(DL28) LAMBiNATION 4 - World Wide Punk Compilation (Double CD)

Review by: Ox-Fanzine
Der Ire Hugh von Deadlamb hat nicht nur den richtigen Riecher für passende Labelnamen. Alter Schwede, auf zwei CDs hat er hier einen Rundumschlag des aktuellen Punk-Geschehens zusammengebastelt – weltweit! So sagt zumindest der Titel.

Die Herkunft der Bands beschränkt sich jedoch hauptsächlich auf die üblichen Verdächtigen USA und UK. Herkunftsländer wie Ukraine, Israel und Japan fallen leider nur als Exoten aus dem Muster, dabei hat aktuell gerade Osteuropa und Asien in Sachen Punkrock so viel zu bieten! Andererseits sind neben (zumindest hierzulande) Altbekannten wie WHITE FLAG, SPERMBIRDS, SCHEISSE MINNELLI und RASTA KNAST auch überragende Leckerbissen zu entdecken.

CARRY ALL zum Beispiel machen den MAD CADDIES mächtig Konkurrenz und MONGREL packen dich mit dem ersten Song „No gods no masters“ gleich am Hals und schmeißen dich durch zwei Stunden Punkrock.

Zu jedem Song gibt es obendrein die Texte.

Wertung:

(DL28) LAMBiNATION 4 - World Wide Punk Compilation (Double CD)

Review by: Razorcake

This double CD has forty-four bands on it. I started out taking notes for each band, but by the end I couldn’t differentiate between the majority of them. The first CD has mostly bands that could have fit on Fat or Epitaph in the 1990s and the second CD sounds a lot more like Cock Sparrer clones. I preferred the second CD to the first. The standouts on the first CD were the acts that leaned more towards traditional hardcore like Hostages For Smack, Snatcher, and Ziplock. Ziplock was my favorite of the entire compilation. The best tracks on the second CD were Night Of Treason and First Time Riot. There are a total of fourteen countries represented here and the award for best bands goes to the U.K. The problem with compilations like this is that there are way too many bands to really give it a positive or negative review. I’m gonna go NATO on this one and say it’s 50/50. –Adam Mullett (Dead Lamb, deadlambrecords@deadlambrecords.com)

(DL28) LAMBiNATION 4 - World Wide Punk Compilation (Double CD)

Review by: Fungalpunk
Proud sponsors of the SAS Tour, great believers in the Underdog cause, fine people pissing in the wind, peddlers of all the natural noise out there that more often than not gets rudely overlooked. I could add more, Deadlamb Records is the label I would point any up and coming DIY merchant towards as well as anyone who believes in punk rock purity and none of that nostalgic, big band bullshit that dilutes all credibility. Based in Athlone, Ireland I can't say enough good things about this crew and do hope this large collection of tunes isn't a bag of shite but a bonanza of many flavours from across the globe (I do suspect it will be). So in we go, familiar faces, old faces, big disgraces and of course something new - it's sounding good already. Press play now...

Do not fuck about or ponder, nail, move on, be straight!

Mongrel offer the commanding strength of 'No Gods, No Masters' a real fighting piece of rebellious refusal built on sonic structures that are punked, metallic and very fuckin' heartfelt. The band have long been a fave of mine, here they show why with ever-improved talent and venom. Officer Down immediately vary the styles with a sub-new school uproar entitled 'Bleed It Dry', a high action, high tempo, fully equipped snippet of modernistic composing that has much energy, much over-scuzzed intricacy and a superabundance of desire. Spermbirds rattle and brandish their sonic weaponry amidst a whirlpool of shouted, heavily clouted cacophony. 'Stacks And Piles' is a searing number primarily built of torn tonsils and incessant string assaults - I like it, as do all that as transpired thus far. Nomatrix are instantly recognisable and offer their Ireland based belligerence called 'The Clown Parade' with usual DIY gusto and articulation. A well structured tune with a few u-turns within the mix that keeps one intrigued. Venom is controlled, musicianship also but with reasonable danger - good work my fine set of bandits.

