Philly’s mighty mod warriors are back! Duffy’s Cut swept the
punk world with their debut; a fiery, hip-shaking rock and roll 12”. Then, they
brutally teased us with only one track last year on a split with Idle Gossip.
Well, the wait is over. The Hammond is warm, dancing shoes are laced tightly. The
whiskey has been poured. Killers on the
Dance Floor challenges all you stuff armed tough guys to submit to your
roots and get sweaty!
Killers is harder,
heavy and charged, and catchy as ever. The opener, “Feeling Alright”, is a
boiler. It builds and explodes in frantic energy. As the organ simmers, we move
to the title track, a demonic scorcher. This is a powerful rocker, with spots
for each instrument to stand out as the tease before the breakdown (that bass!)
and then a forceful sprint to the end. “She Don’t Dance” is centered around a
killer bass line. This is downbeat fury! This track embraces a dirty tone that
pushes. “The Long Con” steps back on tempo, a catchy, punchy track which
seduces the listener. Nice to hear the organ get so much room to play here.
“Strawberry Mansion Nights” builds sweetly. The foreboding pounding backbeat mesmerizes
as the guitars and organ build anticipation. Fiery vocals come in and stir a
sweltering fever. The lyrics are challenging, dark.
First two tracks of B side are less jam based or indulgent,
getting down to business. “Fade to Olive Drab” kicks. This with the aptly
titled, “Keep It Moving”, have strong bass lines. The both push, fast and
engrossing. The social lyrics of “Fade to Olive Drab” make a working man think.
“The Judge” has us return to a mid-tempo head bobber. This is infectious rider,
bopping along with a low down sound. “99” has a more flamboyant beat, a slow
plod that bounces. It’s a re-interpretation of the Wilson Pickett/Eddie Floyd
classic, maybe. The sound is different. The tempo is down, and really only the one
lyric line is the same. Mavis Staples, CCR, Don Preston, Detroit Cobras, and
more have all covered this classic. This is more of a sparked tangent than a
cover. It’s fun. Duffy’s close side B with bluesy ode to the working man again.
It’s a sharp upbeat charmer. The guitar lead is fun, as they often refrain.
The mix sits the guitar dangling over solid rhythms and the
ever-looming organ. Dropping the needle on this LP transmits you directly into
a claustrophobic rehearsal space. You can feel the bodies gyrating around you,
the beer spilling, the feedback ringing. I have seen this band three times, and
always in a packed bar venue. Killers on
the Dance Floor’s recording champions the band’s live sound. Duffy’s Cut
knows when to use gang vocals and get their audience primed for sing alongs.
The speakers ooze sweat and energy. Duffy’s frenetic pride of reviving the mod
and British Invasion, without the delicate tendencies, focuses on pushing the
RnB factor. This 2017 interpretation is welcome and invigorating.
RIYL: 45 Adapters, Suede Razors, The Who, Young Rascals,
Yardbirds, Them, Small Faces, Standells, Adjusters, Gas Huffer, Supersuckers, The
Bomboras, Boss Martians
Houston’s Brickwall troops are back with new four song EP. Ever since they kicked the door in on my heart with Gentlemen Prefer Bombs on Koi records, they continued to grow and write the teeth clenching tracks that stay in your head all day. Their second album, Vade Retro Satana, was self-released. Soon after, they were snatched up by Dutch label, Rebellion Records. Rebellion, a bastion of new classics and reissued oldies, added No Resistance to their roster by snatching four tunes from both releases on a quick compilation called, V.I.T.R.I.O.L., on vinyl and digipack. Finally, we get four new tracks on Rebellion via a ten inch, at 45 rpm to maximize quality. The manner in which No Resistance writes exhibits true attention structure. These lads and lady approach these tracks exercising a true craft. This band knows how to incorporate a foundation of tough Brickwall backbeat with melodies and catchy hooks. When weaving their course rhythms with harmonies, our treat as listeners is the engaging, gripping delivery of rebellious punk. Nova Methodus embraces a clean production sound. This is a slightly different than feel from the first, but fits this sound better. GPBs garage aesthetic fit that taut, frantic sound. With more song writing and the embracing of glam and stadium stomp, the cleaner, crisp sound works better. “Downtown” kicks it off and grabs me like the GPB did. The track is gritty and rough, while boasting an extremely infectious bounce. Displaying the band’s strengths, this track sums up the best elements of “punk” and “rock” in ‘punk rock’. In the last third of the track, a strut inducing piano comes in as the song pounds away. “Let's Hear It” starts with a seductive, rumbly bass. This intro of churning anticipation is a quality which all classic skinhead albums should showcase. That bass stays up in the mix to push this track forward with tenacity. Again they're layers of shouts and gang choruses - adding female voices – enhance the somber tone while maintaining the catchiness. The key to a strong track is repeatability and No Resistance push songs the demand you playing it again and again. The guitar nod