Hams! n°9


*** Musical reviews ***


NAKED INTRUDER : Deadclown Hatecrime (CD Mile 329 n°2 / Slave Industries n°12 ; 11t. ; 2002)
So, the artist (Scott Jaeger), American I believe, who makes this EBM music, don’t like Zavatta, Fratelli and company (the proof of that is the record’s name : Clowns on fire). Roughly is this not unbearable, some tracks get across to the audience as Obelisk or Retribution or above the track without name (let’s call it Deadclown hatecrime) and what bears no relation to the rest of the record where a mirthful Coco the clown is plunged in a too merry not to be nasty circus atmosphere. Too many times on the other hand, we fall in pop and common 80’s synthetic snares (annoying is too an appropriate adjective). We hear admittedly sometimes sounds between the Bowie’s China Girl and the Michiko Kusaki’s Let’s rock baby (Boiling point, Halfthink) but that isn’t enough to make this album into a curiosity. The revival, ok, but not coffering uncut, darn it ! (unless you don’t live in the 80’s ; in that case it might you shall find that pretty, even then we have to get up early…)


CORE Y GANG : Core y gang (CDR démo ; 9 t. ; 2001 ; 31’)

This punk band from Lannion was often compared to Melmor on account the violin's presence and the geographic nearness (Trégor against Penthièvre, yo !). In fact holds the comparison together in the track called Intro (rather good anyway) and in the breaks where we hear it clearly but it is'nt that wich makes the band's real tinge (wich just goes to show Antipolitik where the violin doesn't sound like the Briochin band). For the similarity, I would be searching about the late Excités or especially the Stéroïds, in particular in the successfulest tracks (Jungle urbaine, with a little streetpunk touch on the refrain ; Pourris). Musically, that's very straightforward, with french punky rather classical lyrics, the only snag is sometimes the not steady voice wich is up the spout, particulary in Partie civile and Pouvoir (nevertheless, this is a demo, not a Scala audition, isn't it ? ). Roughly a a band who seems, however it isn't for the moment odd, rather promising and display a certain mastery of the punk energy. It's an affair at any rate worth keeping an eye on.


Ton sourire désintègre les matins (compilation CDR Collectif Effervescence n2 ; 39 ; 10 t. ; 2002)

With a rather pretty poetical title embellished, this compilation from Nantes can be distinguished at first by its rather agricultural exterior look which catchs the eye : a tractor on a by a Parisian staple pined cardboard CD-pocket. Alas ! As often in minimum presentations, you can whistle for it if you want to get some informations about the bands (what seems to be the principal goal of a compilation yet). The price stays for all that proper (8 € post paid). We begins with Modul (Drums and detuned piano) who trots out an irascible, intimist and all things considered successfull as well music on an out of tune upright piano alla Chokebore (Where is the assassin ?), what samples and especially permanent drums help to sustain. Differently rhytmical and clearly less nostalgic that the precedent one (there's no harm in that...), warm and well-turned, Tordeonde's trip-hop (Corridor) is listened pleasantely. Always in the same style but more in Tarwater's noise , Pelforte, not so bad but spoile by the voice alla Björk at the end (Otari).To a greater or a lesser degree similary directed, we go into This Melodramatic Sauna, whose voices at the beginning get nearly mess up all the piece but this takes off in the length, particulary by the clever setting-off of the acoustic guitar over the coated quavering background. Ditto at last for Colegram and his trip-hop mixed with playtime sounds (Humad), a little repeatitive at the beginning but who gains confidence in the second part. Electronic, Gendryn (De l'angoisse à la méthode) makes inevitably think about Gel in what this has best (bips, coating, inversion and destructuring) and Mtd (Anyfish) about movie music (americain voice, chiming and drums in background, Seven is not far !). I overlook Karikomi, missed with his too much used Eddy Constantine's sample and his knees-flabby threnody (G is the key when Alphaville's burning). Let's finish in conclusion this review by the presence of the Belle Bastards short and fresh feminine pop-noise (Domestic lips for your stick) and especially of Stuntman 5 : US hip hop atmosphere, lined with ambient coat, quite stable architecture, that take listener's fancy in a efficient way. On the whole, a collection of atmospheres and personnality from nearby universes, although quite diverse, with coherence linked, collection which is greatly worth the detour.


