This unusual release features ex-MOB members in songs which, in three of four cases, exploit a medieval flavor with a punk energy. Surprisingly, the gamble works—though I also enjoyed the pop punky style of this EP’s only rocker, “God Has Gone Wrong Again.” A good record that will grow on you.
This is just as good as the British pop we all used to love before hardcore became fashionable. Three superior guitar-pop ditties are here: the distinctive lyrics, delightful hooks, and unusual, almost archaic arrangements are clearly done with care. Even better than their fine debut release; the track “Sordid Tales,” with its surfy guitar, is especially appealing.
On their debut LP, this band gathers together a very consistent clutch of pop-punk tunes, all of which meld Scottish vocal motifs, catchy power chord progressions, good melodies, and interesting lyrics. BLYTH POWER has a unique sound exploited well here. A solid LP.
DAN is actually a four-piece band, and a good one at that. They play good mid-tempo pop punk with female vocals and a peace-punk edge. Well worth checking out.
For most of this LP, we’re floating along in a very pleasant ’78-79 type of political punk with both male and female vocals. But then, just to show us they’re not completely stuck in the past, they lash out with a terrific thrasher. Very good release, and much more gripping than on their EP. From Ireland.
After two serviceable singles, the MOB must be congratulated for compiling a subtle yet affecting album’s worth of political pop ditties. This record may be inconsistent melodically, but the fourteen songs here have strong lyrics component and a simple instrumental approach reminiscent of the early MEKONS. This may not be thrash, but it is the kind of material that definitely grows on you. Good stuff.
The A-side reminds me a lot of something the SOFT BOYS might have put out. It’s almost the punk equivalent of folk rock, which is not to say it’s no good because it’s actually very catchy. The flip is sort of a poor man’s WIRE—stripped down post-punk with a bit of tension, but lacking enough build-up.
A re-release of a great punk record for those who missed the first time around. This matches their early 1980 7″ release with some noisy but spirited live tracks from their last show.
A mod-punk hybrid which is kind of catchy but too wimpy to have much impact. At least it’s different.
“Rape,” need we say, is a disturbing tune—monster-movie soundtrack with a woman wailing in torment; troubling documentation of a violent act. Skip the B-side, the A-side haunts the hell out of me.
Atmospheric post-punk with novel studio effects and original song structures. None of the music stands out in the way that top-notch SPK or EINSTURZENDE NEUBAUTEN does, but it’s okay for its genre.
