It has been over a year since US punks The Amputees released their excellent Commence The Slaughter EP, a release which certainly put the New York City based band on the radar whilst expelling a wealth of promise for their future endeavours. The Scream EP is the next encounter to be unleashed and it not only builds on that strong base but sees the band leaping up big levels in maturity, craft, and just plain quality. Released November 23rd via Money Fire Records, the five track release is an eclectic mix of numerous vibrant hues of punk rock for one very contagious slab of bustling rock ‘n’ roll.
The seven strong unit immediately has feet and emotions leaping with opener Beanie. A raucous riot of pop punk with a vein of Ramones like addictiveness to its charge, the track is one of those anthems which lingers and hides in the psyche to appear at its own will at any time. Described as “a theme song dedicated to their bass player”, the song stomps with energy and craft, guitars carving up the air with infectious lures whilst bass and drums add a hungry texture which only adds to the contagious body, the snarling four string presence of Geena Spigarelli especially irresistible. The vocals of guitarist Louis Ramos backed by the appealing tones of Carrie Ramos reinforce the catchy and magnetic call of the song and against the strong driven rhythms of drummer Kaleen Reading make a tempering persuasion.
The outstanding start is soon matched by the darker colder charms of Holden. With riffs striding purposefully alongside again rigidly uncompromising rhythms, the song offers an intimidation missing in its predecessor and a heavier rapacious breath. Irresistible and resourcefully sculpted grooves vein the compelling track, their ridiculously addictive and almost insolent prowess mouth-watering assistance to the great vocals of guitarist Nova Luz, her voice and delivery helping send the track into comparisons to the likes of The Distillers and L7. The song continues the grip of the EP with ease, the first two songs already igniting a real passion for the release and giving a real task for the other songs to stand up to.
Both King Jubs and the title track go for it with relish, the first a thirty second stab of punk ferocity, prime old school hardcore punk spewing exhausting exciting venom whilst the second merges hardcore and pop punk into a fiery scuzz lined blaze of sinister garage punk, guitars and vocals a great caustic combination speared by those ever brisk and urgent rhythms. Though neither quite manages to rise to the heights of the opening pair of tracks, both leave hunger and emotions wanting much more for the diversity and matured strength The Amputees have bred.
The release closes with the contagion expelling 88, a song which has limbs and energy recruited with its Ramones meets Late Cambrian like blend. It is simple, raucous, and irresistibly incendiary to the passions and limbs. A final anthemic bait to send the EP off in fine style, the song equally ensures there is no option but to go back to the start of Scream and bask once again in its punk rock triumph.
The EP is the perfect invitation to newcomers into one of the US’s best emerging punk bands. A quick mention also goes to guitarist Gary Young, he another contributing strong craft to songs though it is hard to know which guitarist appeared on which song, and to Screaming Females’ frontwoman Marissa Paternoster who provided the great cover art to the release. If you are looking for punk which maybe is not yet ground-breaking but certainly refreshing and most importantly thrilling than The Amputees and the Scream EP is a must.
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