track down the records. It'll be well worth the effort if you're into the classic Brit-punk sound!



-L.R.

https://www.facebook.com/pages/category/Musician-Band/Apocalypse-Babys-152578491466819/
https://www.discogs.com/artist/1706247-Apocalypse-Babys

Chubby and The Gang - Speed Kills

I'm often indecisive about whether or not I should be writing about releases that are already well-publicized. But usually it comes down to one thing: if I think a record is great and that my readers would like it, I just let 'er rip. So add my name to the chorus of praise for Speed Kills - the rip-roaring debut album from London's Chubby and The Gang. I dig this record because it's an absolute blast! This is the sort of wild, youthful punk rock that cannot be rightfully ignored by a blog that calls itself "Faster and Louder". Given the Oi! and hardcore background of this band (members of Arms Race, Violent Reaction, Gutter Knife), the degree to which this album is influenced by '70s U.K. punk and pub rock might be a little surprising. But it's that unique blend of inspirations that gives this group so much juice. This is like pub rock on steroids! Chubby and The Gang marry the pure energy of early Damned to the boisterous first generation Oi! of Cockney Rejects and then run it all over with a Motörhead steamroller. The term "street punk" has been so overused over the years that I've been very reluctant to invoke it. But if ever I heard an album that truly defined what I think street punk is supposed to be, Speed Kills would be it. These are songs inspired by and written for the streets of London: played with a brash, teeth-smashing force and packing choruses so rousing that it would a terrible shame to sing along without a pint of beer in hand. And while the poppy roots rock of "Trouble" and the impassioned Bragg-ish ballad "Grenfell Forever" make for effective changes of pace, this album overall exudes the spirit that punk music played with this much power and conviction simply can't be stopped. Crank up that volume, hoist your fist in the air, and get yourself inspired to go out into the world and kick some ass.



-L.R.

https://staticshockrecords.bandcamp.com/album/speed-kills 

Slow Faction - Unilateral Declaration Of Independence

Slow Faction has a new album out, so of course you can presume it's full of songs about pretty girls and celebrity gossip. Just kidding. The London foursome is more politically-charged than ever on its third long player, firing up anthems left and right in the timeless Clash/SLF/Angelic Upstarts mold. In the two years that have passed since the release of Under Heavy Manners, we have fallen even deeper into this modern-day twilight zone where heads of state normalize white supremacy and anti-fascism is suddenly an "extreme" position. Slow Faction are not about to stand silent, and they've responded with a full album of thundering statement songs. The musical style has not changed, and why would you want it to? This is '77-style British punk the way it ought to be - coming on with impassioned force and huge sing-along choruses. Of course a song like "Breitbart Boys" could not be any more on-point. But on this record, Slow Faction are less concerned with extremists than they are with those who enable them due to either apathy or political convenience. "You make a stand or you stand for nothing," cries lead singer John Youens on "The Blank Generations". And that is more or less the theme of this entire album. These songs ask us all to take a look in the mirror and ponder our own complicity in all of this madness. Elsewhere, the band explores the ways that governments have failed the people they are entrusted to govern. "And Never Said A Word" powerfully depicts the human price of politicians' war-mongering. "U.D.I." is specifically about the failures of the U.K government, yet its description of a nation in despair rings painfully true on my side of the pond as well:

Public services at breaking point
The hospitals are full
And hungry children in our schools
Homeless people dying on our streets
No shelter for the sick and ill
Universal credit kills
The suicide rate's on the rise
As a nation's hopes are allowed to die

Clearly, Slow Faction is not a band that's "mellowing" with age. They're writing quality punk songs, and they're doing so with purpose. I get that politically-minded bands are not for everyone. But my belief is that all people who write songs should write about what they are passionate about. Slow Faction's passion is fighting for social justice and against fascism. Sure: a thorough reading of this album's lyrics is not the most pleasant experience (closing track "No Country For The Young" is a particularly bitter pill to swallow). But isn't that the whole point? Unilateral Declaration Of Independence is the work of a band that would like to change the world. Can individuals or bands actually change the world? Who knows? But it's when they stop believing they can that all hope is lost. Give 'em hell, boys!



