THE NIPS "Bops, Babes, Booze and Bovver" Review

    

      For anybody who has never listened to The Nips (a.k.a. The Nipple Erectors), this is the band that Shane MacGowan spent his time on before helping to carve out a legacy by birthing a new type of Punk Rock with The Pogues. The Nips, formed in 1976 are probably one of the most unknown and underrated Punk bands of all time, and if you haven’t heard them yet you should probably be filled with a deep sense of shame.

     “Bops, Babes, Booze and Bovver” is an ideal place to start with this outfit, a retrospective collection of singles, it is only eight tracks in length and contains not one filler. The lyrics range from the violent resentment of “Vengeance” to the hauntingly creepy yet youthful feel- good sentiments of “King Of The Bop”. The sound is clean yet subversive, and it only helps to articulate the powerful emotions and fresh lyrical genius the group bring to our ears. The Nips characterise and epitomise everything that Mod Rock in the 60’s could have been had it had the heart of the Irish and the balls of Punk. What the listener hears is a strange noise that sounds like The Kinks and Dr Feelgood penning love songs and rhymes of resentment with Boris Karloff and Elvis Costello- in short; fucking inspirational.

     The best track on the album is, for me at least, the beautiful “All The Time In The World” which is a tumbling ballad of erratic sexual obsession and devotional infatuation. Successfully combining the raw grunt of sexuality (“I’ve been dreaming of your picture, baby, creaming over you”) with a ruthless love, this isn’t topped by any other song on this album. There are of course contenders, however, from “Vengeance” to “Gabrielle”.

     If you like original and ballsy Punk Rock with absolutely no pretention and are looking for something vastly difference from the mediocre horseshit that clogs the propeller of the Punk scene, The Nips will do just fine! One of my favourite albums to date. 

NORTH SIDE KINGS "Organizing Our Neighbourhood" Review

For Hardcore fans it’s becoming ever easier to lose the true sound of Hardcore in a sea of fringes and fucking rucksacks. Gone are the Skinhead dominated days of Hardcore. Gone is the knowledge that this is a sub- genre produced by Punk Rock and later (in some cases) fused with Metal. True Hardcore fans are pushed to the (excuse the pun) fringes of the scene whilst Screamo (whatever the fuck that means) bands claim the “H” word for themfuckingselves. Bands like the North Side Kings are, with albums such as this, here to remind us that Hardcore proper still exists, and that it won’t go down without a fight.

“Organizing Our Neighbourhood” is a mafia- esque tale of protection, violence, brotherhood and rage. Comparable to bands like Blood For Blood and Sheer Terror in their projectile expressions of anguish and aggression, the North Side Kings should by now be known for far more than knocking Glen Danzig out with one punch.

We have here a tangible, extraordinary record that feels like a diary entry written by street kids with brains in their heads and bruises on their knuckles. In short, you wouldn’t want to fuck with this lot and the material on this record proves it. “Family Affair” is a show of force and unity that acts as a warning to anybody  who seeks to hurt a member of said contingent, “The Bad Guy” is a celebration of being an unforgiving, merciless bastard and “Right Or Wrong” is a stubborn statement of opposition that makes you feel sorry for the subject of the rant!

For now, it seems, the North Side Kings are still undefeated. If you like your Hardcore simple, brutal, chanting, spitting, screaming and breaking down whenever it gets the chance then this is the album for you. Get your hands on this masterpiece before it gets its hands on your fucking throat. 

THE EXPLOITED "Punk's Not Dead" Review

“Punk’s Not Dead” is probably the least consistently shit release by The Exploited. Whilst it is mediocre at best in terms of musical skill and execution, unlike the superior (in that department at least) follow up “Troops Of Tomorrow”, the band’s first full length release is probably them at their best.

I should note at this point that the kind sentiments expressed above do not for one second mean that this album is a good album but more an adequate album in parts.  True there is the undoubted inanity and banality of tracks such as “Mucky Pup” and “Cop Cars”, the unimaginative lyrical content of “Exploited Barmy Army” and the sheer slobbering stupidity of “Sex & Violence” (although this is probably intentional and sort of  works). But here too are a couple of naïve and innocent gems found in the form of “Punk’s Not Dead” and “I Believe In Anarchy”, the former of which is thought by many to be the kick up the arse that a stagnant Punk Rock needed (although I would question this) and the latter a hearkening back to the more Oi! sounding days of The Exploited in which they were a fairly good Skinhead- friendly crew of misfits that hadn’t yet discovered sanctimonious stupidity and the art of lazy adolescent criticism.

