Archiv – Singled Out – Missive 26 …..

Archive posted originally posted on the losing today sie …… November 2003 …..

Missive 26
Part 2.

A day late, apologies but it was out of my hands as we had a server problem. So with that cleared up, welcome kindly folk to the second instalment of Singled Out 25. Just a recap for those in confused states. This time round we’ve been under siege here at the losing today record shed with a multitude of singles and stuff popping through the post, in readiness for the annual, and now infamous festive bumper mail Singled Out we decided to clear the decks and bring you the biggest Missive so far, in fact so big that it was weighing in shyly at just below a mighty 13,000 words. So thinking you wouldn’t want to be hit in one huge lump and also having consideration for our server, poor thing probably would have had heart failure, we took it upon ourselves to deliver this in three neatly tidied instalments, the first posted on Monday 24th, the second here now and the third tomorrow 27th.

Okay just a few domestics before we shift along to the singles:

The web site should hopefully have our ‘end of the year’ poll installed somewhere about it if not at this minute then in a few days or so. We spent hours thinking of ideas to amuse and involve you, the audience, and in the 11th hour hit upon this real neat idea, which frankly we feel could really catch on big time with our competitors, so er…just keep an eye out, alternatively if can’t be bothered waiting you can email me at with the message heading ‘ALL I WANT FOR XMAS IS….’ listing your favourite singles and albums of the year, make it a top three, then your tips for 2004 and stuff like that, multiple voting and bribes are actively encouraged, so get to it.

Furthermore as you’ll notice on the site we’ve got a features section for interviews, now I’ll admit I’ve been lax on this so far due to time constraints, however for new upcoming bands I’m prepared to give you 10 random questions, some serious some not so, I’d also need a biog and a discography if there are releases around, just general info like photos, you know the drill. Also if you could send a sample of music, whether on vinyl, CD, tape or web links at the usual email address and I’ll endeavour to get something on there about you. Can’t say fairer than that can I?

If your in a band, a manager of a band, a label etc….I’m also looking for MP3’s for the site, if you could either send me a CD-R or a web link to the MP3 I’ll give the track a listen and incorporate a review on a future Singled Out. Those of you who may have already done this at some at some point in time, please contact me again at as for one, my outlook had been playing up quite recently and secondly I may have inadvertently over looked it, so either way apologies.

Magazine update, basically just to re-iterate what I’ve been telling people who’ve asked. The magazine is currently clearing it’s way through the red tape, the light at the end of the tunnel is beginning to glow brightly, the re-launch should be a month or three away. Those wishing to have their music included on the near legendary cover mounted CD please contact either myself or Andrea .
As to advertisements please contact Fabrizio at fabrizio at losingtoday dot com and those wishing to submit for possible inclusion in future issues then please get in touch with your Losing Today contact. I’d also like to take this opportunity on behalf of the contributors in thanking you for your patience and in keeping the faith.

I think that’s about it until tomorrow, to the singles then….

Girlinky ‘Hai wakarimashita! (Dedear). Oh and what can we say about Girlinky other than clever bastards, all four of them. Girlinky are one of indie pop’s anomalies, too trashy for twee, too twee for trash, can we settle on twee-trash then. Coming from the same side of the street as bands like Zea and to a certain extent Philadelphia’s zap pop duo Winterbrief, Girlinky share an undying love for games, electronics and simplified hand holding pop, and these obvious delights are borne out in their attrition based schizoid melodies. ‘Hai Wakarimashita!’ is a real dinky tune that’s been put to the chainsaw, those familiar with the warped pop of Fonda 500 will swoon by this, jutting angular chords wayward electronics, sort of reminds you of the Ramones being serviced by manic casios. ‘I dare you too make me happy’ starts out all early morning Radio 2, had to re-check it wasn’t Dean Friedman or latter day Yes for a second, then it fizzles and pops into a rather bristling gem of a song, still sounds like latter day Yes though. ‘Swimmingly’ is definitely the pick of the three, frenzied pop packaged with deliciously frenetic chorus lines, quick driving scatter fire dynamics and feel good harmonies, proves you just can’t keep a feisty ditty down. If your still not convinced, it’s pressed on lovely blue vinyl.