to Cock Sparrer is a way to break up the formulaic three chords. This tune ends with a strong riff that rides out. “Alarming” gets us back to the tough guitars, again with a mod strut to it. Terrace stompers, Cockney Rejects, and rock and roll masters, Slaughter & The Dogs, come out in front as influences for this track. A piano brings in the Frankie Flame feel. Whether you are in the bleachers or in the dark corner of the pub, you’ll be pulling your mates close and hoisting a pint. No Resistance herald the undercurrent of rumbling drums here that add a punch. It contrasts the harmonies add secures the depth of their song writing. Can you picture moshing to The Jam? “In The Morning” is either the darling or the misfit here. The song starts with a piano bounce, almost like a looped sample with the boom bap drums. The rhythm will push your neck. This is their most extreme divergence from their sound’s foundation. It's not an Oi song. But, hell, if you love your punk roots (like The Easybeats), then you will love this as a closer. No issue or gripes here. No Resistance have written there best material to date. And that’s a huge claim considering I place GPB in the pantheon of punk past 1990. Chad’s drumming is consistently powerful and always versatile. He is constantly adding the necessary bounce and rigid backbone to their sound. Nikki and Nibu gather the arsenal of rhythms and staunch riffs to drive the sound. Scott’s vocals have such personality. A sardonic, dark overtone with a hesitant sneer is omnipresent. But, he can be sympathetic when reflective. His dynamic of attitude paints the songs with humor and well, vitriol. Wrap it up in a fantastic presentation of illustrations by Ramon Girones, who is spreading through the Oi and punk world with his talent and expansive canvas, and you get a fine record by Rebellion. Grab it while you can. RIYL: 45 Adapters, Templars, Dog Company, Roadside Bombs; Slade, Sweet, Slaughter & The Dogs, Cockney Rejects, The Boys, Cock Sparrer, The Who
Interview with Mike (vocals) and Tim (guitar) by hutch
Hard Left are: Mike: exhortations Donna: bass, vocals Tim: guitar, vocals Stewart: drums, vocals
In case you are unfamiliar with the skinhead subculture, or
at least the full spectrum of the scene, a common mantra is “no politics”. As
skinheads represent the working class of every country throughout the globe,
this minute microcosm is colored by every brush of the political palette.
Often, at gigs or fests or pubs, politics are eschewed in order to avoid
conflict. And, to clarify, if ‘skinhead’ triggers an old stereotype, racism is
not politics. The “no politics” agreement is not to encourage non-racists to shove
their head in the sand while their brethren salute the Fuhrer at whim. This understanding
exists so that a skinhead from France and one from Texas can share pints and
discuss important things like first pressings of Alton Ellis forty-five’s or the
pros and cons of different 4-Skins’ vocalists without sliding into disagreeing
on the institution of social medicine. *(this said, most are intelligent adults
who can discuss politics without getting out of control.)
Hard Left throw that cordial oath aside and wave their beyond-liberal
flags on the sleeves. Tim explains how the idea materialized. “Mike and I were
talking that it would be fun. I’d play guitar and he said he’ll sing, which he
never had. But if we would have an Oi band, it has to be left wing. For obvious
reasons.”
However, the reasons were not obvious, as I had not known
these guys. “We’re both left wing.” Mike expands, “our political beliefs were not
a big part in prior bands. This time we want to do more than have great songs
and laughs. The message is important. We love this style of music, but the
scene is stridently apolitical or right wing. We wanted to be upfront about
this.” This aspect has the potential to cause trepidation in the band. “I
already got trolled on facebook.”
Mike was already called ‘oppressive’ by a white power user. Hard
Left simply want to seize the opportunity. “I think it’s great if apolitical
people want to listen. But they will get a message.” Tim adds, “the apolitical aspect
about fun and style is tired for me. We want to put on a different gloss. While
not ‘skinheads’, we are steeped in the culture; the music, the fashion.” Sham 69
and Oi are the basis of the sound. “We are trying to unseat what it means to be
working class. If you want fun and apolitical, you are missing content that
could be there.”
Despite Mike citing that the left wing has a strong long
history with British scenes, the hard kicking music should be heard, and not
always eclipsed by the political stance of Hard Left. It is drenched in Mod and
Pub Rock style. Mike revels in their intent. “We’re old, been in a bunch of
bands. We wanted to be in a band with terrace rocking beats and ripping guitars
full of feedback and anthem songs with great lyrics. This is the band we want
to be in.” Tim shares the elation in the layers and tangents of their musical
direction. Tim guides band decision on what he (and they) would like. “Would we
want to see this? Yes. Let’s do it. Marching in with drums and flags? Check. Fred
Perrys? Check. Anthems? Check.”