I feel it important enough to once again reinforce that I’m not saying that this isn’t a bad album, but as I said above, it is (in places) adequate- in some places even quite good. If you have the bonus CD you’re even treated to live recordings of “Daily News” (which first appeared in studio format on the first Oi! album) and “Dead Cities”, probably my favourite Exploited song for its unambitious balls- out insanity and flawless yet simplistic timing. To summarise, this is- like any album by The Exploited- fairly shit. However, it has moments of irresistible Punk Rock ingenuity- brief ones- that are unfortunately outweighed by the moronic racket I have grown accustomed to associating this undeserving outfit of Punk-Rock-Royalty with. Download the tracks you like, it isn’t worth the effort for the whole thing…

HAGGIS "Nation Of Fools" Review

Definitely superior to “The Impeccable Glory of Eternal War” and somewhat on a par with “Stormtroopers of Hate”- (let down only by its shorter length) “Nation Of Fools” in a wonderful blend of antagonistic statements (“Fascist AFA”), vulgarity (“Max Hardcore”), inventive covers (“Ring Of Fire”) and a few live extras. Somewhat of an EP come odds-and-sods collection, this is Haggis at a level so manic and erratic that the listener is reminded of the damage this band can inflict in a meagre 9 songs!

“Ring Of Fire”- once a touching tribute to the desire and passion invoked by love- is remade into a tribute to hatred explicated by the expected bile infested vocals to which we have grown accustomed and backed by a relentless onslaught of musical proficiency. “Fascist AFA” delivers a much needed head- butt to the in- crowd of anti- fascism and the trendy contingent of hypocrisy and middle class opportunism many feel it has become. “Old, Drunk and White” offers a sing-a-long expression of Haggis’ most suitable self- summary to date and feels a little like a slower, trudging and Hardcore oriented explication of the we-don’t-give-a-fuck-we-never-say-die sentiments so often grumbled down a microphone by bands such as Belligerent 86 and The Wretched Ones. The live tracks are a bonus for any listener and fairly well recorded although certainly not as powerful as the album versions, they are interesting nonetheless!

Part folk lore, part Skinhead Rock n Roll, part resentful free thinking, this record is a must own for just about anybody involved in the Punk Rock scene. Admittedly, this may not interest you if you attach yourself to any anarchist or even left wing organisations, but then again this may be just what you need!

Skrewdriver "Back With A Bang- Singles Collection" Review

This collection boasts all the bollocks of Skrewdriver’s  first full length “All Skrewed Up” and chucks in a few added bonuses for the hell of it. Such bonuses include an alternative version of “I Don’t Like You” which sounds like it was recorded after Ian Stuart Donaldson re- formed the group in London but presumably before they began their careers as outwardly racist knuckle- draggers and is altogether more brutal and entertaining than the original album version.

 Additionally, the classic if admittedly moronic “Boots & Braces” is featured on this 12” and you can’t help but feel an urge to charge about the streets wearing said articles with a can of lager in your hand and violence in your mind! This is Oi! (or Street Punk if you prefer) at its best; rocking, rolling and spitting its way through the rhythm and blues. The stand out track of this almost flawless work is certainly the epic boom of “Back With A Bang” which screams defiance and rebellion (somewhat tarnished of course by the band’s later political direction). There are of course a few filler tracks on here and most of them are the same as found on “All Skrewed Up”, with the notable exception of the God- awful fucking mess that is “Built Up, Knocked Down” which is nothing short of hilarious.

 Other gems here are the less well known “Better Off Crazy” and “19^th Nervous Breakdown” and the simple classics “You’re So Dumb” and “Antisocial”. This is without a doubt my favourite Skrewdriver release and is ideal for anybody who loves what they were as opposed to what they so infamously became. This work also has the advantage of being the middle ground in between the “All Skrewed Up era” and the Neo- Nazi nonsense…  Essentially what we are given is a thrashier, bolshier Punk Rock outfit with bigger balls than it had before. No politics here, thankfully, just good old Skinhead Punk Rock more than suitable for stomping your boots to. 

"Punk's Not Dead (We Wish It Was!)"- Thoughts on The Exploited

The Exploited famously insisted that Punk wasn’t dead in 1981 and have been doing so ever since, although after hearing most of their material, even the most patient of listener probably finds himself wishing that it fucking was- that is, if this is what Punk has become! For The Exploited at least, Punk seems to be largely pre occupied with bigoted, idiotic and inane lyrics (“Fuck The USA” and “Fuck The Mods” being particularly useful examples), bad haircuts and a constant insistence on churning out clichéd and embarrassing drones they presumably class as songs with some lazy half- arsed politics thrown in for good measure.

We can’t take the iconic status The Exploited have gained the world over away from them (although I wish I fucking could snatch it from that snarling moron Wattie’s hands) and it is only fair to concede, however vitriolic and scathing my writing on this outfit of miscreants may be, that they have had their moments of fairly acceptable song writing. There is something charming about naïve sing- a- longs such as “I Believe In Anarchy”, something resilient about “Punk’s Not Dead” and something of the commendable in appearing on Top Of The Pops to play “Dead Cities” to a bewildered sea of floppy hair. Such things deserve a pat on the back or a dance down the pub at least.

