Duffy’s Cut Killers on the Dance Floor review

Duffy’s Cut

Killers on the Dance Floor

Oi! The Boat

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

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Hudson Falcons Peace of Mind Review

Hudson Falcons

Peace of Mind

East Grand Records

It’s no secret that Hudson Falcons always called themselves a rock and roll band. They played for skinheads and punks, but they loved Bruce Springsteen. They had a great run for a punk band, being on the top labels like Outsider and GMM. But as the streepunk thing died or morphed or whatever; they ended. I had heard they had new line up and Mark Linskey (the singer/ guitarist/ writer would put out music or play acoustic shows). I lost track. I knew they had gone more rock and roll.

The last time I heard them was 2004’s LP, La Famiglia. A fifth album, Dancing Underneath the Moonlight, happened in 2011. This time, in 2015, Linskey and crew are back. Peace of mind is a more cohesive, focused album. Rock and roll is still the core of this band. They have added an organ. This sounds promising with an organ, but the opening track, “Live Right Now”, to me isn’t working class rock or a call back to Max RnB mod shit (a la Duffys Cut) or garage rock spasms (45 adapters)  this sounds like “The Boys are Back in Town”. This is disappointing since I have no love for 70s rock.

However, the second track, “Don’t Waste the Burn”, is a cool organ drenched solemn tune that triggers some anger (towards the world, not the song) and nostalgia. “Soul Salvation” follows with a tip of the hat to old Rolling Stones, one of my favorites. So my apprehension is dissipating quickly.

I can eschew the need for hard edge punk or the aggression of a band who used to unsubtle t-shirts like “Working Class Mother Fucker” and the Ireland unity slogan of: “26 + 1 …Over My Dead Body”. Hudson Falcons always were received well in working class cities like Providence and Boston (where I always saw them). Bands like Roachenders, Dropkicks and Ducky Boys fit right in. They had a split on GMM with Blood for Blood. Their absolute pro-union stance lyrics played well to calloused-skinned fists and tired faces chanting along. They held back no punches and were forward with their politics. That palpable honesty, in a sea of young bands crying the working class life, was undeniable.

Going through Peace of Mind, there are a few slower songs that I might skip, but all are heartfelt and are all good down home rock and roll songs.  These jersey heroes bring back many memories, especially linked up with split-mates, tour-mates, and friends, The GC5. But its fifteen years later and not every song will be a furious, raucous punk anthem. “We’ll Fight Back” is a boss song, brining a ska beat and championing a riotous chorus. The organ works well here in adding a layer of mood.

The thing about the first two HF albums was the speed, like sometimes the speed was more important than a crisp sound. Here we have a tighter band and medium paced songs with an organ. The Stones but tougher, the Springsteen meet MC5 love is apparent. Once I molted my OCD preconceptions and rigid nostalgia, I realized that it is not their fault I haven’t kept up with the band. I look at their discogs page. They have steadily put out records. That is admirable for a band who ain’t making money from it.

That said it is still a little slower and more open to other influences beyond SLF; but, holy shit this is good. “Scared” and “We Need a Union Now” pick up the pace in the middle and truly call back to the early Hudson Falcons’ sound. It is a good rock and roll album still wrought with defiance and rebellion. 

Sniper 66 Caput Lupinum Review

Sniper 66

Caput Lupinum

Rebel Sound Music

Sniper 66 is an Austin four piece that play vengeful punk rock. Their self titled release was impressive and caught much attention in 2013. I had already liked them. They also appeared on Oi the Boat’s VOA: IV with Hard Evidence, Concrete, and Die Trying. They also provided my favorite track with a sad-as-fuck, “7 Years”, song on Cashing in on Christmas vol 5. I saw these kids lay waste at Midwest Fest ’14 and they ripped it. I ended up talking to their drummer, April. As a 37 year old, I tried not to be a creep and to not be surprised like “hey, you are a girl and you can play an instrument!”. But in a room of sweaty, old, bald men, I raised a glass and chatted to acknowledge her skills. She tore it up and simply happened to hit the bar when I did.

For Caput Lupinum, Sniper 66 have moved forward. This was available as digital or CD form last April or June. Now, we finally get a vinyl version thanks to Rebel Sound. Here they embrace less of a rock and roll sound and push a tougher, angrier and heavier sound. These kids have learned to play tighter and faster. Like wicked fast. Coming from Texas, no doubt Lower Class Brats is an influence. Oxymoron is another obvious influence. APA should be cited as well. S66 play angry, gritty riffs played automatic fire quick over sped up , battering drums. The production has been improved as well. The style is clean but allows for the instruments to play; especially that bass in there, rumbling along.

