Top Sounds - R

RABBLE, THE - Life’s A Journey {DIY} Third album from this New Zealand band and another smoking, rocking disc it is. The band’s previous album, ‘The Battle’s Almost Over’ was, for me, one of the best NZ albums of recent years. While I’d hoped this may usurp that album’s quality, I’m sorry to say it doesn’t - not quite. That’s not to say this is a turkey - far from it. It’s an album laden with great songs, be it the SPECIALS-esque Ska groove of ‘We Are Like Ghosts’, a stellar love song in ‘With A Rose In My Hand’ that rocks on a bombastic guitar lead and includes Al Barr of DROPKICK MURPHYS, the Punk defiance of ‘Dead Anthem’, the enraged roar of ‘Gunning For The N.R.A.’ or the disc-stealing swagger of ‘Wrong Side Of The Tracks’. Two other aspects stand out also: the lyrics have really improved, be they political or personal; and Chazz’s guitar lines and leads flow with a confidence previously absent. As always with RABBLE records, the packaging is top notch. So where does the album fail? I’m not sure if it’s the Jim Siegel mix or something premeditated, but the edge of previous releases has been slightly neutered. I’m not saying this sounds weak - it just lacks a bit of rawness while the guitars seem to have been tamed at the expense of over-produced vocals - especially on ‘Two Tickets’ that’s smoother than Blink 18turd’s major label contract. A minor gripe and one that’s not distilled my belief in the band, but it’s something to note. I wasn’t expecting DISORDER, but a little more raw grit would’ve been welcome. (31.10.11) 

JAY REATARD - Matador Single ‘08 {Matador} For six months during 2008, JAY REATARD (ex-REATARDS and LOST SOUNDS, which released records on Empty Recs in Seattle), released a single per month. Each disc was different from the previous - be it coloured vinyl, clear, picture disc etc - and sold out almost on release. This disc compiles all the songs and, rather than sounding like a bunch of unrelated songs, actually gels really well as an album. Musically it’s psychotic, New Wave Garage Pop and at varying times brought to mind PIXIES, ATV, SCREAMERS, DINOSAUR Jr, DEVO, Killers and, most surprisingly, British odd balls THE CARDIACS. Highlights include the ragged EATER/WIRE Punkoid noise of ‘Hiding Hole’, opener ‘See Saw’ and the tres CARDIACS flavoured craziness of both ‘Screaming Hand’ and the Deerhunter cover, ‘Fluorescent Grey’. I admit, I was expecting something scuzzier and wilder, but the strength of these songs has made for a really compelling album that snarls through a slightly unhinged grin. (22.04.09)

RED FLAG 77 - Rotten On The Inside {Red Flag Recs} Third album from Ipswich’s bastion of UK Punk and, significantly for me, the first that hasn’t already been partially ingrained in my memory by repeated live performances. Does it hold up? Well, fuck yes! The band’s sound certainly seems fuller and even a bit more rock (check the riffage of ‘The Crest Of A Wave’). Needless to say though, the sound is still spikey, catchy and crisp. One thing I noticed about this album over those previous is just how driving Fanny’s bass is. A number of times he cuts through with either a pounding rhythm or fancy melodic run. Highlights have to be ‘Tomorrow Never Comes’ that captures a neat RUTS-like tautness, ‘Stormy Wearther’ with its addictive, anthemic chorus and the sheer arrogance of ‘You Won’t Get Me’. Vocalist Rikki is in fine form too; his vocal has lost none of its bark but there’s a clarity to his delivery that many other ‘frontmen’ should take note of. The only negative is the cover. It’s well done (with a subtle continuation of the theme in the lyric book), but it doesn’t represent band or album. Bar that, this is another cracker from what has to be one of the Top 10 bands in the UK. (26.07.09)