It seems, sadly, that despite the overwhelming consensus of idolatry worship that keeps this group ingrained in the Punk scene’s psyche, that The Exploited are not only the most over- rated Punk band in the world, but a truly awful outfit. Singing songs about hating Mods is unforgivably short sighted, petty and somewhat retarded when we consider Wattie’s Skinhead credentials and further the origins of the Skinhead movement as an offshoot of Mod. Irreprehensible too is the lazy ranting and upsettingly childish lyrics of the quasi critique of religion found in “Jesus Is Dead” which reeks of the sweat and confusion of an adolescent smart arse who’s just come out of his first Religious Studies class. That sums up this band really- adolescent; a menagerie that really should have grown out of generalising nonsensical sentiment and started penning something a little more concrete and tangible. I can honestly say I’m a little embarrassed whenever I spy that fucking skull logo anywhere… 

Skrewdriver "All Skrewed Up" Review

1977’s “All Skrewed Up” is the definitive pre- Nazi- era Skrewdriver album that is frequently seen by those clued up on their Skrewdriver history as that work of art that makes Ian Stuart Donaldson’s departure into Nazi territory and founding of "Blood & Honour" all the more tragic. Others feel that this album is intensely average and only receives the adulation it does due to this aspect of tragedy- and the attractive forbidden- yet- harmless factor this LP exemplifies in retrospect.  

Personally, I think this is a fine piece of work- true it doesn’t feature either of my two favourite Skrewdriver tracks but it does factor in a few runners- up such as “Antisocial” which is nothing short of a fucking classic. This is everything a Punk Rock song should be; short, aggressive and vitriolic- kicking out at mediocrity at all costs. Other highlights include the similarly seminal “I Don’t Like You” who’s dumb sentiment punches you in the mouth, busts your lip and then carries on with the dance, and “I Don’t Need Your Love” which struts a story of animalistic masculinity at a slower, more calculated (dare we say it) romantic pace!

There are a couple of low moments on this album- but that is only when compared with the finer works of Skrewdriver- when treating this as an album alone I must conclude that it’s a quality shake down of the 1977 Punk Rock scene- very much a no frills meat n’ potatoes approach. This is an album that doesn’t give a shit and will most likely redefine your music taste entirely- it certainly did mine. However, in light of what became of this once innocent pimple infected collective, one has to snigger at the hilariously unintentionally prophetic lyric “Never reckoned much to mixing” sang by Ian Stuart on “The Only One”! 

Sheer Terror Live at The Well, Leeds, 29/01/2012

New York Hardcore legends Sheer Terror finally got around to touring the UK after 27 of gracing almost everywhere else with their particular brand of insanity and tonight saw them unleash their finest work on The Well in Leeds. Before the show, lead singer Paul Bearer can be seen quietly shuffling about the entrance of the venue whilst answering questions from overly excited enthusiasts with a quiet patience that isn’t quite what you’d expect from the man famous for bellowing “I can’t stand living, I can’t stand YOU and I just can’t hate enough!” It is when the collective take to the stage that we are presented with something akin to the popular perception of this outfit; who are direct in their delivery and leave the audience beaten by fists of originality 100% more vital than the derivative racket that Hardcore bands are often responsible for today. It is surely a lesson to all who listen that it is possible to write music that possesses this kind of longevity- and to perform it decades later with potent relevance and tangibility.

When Sheer Terror take to the stage, it is to a gentle back drop of warm reggae filling the sound system. Mr Bearer, famous for his on stage banter, introduces the band in a frightfully cordial manner before concluding “We’re Sheer Terror, go fuck yourselves” and charging headlong into “Here To Stay”- still an excellent choice for an opener after all these years. During the set he frequently croaks out jibes, anecdotes, quips and put- downs in his squeaky New York dialect, before launching into a dreadnaught of material. All of the (what would be referred to, were it any other band) hits are present and correct, and executed devastatingly by this latest line up. From the no nonsense vitriol of “Just Can’t Hate Enough” to the menacing dirge of the trudging determination of “I, Spoiler”, Sheer Terror are fantastically bewildering to behold. Songs such as “Broken”, the single version of which is noticeably well- produced are given dramatic shake downs in their performance tonight; stripped of any unnecessary touching up, they are handed to us bloody and raw in no- frills packaging. Whereas songs like “Love Songs For The Unloved” and “A Tale of Moran” retain all of their riotous charms and encourage a boot- stomping frenzy as bald heads join in screaming down the microphone offered out by Bearer. We are too treated to a cover of Sham 69's "What Have We Got" which feels incredibly at home with the collective gathered.
The audience is a strange mix tonight, some being content to stand on the side lines nodding appreciatively, whilst heavily tattooed Skinheads and other assorted revellers dominate the area in front of the stage with some of the most apocalyptic dancing ever witnessed; people are thrown, shoved, punched and at one point a young man is lifted in the air and spun around by a particularly keen participant who proceeds to throw the Dr. Marten clad rag doll onto the ground. The floor and fans combined create a kind of brutal bouncy castle on which people are constantly falling and being flung back up by a collective of hands. Put simply, this is Punk Rock at its best and credit to The Well for not being the sort of venue that insist on a heavy security presence flexing its muscle gratuitously and spoiling the fun for the rest of us.