Sunburned Hand of the Man ‘Hoof Man’ (Riot Season). Another release to have you searching furiously through all those record racks is this limited brown coloured vinyl 7 inch from Boston’s favourite wicker basket making free folk collective Sunburned Hand of Man. ‘Hoof Trip’ is in total contrast to their recent ‘The trickle down theory of Lord knows what’ album, which frankly after hours of counselling we’ve only recently come from behind the sofa because of. ‘Hoof Trip’ invites you to sample some more weird and uneasy sounds to upset the psyche as SHOTM go all percussive on us, loads of disconnected tribal like drumming, tambourines and triangles flock wearily amid eerie organ drones and the odd flute, a very art rock feel but not something you ‘d ask a loved one to dance to, unless of course you had a few nifty unorthodox moves. Reference wise imagine a very early belligerent P.I.L. locked in a room with Henry Cow and Muslim Gauze. Flip over for ‘Plague Pipe’ which is slightly more together though nonetheless equally sinister, glossed with a claustrophobic vibe, again the reference points to Muslim Gauze are apparent, fractured Eastern textures are buried beneath a torrent of disjointed elements, vaguely Chris Cutler at times, that said the last 30 seconds it all kicks into some semblage of conformity with a gripping krautrock workout.

The Happy Couple ‘The Four Seasons’ EP (Felicite). Those among you with more tender predilections and an aching for all things Sarah and Bus Stop will no doubt swoon in unison with a loved one to the four trembling twee cuties on this limited release. Oozing faraway 60’s summery seasoned vibes, The Happy Couple are a DJ / pop duo, Janehoney and Tom Sparkletone who delight in creating sounds that joyfully point towards Boycrazy, early Belle and Sebastian and Free Design, a dainty, fragile mix of honeycombed paisley boy meets girl Francophile pop. ‘The Four Seasons’ offers up four cuts, each one representing a season, starting with ‘Treason’ (autumn), which deals with the flighty nature of love. ‘All the Time’ (winter) is a much better alternative, and for some unknown reason had me recalling the Anthony Newley film ‘Sweet November’, skipping heart-quickening melodies tastefully bathed in subtle orchestrations and quite possibly the best track here. On the flip you get the sexy and sassy ‘Boyfriend of the Week’ (spring) while the gorgeous ‘summer’ ‘French Cinema Summer Love’ is tastily treated to a dreamy collage of spiralling flutes and fluffily multi tracked vocals, a very laid back variant of Stereolab I’d have to say.

Ambulance LTD ‘Primitive’ (TVT). Wooah, now this baby really does creep up on you and gets working just below your skin. There’s something about ‘Primitive’ that’s sleazy, grinding and yes primal, vaguely a half cousin of that classic ‘Fever’ track, brimming with suggestive intent, it snakes sensually until your helplessly intoxicated by its hunting hypnosis. Cold shower please. ‘Heavy Lifting’ over on the flip side is as contrasting as you could ever wish two tracks to be. Almost a mini shoe gaze opera for all the kids with fringes to bob and weave in unison, fragmented elements of MBV, Quickspace and Sonic Youth flicker brightly as it were in a guitar laden hill race, reaching the summit to sit, relax and draw breathe while the cascading dream like Bowie meets Mott signatures play along to the run out groove. Quite fetching. Beautiful.

The Golden Virgins ‘Renaissance kid’ (Rex). Hailing from the North East of England, Sunderland to be precise, home of J Xaverre and missive favourites the Futureheads, who it seems this lot have ties with, this cute two track affair is the bands second single. ‘Renaissance Kid’ is a full throttled heavy duty high octane fuzzing monster of a mother, imagine the 70’s children combo the Double Deckers decked in their glam booties slinging on guitars set for stun, oops yeah that’s Supergrass isn’t it, well you get the picture, like er Supergrass but hot wired with the Ramones and T-Rex directing the production knobs while being recorded in a pre-fab shed. Superb fun. Flip over for ‘Shadows of your love’ which starts off like the Animals ‘House of the Rising Sun’, doom laden odes to a lost love all done to the sound of eerily rolling guitar chords, and if I not mistaken a nifty break for a theremin or melodian moment, can never remember which, could be neither, in fact quite likely so, look whatever it is it sounds great. Buy now or forever be branded.

The Boggs ‘The Ark’ (City Rockers). Another band with the ‘the’ prefix to their name and another ensemble who’ve managed to slip our radar and release a pair of albums, and that people is where the criticism starts and stops as this is a truly strangely awkward release, and the kind of thing we here in the record shed really go for. Three tracks that reliably let down a thread as to what this band are all about, it’s moonshine rock done in the shadows created by the dying embers of a campfire, this is morosely affecting stuff, take the opener ‘The Ark’ by Jiminy it’s Black Heart Procession after a session on the old fire water swapping dark parables and getting deeply sentimental, rickety doesn’t come into it, this just creeks under its own weight of aching hollowness. ‘Quiet’ mooches about in similar fashion this time lifted or should that be burdened by fulsome brass arrangements, amid all that the sounds of scratching chord changes and the overwhelming sense of dramatic foreboding looming large as life around the darkened corner, imagine a nightmarish collaboration between Morricone and godspeed. ‘Low light hour’ just kicks ass, a battle of the banjos at five paces, exuberant good ol’ yeehaa fun. A winner whichever way you paint it up.