REDMONDS, DUNCAN - Bubble And Squeak: Collaborations {Boss Tuneage} You should know DUNCAN REDMONDS is the maverick drummer/vocalist/founder of the legend that is SNUFF. This 22-tracker collects recordings from 2004 to 2008. The best stuff for me is between THE PISSMOPS (featuring LEATHERFACE’s Frankie Stubbs) and POT KETTLE BLACK that sees Duncan pairing up with his old band mate and original SNUFF guitarist, Simon Wells. It is this pairing that serves up the CD’s highlight - ‘Compulsion’ - that’s on par with ‘Reach’ era SNUFF. Both bands get four tracks each. Elsewhere there is Fat Mike (NOFX), Ian Murphy (SECTION 13, VISIONS OF CHANGE), NOMEANSNO, HARD SKIN, a GUNS ‘N’ WANKERS rarity, assorted BILLY NO MATES line-ups and a few curios. It’s easy to imagine the whole disc could be over-shadowed by certain ‘name’ Punk Rock personalities but each track is indelibly stamped with the identity of Redmonds - which is testament to the man himself. I lost a lot of interest in SNUFF after ‘Demmamussabebonk’ with the band reaching gutter-level on ‘Numb Nuts’. Listening to this, maybe I got it wrong as two ‘bands’ on here could rank among the best in the UK today. It’s hard to believe a guy I saw for the first time in about ‘86 in the backroom of an Ipswich pub is still doing stuff as impressive and thrilling as this - and more power to the guy for doing so. Totally enthralling. (26.07.09)

RED TOPS - Left For Dead {Universal Warning} Not sure how these five herberts think they can align themselves with Hardcore when musically this is plodding sub-Metallica Metal complete with dual guitar harmonies, solos, cringe-worthy double bass drum poundings, mosh part breakdowns and tracks titled ‘Today I Die’, ‘Vengeance’ and ‘Every Victim’. Get the picture? It you want further evidence check ‘Prawn’ that kicks off like 10th rate SLAYER-lite and ‘Wage My War’ which is OK until a guitar solo plummets it into Metal Hammer territory. The title track hints at some decent HC and, I guess if I could give this chest-beating metal anytime of day, then these guys would be quite acceptable. Snag is - I can’t. This does NOT and will NOT ever equate to HC, so please take your Iron Maiden t-shirts and guitar solos to those fawning hipsters at Kerrang and leave the memory of GORILLA BISCUITS to us here at the House of Scanner. (26.07.09)

REMISSION - Ninety-Five To Ninety-Eight {Profane Existence/ Crimes Against Humanity} Hailing from North Wisconsin, this Crust Punk band featured future members of both WARTORN and WORDS THAT BURN. This compilation pulls together 24 tracks from four releases, kicking off with ‘97s ‘Temporary Service = Temporary Slavery’ 7", followed by the only record I previously owned by the band, ‘A Few Faces Of Protest’ 7" from the same year. Then there’s ‘95s excellent ‘Fetus The Code’ 7" and finally the ‘Human Compassion’ cassette from ‘95. The sound is intense HC Punk. There’s a big CIVIL DISOBEDIENCE vibe, with hints of GAUZE and NAUSEA in there too. The dual vocal brings to mind the ENT attack too - one barked, the other growled. Highlights include ‘No More Lies’ from ‘...Protest’ (easily the best produced of the releases and aurally scathing), ‘Compulsions Of Futility’ and ‘One Nation’ for the awesome ‘Fetus...’ release, and the closing, thunderous roar of ‘Feel The Neglect’. Lyrically this is political in an Anarcho sense, which fits the raging Crust core perfectly. There’s no trace of Metal here either - just full on HC. Blazing stuff and essential if only for the ‘Fetus...’ material. (10.06.09)

REPLACEMENTS - Sorry Ma Forgot To Take Out The Trash, Stink, Hootenanny, Let It Be, Tim, Pleased To Meet Me, Don't Tell A Soul, All Shook Down {Rhino} Hit here for reviews. (25.02.09)
REPORT SUSPICIOUS ACTIVITY - Destroy All Evidence {Alternative Tentacles} I gotta hand it to band and label for the packaging of this. The whole thing is encased in an ‘Evidence’ Security Bag. Within that bag is a booklet of RSA matches and the CD. The sleeve is a digi-pack kinda deal stylised around a booklet of matches with a complete lyric sheet constructed like a Secret File document. And the music? Well, given the band consists of Vic Bondi, J. Robbins and half of KEROSENE 454, it’s gotta be crucial. This is a much less musically aggressive album than the band’s debut and even though Bondi wrote over half the album, this is definitely more of a J. Robbins/ JAWBOX deal. Lyrically it’s still as outspoken and politically vitriolic as the debut. From opener ‘Shitkickers’, which revolves around a taut, almost militaristic rhythm, through to the hypnotic closer ‘Dreamland’, there’s not a dull moment. Every track makes a point be it disc highlight ‘The Loyal Opposition’, the sublime acoustic qualities of ‘Day After Day’ and ‘Blue Fade Grey’, or the corrosive attack of ‘All-American Massacres’ and ‘Bush Is Brezhnev’. With changing times in the U.S., this is a pointed political observation on U.S politics and it’s great to see that two veterans of Reagan era USHC can still make cutting, intelligent and angry records like this. Essential. (13.01.09)