In all fairness, the seminal Sheer Terror could have rocked up, played everything out of tune, sang the wrong lyrics and done a 20 minute set and the crowd still would have loved it… Thankfully, Paul Bearer and co. managed to resurrect some of the most influential material that the Hardcore scene has ever produced, with a brutality worthy of their moniker making it appropriate to forget amplifier related blunders that were shrouded in humour anyway! 

Some people after the show seemed surprised that there was no encore, but when you’ve spat your finest down a microphone, what is there left to say?  

SHAM 69's TIM V Exclusive Interview! 13/02/2012

In light of impending UK shows and the recent departure of Dave Parsons from the iconic Punk Rock group Sham 69, Tim V shares the real story of Sham 69 in an exclusive interview with Ball Breakers Media.
  

BBM: Were you a fan of Sham 69 before you replaced Jimmy Pursey?

TV: Oh err yeah as a matter of fact I- I lost a tooth the first time I saw them!

BBM: When was that?

TV: Oh God- that was at the Crawley Leisure Centre in 1977 or ‘78. The press for Punk was in its infancy still so most of the tales of woe were spread via the gossip tree… It was only ‘til you actually went to the gig you realised what was going on…

BBM: Do you mean the reputation of violence the band’s following had?

TV: Well it varied really. If you went it wasn’t sort of like a travelling bunch like the Finchley boys with The Stranglers. It was more like the local mob would go down there. It was almost like they imposed themselves on the gig- like you’d get that area’s branch of the “Sham Army” sort of thing…

BBM: So it was almost like factions of a Sham 69 football firm?

TV: Yeah it was a weird thing- there were a few travelling fans who went to Sham gigs but they didn’t do many gigs! They went from being a Street Punk band with a bit of a reputation to doing fancy venues…

BBM: How did it feel stepping into Jimmy Pursey’s shoes? Did you receive any negative criticism from these fans or anybody else?

TV: Oh God absolutely! The thing is when I took over I knew Jimmy anyway but it was very negative. The fortunate thing in a weird way was that because at that stage the band was on its knees- they had no shows, promoters wouldn’t touch them - so we literally had to start from scratch. We did get a lot of bad press and the irony is we got more crap with Dave in the band than we did without him! A lot of people say I haven’t got the voice Jimmy Pursey had and I say “that’s because I’m not Jimmy Pursey!” If I did try and be more Oi! I’d be buggered for the next day and wouldn’t be able to sing! Oi! from my perspective was never about standing up and screaming your lungs out- it was more a case of being a pissed off working class person. A lot of fans say stuff about my style of singing and again its swings and roundabouts- it’s the way it goes.

BBM: How did you deal with that kind of reception?

TV: We took it on the chin- I don’t like being intimidated and we found that the only way to shut the doubters up was to put on a good show! I think one of the main guys I took a lot of advice from was Paul Roberts who took over from Hugh in The Stranglers. He said to me you can’t win! Social networks the way they are you’re always gonna get a- get a bunch of people slagging you off whoever you are.

BBM: How do you feel about the fact that there are currently two groups operating under the name Sham 69?

TV: It’s err… (chuckles) well basically this is an exclusive really! I think from a personal perspective with me Ian and Al are just really disappointed in Dave. We tend to have faith in humanity and think there must be a bunch of people out there who see through it … He’s been running Jimmy down for years now and he goes and does this? Surely he doesn’t believe that people out there are so thick as to just accept it! From our point of view when the band split in 2006 when Jimmy got sacked we naturally progressed and in 2010 we got recognition to say we’d done more shows in last 5 years than the band had done in its entire history! Then suddenly we have this thrust upon us and Jimmy for the umpteenth time comes back out of the blue! Unfortunately we had to go the courts and they said we had the legal rights to carry on with the name and they hadn’t. It’s because of natural progression. It’s like Ian’s been the drummer for 26 years and if Dave wants to leave it behind then that his problem. Dave’s driven by money and ego and so is Jimmy.

BBM: Is there any competition between the two line ups?

TV: No- the thing is with us we’re 50 odd now so the window of opportunity to become the next JLS is well beyond us! I can’t speak for Jimmy! We all jacked our jobs in 5 years ago and we’ve sacrificed a lot and for them to go “thanks for all your hard work. Now fuck off!” it just doesn’t wash with us… Romantic as it may seem we’re doing gigs for more moral reasons- we’re not getting paid the thousands that they are. We appreciate the fans that have supported us over the past five years- and we’ll keep doing it as long as they want. I think if the other line up can carry on in the light of (I’m not speaking specifically of Dave) everything they did to bring the band to its knees then the music industry isn’t as nice as I thought it could be… I’ve sat and thought “is it worth carrying on?” but then again we did a gig in a pub in Birmingham and it was sold out. We did a festival in Woodstock for thousands of people but give me a pub any day of the week coz it’s real and that’s what Sham’s all about. Well it is for me!

BBM: Your line up seems to be a lot more self- consciously Oi! in its approach to writing music than the original Sham 69 who seemed to accidently fall into that sub- genre. Was this progression intentional or organic?