The Greenhornes ‘Loving in the Sun’ (Sweet Nothing). Another top-drawer release from the groovy shades ‘n’ attitude label, Sweet Nothing. This time up Ohio’s the Greenhornes, not heard on these decks since their barnstorming release for Italy records yonks ago, yet making up for it in fine style with two cuts of sublime 60’s garage beat. ‘Loving in the Sun’ has the Greenhornes perfectly falling somewhere between the Seeds, the Spencer Davis Group and the Troggs and primed aplenty with coolly dripped vintage wig flipping fun. Flip side features a lip smacking cover of Dutch 60’s underground ensemble Cuby and the Blizzards ‘Your body not your soul’, this time bearing down with a heavier blues edge, kind of like imagining a very youthful Stones stirring up a hornet’s nest of a mean groove.

The Hunches ‘Lisa Told Me’ (Sweet Nothing). Same label, the Hunches smart with the baddest of attitudes. Gloriously festering trash r ‘n’ b of the highest order, guaranteed to put out glass and scare the crap out of small wildlife at 50 paces, imagine classic Velvets frugging with a seriously screwed up Heartbreakers with the remnants left to be buzzsawed to oblivion, collected, packaged and served up as ‘Lisa Told Me’. Now that’s ‘vicious’. ‘Radiation’ on the flip is even less repentant, totally fucked up mashed scuzz with electrics that sound as though there on their last legs, a deranged diamond of a release.

The Dirtbombs ‘MotorCity Baby’ (Sweet Nothing). Third and last Sweet Nothing releases for this missive, and when all is said and done the best of the pack, Detroit’s finest the Dirtbombs. Bucking the trend of everything coming outta Detroit of late, the ‘Bombs kick in with some seriously gritty glam rock that has the spirit of the ‘electric warrior’ roaming amidst its toxic grooves, laid back sleaze thrilled glossed up vibes saunter casually, imagine Glitter’s ‘Rock ‘n’ roll’ driving head on to T-Rex’s ‘Get it on’. Flip over for a detonated cover of an obscure track from the early 80’s by a trio called One the Juggler. ’I feel good’ is so loose it’s almost coming apart at the seams, the ‘Bombs cut a mean take on new wave power pop, elements of classic Pere Ubu and Wire join forces to mix it up big time with a poppified Pixies. Essential.

The Mooney Suzuki ‘Hey Joe’ (Cass). And talking of Detroit, Motor City’s premier label who brought us Blanche reviewed here two missives ago now take on the might of the Mooney Suzuki. Two barnstorming covers of 60’s classics is what you get. First up ‘Hey Joe’ made famous by Hendrix and reclaimed back to the Leaves, the Suzuki kids give it a complete lean and mean detox workout, drenched with retro keyboards the initially sombre rendition soon flips its wig to get down and dirty in fine style. Flip over and you get Love’s ‘7 and 7 is’ equally reclaimed after having been dragged backwards through several bushes on the way passing Link Wray, Johnny Kidd and the Pirates and latter era Johnny Thunder, so much fun.

Kings have long Arms ‘Rock ‘n’ roll is dead’ (Twins of Evil). Now I’m kind of hacked off with this release, because I swear I’ve reviewed this before in another time and place, obviously duh you might say, yet I’ve searched the record shed and can’t find the single. Okay this features something to do with I Monster, it’s from Sheffield a place not known for going through radical renascences, only joking, famous for steel, and stainless too, oh yeah and Pulp, and some band called the Human League. Well I never, seems Mr Oakey erstwhile leader of said group is featured on this. Great stuff, the kind of thing that Add N to X do but with the added charm of oh er missus nudge nudge wink wink seaside innuendo, knoworimean, the end of music as we know and the groove we shall all move to as we stomp all over its rotten corpse, blimey getting a mite carried away there. We’ve probably said great things of it in a previous review and frankly they still apply, if you love very early Sisters and we mean very early Sisters, Fat Truckers and a whole host of other when robots ruled the world droid rock then you’ll love this. On the flip you get the same track fed through the remix machine. Buy.