REVELING, THE - Tributaries {Black Numbers} Thanks a lot GREEN DAY. Thanks for making every mediocre Pop-Punk band think they have affiliations with Punk Rock when all too often they have as much sneering clout as Dire Straits. The debut album from this Pop-Rock quartet is actually pretty smoking in parts and has probably been dealt a disservice by being labelled Punk Rock. Sure, there is a massive GREEN DAY feel and at its best - on the ragged ‘Charlotte Thompson’, ‘Ironbound’ and ‘Last act’ - there’s a parallel to the addictive sound of GAMEFACE while ‘Left At Forkright’ spins around a sub-EATER riff before mutating into a very Punky Pop-rocker. Elsewhere there’s an able mix of PROMISE RING and AMERICAN STEEL (the epic closer ‘Invitations To Alleyways’ would’ve been the steal-cut on ‘Dear Friends And Gentle Hearts’). Snag is, the vocal harmonies and arrangements are just too nice... too commercial for a Punk record. This is a good record (bordering on a very good record in fact), but a bit more attitude coupled with an intravenous adrenalin shot could work wonders. Flashy, shiny digipack sleeve too. (30.12.11) 

REVENGE OF THE PSYCHOTRONIC MAN - Make Pigs Smoke {TNS} Fuck, this is one powerful 14-track, 18-minute, furious and fun HC Punk blast. The band’s split with THE FRACTIONS impressed but this is a flurry of Punkoid riffs that charge outta the speakers like a wounded bull. While this may not be as chaotic as the tracks on the split, it sounds like a jet taking off. This band is tight (check out ‘Needles To Say’) while the production has the power to cut through a mohawk at 20 paces. Musically I kept going back to ADRENALIN OD if mixed with a hefty dollop of early SNUFF and even a few HUSKER DU moments (see ‘Blackpool Rock’). Highlights include the relentless bludgeon of ‘Tramp Rage’, the blitz of ‘Mines A Pint’ and the appropriately named ‘Mainstream Music Is Shit’. I’m guessing lyrics are light-hearted apolitical stuff and, I have to say, I would much rather have seen a lyric sheet than a bunch of ‘crazy tour antics’ photos. I guess you had to be there to appreciate them. (26.07.09)

SCOTT REYNOLDS - Livin’ The Dream {Boss Tuneage} Interesting 22-track compilation from this ex-ALL singer’s other bands - namely GOODBYE HARRY and THE PAVERS. Gotta say, it’s infinitely better than the fucking annoyingly bland monstrosity below. GOODBYE HARRY released a couple of records on Greg Ginn’s Cruz label and is by far the most interesting stuff on here - think ALL SYSTEMS GO ragged rockin’core! They get seven tracks, providing a few highlights with ‘Piss Me Off’ and ‘That Noise’. The remaining 15 tracks are PAVERS tunes, most of which are bouncy rockers with ‘One To Ten’ providing the disc’s highlight. There are three unreleased tracks (including the neat opener, ‘Cuda’) for the obsessives also. You can hear, in places, too much of the Steaming Beast album below - check ‘Thank You Mr. Hollywood Fancypants’ and ‘Until Forever’ which nearly made me gag. This is probably all you would need of Scott Reynolds on one easy to handle disc (ALL expected) - a shame the excellent PAVERS EP, ‘Beautiful’ was completely over looked. (25.03.09)

SCOTT REYNOLDS AND THE STEAMING BEAST - Adventure Boy {Boss Tuneage} Given 'Adventure Boy' Reynolds CV (see above) - could this solo disc be anything but good? Um - well - yeah - it’s bland, polite MOR shite. Think hideous Fairground Attraction jazzy/ folky whimsical pop, Simply Red (yeah, the soulless soul band from Manchester - check out ‘The Boy Who Stole Your Heart’ on here - absolutely fucking vomit inducing) and a really, really, really bad Costello (and I ain’t no Costello fan) and you’re close. Blend it all up, put it through a sieve to get rid of the rough edges and lumps to leave a sickly, saccharine-laced, mortifying fluid, and you ARE there. This is too polished, polite and will appeal only to the 50+ folk-jazz scene and absolutely 0 of the Punk scene. Yuk. Dunno about ‘adventure boy’ Scott, more a misadventure, boy... (25.03.09)