Next 4 and the hectic 'Crime' by German destructors Scheisse Minnelli, an abusive outburst of acoustic electricity that is as busy as fuck and totally in yer face with slam dunked effect and inserted twisted string work. Nicely produced and quite ornate as opposed to the intrinsically basic thrust by the fine DIY merchants known as Animal Train who deliver 'Thin Thread' with bubbling enthusiasm, new found snap and a quite convincing honesty that has gotten my vote over and over again. They go for the throat of the matter, deal with it efficiently and get the fuck out - I love this crew. Sick On The Bus are well versed and long term abusers of noise and produce here a self-proclaiming anthem entitled, funnily enough, as 'We Are Sick On The Bus'. This is a sing-a-long celebration of 'fuckless' gobbage that stings and infects the listener into primeval punky action. A nail-hammering moment from the word go with an inner dissent and utter spirit to thrash it out most blatant. Produced to get the best from a still flourishing band - massive moment!

When Alice Broke The Mirror hail from the Ukraine and come at you with a whizzing tempo that is intercut with darkly sub-gothic and fairground utterances. Known as 'Pennywise On Massacre', this song is a hidden curio I have to reflect on - the verdict always comes out as positive. Danish techno rattlers The Mighty Midgets strut their stuff in a sonic circle I don't usually find to my complete liking but, as is the norm with this fast as fuck fuckeroonies, I find myself absorbed by the brilliance of the incessant clutter that is 'Burn After Rolling'. How they do it I do not know but one thing is for sure - they do it so darn well. 30 Miles is more new school but this time in a cleaner, more processed format that has me somewhat out of step. 'Last Day Before You And Me In Amsterdam' has obvious US influences and comes across as a typical Epitaph Records imitation that is done so remarkably well. Loads of stuff like this out there but not too much being released of late - well played, hygienic, very sub-genre specific - opinion may be divided - I like this stuff but only in small doses whereas the pursuing primitive DIY rawness of 2 Sick Monkeys is much more to my liking and is a basic blast from a very fine band who are built on 4 well wobbled wires and several slapped skins - oh and some scorched gobbage. The tune called 'Bullshitter' is classic 2SM puke and so wonderfully believable. Great primate shit for certain!

Arse Biscuits jump up next and rally against the 'Greedy Bastards' with an unfussy, non too complicated outburst that comes, goes, says its bit and keeps it neat and fairly routine in between - they get away with it but more would be needed on a full length offering. Italian skankage next with Carry All throwing out a cracking episode of intricate tuneage known as 'D. I. Y'. The style of ska is utter new-school and loaded with many twists and turns, much pace and numerous brass attacks to keep you drowned in a sonic shower that seems, and is, relentless. It dips into Skacorian territory but is too slick to get overly rusted - a mini pip. Social Schism pop up and belt out an abrasive he/she yell fest that is taken from their most recent recording. This one finds em' flourishing and thrashing it out at their most sanguine and spirited. 'Slave Trade' is alive, aflame, aggressive and...I fuckin' love it.

I am ploughing ahead here, 8 tracks on Side One left and then another 22 - ooh my passionate head - blown to bits by an abundance of quality noise.

Track 15 and 'Excuses' nail it with the static explosion of 'L. O. B.' a tumultuous number that is like a million flies on whizz trapped in a sound box whilst being kicked to buggery by some wound up and restless musicians. Suggestions of 'erbertised street angst are never far away - meaty indeed as is the wrist cutting brutality of 'LAPD' by the unpredictable beast that is Hostages For Smack. Right down the crack of the acoustic arse this shit-laden number reeks of under-processed noisy nutrition and is slammed down with utter conviction and roughed up rabble rousing awkwardness. The HFS crew are a band I still have to catch up with - purely my loss. Revenge Of The Psychotronic Man are a band I have known a fair while and have seen grow from a melodic outfit to a riotous riff-tearing hardcore band that go at it full tilt and barely come out on the losing side. 'Another Day' is as expected, fast, tight, rattling and fuckin' wholesome. Leather Zoo pop in next with a contrasting ditty that has numerous textures, a passionate female at the fore and some fine riff and roll merchants at the back. A soaked sound, some solidly nailed moments, a sweet inner cut where guitars and skins rise in unison - Leather Zoo have a classy streak, they exhibit it time and time again - 'Charlie' is an excellent inclusion. Back to the whizz bang mania with the Japanese 100 mile an hour jerk offs spunking up a wild sound known as 'Brain Buster' - seems apt somehow. Blazing with no holds barred this is straight from the scorched earth society who mean to go on sizzling no matter how much the temperature rises - a holocaust of riffage. Up For Nothing donate 'The Slouch' to proceedings and give a pseudo skanked start pursued by a US sounding triumph that is played really well and has a freshness borne of the late 1990's. The breaking scuttles enhance the drenched din that follows and although on the side of the hygienic I still applaud spiritedly. Ligeri 73 spill up the charged sub sensuality of 'Cani Randagi'. A quite intense number that delivers from the heart and has orthodox verses, chorus cuts that increases the intensity quite gently and some twisted guitar that sets the controlled effort alight - not a bad do at all dudes. We close side one with the brutality of 'Mental Block' by Ziplock, a literal acid bath of burning sonica that is thrashed and bashed by musical bastards who just want to cause pain. It is harsh hardcore but still retains the basic constructs of a listenable song and however raw and primitive it may sound this one is a scorching finish not to underestimate.