The songs do feature lyrics with the punk ethos of “be yourself”, but focus in on non-traditional topics. “Society” addresses the issue of gender roles in the singer’s household and in the punk scene and in general society. The plea of the song is to “treat (girls) as equals”.

“Why must this happen? Right in our scene/ Punk rock girls are sexualized… 

I won’t stay silent. This time I’m pissed/ Because I love this scene, I know we are better than this

 Blow up your TV …don’t listen to the standards set by society”

“Another War” definitely stands out to me. The song is churning and speaks about the empty promises of (now) multiple administrations to bring the troops home. The earlier mentioned, “7 Years” is back and depressing; which I love! Subversive, honest songs on a Christmas comp satiate me.  “Long Road” steps back half a step and calls back to the rock and roll feel of their debut. “Anxiety” is a dirty, pounding track that pummels as you listen. “One Shot” also kicks.

Sniper 66 are talented kids tearing up fests across the nation. They found enough time to sit and write fantastic punk rock songs, with no sense of pop. Belligerent riffs at sonic speeds should please anyone in leather or a bomber. Intelligent lyrics that will leave you thinking help elevate this band above the average. Production is on point, handlingS66 as they should be. No one is aiming to make more of this  than it is; and that is what makes it worth more than the sum of its parts and stand out.

 RIYL: Varukers, Abrasive Wheels, APA, LCB, Oxymoron, Defiance

Murderers Row Liberty Denied Review

Murderer’s Row

Liberty Denied

Riley Records

Review by hutch

Well after five albums on various labels, Bob Riley has stepped out on his own to release records. Bob Riley headed the Upstate NY metal mammoth, Stigmata, for many years. But in 2000, he grabbed his boot boy roots and started this drunk and roll band.  Self-described as Motorhead meets Rose Tattoo, their influences are obvious. Though prior albums have been faster or splashed with hardcore, this album is straight slower rock and roll for punks and drunks.

Immediately, I think of Forced Reality’s 2000 feel, late Bruisers, and The Wretched Ones. Solid production helps boost the quality writing. You hear what you expect about working class, shaved heads, drinking and boots. But when that’s my life, it suits me fine. Smart stories from older men who have been doing this for thirty plus years, fill this album and I say, “preach, on brother”.

Songs like “White Collar Crime” bring the US Oi! feel matched with lyrics. Revved up rock like Combat Ready or Bruisers is this band’s strength and separates it from the a generic vibe.

Struggles and the pains of the working class is the common thread the pulls these gritty rock songs together. And rightly, that incorporates a great Oi! sound into the tracks. “Our Struggle” slows it down to lament over a beer and a guitar. While “When the Day Comes” and “Slum Nation” pushes the harder faster edge.  While I try to compare the fast fury of the closer, “Give the Pain”, to maybe some current heavy Condemned 84 clone, I realize with the tight riffing that it all goes back to Motorhead; just a NY Oi twist.

Antagonizers Hold Your Ground Review

Antagonizers ATL

Hold Your Ground ep

Longshot Records

Review by hutch

The first cut is named, “Hate City Rock”, and well, that’s what you get. For just under 10 minutes, four songs, that model is repeated. Ain’t nothing too slick in the production. This has the gloss of a bar fight. Hold Your Ground is gritty and catchy; mixing fury and fun. Adrenaline fueled punk is forged onto wax by four vets of the scene.

The Atagonizers ATL is the bastard child of US scene forefather, Zachary Bodhan. They have put out two splits on defunct labels (One with the Main Street Saints’ lost tapes) and a self-released EP a few years ago; but this is on a proper label, Longshot. Lyrics and an insert accompany a fresh splattered forty-five of red, white and black.

The songs are angry, hard driven tunes with thin, crisp production. Harnessing the band’s live energy, the production approach is minimal. No fancy knob twisting would improve these songs. No filters or effects, just allowing the individuals play their asses off. The listener definitely feels The Antagonizers’ rocking in unison, not separately tracked, to unleash the impact of standing in front of The Antagonizers drenched in sweat and beer.

The songs combine raucous fervor that elicits rumbles, driving fast, and whiskey shots. Song lyrics reveal tales of standing up for your beliefs. “City Boy” ha a chunky riff, reliant on pounding drums, that add a’77 punk/hardcore dfeel to a sing along gem. Hold Your Ground is a fast, but composed, string of tracks that become a soundtrack of fighting for that brash punk rock spirit still thriving.

RIYL: Count Bishops, Eater, Dictators, One Way System, Cockney Rejects,  Anti-Heros, Misfits, Turbo ACs, Whiskey Rebels, Kraut