The Broken Family Band / Knife in the Water ‘Split’ (Glitterhouse). Well you how on the odd occasion we like to treat you, mind you only when you deserve it because too many treats can be bad for you. Found lost and lonely at the local Rough Trade shop was this little split cutey. The Broken Family Band need no introduction here getting as they did the rare to be cherished single of the missive several weeks back with the truly loveable ‘At the back off the Chapel’ single. This time around they serve up two equally endearing cuts of English country tinged melodrama. Opening with the magnificent ‘Mitcham’s Corner’ edgy stuff that lazily moves from almost idle nonchalance to bristling anthemic euphoria in the twinkling of an eye, replete with a stalking percussion this embittered beauty flexes its melodic tentacles lovingly teasing one minute and throttling the next, inside twisted elements of early Suede, Bowie and even Syd, quite bloody stunning if you ask me. ‘This is a drinking establishment’ a drinking and a thank you song no less, really does have that feel of early Hefner but without the sting of heartbreak creeping about it, either way a treat. I don’t know too much about Texan ensemble Knife in the Water but on the evidence of the dainty ‘A lesson’ safe to say further investigation is the order of the day. Beautifully lilting drafty Americana, ‘A lesson’ is gently serviced by a delicate brass accompaniment that timidly toots from afar, yet it’s the tingling decoration of an almost tightly reigned guitar that really fluffs this up magnificently leaving you at the edge of your sit as it’s chords tug gently at the heart strings. Impossible to resist so why try?

Chikinki ‘Assassinator 13’ (Island). Fair to say that Bristol based Chikinki are one of those bands that you either wouldn’t touch with a very large stick or else love them to bits, no middle ground here. ‘Assassinator 13’ admittedly has been prodded severely at the losing today record shed by the biggest stick we could find and then lovingly soothed afterwards. A taster for their second album ‘Take me out’ due very early next year, ‘Assassinator 13’ is a multi faceted genre hopping schizophrenic baby, wayward don’t even come into it, lolloping analogue electronics inject all manner of goofing menace as to make Barry 7 and Co wince, armed with jutting guitars and the kind of discordant delivery as to make you swear it’s the melodies melting within and not you that causing your mind to go wandering. Right classy stuff.

The Keys ‘Love your Sons and Daughters’ (Too Pure). Almost single of the missive by the sheer fact that this lot are so unrepentantly tuneful in a 60’s stylee that for once has nothing to do with garage / Detroit. Formerly Murry the Hump, (a few of whose early singles we know are skulking in the losing today record shed), though we won’t hold that against them, well not much anyway. ‘Love your sons and daughters’ is indelibly touched by the spangled haze of mid 60’s, living off the ‘high’s’ of the prevalent scenic drug culture, cleverly merged with the latter decades apocalyptic ‘coming down’ back to reality vibe, marshalled by an off centre psychedelic groove fleshed out by backward loops and an insistent hypnotic droning guitar riff. For all we know it could have tripped across the time barrier back into present day straight after a night at the UFO club. Undeniably cool. Even more delicious is the flip track, ‘As good as glue’, imagine the Beach Boys playing in a nightmarish toy factory created by Dali, full of all manner of unsettling effects and drop outs, amid the psyched confusion the delicate strain of a loving summer ditty wafts in and outs like a winding breeze. The spirit of the Beatles obviously haunts Abbey Road as ‘Echinacea’ will attest, playful perky pop wearing mop tops.

Eastern Lane ‘Feed your Addiction’ (Rough Trade). Apparently this lot already have an album under their belts, which I dare say I’ll be seeking out on my next visit to the local record emporium. I’d have to be honest and say I wasn’t overtly smittened by this 7 incher until of course I flipped it over. ‘Bedful of Leaves’ is a fucking mess, and I don’t mean that disparagingly, it’s just all over the place, its akin to holding a firecracker then lighting it to see what it would be like having it blow up in your face. As to reference points imagine a late night jamming session with the Beatles, and a particularly wired Beefheart and a strangely lucid Zappa in attendance with Kramer orchestrating the studio disaster waiting to happen, unmerciful. ‘Feed your Addiction’ is pretty feisty youthful power pop that neatly dispenses twisting hooks like there going out of fashion, though not in the same league as the flip track.