RF7 - Hatred On The Rise {Just4Fun} First album from this underrated Californian HC band since 2004’s ‘Addictions And Heart Aches’ and it’s great to hear the veterans cutting it in such a formidable way still. This is quite novel in the sense that half of the disc was recorded by the 1980s line-up and the other half by the current band. It’s a good mix too; the current line-up certainly has the edge in terms of sound and urgency but there’s a gnarled, cantankerous bile about the 80s version. Both line-ups tackle the title track while other highlights include the vintage thrashtastic ‘Old Enough To Die’ re-recorded by the new line-up, opener ‘Worlds On Fire’ and the political double-pronged attack of ‘Left My Arm In Fallujah’ and the incinerating ‘Peace Is Not An Option II’. Soundwise, imagine a mix of THE FREEZE and D.O.A with a hint of LOWER CLASS BRATS and you’re there - especially if you add some of Lemmy’s meets Lee Ving’s dulcet tones about the vocal! With no signs of sounding old or jaded, this 19 track slab shows many of today’s young guns how to do it - and do it in style! (03.01.11)

RIOT BEFORE, THE - Rebellion {Paper And Plastick} Third album from this 4-piece outta the Punk hotbed that is Richmond, Virginia. It’s apparent from the off that J. Robbins has lent his mercurial production talents to the album as opener ‘The Middle Distance’ hits with that dissonant, claustrophobic sound of JAWBOX and SHELLAC. From there, it’s a power-packed ten tracks of GAMEFACE style Pop-Punk but played with an intensity that only Richmond bands seem to find. Repeated plays certainly pay dividends - the melodies crawl out of taut arrangements resulting in high-octane anthems juxtaposed against introspective moments of melancholy. Highlights include the AGAINST ME-esque distemper of ‘The Things I Hate’; ‘A Good Sense Of Style’ that name drops the James River a’la AVAIL and has a musical barrage of similar force; and the disc stealing ‘What I’ve Missed’ that blazes before twisting on some brooding restraint creating a sound that is intrinsically Punk but with more textures than most bands deliver in a whole album. I would like to see the abrasive side of the band take a bit more prominence as I think it would suit Brett Adams’s strident and melodic vocal. As it is, this will do nicely thank you very much! (11.01.11)

RIPCORD - The Damage Is Done EP {Boss Tuneage} 25th Anniversary reissue? This raging 7" features nine distorted, incinerating slices of vintage UKHC. Originally released on a flexidisc (remember them? There was even a mag called that that gave away a Flexi every issue!!) back in 1986. This was RIPCORD’s debut and a clear indicator of the red-hot Thrashcore they would go on to record. The sounds here combine simplistic DISCHARGE-esque riffs played over HC that’s fast enough to give early GANG GREEN a headache and delivered with the fuzzed, in-yer-face obnoxiousness of DISORDER. ‘Kiss Of Death’ sees a slowing of pace with a grinding, almost-metallic riff while ‘Thatchula’ is an appropriate tirade against Thatcher’s policies of the day. Marking the band’s claim in the brevity stakes is ‘Lies Lies Lies’ that clocks-in at around ten seconds. This hard vinyl reissue includes a reprint of the original wraparound sleeve and embodies those mid-80s UKHC days. RIPCORD went onto record some incredible stuff (the debut album ‘Defiance Of Power’ in particular) but the seeds were sown here. Cracking little piece of UKHC history - I wonder how many of the original flexis are still around? (21.10.11)

RISING STRIKE - Bite The Hand That Feeds {TNS} Another band of genre-blending, dam-busting potency from the TNS camp. Like BEAT THE RED LIGHT and SENSE OF URGENCY, this five-piece from Stoke-On-Trent mix up the (rather annoying) Ska-Punk of VOODOO GLOWSKULLS but inject it with the rage of FUCKED UP, the throat-wrenching bile of LEFTOVER CRACK and the complexity of System Of A Down to create a powerful and convulsive sound. The arrangements are certainly not simple verse-chorus deals; the fellas take a song and twist every sinew of its structure until it’s a convoluted, embittered and uncompromising slice of sound. Personally, while I really enjoyed the more FUCKED UP-esque moments, much of the overtly convoluted parts saw my attention drift. Lyrics are political without being dogmatic and highlights were ‘Joker’s Mistake’ that had a CAPDOWN feel to it and the raging ‘Against The Safe’. Certainly one of the most volatile bands on this excellent label and, if you know of the TNS bands mentioned, this fits in perfectly with them. (18.11.11)

