THE DEFECTS Australian Tour 2012

THE DEFECTS

Sandringham Hotel,
Newtown Australia

13 October 2012

With Maggie Thatcher’s recent demise, I did think about one positive aspect of her dreary reign; that it resulted in some classic and pissed off punk, and of course almost single handedly produced the UK82 genre.  Though from Ireland, The Defects certainly fall into the UK82 category.

I scored a vinyl copy of their album Defective Breakdown about 10 years ago, and I’ve had a soft spot for it ever since. Opening with the bass-y, punchy ”Dance”, there’s some great songs on it; “Survival”, “Bitch”, “Metal walls”, and the title track. I quite like the sound they got, a bit different to what was happening at the time, probably influenced by their own surroundings in Ireland. Buck’s vocals are spat with bile, the guitar is fast and razor sharp, the primal bass drives their sound and the drums crunch, and along with the bass, drive it all along.  Personally, I quite like the cover and lyric insert. Although I did read an interview with vocalist Buck later where he said he’d like to have changed the cover, but I don’t think it’s too bad, and it’s a bit different to all the other stuff that was going on, (however perhaps the pink lettering is a bit naff). Although it’s been rereleased on CD for a while, I’ll stick with my vinyl copy. I was astounded bit pleasantly surprised late last year when I discovered they were coming to Australia for a small tour.

Wollongong chaos punks RUKUS opened the show to a near empty room with their brand of rough as guts oi. BASTARD SQUAD from Melbourne were up next with their hybrid of punk and hardcore, their last song is a cover of DISCHARGE’S ‘State Violence State Control’.

Headliners, Belfast punks THE DEFECTS are up next, having reformed for a festival a few years ago, and deciding to continue. Despite riding the “second wave” of punk with the “UK 82” crop of bands, they only put out one LP, ‘Defective Breakdown’, and never achieved the status of THE EXPLOITED, GBH, or fellow Irishmen STIFF LITTLE FINGERS. Nevertheless, they have achieved some kind of legendary status, unfortunately not evidenced by the poor turnout here. Fortunately, they’re not perturbed by the half full room, and commence enthusiastically with a new song. Next up they’re into ‘20^th Century’ from ‘Defective Breakdown’ which vocalist Buck dedicated to “these guys up the front” (a couple of young skins up for the singalong). They interspersed new songs, (including one inspired by Joe Strummer) with those off the LP, highlights being ‘Survival’, ‘Metal Walls’, Defective Breakdown’, the punchy ‘Survival’, and ‘Bitch’, which was dedicated to Margaret Thatcher, who has left a bitter taste still after so many years. Their sound ever bass heavy, is intact, and perhaps the guitar could have been up just a tad more, but they extracted a good sound out of the small room.  There were a few people who must have known their history (fellow Irishmen, it seems) vocalising their SS RUC chant (an attack against the brutality of the cops, the Royal Ulster Constabulary). THE DEFECTS genuinely emitted a warmth towards the audience, and continue to promote the spirit of punk, encouraging crowd interaction and group pics with two fingered salutes.  

I have to say, I thought their set could have been  just a bit longer -  they had to be told they had 15 minutes left. They looked at each other and did a quick encore;  a cover of the CLASH’S Janie Jones, and a damn good interpretation of Bob Marley’s ‘Get up, Stand Up’. Great show though, and for me, unfortunately, the last chance I had to get to the great venue that was the "Sando" before the bank declared it apparently insolvent and greedy bastard developers seized upon it to turn it into some wine bar or other hideous monstrosity. A sad day for live music, and it now sits sad, lonely and vacant.

CRISIS ALERT 7"

CRISIS ALERT

SELF TITLED 7”

2012

 

 

This is what hardcore should be all about. Short, fast, and pissed off. 10 songs clocking in at around seven minutes (including the time it takes to flip the record).

4 piece Crisis Alert hail from Adelaide, Australia and have an early 80’s US hardcore influence going on here. The back cover features the band with their faces crossed out; the T-Shirts featuring OFF! And The Germs also give a bit of hint of where they’re coming from. As far as I’m concerned, Crisis Alert bring their brand of hardcore back to basics. Distilling the elements and the influences. Song titles such as “Boiling Point” (Society’s a mess!), “Watch you fall”, “Bloodied Streets”, “Frustration” and “Waste of time” you an idea of the bile CA are spitting out. There’s no mucking about, they’re straight to the point lyrically and sonically. There’s footage available on youtube that shows Crisis Alert in full flight with some manic performances.

I’m not here to spruik labels particularly, just to blab about records. However Sydney Australia’s Resist records are to be congratulated for not only this excellent release, but for sustaining Australia’s hardcore scene for the past umpteen years, and releasing and stocking loads of vinyl.

This is a great little hardcore 7” package that you just gotta love; great cover, sticker, lyric insert, and for the modern kids, digital download code.

THE VILES

THE VILES – SELF TITLED

This record is a bit of an oldie, it would have come out around 1999 – 2001.  I found it whilst on a holiday in about 2001, doing the rounds of record shops. It was one of those records that “spoke” to me, and the cover kind of sucked me in; I was enticed by the band’s name, and I got the distinct impression it would deliver the sleazy gutter punk that it promised.

This record was one of the ones that that lured me into obeying “The Urge”. “The Urge” occurs when perhaps I’ve already bought too many records recently, and an internal debate ensues as to whether I should actually buy more, particularly if I don’t know too much about the band, and it could be a bit of a gamble. There have been times I’ve been in a shop with an arm full of records already, deliberating whether to get just one more. If I decide I really want it, I now obey “The Urge”, irrespective of the financial ramifications – without being unable to eat, of course. I have disobeyed the urge on several occasions, and it’s just eaten away at me until I either go back to the shop and get it, or ring them up and get them to post it to me. Usually I’ve come up trumps, and it’s still there, or it gets sent out. Sometimes, just once or twice, I’ve missed it, and the feeling of “the one that got away” haunts me for a while, until the next chase. If it’s on my want list, or it’s a “score” of course, I’ll just get it without hesitation.

I didn’t know anything about The Viles prior to getting this record, and I couldn’t find any info on the band on the net or anywhere else after I got it, which only added to the mystique. Only recently did I find out the band was from Portland Oregon, and had a pedigree of sorts, most of the members having been in reasonably well known local bands prior to the Viles, and, apparently one of the guitarists was also a porn star. Fairly well known at the time, The Viles are now long defunct. Raspy, whiskey soaked vocalist Genny Genocide went on to front another Portland outfit, The Nightmares, plying a similar trade in seedy punk and roll.

Sometimes reminding me of a filthier, nastier, and more souped up Runaways (even though they’re only two fifths female), The Viles have their own sound and have taken all their influences, thrown them in a blender, chugged  them down, and vomited them back up to make room for a bottle of whiskey. They’re racing on the same hot-rod track as say the Lunachicks or the Loudmouths were. There’s punk attitude with bar-room sleaze, mixed with Cramps or Misfits styled horror shlock.”Hellbound” sets the tone (you can find this one on youtube). It’s pretty much flat out four-to-the- floor until the end of side one with “Buried Alive” which slows thing up a bit and starts out with a fuzzed out bass intro. It’s back to business on side two with “No Action” (ain’t gettin’ any), and then “Slave bomb Baby” (not gettin’ enough) and finishes appropriately with “Crash & Burn”

This is great scuzzed out punk, and I still pull it out every now and then for a spin. The guitars are at the forefront, the drums pound, the bass hammers, and Genny’s vocals keep shredding. Great cover to boot, Genny herself on the cover in erm, full throttle, and the rest of the band in blurry images behind her. The back has the band sitting on and around a couple of cars, after dark. Good sound, nice and full, not too weak or thin, or washed out as can sometimes be the case. Probably available on CD if you trawl the net, but long deleted I’d say.

I was negotiating a swap with another collector once, and they nominated this record for the one I wanted. The swap didn’t eventuate.

Oi! THIS IS STREETPUNK VOLUME TWO

Oi! THIS IS STREETPUNK VOLUME TWO

COMPILATION

GREY VINYL

 

Who doesn’t like a well put together compilation? Another excellent showcase of current punk and oi! bands doing the rounds, released in 2012.

Veteran punk/oi! stalwarts THE BUSINESS kick things off with “Here’s Johnny” in the vein of their rockier material, not dissimilar to the stuff on “The Whole truth” album. The dependable MARCHING ORDERS from Australia are next with a melodic singalong anthem, “Something more than this”. STOMPER 98 continue the pace with their melodic guitar–driven oi! augmented by saxophone, although I can’t decipher the lyrics as they’re singing in German, I think. The reliable ARGY BARGY sport a different sound on this recording to the stuff I’m familiar with, on ”This is me”, a little less full on perhaps, though this demonstrates the variety in their sound, and is still pretty lively. RAZORBLADE’s gravel throated vocals heavy things up with “Live and die”, and the momentum continues with BROKEN HEROES “Walk Tall”.  

I have to say I’m puzzled by RANCID’s inclusion on this album. I just don’t understand. Their contribution is called “Fuck You” and contains a chorus of......... “Fuck You”. I mean, really. From my point of view, they’re a little bit out of place here. Being the first song on side two though fortunately you can just move the needle over and skip it........  Next up, Boston USA’s STREET DOGS turn out one of their pacier singalong tunes. THE CLICHES “They’ve got to go” is a more kinda rock n roll type of song with a singalong chorus, you’ll find yourself singing along to this one. Same with FLATFOOT 56 – a highlight on this comp for me, the breakneck guitars are complemented by the melody of I think, an acoustic guitar, or perhaps mandolin, I’m not sure – whatever it is works a treat and really adds to this song. Another Australian band STRANGLEHOLD are a highlight as well, the buzzsaw guitars and razor-throated female vocals on this song are just fucking great. Lastly, the UK’s BOOZE & GLORY have also got to get ya singing along with “Paradise” with its “La la la la” intro, course but melodic guitars, and singalong chorus.

All in all, this is a damn fine compilation that I’ve found myself listening to a fair bit. There’s a bit of an element of 80’s comps such as “Punk and Disorderly” or “Oi! Chartbusters”, which unfortunately there’s not enough of anymore.

The only real gripe I have with this record is the lack of a back cover. Like volume one, there ain’t a back cover to speak of really. The front is folded over at the bottom, with just enough room on the back to give the artist and song title. It kinda looks like there wasn’t enough money to pay for a complete cover. Don’t get me wrong, the front cover collage of bands looks great, in good old black and white, and gives a pretty good indication of the contents. However even some printing on the inside back perhaps would have been an improvement. And of course, it’s really about the music itself. But a proper cover and more information or pics would have really capped this excellent record off. As I say, great release though. Good quality vinyl, great sound. Download code for those interested.