feedtime "Today is Friday"

feedtime

Today is Friday

(Possums from the furfilled floor

1984 – 1996)

SS Records 2012

Hot on the heels of last year’s box set “The Aberrant years” came this compilation of outtakes and live tracks. Put together to accompany a US tour, it features all previously unreleased recordings.

The best stuff is probably the outtakes from their self –titled debut and the follow up “Shovel”. It’s interesting to hear different versions of some of the stuff on those albums. There are also demos from the later period album “Billy”.  Highlights on the comp are “Street fighting man”, “If you can’t, “Rock n Roll” which seems more solid and straight up than the version on “Shovel”, and “Southside Johnny” which is a bit more unruly and unhinged than its original counterpart. The covers are a worthy inclusion (feedtime’s take on other songs always being interesting) - Fear’s “I Don’t Care About You” is pretty fricken’ wild, and there is a version of Flipper’s “Life”. There’s “Girlfriend” which is really “My Boyfriend’s back” – (the 60’s girl group song also done by Alice Donut). There are also songs that have never seen release in any form; “e b g d”, “Garbage Scow”, “Tatts Willie”.

Package wise this is pretty average. The cover features a feedtime – type cover drawing, the back features an old pic, plus info of the song’s origin and recording history; there’s nothing to be uncovered in the way of pictures or flyers (most of that being seen on the aforementioned box set) and there’s no lyric insert. The vinyl is the nice ‘n’ thick type though (which resisted the warp-inducing qualities of the shrinkwrap) and produces a good sound. Likewise the cover is composed of heavy cardboard which kinda gives it a bit of a thick skin, so to speak.

I have to comment on the fact the vinyl listener is offered 5 songs less than that of the CD purchaser which is a bit rude, I have to say (although this could possibly be due to the physical constraints of the vinyl medium).

Let’s face it; it would be impossible for feedtime to release a shit album. Considering that the songs are demos and live recordings, they come up pretty well; the ever important bass sound is well intact with its primal rumble, and the band as a whole is as visceral as always. I’ve quite enjoyed listening to “Today is Friday”, and it’s a great stand alone release, or a good overview of feedtime. If it really comes down to it though, it’s perhaps one for completists.  At the end of the day, it can’t quite eclipse the energy that’s harnessed more fully on the studio albums themselves. Not to say that the songs showcased here are throwaway - they’re not, it’s just I’d say that the final studio versions are more realised. If your'e a (mad) feedtime fan, and there are plenty, there's lots to like on this if you want to hear/own the entire feedtime ouvre.  For vinyl completists though, it's impossible to own all the stuff on vinyl; as mentioned the CD has extra tracks, and the vinyl box set of 4 albums has a download coupon for rare 7" and compliation tracks.

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.

COMMENTS? contact chrismccousin@gmail.com

NICK CAVE AND THE PISSED JEANS; THE ACCURSED!

Reviewed; Nick Cave and the Bad Seeds " Push the Sky Away", The Pissed Jeans "Honeys", and The Accursed! "Up with the Punks".



  

NICK CAVE AND THE BAD SEEDS

PUSH THE SKY AWAY

VINYL EDITION WITH BONUS 7”

Nick Cave has featured in my record collection in various guises since I began record collecting in the Neolithic age. I started collecting Birthday Party stuff, which, at the time wasn’t on CD of course. There was quite a bit of fodder for a collector; apart from the albums. There was plethora of 7”s, 12”, and bootlegs to be had - 4 different versions of “Nick the Stripper”, for example. I managed to collect nearly all of them, different covers, coloured vinyl, I’d say I have a 99% complete collection of Birthday Party stuff. More stuff has even appeared on vinyl in recent years, mainly semi-bootlegs of the Boys Next Door.  Now and then I’ll put on a Birthday Party record when the mood strikes, but mainly I played them to death when I was younger.

This translated to an interest in Nick Cave and The Bad Seeds, and when I saw them in ’88, at Selinas and the Tivoli in Sydney, they put on some pretty intense shows which are forever etched into my memory. I also had the early records, and “Your Funeral my Trial” is one of my all time favourites to this day still. On vinyl, it has a wonderful aural and visual quality, being two 12” records all containing two songs a side, there is a different feeling almost for each side, yet it all flows together. The sound is amazing; there is plenty of “air” to let all the instruments breathe and have their own space alongside the vocals. Yet it’s still an intense and beautiful sounding record. I got the “remastered” CD a few years back to see if there was any difference in the sound quality, but I can’t say I could detect it. The accompanying DVD doco was interesting in that people interviewed extol the virtues of the vinyl version of this record.

I kind of kept collecting Nick Cave vinyl over the years, and when he puts out a new one, I’ll get it on vinyl. I had a hell of a time getting the last one for some reason, although I eventually sourced it. I pre ordered PUSH THE SKY AWAY, only to find a proliferation of this on vinyl in several shops.

So now to PUSH THE SKY AWAY. I reckon this is Nick’s best outing for quite a while. DIG LAZARUS DIG was rambunctious, THE LYRE OF ORPHEUS/ABBATOIR BLUES sprawling.  This is more back to basics, and there is a haunting beauty that permeates the record that reminded me ever so slightly of “Your Funeral My Trial”, and there are elements perhaps of “No more shall we part”, and “Nocturama”. Its stripped back, essentially letting the Bad Seeds do what they could do really well on past records, understated beauty with an element of danger. There’s less clatter, but it’s no less intense. Again, there’s plenty of “air” to let everything be heard. If you’re a fan, you may have already checked out the opening song “We No Who U R”, which gives you a pretty strong indication of the atmosphere on this record. The minimal instrumentation works well together, and provides the just the right element to each song.

