How to describe the new EP from UK garage punks Pretty Pistol; well feral certainly fits, sonically clamorous and tenacious too but suiting it most is simply that Welcome to the Dead Club is rather damn good. Offering four virulent slices of punk fuelled noise, the release is another of the year’s special moments so far more than worth a few minutes of your time.
Formed five years after the initial chance meeting in 2010 at a Hole gig by vocalist Laura Le Rox and drummer Emma Waller, Pretty Pistol’s line-up is completed by guitarists Rich Cooper and Billy Larsen. Described as “Sitting somewhere between Gallows, Be Your Own Pet, Milk Teeth and The Kills”, a pretty suitable intimation, the South London quartet has made a potent mark on the capital’s live scene, sharing stages with the likes of Penetration, KidBrother, Drones, and Crazytown. Recorded with producer John Mitchell (Architects, Enter Shikari, You Me At Six), Welcome to the Dead Club is their inescapable jab at bigger attention, a raucous swipe not easy to see being ignored.
As opener Cry Wolf explodes on the senses, instantly there is no escaping the rapacious presence of band and song, and indeed the magnetic tones of Le Rox. Her attack is as urgent as the sounds around her with a hint of ‘desperation’ to its lilt though really it is just an earnest bred eagerness to stir things up, again just as the individual garage punk sound Pretty Pistol unleash. Riffs and rhythms collude in devious persuasion, getting under the skin as forcibly as the flying hooks and that glorious verbal trespass. There is a touch of Asylums to the track too which only adds to its virulently striking presence and to be honest if the goodness stopped right there we would still be urging attention the EPs way.
It is not an alone treat though as the following Drive Me To The Dogs quickly reveals. The gnarly stride of bass makes an immediate lure, post punk spun tendrils a swift second as the track infests ears. Its melodic and catchy chorus tempers the trespass a touch but only backing up its infectiousness before the cycle enticingly repeats. Waller’s beats land with purpose and anthemic prowess as the guitars entangle ears with sonic toxicity while Le Rox backed by one of the guys, is an insurgent siren you are not sure whether to embrace or fear.
Another appetising bassline lures Hurricane into view; its bait immediately followed by an ear worm of a hook and in turn a blast of voice and attitude. For no obvious reason but strongly we were reminded of Red Tape as the track continues to blossom in enterprise and temptation every twist and turn making a keener captivation in another rousing if too short a gem within the EP.
The release concludes with the equally compelling No Guts (This Is Glory), a web of swiping beats, belligerent bassline and devilish sonic enticement bound in the vocal carousing of Le Rox. Cannily fingering the imagination whilst heartily firing up the senses and spirit, the song completes a fiercely and irresistibly exhilarating proposition.
Living up to the band’s name, Welcome to the Dead Club is a threat lined, danger fuelled beauty and Pretty Pistol a band we expect to make a continuing if not major impact on the British punk, indeed rock scene.
Welcome to the Dead Club is out now through SaySomething Records @ https://www.prettypistol.co.uk/store/welcome-dead-club-cd
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Pete RingMaster 20/04/2018
Copyright RingMaster: MyFreeCopyright
Recorded with Brian Crowe at Kreischer Mansion Studios, their new release opens up with Motor Mouth needing little time to have the body bouncing and instincts to rock uncaged. Commandingly infectious from the off as riffs and rhythms frame the potent vocal presence and hooks of Amanda, the song is a punk rock bred pop infested persuasion soaked in attitude and rascality. There is nothing majorly remarkable about the track yet every second is instinctive temptation laying the grounds for a lusty adventure continued by next up Still Love Me. The outstanding second song swiftly shows more of the magnetically powerful tones of Amanda, her alluring roar superbly backed by those of Mike as riffs and hooks dance within the early No Doubt/hard rock spiced punk stroll. As its predecessor, the song infests ears and imagination with viral like efficiency, raising the temperature and involvement of the listener by the second while a roving bassline is the icing on the contagious cake.
Uh Uh instantly bounds in, its initial lively melody carrying an appealing tang as boisterous rhythms flirt and entice. That countrified scent swiftly lines the infectious proposal, its body stirring up an appetite for fifties rockabilly and sixties power pop while entangling it in modern imagination and boldness. Flirtatious and mischievous in energy and sound, the song is web like in its lure, vocalist Astrid Dante charm and enticement before the similarly infectious lure and imagination of her and Disaster Silva’s guitars.
Whilst The Lost Refuge was a rousing tempest in ears from the first roar, Box of Chaos takes its time to build and entice even greater greedier reactions. Certainly its first play and touch is a potent lure but each listen reveals greater depths and imagination at the heart of the release which only adds to its strength and drama. There is also seemingly richer old school punk and rock ‘n’ roll hues this time around, essences no doubt bred from inspirations to Honey-Jones and Courson such as Sonic Youth, Hole, Sex Pistols, Bauhaus, Siouxsie and the Banshees, Iggy and the Stooges, and David Bowie. One band which our thoughts most leaned to as a reference across the new album though is Penetration; a similarly evocative nature and tone to the great County Durham band spicing the band’s adventurous sound from the off with both Nice n Sleazy and its successor Never Want It Again. The opener emerges on a sonic shimmer with waiting riffs quickly stirring into predatory life as ears continue to be enveloped in that initial mist. Rhythms are soon just as pressing as Coulson’s magnetic voice seduces, her tones a smouldering caress within the rising fiery heat of the song. It is an increasingly virulent protagonist grabbing swift involvement of the listener, setting them up for more riotous stroll of Never Want It Again. It is a tenacious canter though superbly twisted with ska/like asides as rhythms and vocals flirtatiously swing with mischievous intent within the otherwise busy attitude loaded rock ‘n’ roll of the song.
The EP opens with the spellbinding Black Rose, a song which instantly has ears and imagination involved through the evocative keys of Platon, and increasingly seduced by the siren-esque tones of Hansson emulated in potency by those of Ferhm. Rhythmically the song is reserved yet striking enough to support the expressive narrative of vocals and piano as they colour the song with feisty elegance. It is a catchy and welcoming start to the release matched by the contrasting shadow wrapped presence of Deception which follows. Led by the mellow yet angst lined tones of Ferhm, the song cradles ears and thoughts in a provocative embrace of emotional balladry. The drums of Sandberg create a brooding drama behind the core refection of voice and piano, an almost epic shadow aided by the equally haunted lure of Jönsson’s bass, whilst all combined leaves attention and pleasure easily entranced.
provocation. It is not a song to startle but certainly keeps the initial impact of the album high before the mighty Axewound preys on the senses. Lyrically and musically it takes no prisoners, with that earlier Au Pairs reference at its most open on both aspects, the raw and honest approach very similar to that offered a few decades ago by those fellow Brummie protagonists. The track is alive with agitated rhythms, intrigue spiced hooks, and a ferocious breath which all combines for one of the major highlights of the album pushing forward the exciting potential of the band.
mix of UK’s The Duel and Mongrel from the US, plundering ears with a throaty bass line aligned to increasingly rapier like beats as Felony roams their frame with her ever fiery and magnetic vocals. The track continues to antagonise and flirt with thoughts and passions, reinforcing their swift allegiance as the guitar of Nasty conjures wicked hooks amongst the abrasive sonic avenging to ensure even deeper satisfaction.