-L.R.

https://slowfaction.bandcamp.com/album/unilateral-declaration-of-independence 
https://www.facebook.com/slow.faction 

Los Pepes - "Automatic"

This has been a great year for you if you love Los Pepes (as I do)! Less than six months after releasing their fourth album Positive Negative, Los Pepes have followed with a fantastic new EP! "Automatic/Here Comes The Darkness" will be released on vinyl soon on Wanda and Beluga Records. But with an autumn tour of Europe imminent, the boys decided to go ahead and release these songs a little bit in advance. I must say this is my favorite Los Pepes release in quite a while. I'm always a fan of the "all killer, no filler" approach to releasing music. The two titular tracks are big-time hits. "Automatic" roars out of the gates with guitars on fire and a ton of melody. Man, this is how you do power pop with BALLS! And you know that's what Los Pepes are all about. "Here Comes The Darkness" crackles like early Who doing '77 punk. Doesn't that sound great? Of course it does! If you dig loud pop, you just won't hear it done much better than this. This EP's "deep cuts" prove to be formidable in their own right. "Your Justice" is another shot of thundering power pop with a touch of '80s beach punk influence in the guitars and backing vocals. And for the knockout blow, "This Is Rock and Roll" is an absolutely scorching cover of the classic track by The Kids! Not only does this song acknowledge an important influence on Los Pepes, but it also serves as a veritable mission statement for this tremendous band. This sure IS rock and roll, and we should be very thankful! Familiarize yourself with these songs now so you can sing along on the tour dates listed below! 

26/09/2019 D-Bochum, Wageni
27/09/2019 D-Berlin, Urban Spree
28/09/2019 D-Kassel, Goldgrube
29/09/2019 D-Hamburg, Hafenklang
30/09/2019 D-Dresden, Chemifabrik
01/10/2019 D-Karlsruhe, Alte Hackerei
02/10/2019 D-München, Folks
03/10/2019 D-Frankfurt, Klapperfeld
04/10/2019 FR-Tranqueville-Graux, La Bazka
05/10/2019 FR-Paris, ESS’pace
06/10/2019 FR-Blois, L’Auakera



-L.R.

https://lospepes.bandcamp.com/album/automatic-here-comes-the-darkness 
https://wandarecords.bandcamp.com/album/automatic-here-comes-the-darkness 
https://www.facebook.com/lospepesmusic 

TV Crime - Metal Town

Well here it is, after many years of great anticipation! TV Crime, the Nottingham-based foursome that wowed so many of us the moment its debut track "Hooligans" went on-line three and a half years ago, has finally released a debut album. We've had little in the way of new material from TV Crime over the years - just a pair of singles released in 2016 and 2017. But all the while, the band was taking its time to craft a debut full-length it could be truly proud of. Listening to Metal Town (out now on Alien Snatch Records), one could hardly deny that the band's commitment to getting it right has paid off handsomely. Individuals I hold in the highest esteem have already chimed in with high praise, and I can only echo those sentiments.

Metal Town is nothing short of the brilliant debut that was fully expected from TV Crime - a pub rock extravaganza informed by power pop, first wave UK punk, and '70s glam and arena rock. If you think that sounds like something I'd be especially into, you could not be more correct! Over the course of 13 tracks, the band puts on a clinic on how to play powerful punk rock and roll with all of the hooks and melodic appeal of the best power pop. Kicking off with a new-and-improved version of "Hooligans", this album takes little time in showing us how far TV Crime has come. The group's sound has grown bigger and cleaner - while still retaining the soul and guts befitting a proper pub band. These songs evoke comparisons to everyone from The Jam to Elvis Costello to Thin Lizzy, but not in a way that feels retro or consciously derivative. Essentially, this is great pop music played with the force and vigor of punk rock. From the big hooky rock of "Neo Waltz" to the quintessential sing-along punker "In The Gutter" to the footballer pop anthem "Match Day Programme" to the adrenaline rush of the title track to the pub-hardened Buzzcocks dash of "Never Been In Love", the material is consistently well-crafted and carried off with an energy that thrills. When the band slows the pace a tad (consider its "theme song", "Television Crime"), it comes off like a pop group that ought to be all over the charts. The 7" tracks re-recorded for this release have never sounded better - a testament to both the first-rate production and the tightened chops of a band firing on all cylinders.

I've heard "album of the year contender" mentioned in conjunction with Metal Town by more than one individual. Who am I to argue? I anticipated a great deal from TV Crime on its debut album, but honestly Metal Town manages to exceed what I was expecting. You would have to look far and wide to find a band and album better suited to this blog's readership. And in a wonderful occurrence of history repeating itself, it seems we have returned to the days of Alien Snatch Records being the undisputed king of record labels. I'll drink to that!