Phew - 22 tracks down, 22 to go - no wonder people don't do CD reviews - too much hard work their idle fat arses can't be bothered with - pity they contribute nothing else either - aagghh - get the fuck out ya parasitic twats.

And so the long home stretch - and if the going is as good has it has been thus far I shan't complain and won’t have to brandish the assessing whip - always nice to come away from a review without too many scorched arses in my wake.

Splntr open with 'Drive', a nasty piece of searing putrescence that drips forth and duly fouls the listener’s initial anticipations. Beginning with spoken gobbage and a grumbling bass the song soon dissolves into an unstable bout of furious aggression that is a one way train headed to oblivion. Wired up the wrong way, freaking out with too much tension this is a crazed opening gambit eased by the brassage that begins the fine repeater 'Hit Number One' by the Irish jiggers Liz Is Evil. A basic structure enhanced by strong tones and the aforementioned brass this is a fine number to groove along with and has a strong compacted feel as well as a 'let it loose' vein of encouragement. The class that is 'Night Of Treason' plough forward next with the excellent 'Speed And Glue And Rock 'N' Roll', a blue light bout of street honesty that punches fast and accurately with an intrinsically strict punk mode that overcoats the fact that this band have so much more to offer. A fine ditty taken from a fine album which you really need to check up on. First Time Riot are a band I have dealt with in the past and have always done the business. Now with a few new members it seems the style hasn't changed at all and 'Stand Up' is good old honest melodic punkage with an urban, drinking man's edge that adds to the conviction factor. This is a band for the wise wanderer on the cobblestone, concrete chants for the ones who want no sub-text - I love the band, I love this song.

Time to strip things down, back to the sleazy chambers were sonica is screwed all ways and coughed up as a globule of horrific filth. 'Little Miss Stakes' create sub gothika with the bleakly ornate 'Dr Frankenstein', a shambling dancer loaded that creates many ghostly shadows and perverse sub-sounds. From the tuning in, the cry of Colin Clive whom has created life, through to the finger clicking intro and then the all out grind this is sable sinisterism played in the style expected. Nowt like a chill factor. And also nowt like a reckless tear up - enter A Sudden Vengeance Waits and the cluttered clatter called 'Drag Me Down'. A travelling train along a doom laden tunnel with all sonics rattled and cavernous and all instruments clouded in plumes of freshly created steam. The driver at the helm is unhinged, happy to charge to oblivion - the playing passengers seem of the same mind - a nasty piece but worth its position on here. Rasta Knast throw stones, Rasta Knast hurl a specific brick, the brick is marvellously textured and is aimed straight between your awaiting lugs. 'Haunted House Of Sligo' is a westernised, slingback of hot roasted desire and gallops on victorious tones created by a band who certainly rise to this compiled occasion. A very triumphant tune flashed like a good un' and full of lone and unified gobbage that captures a professional essence that catapults this one right to the fore of proceedings. A new lease of life has been given.

A band I have always backed and spouted about are Obnoxious UK, a fine outfit who keep it real and very melodic albeit with a horror theme that is done so punkily well. 'Amelia' finds life in death and travels on a well groomed rhythm that contains a few subtle touches and keeps one intrigued. The song is spiced by a slight catacomb overtone and is made more approachable by a genuine DIY undercurrent. Fine chaps and a fine song to boot - check em' out people. The Senton Bombs are another band I have shot my gob off about from the early days and no matter who doubted, who shouted me down, I stood by this lot because I knew they had the potential - quite humbly I point to this sample as proof to back my loyalty. 'Do Your Job' is one of many pinnacles this rocked up, non-punk band (thank goodness) attain whilst injecting their pure identifiable sound into the sonic arena. It is no coincidence that many are now waking up and smelling the skills of this crew and I for one am happy about that - they fully deserve it. Again fine gents and fine fiddlers of their weapons (oh come on now you know what I mean). Powerful, intricate, blistering - fuckin' step outside the box and swallow some of this shit man.

Dance On Your Grave fire their 'Paper Guns' with a bitchy snarl that shakes up the nervous system and really shows when a girl wants it they can just go ahead and get it. The transformation from what seems to be just an irate number into a fuckin' rattling scream-up of furious intent, that is glamoured by pushed to the max guitar work, is a joy and this group of Malaysian melody destroyers have me more than a little interested. Very feisty and keen to create a din - note to self - seek and enjoy! Zoo Party are a quality crew who nail rhythmic ditty after rhythmic ditty and place emphasis on good old guitar licks to rock and roll their way onto your favourable side. Routine verse, superb unifying chorus - 'Another Pack Of Lies' is joyous stuff and travels straight and true with a great production that gets the best out of this quality unit. I have reviewed 2 CD's by this bunch and have thoroughly enjoyed em' both - go purchase and be prepared to pogo.

Electric Frankenstein next and the groovy ghoulie known as 'Super Kool' a stop, start, flash and surge number dripping with dirty deliveries and sub-sexed acoustic ambition. This lot know their aims, they have their chosen style mastered - the hollowed out and the utterly filled smash and grab attention - the band nail it. White Flag hail over 'Radio Free Misanthropia' and deliver a similar song to the previous track with a polished grooviness, much flamboyance and all consuming riffage. This lot roast things are little harder and certainly ram the airwaves with a superfluity of tones - try it. French crew 1984 rise with stealth before a nail gun attack leads into the absorbing melody soaked first verse where no room to breathe is had and the overwhelming wave of tonality hits hard. 'Failure' is far from such and is another soaked sonic piece this time with suggestions of Americanised acoustica and something quite street-based. The crew persist with their straight-ahead riffery and pound out in glory. Mens Rea palpitate in acute radioed style with a hive of activity that seems to be on the brink of a major collapse. 'Student Strike' fights the steering wheel, keeps on track, but only just - but the unified hollers help and perhaps just avoid a full on crash. Be interesting to see what else this crew have on offer and what their exact style is. Retro skankage with a calypso-tinkle comes via 'Wasting My Time - Radio Edit' by Malarkey. The sharp contrast between the wise ass and the more aggressive works and again I have another band who have me wondering what their exact mode of melody is - which is always ideal. When the band clatter it they rise high, when they drift with sub-generic characterisation they create befuddlement - I like that. Pop punk next and the routine but rhythmically precise and fuckin' enjoyable snap, crackle and pop of 'Rock 'N' Roll Is Great by Rock 'N' Roll Television. A sugar puff bout of carefree pleasure that is foot shuffling, arse wiggling, wide smiling unadulterated hedonism - and why not?

5 left - can these digits take it.

The Knuckle Downs nail a US intense bout of vigorous musicianship we have a few bands tackling even though they hail from the UK. The influences are obvious and the crew fuckin' take what they have and wrap it up and slam through your personal mailbox without apology. 'Fade Away' is a boomer built with hungry hands and if this lot can replicate the fire over several tracks they are surely a band to watch further. 'Flat Back Four' next and their modernistic, individual sound that is technical, carefully thought out and always delivered with such sincerity. I have a lot of time for this crew and the excellent chaps they be - they have been a reliable fave of mine for many a year - here we have evidence of why. Just get out and support em' - the foundations of the music scene and highly talented twangers they be. 'Better Days' brings in many shades of sonic expertise - I hope you aren't colour blind.

The Squintz and 'Fuck Them All' begins with a 'Sustitute-esque' riff bearing belting around and travelling along in a rough house, belligerent way with a footy chant influence and big booted weight - back of the fuckin' net gents. Decline haze it over with the drawling 'Concrete' a real flavoursome western-esque episode that captures obvious influences and throws em' right back at ya. I can think of a few similar bands but that shouldn't detract from the steady talent on show here - not necessarily my thing but by heck it is a good do. The closure to the whole 44 tracks is entitled 'Some Saskatchewan Song' by Cricket, an oddity that bumbles on bass, slow sneaks in the back door and carefully does its stealthy thing. This isn't what one would deem as a punk track, why should it be, it is a ditty played with slow perseverance and tidy rhythm - an unexpected way too end but quite delightful anyhow.

That is it, I am whacked, whipped, worn out. This is a corking 44 tracker, it is as cheap as chips, I love it and the ethos behind it - if you still ain't interested then just fuckin' forget it!