TV: It was purely organic because the when Sham basically started to fold and Jimmy had left to be the new Johnny Rotten and then came back with his tail between his legs. If you listen to stuff like The Volunteer they really did drift off the radar…  And obviously when the band reformed they did some bloody awful stuff! They did a song called “Outside The Warehouse” which a lot of people don’t know about it but it was when Jimmy was trying to get everyone to wear pegs and get “wedge” haircuts. That was basically Jimmy being Jimmy and trying to force everyone into a genre that was Thatcher, Spandau Ballet and credit cards. It just didn’t work! Many times he’s spoken about the trials and tribulations of the working class which he’d never experienced anyway… And it’s like you can’t go from being a Dickensian bovver boy to a tree hugger over night!

BBM: Can we expect a new album any time soon?

TV: Yes. There’s gonna be an album coming out at the end of the year. Obviously it’ll be a bit different with Dave not being on it but we got Neil Harris who was a founding member of Sham 69 and was also in the band from ‘75 to ‘77.  We found out a couple of months ago that “Borstal Breakout” was written before Dave was in the band! If I hadn’t heard the original recording of a gig they did in ‘76 with the song on it I wouldn’t have believed it! I nearly fell off my chair! There’s a lot of stuff coming out that’s gonna show the real story of Sham 69 which is very different to what a lot people thought it was! It’s gonna be a meat and potatoes album: Back to basics! The songs are reflecting what’s going on in everyone’s lives today- dole queues, teenage pregnancy as opposed to just selling a product. I hate that and I hate plastic people. We’re not gonna pull any punches on that front!

BBM: Sham 69 are of course playing in Bolton, Lancashire at “Kico Klub” on 9^th March 2012. How are you feeling about that?

TV: I just hope the Millwall V Bolton game ends amicably!

BBM: Tim V, thanks for talking to Ball Breakers Media!


More info on the upcoming Bolton gig here: http://www.facebook.com/events/359236050769516/

Nothington "All In" Review

              

              San Francisco’s Nothington emit a graceful racket and are somewhere in the vein of music we’re used to hearing from other seminal acts that have the misfortune of apparently being dubbed “Gruff Punk” (as though this was necessary or desirable) nowadays. There is something of The Beltones, Off With Their Heads and most noticably Leatherface in their sound.

“All In” is, however, a perfect example of the way in which Nothington distinguish themselves with the more subtle approach they take to their music. They feel somewhat more radio- friendly and less aggressive than the three mentioned above in their over- arching sound despite their grizzly vocals and the despondent subject matter into which they delve. This is most likely down to the seemingly comparatively less aggressive or vitriolic form they use to present their open wounds in. in instant classics such as “Here I Stand”. There is still, though, something incredibly and tangible and heart- wrenching in their approach to song writing and production. Perhaps this is due to the fact that they don’t engage in as many guitar jaunts as Ryan Young and co. but rather prefer to present an on-going barrage of an all- together more moderate sound that lets the concepts and subject matter speak for itself. In doing this, Nothington still manage to raise our emotions sky high in their musical execution and simultaneously bring us crashing down to earth with lyrical content just like OWTH but in a way that is all their own.

                Stand- out tracks other than the aforementioned include “The Bottom Line”, “Something New”, “Awake For Days” and “Going Home”. Quite honestly, there isn’t a bad track on this album to speak of and for fans of all of the bands mentioned in my introduction I would definitely recommend this more subtle conveyance of similar emotional themes. “All In” feels somewhat like a nicely aged wine; sophisticated, strong and full of flavour despite not screaming as loud as its spirited counterparts! Somewhere between joy and sorrow is where we find ourselves and it’s a wonderful sight to behold. 

Everybody Poops (but not everybody writes songs like this)

Ladies and gentlemen, he’s done it again. At some point (presumably after The Beltones), William McFadden recorded three songs and uploaded them onto Myspace under the apparent project name Everybody Poops. It is somewhat unclear whether this was the name of a separate collective aside from The Beltones or indeed an official project of any description. It was most likely a somewhat arbitrary  moniker humorously applied  to the collective who recorded and own of the three tracks “Rikki Rae”, “Hanging Up” and “Never Run” with no other purpose than to unite the three in a project however unofficial.

 As for the material itself, “Rikki Rae” is a love song that lists acts of devotion that the protagonist would undertake and perform gladly to prove his love for the subject of this piece. The acts range from the banal (“have dinner with your mom” and “build a tool she with your dad”) to the graphic as McFadden informs the listener that he’d “sell his fucking liver” just to buy her snacks. Interestingly enough both the ordinary and the extraordinary have the habit of taking on equal importance as they both find their place in the veneration of “Rikki Rae” and each lyric feels sincere, sentimental and beautiful.  Musically, like the rest of the work found here, it is a collection of grumbling, distorted, sharp and catchy audio similar to The Beltones. However, lyrically it feels less despondent, less volatile, less violently emotional and more tender and mature- even hopeful and defiant.  “Hanging Up” is a little more jaunty but still maintains a quiet sincerity and the last track “Never Run” is probably the most energetic venture and most reminiscent of earlier work with a highly charged and powerful Skinhead Street- Punk sound. All three are majestic lyrically, as is to be expected, and for any fan of The Beltones, you really should find a way of adding these unique works of art to your collection.