The Scratch ‘I relax to Spiral Scratch’ (Ponyland). Another record that’s nearly be worn out through constant play is this smarting debut from The Scratch for whom everyday would be locked into 1977 is they had their own way. A homage to the Buzzcocks stupendous debut ‘Spiral Scratch’ as done by Magazine, okay a bit unfair but you get a sense of where this lot are coming from, all gritty retro fun, rumbling bass lines and set to stun three chord shocks, impossible to stay still to for any given period, a razor sharp gem of a release. Flip the disc for the stripped down holler of the frenzied mutant garage punk / disco groove of ‘Trigger finger’ which recalls the New York Dolls / Black Halos sleaze and lays it all to dust with a serious boot shaking foundation, call it a scuzzier bad assed half cousin to Radio 4 / Lomax, essential in case you needed telling.

The Killers ‘Mr Brightside’ (Lizard King). From the label that brought us Donderevo who we reviewed last time out, this time it’s the turn off Las Vegas based quartet The Killers. Pressed on white vinyl again this is probably one of those limited jobbies, the Killers seem to be furrowing a similar path to the likes of the Faint, neatly fusing electronics and guitars. ‘Mr Brightside’ I’ll admit has been played until its nearly worn through and yet I still can’t fathom what it reminds me of, and its annoying the hell out of me. Anyway, energetic future pop packed with razor sharp angular chords, imagine a grittier version of the Chameleons being put to task doing fizzing new wave pop gems for a living. Flip side is where the real meat is, ‘Smile like you mean it’ can be easily described as classic Psychedelic Furs jamming with early A Flock of Seagulls, sauntering ethereal backdrops are pressed by jagged riffs clipped with a soaring heart stopping drop dead gorgeous chorus, and all liberally coated with assassin like hooks that aloofly seek out targets to lock onto, impeccable.

The Dirty ‘Cinnamon’ (Dirty Water). Ah the sound of those early Mudhoney b-sides are obviously ringing loud in some London suburb if this record is anything to go by. Debut release for both band and label, the label from the same guys who run the Dirty Water club, the band a trio based in London who appear to have majored at the school of garage rock and along with fellow graduates the Rocks appear to be squaring up as the new things of London town. Okay the Dirty will get lumped into the garage punk bracket and will kick ass and spit with the best of them, there’s no doubt about it, ‘Cinnamon’ declares its intentions fair and square with the kind of sound that matches the bands name, tripped with a seriously sleazy edge and delivered with the kind of sparse primal shock treatment groove that’ll give James Johnston a seizure when he hears it, Kyrill’s vocals recalling Mudhoney’s Mark Arm, you know the type of thing, gargling with razor blades and JD. Flip over for the wired on pro-plus antics of ‘Black Sugar’, frenetic and frankly disturbed stuff, ending with the twanging snake groove of the blistering blues bliss out of ‘B-Movie Dance’. And you thought the devil had all the good gear, think again.

The Stands ‘I need you’ (Echo). Ha! And as if to prove that my spiritual hometown now has more musicians than pigeons then along comes another band in the long line of excellent Scouse tunesmiths currently generating massive interest. The Stands have the dubious honour of being the favourite band of a certain Noel Gallagher, and for once we have to agree with old ‘Supersonic’ that it’s a good call. The Stands sound comes from the more rootsy perspective, sharing common traits with the Basement and the Hokum Clones. ‘I need you’ is the Byrds doing a Bob Dylan version of the early Beatles, and really that’s all you need to know. But if you are asking for a spot of gentle arm twisting we could say that this is a gem of countrified pop, a melodic thoroughbred, that its slept rough in Penny Lane on countless nights lost it’s heart in Nashville and drank itself sober in Matthew Street, oh yeah and paid it’s dues to the LA’s. Flip over for the awesome ‘I will journey home’, wooah spiritual cowboys, hold that thought, initially sounding like something that the ‘Memphis Flash’ would have turned on to after he found himself in ’68 had he hitched up to the ‘Painted Wagon’ two years later, the Stands set their melodic stall for all to swoon, soft, sophisticated, contemplative, one of the best songs ever to have been found hiding in the shades of b-side obscurity since, strangely enough, ‘Acquiesce’ Mr Gallagher.

And sticking with Liverpool bands for a second, singled out favourites the Zutons have made available a free download track entitled ‘Haunts Me’ via their website, word is the band will be releasing their next single sometime in January and then plans are afoot for debut album later in the year.