This attitude forms one hell of a record, which drops on May
12, 2015. Tim and Mike simplified the formula. Tim pushes, “We kept it simple.
The mixing principle was to make the toms loud and add clapping. Make it
anthemic.” Mike agrees, “everything is so pumping. I can’t picture these tunes
sounding any better. I think it’s the best album I have ever heard.” Mike
qualifies this bold statement. “I usually play guitar and I didn’t. So, I am
removed and objective. Our drummer, Stewart , lives in Arizona. He recorded it.
Tim and I worked with our bassist, Donna. We sent Stewart demos with no drums. We went
there and ran through each song, one to two times. He is an amazing drummer
with great concepts. “Stewart is the right man for job. He’s English,” adds
Tim. “He grew up with punk rock and all the terrace glam stuff, Slade. It is in
his musical DNA.”
Mike lauds, “Stu makes it seem effortless. Our sound can be said as, ‘77 punk. But
people only think of the Clash. They’re great, but that’s not our sound. We come
from the football terraces, the early Oi. That stomping punk sound with driving
beats, shouting choruses. But, still, Oi does not tell the whole story.” The
Pub Rock sound of early Who, Cock Sparrer, Sham 69, Angelic Upstarts, and
specifically early Cockney Rejects are on target. Punk bands beyond The Clash
like 999, The Ruts, The Damned, and Slaughter & The Dogs fill in the rest.
Hard Left has record release shows soon. San Francisco, Los Angeles,
Oakland are on the list. Stewart will attend those shows as they are planned
ahead. But Hard Left will be on the search for a drummer who is available to
play out of town. Hard Left plan to visit the East Coast and the Northwest in
the summer. They want to go to Europe feeling they “would be well-received,”
declares Tim. “We have made good connects in UK and Germany. Our message and
music will be taken seriously as a provocation in German highly politicized, in
a good way.”
Oakland is the home of Tim and Mike. They find constant
inspiration from their environment. They see it as “unbelievably diverse and
integrated, more so than other cities,” Mike claims. “People tend to live in a
checkerboard. Oakland is, it sounds hokey, but, ‘multi cultural’. The
structural diversity is amazing.” Tim calls it “electric with flavor. The city
is organically integrated, not due to social engineering. It’s real.”
When I think of Oakland, I think of bands like Dystopia and
Neurosis; painting a crusty punk, anarchistic, squat, DIY musical landscape.
Mike notes that the Oaktown is “gnarly and crusty with warehouse parts. Music
is a logical reaction to it environment.” And that is where Mike distinguishes
Hard Left’s music. “We are not reacting against it. We are feeding off the energy
and diversity. Oakland is still a city, gritty.” Tim continues this thought, “There is the Black
Panther history. That flavor still exists. Hard Left doesn’t partake in the
gutter punk thing, or garage-y, which is big here.” So, while the tones and tunes
are executed differently, the message is on par.
“The band is ideologically eclectic.” Tim states. “We lean into
anarchism. People who do work should benefit from it. Tradition and ideological
history which holds a democratic practice is what we support; initiatives that
push people working for their own emancipation. We value Marx, his analysis is
important. But we are Anti-Bolshevic.” Mike explains, “Marx is super relevant
right now. I was at a march the other day for teacher union labor dispute; my
son is a Kindergarten teacher. Communist party was there and I was talking to
them. They are mired in bureaucracy, We come from the bottom up movement and
action is best embodied by anarchism.”
Even the foundation of Hard Left is a statement, just by the
nature of the members. Tim notes quickly, “we have a woman; which
differentiates us from bands in our genre. It is nice to have the songs be less
cookie cutter with her shouts.” It adds a texture to their energetic songs.
Donna is “not ornamental”.
Mike is uncompromising in her pedigree. “She is amazing bass
player, powerful. It’s important, the idea of having a woman in the band.” Tim
appends any notions, “her being in the band is not contrived. But, it’s great
and goes with politics of self empowerment in the band. Women having a voice adds
more diversity. If women aren’t free none of us free.” I note that I feel the
skinhead scene, especially more than metal or hardcore or even pop, embrace the
women significantly. Unless a girl proves herself to be a decoration or coat
rack, female skins get concrete respect in the scene.
Philly’s mighty mod warriors are back! Duffy’s Cut swept the
punk world with their debut; a fiery, hip-shaking rock and roll 12”. Then, they
brutally teased us with only one track last year on a split with Idle Gossip.
Well, the wait is over. The Hammond is warm, dancing shoes are laced tightly. The
whiskey has been poured. Killers on the
Dance Floor challenges all you stuff armed tough guys to submit to your
roots and get sweaty!