HAGGIS "Stormtroopers Of Hate" Review

From the air- raid siren that introduces the album to the kick up the arse cover of the country classic “Long Black Veil” “Stormtroopers Of Hate” is Haggis at their best! Sturla The Bastard makes clear his superiority in vocal execution in comparison with the later addition of Ottar The Fat Animal and there is less emphasis on what might be taken by some as shock for shock’s sake and more emphasis on grinding guitar riffs coupled with vitriolic vocal prowess.

 This work is a perfect mixture of Hardcore breakdowns, musical proficiency and Punk Rock immediacy. There’s still a little bit of humour here, too, in the song “Toss In The Bin”, a party- like anthem in “21 Beers”, and a moving tribute- “Joey Ramone”. The rest is perfectly performed annihilation that screeches and roars with hatred, pride and musical dignity. This album feels more stripped down and less gratuitous than “The Impecabble Glory of Eternal War”. This is probably due to the snappy assault- style delivery of each track and the lack of lulls. Stand- out tunes include “Long Black Veil”, “History Lesson 1”, “Stormtroopers of Hate”, “More War” and “Hate and War”. There are few if any filler tracks here, and I would recommend this to Skinheads everywhere as an interesting utilisation of a number of influences that still maintains that classic Oi! feel somewhere underneath the Hardcore and UK82 influences. Best served with a can of chilled, strong European lager!

HAGGIS "The Impeccable Glory Of Eternal War" Review!

Norway’s Haggis are one of the most hilariously bizarre Punk Rock bands I have ever heard. With a somewhat unhealthy preoccupation with a war on political correctness, Haggis’ “The Impeccable Glory of Eternal War” (2006) offers up, amongst others, the lyrically questionable yet undoubtedly catchy “I Work Like A Nigger”. Also to be found is a highly entertaining rant concerning Sham 69 which is probably the greatest explication of Skinhead fury and impatience felt and (probably through a misplaced sense of nostalgia) yet somehow rarely directed at Jimmy Pursey’s whinging fantasist face! Other highlights include a blinding cover of Skrewdriver’s “I Don’t Like You” and the humorous “Enlist today” which features the juvenile antagonistic lyric “You should enlist today (TODAY!), there's no excuse are you gay? (SO GAY!)” that is reminiscent of the bear baiting Lee Ving and his legendary Punk Rock band Fear. This isn’t Haggis’ finest work, I for one prefer the previous vocalist (Sturla The Bastard) but Ottar the Fat Animal does a good job, and despite failing to top the brutality of “Stormtroopers Of Hate” it hits the spot on a number of occasions with only a few lulls slowing the momentum.

 If you don’t like politically incorrect Punk Rock or have any particular quams about homophobic and sexist language or terms that share racist implications in other contexts outside this album then I’d steer clear of this one. If, on the other hand you like belligerent Punk Rock that says what it wants because it doesn’t give a fuck and has no real political motivations, prejudices or bigotry of any kind, then listen away! It’s a fairly good effort, not the best as I’ve previously stated, but definitely worth a listen. Just don’t take it or yourself too seriously! Haggis clearly have a bizarre sense of humour and don’t care who they offend- which is probably due to the security they find in the fact that they aren’t actually racist and seem to reject politics all together. It appears that political correctness won’t slow this band down- make of that what you will- I believe it to be an effort against obligation by the innocent as opposed to an aggressive outward statement of bigotry of any sort. In short, listen guilt free, they’re clearly not Neo- Nazis, and anyone who has informed you otherwise needs to do their fucking home work!

THE TEMPLARS "Dans Les Catacombes" Review

New York’s The Templars succeed where too many Oi! bands fail. Unlike a substantial collective of the Skinhead scene past and present, The Templars utilise the generic features of Oi! music set in motion by original outfits like the 4- Skins, The Last Resort and The Business without falling victim to tired clichés and embarrassing, substance- lacking lyrics. A good example on this album is “Doing the dirty” which is rife with allusions to Kubrik’s “A Clockwork Orange” movie, something that has been done to death on the Skinhead circuit, most famously pioneered aesthetically by The Adicts, this has become, in most cases, tired and boring. However, The Templars sound anything but and instead demonstrate their ability to inject longevity and youthfulness into a traditional, tried and tested formula.

“Dans Les Catacombes” runs the risk of being written off by some for being a somewhat odds- and- sods collection of singles and rarities to be overlooked by sincere fans and flirted with by passing novices. This couldn’t be wider of the mark. What we have here is an assortment of Street Punk classics that not only resurrect a classic 80’s sound but in my opinion do it a lot better than a fair few of the bands that set the standards back in the day! Anyone who knows me will know my opinion, for example, on The Last Resort’s early material (I find it lyrically absurd, musically terrible, rife with stupidity, inferior to other works of that time and yet acknowledge certain irresistible classics that are deservedly influential- see my album review of “A Way Of Life: Skinhead Anthems”). What a band like The Templars do is what The Last Resort didn’t i.e. combine 4- track charm with lyrics that don’t reek of idiocy or revel in tired executions of generic formulas. Not even the 4- Skins managed this level of magnitude so consistently.