ROCKET JOCKS - Next Stop; Moon! {DIY} Coming from New Zealand’s North Island East Coast town of Gisborne, this is a RAMONES obsessed duo. You get eight tracks, most of which fail to break the two-minute barrier (‘Why My Baby Won’t Go To The Movies With Me’ is relatively epic at 2.35 minutes!), and each one is a joyous mix of ‘Rocket To Russia’ era RAMONES, latter day QUEERS and, specifically, ‘How To Make Enemies’ era SCREECHING WEASEL. Lyrics typify those mentioned bands: girls, sci-fi and girls again. The fact the band has a drum machine matters not - let’s face it Tommy, Marky and Danny Panic were virtual rhythm machines! While it may be easy to dismiss this as a ‘Ramones Idol’ karaoke show, it would be a grave mistake. This pair has harnessed the phrasing and structure of those songs and somehow made it vibrant, fresh and authentic - even if ‘Judy Jetson, I Love You So’ had me scouring ‘Pleasant Dreams’ as it was sooo indicative of mid-period bruddas. Totally enjoyable stuff and in a NZ scene awash with Hardcore bands playing metal, this is a breath of spikey, catchy fresh air. (26.07.09)

RUBBER CITY REBELS - Pierce My Brain {Smog Veil} The influence of Cleveland’s finest (ROCKET FROM THE TOMBS and, specifically, THE PAGANS) permeates the sound of this vintage US band. Written predominantly in 2002 (except for ‘Born Dead’ that was written back in 1975), this is the band's first album of new material since the 1980 self-titled debut. There’s a hefty slice of classic rock on display here (think AC/DC) with some smoking guitar solos and out-of-the-gutter riffage. That ‘Rock’ made both ‘Punk Daddy’ and ‘Warlord’ low points, the latter especially. Highlights are by far superior though with the RAMONESisms of the title track and ‘I Don’t Wanna Be A Punk No More’, the sneering swagger of ‘Your Television Lies’ and a stellar cover of Status Quo’s ‘Paper Plane’! Lyrically this is apolitical with only ‘Grip Of Fear’ offering any social or political commentary. I bet these rip live. As it is, crack open a beer, line up a whisky chaser and let the ‘Six Of Change’ Snot Rock of the REBELS do its thing. It’s worth the effort! (26.07.09)

RUBELLA BALLET - Never Mind The Day-Glo... {Overground} Second instalment of Overground’s digitally remastered RUBELLA round-up. This one kicks off with the ‘42F’ single from 1984 then moves onto the band’s releases on its own label, Ubiquitous: 1986’s ‘Arctic Flowers’ single (an excellent, joyous romp that looked at global warming with the same instantaneous musical impact as SIOUXSIE’s ‘Christine’) and the classic 1985 album, ‘If’ that looks at ecological issues even more. It’s a much more accessible collection than the one reviewed below, skipping through the realms of Goth, Pop and Punk with infinite ease. The final five tracks are from 1990’s ‘At The End Of The Rainbow’ which are breezy and increasingly layered in lush poptones (see the sumptuous ‘Love Potion’). As a collection it’s essential listening but standouts would be the dark ‘Mescalito’, the punchy Punk of ‘Every Second Counts’ and the bouncy ‘Dream Dreamer’. The band always did stand apart from the dour black-clad Anarcho regiments and this proves that the band had a sound beyond those confines also. Truly joyous stuff - but no less political. Neat booklet too. (11.12.10) 