La Motta ‘Love California’ (Boss Tuneage). Award for best looking single goes to this rocking cutie from La Motta. Pressed on red / white vinyl, done like that hard to find White Stripes / Sub Pop release, a real treat on the eye it has to be said. The music, well, without doubt the best thing that Boss Tuneage have put out in a long while. La Motta feature ex Asexuals lead vocalist Sean Friesen who’s ‘Bondage’ is tastily reworked with a gritty power pop edge on the flip yet it’s the lead cut ‘Love California’ that ransacks the Hi-FI to great effect. Featuring Joey Santiago of the Pixies as a guest guitarist, its a seriously sunny side up take on the West Coast pop sound, imagine if the Thrills had grown up to the sounds of the Knack, Replacements, dB’s and Husker Du instead of mid 70’s era Beach Boys. Resplendent with killer hooks, feel good harmonies and the kind of muscular zig zagging groove that’s hard to resist, man you can feel that California sun glowing warmly from the grooves. ‘Opposites’ a new cut found lurking on the flip features the guesting vocals of Jo Alexis and is more of the same toe tapping in your face pop punk. However get the CD version and you get the added fun of two extra tracks, the nitro fixated surfing menace of ‘Rad, rad world’ hotwired fun in the spirit of Man or Astro Man. If that wasn’t enough a particularly rousing cover of the Soundtrack of our Lives ‘Safety Operation’ which has the Motta trio sounding like a more incendric Velvet Crush, should satiate the most hungered appetites and while we are still here they throw in the video for ‘Love California’, spoiling us or what?

And talking of Boss Tuneage, an excellent, and thoroughly recommended cheapo double CD sampler compilation:

Various ‘Boss Tuneage Sampler 4’ (Boss Tuneage). A mother of compilation, 56 tracks from 56 bands, literally something for everyone here and pretty much covering the entire Boss Tuneage catalogue with no stones left unturned. Two and half hours of head shaking, boot stomping party madness covering all the hardcore bases worth knowing about and even including ‘Love California’ by La Motta on CD1. Amongst the mayhem an unreleased cut from Rise an a clutch of advance previews of forthcoming outings from Exit Condition, Skeeter, Brock Pytel and the barnstorming debut from Australia’s Something with Numbers which opens the sampler in a truly spirited fashion. Also found lurking is ex Mega City 4 main man Wiz’s new band Ipanema with the power pop killer ‘Skull’. Cherry picking a few of the highlights, the twisted Knack riffing of the Kick Joneses ‘Hate List’ with its tormenting pop groove will happily mess with your head while the charmingly named Snot Rockets retread at speed the footsteps of the Police’s Stewart Copeland alter ego Klark Kent on the bouncing ‘I hate punk rock girls’. Shortcut to Newark who had us all leaping around the losing today record shed cut in with their brand of deliciously worked new wave rock on the irresistible ‘Souvenir. All systems go make Green Day look positively pedestrian, and serve up the whiplash ‘Running Blind.’ Brock Pytel mix it up with electronics and the sounds of the dB’s, ‘Science Fiction’ their forthcoming single promises to be a hum dinger when it eventually appears, this version is a rough cut, ‘Stranger from Within’ the best track from the recently found Doughboys demo recordings from 1987 is included in all it’s naked glory. CD2 opens to the flag waving resilience of the very excellent Travis Cut here represented by the friction based exuberance of ‘MQ’ spinning vaguely in the tail smoke of the much missed Leatherface, The Stand GT cut a velocity driven thrust on the chugging ‘On Vacuuming’ and come out sounding like Velvet Crush on steroids. Elsewhere the unruly Despistado create the kind of agitated angular punk pop that has more in common with a studio brawl between Gang of Four and Wire than the usual hardcore pack while the tongue in cheek sounds of Ken Ardley Playboys with their John Cooper Clarke-isms sound as though they’ve set up their gear in Steptoe and Son’s back yard for a skiffle-punk roustabout on Airfix Lancaster Budgerigar’, very Half Man Half Biscuit. Outdoing the Snot Rockets for most alarming band name are the crooked Anal Beard, ‘Ugly’ is a nightmarish acid effect Butthole Surfers, wayward, destructive and very wired or should that be weird. Terminus with the optimistically sounding ‘Dance with the Dead’ kick up the local grave yard head stones for a spot of latter day Damned theatrics that’s been put through the blender with Sisters of Mercy while Asexuals ‘So Alone’ had me happily recalling the youth teen angst of classic mark one Generation X. All in all a must have double collection for the price of a CD single, now that can’t be bad can it?

Okay that’s about it then for part 2 of this elongated Singled Out supplement. Back again tomorrow same time, same place for the third and final part with that awesome single by the Earlies amongst the pickings. Bet you can’t wait.

Till then happy hunting and take care of yourself,


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