-L.R.

https://aliensnatch.bandcamp.com/album/tv-crime-metal-town 
https://tvcrime.bandcamp.com/ 
https://www.facebook.com/TELEVISIONCRIME/ 
https://www.facebook.com/ALIEN.SNATCH.RECORDS 

Trash Culture - Just A Ride

I love it when a band describes itself far more profoundly than I ever could. London's Trash Culture says it's "playing music because we have to, for if we don't we will kill our work colleagues". That's brilliant, and I don't doubt those words for a second! On its debut release, Trash Culture tears into eight tracks of fantastically pissed-off punk rock. Cunha on lead vocals sounds like he's fed up with everything and everyone, and for damn sure we're all gonna hear about it! (You can surmise that "I Wanna Die" is not a ballad). Musically, this is just straight-up ripping punk that recalls everyone from the Zero Boys to Anti-Nowhere League to the Dead Boys to GG Allin. Cunha is a real deal screamer, and these are songs you'll want to shout along with loudly while you pogo into the night. Ben Perrier from Los Pepes recorded and mixed this album, and it sounds crackling! Trash Culture likes to joke about being the opening band that nobody gets to see, but I have a feeling they'll be ascending to headliner status in short order. Here's hoping they someday come to the States and play with The Hot LZ's. Imagine the havoc they'd wreak!



-L.R.

https://trashculture.bandcamp.com/album/just-a-ride 
https://www.facebook.com/trashcultureband/ 

Down and Outs - Double Negative

Is there anything better about doing a music blog than discovering new bands? How about discovering not so new bands?! Double Negative is already the fifth album from Liverpool based punk outfit Down and Outs, yet here I am just hearing the group for the first time (and enjoying it very much)! Releasing next Wednesday on All In Vinyl, Yo Yo Records, and Waterslide Records, Double Negative continues a recording history for this band that goes all the way back to 2004. Where in the hell have I been for 15 years?! The sound is melodic punk with gruff vocals, something that tends to be hit or miss with me. Luckily, it's a hit in this case. You can hear the influence of bands like Leatherface and One Man Army, but spiritually this music is undeniably Clash-inspired.

I always love a band that aspires to write anthems, and I can think of no better word to describe the majority of these songs than "anthemic". And that's really what separates Down and Outs from a lot of similarly styled bands. These songs are so genuinely rousing that they continually have me out of my chair and pumping my fist as if the band were right there in front of me. Mark Magill has written some very serious songs about a variety of subjects, and he really has a way of imbuing these songs with a passion that's palpable. While not fully a "political" record, Double Negative does contain a number of songs that speak to our present condition. The folk anthem "You Can Have This Country Back" is specifically about the state of affairs in a post-Brexit U.K. Yet it's remarkable how everything this song rails against is just as pervasive and problematic on my side of the pond as well. "What Did You Do In The Culture Wars?" reflects on how recent political events have emboldened those who revel in intolerance. It's based on a real-life encounter that Magill had with an individual who advocated the banishment of disabled people. As you can imagine, he did not stand silent!   

When it's not political, Double Negative is deeply personal and extremely emotional. "Astoria" is a break-up song that's about as gut-wrenching and cinematic as you can get in 91 seconds. In other spots, Magill pours all he's got into songs about death and grief. Even "Heartbreak Radio", a song ostensibly about mixed tapes, digs deeper into the things from which we're often trying to escape when we turn to the healing power of music. I appreciate the amount of heart and intelligence that went into these songs. But what really brings it all home is how fervently the band sells each track. Magill sings his guts out, and the band powers through every note like it really means it. The energy is undeniable, and man do those choruses ever deliver! All in all, an absolutely brilliant album!



-L.R.

https://downandouts.bandcamp.com/album/double-negative 
https://www.facebook.com/Down-And-Outs-100972913255/ 
http://www.allinvinyl.com/ 
http://yoyorecords.blogsport.de/ 