Stand out tracks include the brutal trounce that is “The Sixties Are Over”, the aforementioned “Doing The Dirty”, “The Templars” and “I Believe in Myself”. Being a collection there are, of course, a couple of filler tracks, but it’s well worth experiencing some very rare and only slightly below the stand out’s standards when considering the majesty of this album as a whole. In short this is a fucking epic and comprehensive work of Skinhead glory!

SHEER TERROR'S PAUL BEARER INTERVIEWED! 29/01/2012

After a blinding show at The Well in Leeds, I had a sit down back stage with lead vocalist Paul Bearer to talk about the tour, Sheer Terror, fry- ups and Disney...

BBM: Paul, why have you decided to take Sheer Terror on tour in the UK at this moment in time?

PB: Well we had never played the UK ever in 27 years. We were supposed to come here like once or twice before but it always fell apart. Finally this guy, Francis, got hold of me through the facebook thing and after about a year of it almost not happening it finally came together! And thank God Because I’ve been waiting to come over here for a long time!

BBM: How’s the tour going? What have the crowds been like?

PB: Well it’s the three shows; Bristol, London and tonight in Leeds. And We had a great time doing this… Tonight was a little weird- the crowd like to kind of stand back- they look interested but they’re a little reserved- I don’t know maybe it’s an English thing! But Bristol and London were off the hook! But no we had a great time doing this tonight.

BBM: Which song did you most enjoy performing tonight?

PB: Actually err- only coz it’s the second time we ever did it it’s the Sham 69 song “What Have We Got?”- it’s a favourite song of mine from when I was a kid… And I think we do a good job of it… It’s a lot of fun to play.

BBM: Was there any other reason for covering it?

PB: Well this woman, Diana, at the label we might be working with mentioned us doing a 7 inch- we’re writing songs for a new album which I want to concentrate on really but then I thought what if we do a Sham tribute? 3 Sham songs our way… So it’s “What Have We Got?”, “That’s life” and “Poor Cow”! “Poor Cow” is gonna be totally different from the original- I doubt we’re even gonna be able to do that live the way I have it my head! So yeah we’re gonna do a limited edition 7 inch called “Sheer 69” just for the hell of it! I’m a big Sham fan so it’s just for fun.

BBM: And when can we expect the album?

PB: There’s no ah… no rush to do it- we don’t have a contract with anyone- y’ know we’re open so we’re just writing, taking our time. It’s gotta be done right- I’m not gonna put out a rush job or an album that sucks!

BBM: With regards to your work in the past you’ve remarked that a lot of Sheer Terror’s songs are love songs, contrary to the popular public image of the band- what are some of your personal favourite love songs?

PB: Oh probably err “Handle With Care”- King Floyd, Johnny and Jackey the original version of “Some Day We’ll Be Together”, “Why Must I”- The Heptones- and err… maybe ah “Blind Love” by Tom Waits.

BBM: So a lot of Soul and RnB?

PB: Yeah I love- I love soul and I loved RnB- all the 60’s and 70’s stuff since I was a kid…

BBM: Quite a Traditional Skinhead music taste then?

PB: Yeah but I loved the stuff even before I was Skinhead- as a kid I loved The Jackson 5!

BBM: Do you have a favourite The Jackson 5 track out of interest?

PB: Maybe err “I found that girl”!

BBM: Who or what would you say has been your biggest influence lyrically?

PB: Oh that’s a tough one! Ah lyrically… lyrically… lyrically…Two of my favourites off hand I can say are Tom Waits and Elvis Costello.

BBM: When you’re writing a song or album what’s the most important thing for you to communicate?

PB: Well it’s not so much about trying to communicate with anyone outside of myself. I’m trying to get it out of my system- it keeps me going.

BBM: So your work has a kind of cathartic property?

PB: Oh big time! It’s self- therapy without a doubt- I’ve medicated for years! And this way is a lot less damaging to the body! I mean I appreciate it when people get what I’m trying to say but I’m not expecting them to coz people are gonna take what they want from it and I’m not in a position to tell them that they’re taking it the wrong way.

BBM: In terms of lyrical content I was always struck by the tenderness of a lot of your lyrics juxtaposed with the brutality of the music…

PB: Yeah

BBM: But what do you think of the popular perception of Sheer Terror as largely a force of aggression?

PB: Yeah I mean it didn’t help putting out an album called “Just Can’t Hate Enough”! But you know hatred’s an emotion everyone has- but you need to know why you’re hating and what you’re hating… you know not just blind hate or hate for hate’s sake…

BBM: What was main reason for putting that album out and calling it that?

PB: Well that's just the way I’ve always been and always felt and I have a big mouth and I got something to say and you know, thank God for music so that I have an avenue that I can say what I have to say – I try to write as much as I can so I can say what I want.

BBM: And what’s going on with your other project- Joe Coffee?

