After the insatiable brilliance of their self-titled debut EP, expectations for the first full-length from Spunk Volcano And The Eruptions was demandingly high and anticipation irritably impatient once news of its release was known. Though there was never really any doubts that Injection would live up to those hopes and wants, the thirteen track stomp swiftly offers much more with its heavyweight rampage of punk ‘n’ roll.
The solo project of Dirt Box Disco guitarist Spunk Volcano, with devilish help from DBD colleagues, drummer Maff Fazzo and bassist Deadbeatz Chris alongside guitarists Ste Lingard from Manchester based punk band Flat Back Four and Tom G Force Batterbee, Spunk Volcano And The Eruptions shows another side to the songwriting of the frontman. Certainly the band’s sound is bred from the same vat of devilry and punk ‘n’ roll as Dirt Box Disco but there is a leaner and more expansive essence to the songs, tracks also rewarding ears with a healthy seeding of old school punk rock. It is a virulently compelling and contagious mix which first ignited the imagination and passions with the aforementioned EP and continues in an even more adventurous and inventive vein across Injection. Released on STP Records on the opening day of this year’s Rebellion Festival, the album is an anthemic toxicity from start to finish, a release unafraid to please with recognisable and undemanding bait yet littered with lures and hooks which are as fresh and unique to the band as they are impossibly addictive.
From the first note band and album is surging through ears with bruising effect as opener I Am Gonna Kill Myself!! launches itself with pummelling rhythms and fiery riffs. The track is in no mood to show restraint even when it settles into a more even paced yet still forceful stride, though that too is unpredictable with its jagged scythes of guitar and beats. Spunk roars with his distinctive vocals, their suasion at times antagonistic but constantly embroiled in stirring up a riotous response with the storming sounds around them. It is an incendiary start to the album but only a teaser to the might of What You See is What You Get. The track saunters in with attitude to its air and raw riffery, an old school essence dripping from its flank as rhythms proceed to rap with agitated venom across the senses. It is a riveting provocation, the bass of Deadbeatz Chris gloriously throaty whilst the vocals of Spunk and band again lead an inescapable anthemic. With tasty sonic flames of guitar adding to the irresistible tempest of the song, it makes for an early pinnacle with its commanding slab of punk bred rock ‘n’ roll, elements of UK Subs and hard to ignore suggestiveness of Dirt Box Disco colouring its majesty.
It is with the following Platform 3 that the album starts spreading its flavour and imagination, the song producing a nagging punk spine of riffs and beats but crossing it with a power pop catchiness and melodic rock enterprise. The bass eagerly prowls the blend for another richly appealing hue whilst the aligning of raw and melody led tempting just flirts with ears and thoughts before making way for the excellent Another Nail In Childhoods Coffin. Fazzo shows little restraint in his initial swipes of sticks setting up an already hungry appetite for an expected fury to follow. That eruption does not really emerge but instead the song bounces with caustic energy and scowling riffs around another enthralling bassline. Lyrically the song is like a cousin of the more rabid Crossfire off of the previous EP, reflections of childhood revelry and losses easily sparking with listener’s thoughts.
As expected there is a huge grin to the sound and lyrical incitements which only adds to the lure of songs and release, the likes of Agree To Disagree and I Don’t Want To Have To Explain always carrying a wink or tongue in cheek to their still furiously designed and delivered propositions. The first of the two brings a potent melodic rock airing to its punky stroll, again resulting in a tasty mix of flavours within a catchy web of endeavour, whilst its successor snarls with a coarser attitude and sound. Riffs graze and lure whilst rhythms beat a submission with precise and eager definition but it is the excellent palate of vocals from Spunk and the band alongside a fine melodic enticing from the guitar which steals the limelight in the track. Neither song matches the heights of their predecessors but still spark an extra dose of hunger in ears and appetite.
The bluesy rock ‘n’ roll swagger of It’s Got Nothing To Do With Music thrills next, thoughts of bands like Turbonegro hinting in a song which, as all, only takes only a few chords to reveal it is a Spunk Volcano And The Eruptions stomping. The track is just another exhilarating twist in the diversity of the album. Its success is swiftly matched and left looking pale by Failure is Not An Option, a full on torrent of punk aggression with metallic intensity which scores and gnaws the senses for a lustful response. It might only be forty seven seconds in length but the song leaves a new greed awaiting the likes of I Can’t Stop Thinking About You and She’s Too Good For Me. The first of this pair brings a slight rockabilly toning to its invention, its opening coaxing alone finding a sense of Calabrese to its potent suasion. Once into its crisp rhythmic stride through a tenacious web of riffs, the song with vocals again commanding emotions, enlist feet and vocal chords to do its bidding, defying anyone to resist its melodic and infectious anthem. The second of the two is a slower paced encounter though the net of punishing beats from Fazzo has ears ringing whilst the enticing of the guitars in riffs and hooks is similarly imposing. It is another track which settles comfortably in the arms of satisfaction if missing the plateau of previous songs.
The final trio of songs take the album out on a lofty high. First up comes Oh For Fuck Sake, another scorching blaze of rock ‘n’ roll with a blues tint and ravenous bass sound veining punk rock animosity. It is followed by another major triumph in I Don’t Know Why. Opening with a Misfits toning and psychobilly like sultriness, the song is an immediate epidemic of warm harmonies, abrasing riffs, and inciting rhythms. It stomps purposefully around the imagination like a predatory seduction, every twist and dramatic idea irresistible as it takes best track honours on the album.
Injection closes with outstanding Rock n Roll Baby. Choppy hooks and Stiff Little Finger like riffs are to the fore as it instantly cages the passions before spreading out a stirring weave of controlled and richly enticing punk ‘n’ roll. It is a mighty end to an exceptional release which just gets more potent and immense with every listen. There has been a handful of punk releases in its many guises which have set new standards and inspirations for the genre as a whole, and Spunk Volcano has now been in the midst of two, coincidence? I think not.
Upcoming Spunk Volcano And The Eruptions live dates:
AUG 7-10 – Winter Gardens, Blackpool (REBELLION)
SEPT 12 – Hairy Dog, Derby
NOV 14 – Cottage of Content, Chasetown
NOV 15 – Zombie Hut, Corby
Nov 21 – Black Bull, Gateshead
NOV 22 – River, Glasgow
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