Proto Idiot - Leisure Opportunity

My quest to acknowledge the best releases I didn't get around to reviewing in 2017 could last for months if I really went all-out. But if I had that kind of time, I would have already reviewed all of this stuff in the first place! With that in mind, I'm trying to focus on the releases from last year that I'm most embarrassed to have missed. In that category is Leisure Opportunity, the latest album from Manchester, U.K.'s Proto Idiot. It was released in November on Slovenly Recordings, so I suppose this review could qualify as "almost" timely. Proto Idiot features Andrew Anderson of The Hipshakes on guitar and vocals along with Callum Darley (drums) and Michael Seal (bass). Anderson's work in this band allows him to step a little outside of the garage realm and really embrace a fondness for the arty side of '77 Brit-punk and musical strangeness in general. On this album, Anderson again proves himself to be a witty lyricist and a wonderfully playful songwriter. Songs like "Better Way of Life" and "Do It the Same" hit that Wire/Buzzcocks minimalist punk sweet spot, while "What Is My Purpose?" suggests what Devo might have sounded like if they'd been English. I like that "Yes Yes Yes Yes" is super weird yet totally irresistible. And "Angry Vision" is a definite highlight, sounding like a weirdo punk re-write of Vicki Sue Robinson's disco smash "Turn The Beat Around" (yeah, really!).

You may already be familiar with Freak Genes - Andrew Anderson's brilliant collaboration with Charlie Murphy. If you liked the Freak Genes record, you'll dig Leisure Opportunity as well. These "side" projects really show different dimensions of Anderson's musical talent, and that growth seems to be bleeding a little into The Hipshakes' music as well. If you like your punk music full of quirks and distinctively British humor, you're about to discover a real gem!



-L.R.

https://slovenly.bandcamp.com/album/proto-idiot-leisure-opportunity-lp 
https://www.facebook.com/protoidiot/ 
https://slovenly.com/ 
https://www.facebook.com/slovenlyrec/ 

Cool Jerks - Patriots

Today I've got something good for you out of  Leeds, UK! Cool Jerks have just released a four-song EP called Patriots, described as "a furious record full of anger aimed at emerging trends in domestic and foreign policy of international governments, as well as people supporting what is happening with their ignorance." It's hard to argue with a cause like that (the latter part is especially on-point). I love a band that can channel those sorts of convictions into some raging punk rock, and Cool Jerks really hit the mark on these four belters. Stylistically, this is classic politically-charged Brit-punk with hints of modern-day garage and post-punk. This is clearly a band that believes in what it's singing about, but these would still be crackling punk songs even if they were odes to baking holiday pies. You can get the digital album directly from the band for £3, and there's also a cassette version available from Tapetalks. Play this EP loud and get fired up!



-L.R.

https://cool-jerks.bandcamp.com/album/patriots 
https://www.facebook.com/cooljerkspunk/ 

Slow Faction - Under Heavy Manners

Now more than ever, we really need bands that aspire to change the world. So why do I generally find the social justice warrior bands of the moment so off-putting? I think I got the answer from the fine writer Ged Babey - who addressed that very topic in his wonderful review of Slow Faction's new mini-album Under Heavy Manners. These sorts of bands, Babey writes, "can come over as a bit dull, worthy and predictable and lapse into cliche very easily." That's a truly bang-on assessment. I, like Babey, am so taken with London's Slow Faction precisely because they are none of those things. They approach their songwriting with intelligence, insight, and a genuine spark of musical excitement. When it comes to politically aware and socially minded punk rock, it's still The Clash and Stiff Little Fingers that set the bar for me. These were bands with very important things to say - but they were great punk rock bands first and foremost. Slow Faction has taken up their fight in the present-day, and I can't think of many current punk bands I like better. Just listen to the band's 2016 track "Woody Guthrie", and immediately you will understand the need for music to remain a vital instrument of social change.

Under Heavy Manners is exactly what I desire in political punk music: classic '77 style sounds, with lyrics relevant to the current state of the world. Of course the message is meant to be heeded, but there's nothing secondary about those massive choruses, hard-driving guitars, and well-crafted tunes. Lyrically the band takes a good, hard look at what has gone wrong with the world and the unfortunate direction in which we're headed as a human race. These songs turn their gaze upon the masses who are so caught up in consumerist comforts and obsessions with empty culture that they turn blind eyes to the waging of war for profit and the erosion of their own civil liberties. It's hard to deny that such a depiction hits the nail on the head - on both sides of the Atlantic Ocean. But Slow Faction's aim is not to point fingers - it's to confront the truth and find solutions. Harrowing as they might be, songs like "59 Minutes Past 11" and "The Definition of Madness" are essentially wake-up calls. We may be doomed, or we may not be doomed. But if nothing changes, it's surely going to be the former.