PB: We’re stopping trying to be a band because it was getting to be heart breaking! We’re all from the Hardcore scene but we don’t fit on those shows and we didn’t get put on the Indy shows because they’re scared of me or whatever. We like what we’re doing so we’re writing songs and we’ll put out another record- if we play we play if we don’t we don’t.

BBM: Maybe you’d fit better on a stage with The Beltones or Leatherface as opposed to at a Hardcore show?

PB: Yeah I know I heard of The Beltones and yeah Leatherface are great- I saw them twice actually in America- I love Leatherface. Frankie Stubbs; what a man!

BBM: When you’re on stage how much is pure entertainment and how much is genuine Paul Bearer?

PB: It’s a good split I’d say- y’ know I talk the way I talk. Offstage I’m a little more reserved unless I’m 

drunk or whatever! I like being quiet and being by myself and just watching TV or just reading and listening to music… But onstage I get it all out and people are paying good money so y’ know- I give ‘em a show! But off stage I’m a lot quieter- people think I’m miserable or sad- but I’m not I just like being quiet! I’m not gonna talk just to hear my own voice y’ know?

BBM: I mean you talk a lot about love songs and how you’re a quiet, moderate guy but yet you do have this persona of “I’m Paul Bearer, we’re Sheer Terror, we don’t give a fuck” e.t.c. but what do you think of the fairly intimidating public persona you have?

PB: I can understand people being intimidated and whatever like that… but it’s not shtick and I’m not trying to create a persona or anything…

BBM: So none of it’s for show?

PB: No none of it’s for show but if I’m playing a show I don’t wanna be boring! I don’t wanna be threatening either. You can be menacing but entertaining. I don’t wanna act like a tough guy… You get a lot of bands coming out on stage calling people faggots and that and it’s like c’mon are you really gonna talk like that?

BBM: Yeah there seems to be a lot of macho front in Hardcore…

PB: Yeah…

BBM: What do you consider Sheer Terror’s biggest achievement to be?

PB: I don’t know if we’ve hit it yet honestly. Going to Japan was great and coming to England finally…

BBM: Are you enjoying England now you’re here?

PB: Yeah finally! I had a proper fry up this morning for breakfast! I love it! I mean we do great breakfasts but no it was fantastic! I love the black pudding- that’s so good- I think I got high of it! Ha! afterwards I was acting all goofy and like a retard!

BBM: How do you feel about politics being brought into Punk Rock? Do you think it should be part of Punk Rock?

PB: I mean standing up and fighting the good fight and kicking out against all the assholes that are out there is part of Punk Rock but it shouldn’t be like exclusively left, right or middle. I think everybody should have a voice and you should voice your opinions no matter what. Punk Rock is a great medium for that but it opens the door to a lot of kooks… It’s part of growing up… It’s about finding out who you are and what you are and who you wanna fight against.

BBM: You might be seen as quite conservative politically, particularly in light of remarks you’ve made about squatters- how do you feel about those issues, looking back on what you said on record?

PB: Yeah I was just bustin’ balls about all the stuff going on in New York at the time… There was bullshit going on in New York with the squat riots. I grew up in a very loving family- I always had a couch to sleep on even if I didn’t have a bed so I was lucky to have that. A lot of people didn’t have that and they needed to squat but a lot of them just did it coz it was fashionable or Punk Rock or whatever.

BBM: How do you react personally when you’re confronted with religious or political fanaticism in Punk Rock?

PB: Honestly a lot of the time I get a kick out of it!

BBM: Is that because it’s something to fight against?

PB: Well sure it’s something to fight against if it’s a problem or if they’re coming to shows trying to force their views on people. But I get a kick out of it because I like to see what hatred creates… like the guys who hate black people so much yet they sit around making figurines and charicatures of black people… and it’s like they spend a lot of time doing it considering they hate them so much!

BBM: I mean maybe people in the scene take these guys too seriously and give them too much credit when we should be laughing at the absurdity of it all?

PB: Well yeah sure, I laugh them away until they step over the line and if you got to throw a punch you gotta throw a punch. You gotta fight for what you believe in.

BBM: What do you think of the other end of the spectrum- of groups like SHARP and RASH?

PB: Well SHARP was a good idea but then they just became a gang. If you see a 17 year old wearing a Skrewdriver t- shirt and you have a gang of ten attacking him you’re not gonna change him- you’re gonna make him hate even more and it’s never ending!

BBM: Wearing a SHARP badge as a Skinhead almost seems like apologising for being a Skinhead, I don’t think you should have to do that…

PB: No not at all! You’re a Skinhead! You should be like “Fuck you! You’re not supposed to like me!”

BBM: Finally, my sarcastic younger brother jokingly asked me to ask you this but I’m going to do it anyway- What’s your favourite Disney film?

PB: “Dumbo”.

BBM: Why?

PB: I always loved it since I was a kid- and the scene when his mum was locked away I can’t help it- I tear up every time!

BBM: That was quick! I didn’t expect you to answer that at all to be honest- I would have at least thought you’d take a while to think about it!

PB: No! “Dumbo”!

BBM: Paul Bearer, thank you for your time!