SICKY – Garbage Town

Pic Helen Marshall

Thanks to its trio of lead singles, there was true hungriness in our want to check out Garbage Town, the new album from British solo artist SICKY. Each of the invitations provided instinctive enjoyment and a promise of adventure to be found within the release but even together we can say that they only hinted at the fullness of pleasure and fun to also be found.

SICKY is the solo moniker of Black Country hailing, Shropshire based artist Mick Butler who previously had been sharing his enterprise within bands such as, notably, PAPA MANTRA and SUMO. Within his solo project, a true one man endeavour, Butler springs indie pop rock invention and cunning upon ears but a sound which is organic and instinctive in its craft, invention and fun fuelled revelry. As Garbage Town proves, it is a proposal to set you dancing, hollering and getting up to creative mischief but equally at times to contemplate with greater seriousness the intimacy and broader dilemmas of the world around us.

The likes of BECK, SUPERGRASS, BLUR, FUN LOVIN’ CRIMINALS and MUSE have been offered as references to the SICKY sound though we would suggest that MARC BOLAN meets STE MCCABE meets WIN suits his endeavour at times. Honestly though, true individuality and uniqueness springs the sound and enterprise which with every passing minute of the record got deeper under the skin, Garbage Town off to a flyer with The Bridge.

One of those earlier singles paving the way to eager curiosity, the song strolls in with a nagging swing and a glaze of electronic melody, guitars equally keen in their catchiness. Butler’s tones similarly have a natural manipulative gait to their delivery, the song drawing it all in for its infectious rock ‘n’ roll saunter while contemplating darker thoughts and inclinations

It is a rousing, irrepressible start to the album which is only accentuated by Swim Shallow. It too has a certain manipulation to its gait, rhythms and riffs orchestrating instinctive movement in the body as vocals encourage a physical and emotive union with their crepuscular but urging contemplations. As with its predecessor, there is an inhibition chasing fun and energy to the track which breeds the same in the listener, again united traits in its irresistible and addictive prowess.

Beans is next up, a grin bearing and orchestrating song which again aroused an instinctive swing and eagerness to join in within us here, its jerky moves adding to the delicious nagging and success of the punk/alt rock bred song. Firmly it continued the lofty heights of the album so far and is immediately joined by None Of That. A song inspired by the invasion of Ukraine, it brings its own virulent amble to entice and arouse. It is a whimsical almost carnival-esque stroll which only accentuates the support of the people suffering and a hope for the swift arrival of better times behind the outstanding track’s serious lyrical rumination and call.

 Nurturing a Bowie/Bolan scented proposal, A Bite Without A Mark explores the shadows of manipulation, the song inspired by the unseen figures pulling the strings from a secure and safe distance in the dark world of drug dealing. There is a tenebrific air to the track and an almost sinister breath to its movement but yet again it springs a contagion which burrowed deep before Sleep On It stepped up with a commanding air and robust stride.  Funk and art punk hues gather in its adventure as a great Talking Heads like essence colours its imagination and drama, another compelling peak on the album’s landscape.

As the senses romancing sway of Head First seduced with its elegant poppiness and Protect Me Protect Mine pushed greater involvement with another war incited lyrical dispute within a robust dark pop shuffle, Garbage Town continued to inspire keener attention with its title track calmly but firmly stomping in to tighten the grip. Rhythmically jabbing and sonically confrontational, the song is another surge of creative contagion and spirit rousing endeavour which sparked atypical movement and vocal hollering.

The evocative acoustic musing of New Bones wears emotive volatility on its sleeve to further  the album’s captivation while Einstein’s Baby is an inescapable joy of jerky temptation and explosive resourcefulness brewed into another moment of raucous euphoria. Together the pair added fresh twists and invention the way of the album, its closing track, Times Ten, following suit as it lit up the senses and the keenest participation with its esurient swing and effervescent energy, its smiling enterprise more than matching that fun filled prowess.

They all make for a superb end to a glorious adventure of pop ‘n’ roll mastery, audacity and devilment within an album only a fool would let pass them by.

Garbage Town is out now; available @

Pete Ringmaster 03/01/2022

Copyright RingMaster Review

Categories: Album, Music

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