Punk Rock AnthemsRock Punk Hymns
After Millencolin's great commercial success, three punk groups, each with their own characteristics, come from Sweden, offering a punk rock that has rancid skin, but preserves the echo of Stiff Little Fingers and has its roots in the first (and second) clash.
The Bombshell Rocks clearly choose Rancids as their point of reference, but without winking at the Reggae or Sco. The Bombshell Play Streets - Punk to 100%, perhaps not particularly original, but very effective. The recording continues quite pleasantly, driven by the remarkable sound wall of the guitars, by concise choirs, by the curious melodies.
Songs like Faith & Dedication, The Wakeup Call, Seen it All, Soundight I'm Bringing are certainly of good level, while the tops of the record are inexorably touched by real punk anthems like 21 Century Riot, Radio Control, 20 Day. The lyrics deal with the themes that punk bands of this kind are becoming increasingly important: urban revolts, harsh criticism of consumer society, the desire to break away from the schemata... Apart from a few slight declines, the record retains its strong impact and its aggressive charge.
The 59 Times The Pain chooses a more controlled punk rock route, model 1977, which is partially mixed with regengae, following compositional patterns similar to Stiff Little Fingers and Clash. The impression is that you are standing in front of a technically prepared group, an expert who is able to give the record debut with "attack" pieces of good level, the :
Rocks the City, Classaction et la titular tracks Callsing the Public (dall'incedere ciaramente clash). The problem is that in the course of the album the group seems to lose their original "momentum" and suggests rather colourless songs that don't take off. It' s true, there are still good tracks like the beautiful "Cash on Delivery" played on a rhythmic carpet interrupted by beautiful, powerful openings, "My live My Choice My Call" where the winds appear, or the stralunen reggae of "The Emergency" that closes this "Calling the Public", but it's the work that fights.
The 59 Times The Pain leave their beginnings of hard-core and "take" their sounds back to the roots of punk rock. These are difficult operations that are not always successful within a single hard drive. Hundreds of concerts consolidated in the following years and led to their third record, "The Human Atom Bombs".
They combine hard and busy lyrics with rotten and unprotected rock'n'roll, as only punk rocker would suggest. In its more mature version, this tone is related to rock'n'roll, rock'n'roll, pop songs and regengae. With its 17 parts "The Human Atom Bombs" is varied, conspicuous, never trivial and with a precise personality.
the opening track, is a dirty rock'n'roll inspired by a piece of 56, "Addicts of Communication" takes us back to classic punk rock with beautiful choruses, while "Punk Rock City" (where we talk about the desire to live in an open city, vital, full of strong emotions) seems to come from a 70 year old Bluesrock group.
"Charlemagne Marx and History" is a great piece (dirty with reggae) both in the lyrics (the group openly suggests in their strong political beliefs) and in the music, which reminds of some melodic storylines of the first Joe Jackson; influences that reappear in the beautiful "If We Unite", in which it is the 60's Pop to be the master, and in "Proletarian Hop", a song in which we never diminish the protection from the fascist danger.
The restart is entrusted to "Rockin'Pneumonia and the punk-rock influen", a punk hymn in the sign of the best tradition. Free Song" mixes reggae with sounds from South America, "The Human Atom Bomb" returns the "dirty rock'n'roll" from the beginning of the album, and in "I Believe in The Company" an almost free-jazz attack leaves room for the recording of a piece by Motorhead (through the same recording of the group), while the lyrics speak of the desolation of a life spent exclusively for the company waiting for the weekend.
An interesting album, which preserves its own organicity and presents itself without fear and even makes itself its own, the musical "contamination".