RUBELLA BALLET - Anarchy In The U.V. {Overground} Spawned of CRASS and POISON GIRLS came RUBELLA BALLET. Whilst as political as any band of the early 80s UK Anarcho scene, it abandoned the regimental black uniform in favour of a multi-coloured explosion with vocalist Zillah Minx resplendent in day-glo coupled with an all-embracing sense of liberation. This 24-track comp spans the band’s career from 1979-’85 and includes the entire ‘Body Bag’ cassette, ‘Ballet Dance’ 7", the ‘At Last It’s Playtime’ album, the hit ‘Money Talks’ 12" and two early unreleased tracks. Vocally, comparisons to early SIOUXSIE are unavoidable due to Zillah’s vocal having similar traits and phrasing. The musical spectrum was as kaleidoscopic as the band was visually. ‘Krak Trak’ is formidably funky, ‘Ballet Dance’ is a near-perfect spikey pop tune with fuzzed guitars, ‘Tangled Web’ is taut and dramatic... In fact the entire ‘...Playtime’ album is fantastic. The band could play the fast stuff also as ‘Newz’ proves. Neat, pic-packed booklet too. Great stuff and a potent document of one of Anarcho’s most endearing and enthralling bands. (01.05.09)

RUDY SCHWARTZ PROJECT - Bowling For Appliances {DC-Jam} What the fuck is this? Casio swamped, bedroom electro Pop that, no matter how hard I try, I cannot understand just why DC-Jam has released. Think a dire mix of RESIDENTS, CARDIACS and B-52s recorded on a primitive mobile phone with a backing track of Casio, battery-powered keyboard coupled with a guitarist who amplifies his ‘sound’ through a pair of 80s headphones while a couple of vocalists narrate their lyrics dressed as the Tin Man outta Wizard Of Oz. Yeah.. That bad!! If The Clangers had made a record, this would be it! (08.11.09)

RUNAWAYS - And Now... {Cherry Red} Recorded back in 1978, this was the final official RUNAWAYS album. It’s quite a restrained listen and relies heavily on covers - Beatles, Slade and The PROFESSIONALS - with the band’s take on ‘Black Leather’ being one of the album’s highlights, along with ‘My Buddy And Me’ both of which see Joan Jett employing that fantastic snarled vocal that we all love her for. Lita Ford’s, guitar-solo-drenched and ponderous ‘I’m A Million’ is a low point. Her liking for Metal was starting to make itself known on this track - and to the detriment of the band. ‘Right Now’ is bouncy New Wave-ish track featuring dummer Sandy West on vocals. While this is a welcome reissue, it’s not a patch on either the ‘Queens Of Noise’ or ‘Waitin’ For The Night’ albums - both of which answer the debate over whether the band was a fabricated, young man’s wet dream or an influential rock ‘n’ roll band (and the answer? Probably both!!). May be those are next in line huh, Cherry Red? (13.01.09)

RUN, FOREVER - The Devil, And Death, And Me {Solidarity} Those dudes in AGAINST ME! have a lot to answer for when it comes to the plethora of sloppy sound-a-likes spawned in their wake. While RUN, FOREVER play a brand of bluesy Punk that is unashamedly influenced by AM, it’s far from sloppy - it’s rather excellent in fact. This 10-tracker is this Pittsburgh’s trio’s debut and it’s a pulsating, anthemic and rather addictive example of impassioned and deceptively simplistic songs. Many of the songs are odes to overcoming the loss of an ex-band mate, Corey James Wolfram, most notably opener ‘A Sequence Of Sad Events’ and the title track, both of which are among the highlights along with the impressive acoustic romp of ‘When It Won’t Leave’ and the fist-pumping, religion questioning of ‘No Truth’. There’s a vague REPLACEMENTS feel in parts too, if injected with a spikey ONE MAN ARMY vibe. What’s more - it gets better with each play. Certainly a contender for debut of the year. (18.04.11)

RUST - Sampler {DIY} Blasting outta Sydney with a hell-for-tomorrow let’s live-for-today attitude come these Street Punk fellas that pack one serious punch on this three-track sampler, all of which are taken from the band’s ‘Lean, Mean Street Machine’ album. Opener, ‘Oi Oi Aussie Rock ‘n’ Roll’ - although boasting what is an incredibly cheesy moniker - is actually a serious slab of power Punk Rock ‘n’ Roll. ‘Bang Bang Bang’ is the best of the tracks here with a slower, piledriving power that draws parallels with ENGLISH DOGS while closer ‘You Ain’t Lived’ is more in the style of a traditional Oi! meets LOWER CLASS BRATS style rocker but with a MOTORHEAD power pushing it on. Production is incredibly bold and in yer face and, if this is the state of Street Punk in Sydney, then the rest of the world’s Oisters and Street Punkers had better watch out cuz these guys sound like they could fight for what they want harder than any others around! (06.05.10)

Hit HERE for material reviewed prior to 2009 including: