*Note*  Special thanks goes out to Davey Suicide for being generous and gracious enough to hang out and give me the interview.  Also to Tom George, the publicist who made this happen.  Couldn’t have done it without him.  And to my friend Bill Dahms, who accompanied my to the show and helped with some of the Static-X photos.  Without either part of this complex cog, things wouldn’t have been as exciting.  My thanks to you all!

-Chris

Related articles

• The chronicle of a Noise Revolution- part 1 (bizzam.wordpress.com)
• The chronicle of a Noise Revolution- part 2 (bizzam.wordpress.com)
• Static X announce second leg of tour (bizzam.wordpress.com)
• 
  http://bizzam.wordpress.com/2012/08/10/the-chronicle-of-a-noise-revolution-part-3/
  
• 
  http://bizzam.wordpress.com/2012/06/21/exclusive-interview-with-davey-suicide/
  
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The record is a world apart from the band’s eponymous debut album – Gary Lammin’s black bloosy rock and slide guitar are still prominent, but more fervent is the embrace of full blown out rock ‘n’ roll elements aside a range of genres that reclaim what got lost from punk heritage between the ’60s and ’70s.

But let this be no blindfold to the angry punk rock molten core that is immersed under ironic visual exteriors; the band’s theatrical value in bringing across a very serious point about the decay of static but changing society. Anyone who thinks blues rock ‘n’ roll isn’t a part of punk is seriously mistaken.

The band entered the stage in their jester tartan dress code; Lammin and Martin Stacey bashing and kicking the life out of their guitars in an Andy Gill Gang Of Four moment, amongst a ravage of Blitz air raid sirens and firework sound effects, before writer-musician Charles Sharr Murray took to the mic to act as spoken word substitute for John Sinclair, one-time manager of Detroit punks MC5 and narrator in The BJR’s Marvel Comics styled allegory about a rock ‘n’ roll band that sets out to change the world.

‘Society Is Rapidly Changing’, the first song on the new album, is abrasive guitar and classic ’77 punk vocals shouting about the turn of modern day societal destruction. Dave M Allen, record producer for new wave acts including The Cure and Depeche Mode, has also induced variation on the album in catchy songs like the Kafkaesque ‘Creepy Crawler’ which, although a few alternative tones softer than punk, are blisteringly realistic in cornering the grotesque delinquency of social disrepair, also evident in ‘Proper English’ and the noise guitar track, ‘Tru Punk’.

New drummer, Chris Musto, having replaced guest drummers The Damned’s Rat Scabies and Keith Boyce, can’t be anymore befitting, coming from the same expansive musical mindset through his rich portfolio of artist collaborations, including Glen Matlock & The Philistines, Joe Strummer and Johnny Thunders.

Lammin’s slide guitar, with its country and blues twinge, was accompanied by Charles on harmonica for ‘Rock ‘n’ Roll Demon’, the song that encourages bold and fresh ‘thinking outside the box’ attitudes, which could teach a thing or two to their sterile so-called punk critics. ‘Noise and Revolution’, the track that shares its name with the record, finished their live album showcase before the encore welcomed back ‘Football’ and ‘Who R Ya?’ off the debut; more street-chained to their Bermondsey roots. If there’s anything punk rock can learn, it’s from this band.

24/05/12: The Bermondsey Joyriders @ Madame JoJo’s, London.

Photos © E. Gabriel Edvy/Blackswitch Labs.

© Ayisha Khan.

Copyright © 2009 – 2013 Post Punk Music. All Rights Reserved.

Gondolkoztam azon, hogy újra nekiálljak felvenni a számokat, azonban úgy éreztem, hogy akkor megfosztom őket a ‘pillanat erejétől’ – betanult darabokká válnak, megszűnnek improvizációnak lenni, így úgy döntöttem, ez lesz a végleges változat.

Újabban megint írok zenét, remélhetőleg a következő album mind zeneileg, mind hangminőségben jobb lesz – bár egyelőre még nincs konkrét felvett anyag.

A Sounds of a Day névre keresztelt kompozíció ingyenesen letölthető a rackajuh.bandcamp.com oldalról.