Of course Nick’s trademark lyrics are well intact. Who else could get away with a lyric like “Hannah Montana Does the African Savannah” (Higgs Bosun Blues) and make it work?

“Jubilee Street” is another that got stuck in my head; the guitar in this one makes it the song that it is. Throughout the album, you can hear elements hiding away on repeated listens on this album. A standout for me is the closing title track, which is one of the most stripped back, yet emotionally rendered songs, based on keyboards.

I was intrigued to discover that this has gone to number one in several countries, including Australia. I was also intrigued to learn that it was put out independently by NC&TBS.

Nick Cave (or his previous record label) has always treated vinyl collectors well. “Push the Sky Away” is no exception. There is a “standard” issue vinyl album, but this is the edition with the extra 7” record (and download code) which seems to be most widely available. Package wise, this is a nice item. The quality of the cover is great (nice thick cardboard, excellent quality printing) and there’s a lyric insert which is well done. A minor whinge from me is there is no lavish booklet (as accompanied Dig Lazarus Dig and Lyre of Orpheus). The extra 7” is bonus, obviously, and designed to be separate from the album, and played at the listener’s discretion. The A side “needle boy” is a somewhat interesting and unsettling little tune. Side AA “Lightning bolts”, ditto, although less unsettling.

 

 

THE PISSED JEANS

HONEYS

Vinyl edition

The Pissed Jeans have been on my radar for a few years now, but unfortunately other records have also vied for my attention. So I thought I better make sure I got a copy of “Honeys”

 This sounds a bit like Black Flag jamming with the Melvins. Sludge –Punk. This is great stuff! Not for polite alternate lo-fi types though. It’s not easy listening, but therein lies the appeal.

“Honeys” starts out with the manic sludge-fuzz punkerola of “Bathroom Laughter”. Then to the drone of “Chain Worker’. Then back into fourth gear for “Romanticize Me”.

I read a review of this that compared it to The Birthday Party’s “course droning guitar and grimey vocals”. Maybe if you fished long and hard one song may scrape into this parallel, but ............. not really, I don’t see it. The Pissed Jeans are on their own wavelength. There may be a parallel with the black humour lyrics though. “I am a chain worker, caught in an infinite loop....... my chain provides me with safety” (Chain worker). Or as a self-deprecating male, trying not to stare too hard at (attractive) women (Male Gaze) “It’s just the male gaze -it’s in me, I know it”. Or trying not to go to friend’s houses because they have cats, “I thought that maybe things would change but every cat house is the same”. (Cat House). Or my favourite “Health Plan” – “It’s time to choose a health plan. You wanna know my secret? I stay away from doctors”.

I  like the track running order, more or less fast/dirgey/fast. Side two opens with the instrumental “Something about Mrs Johnson” which almost sound like a jam session. There’s a relaxed looseness about “Honeys” that gives it part of its appeal though.

Package wise, this pretty good. The cover and graphics are put together well, as is the lyric insert. Good quality vinyl. The record sleeve is semi-embossed with a hole in one side to view one of the record labels through -  interesting.  Download code for those interested.

THE ACCURSED!

UP WITH THE PUNKS (1983)

VINYL ONLY

I have to admit, I didn’t know much about this record before I got it. It did have instant appeal for me as a mid 80’s UK82 piece of vinyl, and I was pretty sure it was unreleased on CD, (which it isn’t).  I got it home, I played it, I liked it, and I did some research on it. Opinion seems to be divided on this record, which is reasonably sought after, and appears on people’s want lists. Some people therefore want it, and presumably like it. One blog site I stumbled upon listed it as part of a top 10 all time punk list, along with more standard punk albums. Other people hate it, think its terrible, and that the band, particularly the drummer, are sloppy and out of time.

As I said, I like it, a lot.  It may not be a mid 80’s punk “classic”, but it definitely has its own flavour, and is not bog standard oi! or UK 82 stuff. OK, it is slightly sloppy; a couple of songs sound like they’re a demo or rehearsal. In that respect though, the punk element is definitely there, and it’s part of the appeal of the thing. There’s a reckless kind of quality going on here; they don’t give a fuck; it’s just “bash out the tunes”, which is bloody marvellous.

It opens with “Up with the punks”, a downtuned thrash-punker with a slight metallic tinge, which sets the tone for the rest of the album. A point of reference may be a guitar sound similar to Bones from Discharge/Broken Bones, but don’t take these guys for Discharge clones.

The band have produced it themselves, which I have to say, is OK actually. The production seems to work for the sound they’re after; there’s a wall of noise, but you can still discern all the instruments. The solos have to be overdubbed over the rhythm guitar layer - there’s only one guitarist.

Lyrics, aren’t a strong point, and are a bit run of the mill for the time (High Speed) about, you guessed it, taking speed, “Underground music” has a constant refrain of..............”underground music”. My favourite though is “Nuclear War” - “Aaaaah, nuclear waste spreads so fast, nuclear waste is going up my arse/Wind down from your head/You’ve got to be undead/Atomic war is no more/Atomic War is on the floor”. Other song titles are “It’s my life”, Listen to me”. But it hey, it channels the angst, absolutely!

In keeping with the DIY theme of the record, the band has done the cover themselves. It’s a black and white hand drawn cut and paste affair, which, again while I like it, could have been done a little bit better. (As in, a little bit more effort could have gone into it). Again though, it’s part of the appeal of the record. A lyric sheet would have been a bonus as well.

If you’re a collector of UK82 stuff, I’d definitely recommend this one. For vinyl collectors, this is not on CD. Of course, you can download the bloody thing if you want to.