BAD RELIGION : Punk Rock Songs (The Epic Years) (compile CD EPIC / SONY ALLEMAGNE ; 2002 ; 25 t. ; 67’)

Bad Religion is the link between american punk-rock and FM rock, this compilation will not be there to prove the opposite. Apart from the good rock title Ten in 2010, nothing transcendent on this record and you can imagine Bad Religion dies out from the punk story as fast as it was praised to the skies. It would be only that, it would be nothing much but these mongrels have moreover produced a record "not playable on PC or Mac". This doubtless to avoid engraved copy, which is entirely admitted by the law as long as it stays individual. Now a large part of their customers is made of adolescents who are more and more inclined towards to user their computer as cd-player and we understand it. In brief the guy buys the record and at home he notices he's aching in his bottom, ever so aching... And afterwards we says that Bad Religion is a "punk" band... A mediocre band, blessed with a shitty venal spirit, here's the truth.



Tout va très bien en France (compile CD BETTERAVE CIRKUS 001 ; 2002 ; 23 t. ; 69’)

Ska-punk, to say that the dominant mood of this compilation isn't ska-punk would be call lie ! Somebody who would never hear it would be well-informed about the style. For the punk side, we find interessant things : Six Rich Dead and the Kargol's (for whom we would have waited rather on the ska side) as well as the record's initiators, the Betteraves. Less convincing but sufficiently particular to be mentionned with 80's rock sound, Darling Genocide (ex-Cadavres, you cannot begin to imagine how much we miss them). For the ska side (most of them stongly hybridized and not at all original, let's clarify), you should listen the Rats sveltes (mixture with french alternative rock), the Raïa (excellent, with accordion), Eat Shit ( a live wich passes well), the Kobayes (always in ska-hip hop-core, the band from Le Mans), 36 ( a band in tribute to Léon Blum), Morpionz Circus (whose a precedent track gives the title to this compilation and who lays an arrant good thing here, less south fanfare and more straightforward what I can have heard of it until now), Donkey Skonk (with southern volubility) and the inexhaustible Parisian band the Pélican Frisé, the more ska of all the present ensembles. The general sound stays very proper (a part from Three Feet cats' title) as well as the price. The general presentation is made up of a big leaf where every band possesses a little presentation- space and the central ring is decorated with May 68 hobnailed booted policemen nasty dials. Good spirit and good dig as this panorama of today's french ska-punk (and which is worth that the ska-"the fair is on the village", so widespread and loved by the crowds, in the summer, on the central beach, when whe have sand in our boat shoes yet).


Don't fuck with Saint-Etienne (Compilation CD Meantime Rds M004 ; 2003 ; 18 t. ; 52’)

A compilation from Saint-Etienne now, whose origin is Maz from Protex Blue and from the fanzine Meantime. It's a panorama of the today Saint-Etienne punk scene. Saint-Etienne is a city which can have always been distinguished by his football club (Larqué, Bathenay, Janvion, Rocheteau et don't forget Platini too) whose Roger Rocher's black till stayed in history. It's odd, to go into particulars, that the Basque band Skunk is in the lot (especially as their title is very forgetable). The worst titles are Lack of Reason's (kindy edgy pop), Riggel (a little edgy but always kindy, a kind of unbroken voices), Ultimatum's (high school melodic ska-rock ) and The Village Voice's (french punk-rock blues tradition). The rest is rather nice. Particular mention to Goofball, with a fierce straightforward rock title (Mazes) which smells its three sizes down jeans jacket, good rock, what, with a good coupling bass / guitar, huming like a mettlesome cattle.