At just six tracks, Under Heavy Manners is a lean and urgent affair worthy of a spot on your CD shelf next to many of the albums that inspired it. The title track- the closest thing I've heard to 1979/80 era Stiff Little Fingers in years - kicks off the album like a ball of fire. "59 Minutes Past 11" is a bona fide sound of the streets anthem a la Sham 69 or the Angelic Upstarts. The hot-burning reggae of "There's A War Going On" will do nothing to dissuade further Clash and SLF comparisons (I don't think the band will complain). "In Your God's Name", a song I fondly recall from its demo version, sounds anthemic and positively rousing in its finished form.

Can one band, on its own, change the world? Of course not. But bands can inspire people. And people, collectively, are capable of making a great difference. Under Heavy Manners is full of songs that are just bound to get you fired up. Let it be the inspiration of many who choose to resist the clampdown.



-L.R.

https://slowfaction.bandcamp.com/album/under-heavy-manners 
https://www.facebook.com/slow.faction 

The Hipshakes - "Listening"

Fresh off of touting Andrew Anderson's new band Freak Genes the other day, I am quite pleased to report that there's also a brilliant new Hipshakes 45 just out on the Manchester label Crocodile Records. After 16 years, 4 LPs, and a whole slew of tremendous singles, The Hipshakes require no introduction to any longtime fan of garage punk. "Listening"/"Outside Lines" is the band's second single on Crocodile - one that the label is pitching as a double A-side affair. I suppose the fact that I've chosen to embed the B-side indicates that I'm not about to argue with the label's assertion. You get two legit hits from The Hipshakes here - and I'm indeed torn as to which one I prefer. "Listening" barrels along at a crackling pace and makes me wanna run dance around the room like a maniac. "Outside Lines" comes on with an extended sludgy intro then really takes off just like you'd expect it would. This track is vintage Hipshakes - flirting with full-fledged pop sensibilities but ultimately sounding like the work of a band that above all else just loves to bash it out. Both songs have insightful things to say lyrically, and all in all this single finds one of our finest garage-punk bands at the very top of its game. With only 300 total copies pressed, you better move fast on this one!



-L.R.

https://www.discogs.com/sell/item/492238144
https://www.facebook.com/thehipshakes/
https://www.facebook.com/CrocodileRecs/

Freak Genes - Playtime

For me, the very best thing about writing about music is discovering a new band and falling in love almost instantly. I'm far from an authority on music, and I don't even attempt to write proper reviews. So really my for usual goal for this blog is to get so super-excited about a record that perhaps you'll be persuaded to give it a listen. Today's proverbial shouting from the rooftops concerns Freak Genes, who in less than three weeks have gone from a band I had never heard of to serious contenders for my album of the year honors. 

Sure, I had some indication that I was going to dig Freak Genes before I had even heard a note. Co-conspirators Andrew Anderson (Proto Idiot, The Hipshakes) and Charlie Murphy (Red Cords) are guys I admire and respect for their existing contributions to the world of garage/punk. And Freak Genes' album Playtime has come out on Alien Snatch Records - probably my favorite label of all-time. But Playtime might not exactly be the album you're expecting from this pair. Basically these two decided to take all of the crazy, discarded ideas from their regular bands and make a whole new group out of them. The result is a brilliant fusion of new wave, pop, garage, and minimalist '77 U.K. punk. The beauty of this project is that there was no specific formula or rule book for what the songs needed to be. So you can have everything from Wire/Devo strangeness ("Let's Go Slow") to pure crackling punk ("Exposed") to jaunty psych pop ("Jekyll & Hyde") to new wave garage dance rock ("Going Through the Motions") to something that sounds like Ringo Starr cutting a '70s crossover country track ("Not Alright With Me") all on the same record. And yet everything fits together so splendidly. The album has this general vibe of quirky but really catchy, and these two prove to be remarkably good at writing that type of song. They've really caught fire as Freak Genes - churning out 16 songs here with another full album already in the can. Playtime is one of those albums that just flat-out delights me. It's consistently fun, distinctively British, and quite odd in an entirely good way. Really it all boils down to it just being a terrific album, anchored by standout tracks like the jagged & cheeky "Going Wrong", the poppy lead single "Mind The Gap", and the wonderfully weird "Still Disgusting". I suppose there's a chance that a song or two on here won't click for you. But at a total of 16 tracks, that still leaves you with more than enough gems. And with no song exceeding three minutes and the majority clocking in under two, this does not seem like a "long" album at all. I'm left wanting more - which is certainly a good thing with a second album soon to follow!



-L.R.

https://aliensnatch.bandcamp.com/album/freak-genes-playtime 
https://soundcloud.com/freak-genes 
https://www.facebook.com/thefreakgenes/