Over a career expanding over a decade or more there are moments when a band openly dips below their previous heights. That blip has yet to come with Scottish punks 4 Past Midnight since raising their middle finger back in 1989 and is not on the horizon yet as their new album, Battle Scars & Broken Hearts, proudly declares. Offering fifteen slices of the band’s uncompromising yet relentlessly infectious punk rock, the album holds no major surprises in a departure from that instinctive sound but easily refreshes an already established appetite for their militant roar across its tenacious body.
The Glasgow quartet’s sixth studio album among numerous singles, EPs, and compilations, Battle Scars & Broken Hearts sets out its agenda straight away with Do it Now. An opening scuzzy chord opens the gateway to a surge of rapacious riffs and punchy rhythms through which the distinctive lead vocals of drummer Peter McCartney gravelly growl. A delicious hook adds its bait from within the roar too, reinforcing the track’s instinctive punk ‘n’ roll contagion with addition inciting traits.
From one great track to another as For Life strolls in next upon the swinging beats of McCartney, the guitars of Tam Bowman and Fred Stevenson uniting in a calmer but no less boisterous invitation. As vocal chords quickly join in with McCartney’s, hips are bound in the groove of Stevie Goldsack’s bass, its grumble a flirtatious tease within the chest beating declaration of the track before being a similarly compelling lure within the drama clad, politically scathing Politician. Bowman again weaves ear grabbing melody lined hooks as Stevenson’s riffs crawl over the senses, they and the rhythmic prowess of Goldsack and McCartney gaining in aggression and adrenaline as the song hits its finale.
Through the more controlled yet predacious growl and narrative of the UK Subs-esque Guilty and the brief instrumental shuffle of Tonight, variety and further pleasure consumes ears, both tracks anthemic in their keenly individual ways though not as imposingly as 4pm On Tour (4pm crew pt4). The fourth instalment of the band’s rebel rousing, spirit sparking anthem, it swiftly declares there is no point trying to resist its instinctive persuasion to roar your head off and physically stomp especially through its virulent chorus; the track leaving the body and heart elevated in a way only 4 Past Midnight can.
The sultry melodic hues of Bowman’s guitar immediately ignite next up Hope, Fear, Pain, Love, Desire if not lingering around long enough when seducing ears across its contagiously muscular canter for personal tastes while Survive just blisters the senses with its energy and rapacious tone. Though neither quite hits the levels of songs before them each brings hooks and invention which resourcefully leaves a smile on lips before being fully eclipsed by the chest beating might of Let’s Go. For any band, punk or not, wanting to learn about creating organic but purposeful anthems sure to whip up the hearts of their fans, this fevered soundtrack to any uprising has it all; 4 Past Midnight continuing to deliver such incitements album after album at times almost song after song.
Its bold corralling of emotions and spirit is followed by the rough and ready insight and equally tone of Alone, where a blend of old school and modern street punk with a whiff of hardcore for good creative measure is unleashed, and in turn by the Oi infested I Hate My Life. The first of the two again hits the spot without inflaming it leaving that to its ravenous successor and the magnificent Day After Day within which Goldsack’s bass brews up a primal almost carnal grizzle in its tone and virulence. The goodness does not stop there as Bowman takes the imagination into a melodic metal nurtured detour before things get salaciously punk again.
Accompanied by the piano elegance of someone simply called Vivian, McCartney shows his melodic vocal side to surprise and enthral as Whithered Roses next serenades. Written by the band with Clare Bowen, it is a magnetic beckoning subsequently leading into the waiting jaws of the track with the bass again finding a bestial hue to its growl as hooks sink deep within the passions as McCartney is back to his sandy throated best with matching rhythmic dexterity. The track is superb, rock ‘n’ roll to whole heartedly give energy and zeal to.
The album is completed by firstly The Reason, a song hinting at pop punk instincts whilst roaring with a flavoursome mix of rock, and lastly through the gnarly and seriously catchy blaze of Can Anyone Hear Me; a plaintive call which grabs attention on every level. Together they provide a grand finale to another mouth-watering and increasingly thrilling encounter from 4 Past Midnight.
It is hard to pick the best album from the band, though there is no doubting that they are only increasing their impressive reputation as not only Scotland’s best punk band but one of the UK’s most essential propositions with each release, but for sure Battle Scars & Broken Hearts is right to the fore of their biggest punk triumphs to date
Battle Scars & Broken Hearts released through Hedgerow Records (UK) on Vinyl and on CD via the band, Combat Rock Records (France), and Bosstuneage Records (UK),with its digital store @ https://4pastmidnight.bandcamp.com/
http://www.4pastmidnight.co.uk/ https://www.facebook.com/4-Past-Midnight-215468135159655/ https://twitter.com/4pastmidnight
Pete RingMaster 26/07/2017
Copyright RingMaster: MyFreeCopyright
The excellent Little White Lie romances the senses with its multi-vocal union and warm textures next, all fuelled by the wilful and headstrong energy and sound expected of the band while its successor, Working For Wankers, has vocal chords at full volume in unity with its sentiment and defiance. Blending explosive and calm pastures, choppy riffs and melodic teasing leading to ferocious expulsions, the song has ears and appetite hooked within seconds, success equally found by the snarling Fat Kid with its carnal metallic riffs and toxic grooves.
There is no moment to calm down either as the belligerent punk rock of Stop Looking At Your Phone roars in ears, its antagonistic charge and dispute irresistible. It is a wall of sound and protestation, a torrent of violent riffs and equally uncompromising rhythms driven by the vocal antipathy of Spunk and the band. At barely a breath over a minute in length, the song is like being given the juiciest steak and only allowed one bite before it is whipped away, but what a mouthful it is.
Next up Purple Pride offers a melodic core not too far removed from its predecessor’s and indeed the track lacks the same incendiary spark but still has pleasure and appetite greedy with its raw punk ‘n’ roll belligerence while the bubbly but sonically raw assault of Human Zoo straight, also just missing out on the heights of earlier songs, is still nothing less than fiercely enjoyable with its unpredictable nuances and twists.
I Hate Art romps in next, its raucous hook littered confrontation assaulting and exciting like a fusion of The Sonics and Eddie and The Hot Rods and quickly in control of hips and feet whilst stirring up a litter of trouble before Satan Is Her Name stalks ears and imagination with the same trashy deviancy and demonic wantonness as bound in its centre of attention. Fair to say floorboards bounce when the song is around, its infectiousness enslaving and instantly matched by that uncaged by the corrosive sixties pop bawdiness of In Love With You complete with eagerly chopping riffs and fab four inspired howls.
It is a storming entrance into the album which is matched by its title track straight after. Mixing strains of garage and hard rock into its seventies punk toned defiance, the song as the first, has feet and voice involved in no time, a quality all tracks present with unwavering success as shown by the outstanding XR3. This is a track all certain car owners are obliged to blast out whilst on the road. It is a web of gripping grooves and emotions arousing vocals and simply another best friend in waiting within the release. Within the first four words of its chorus, vocal participation is a given, a quality which is repeated throughout Shit Generation as shown by DNA Failure and after that Send The Boys Round. The first of the two stomps in on another virulent chorus built on band chants; that same infectiousness infesting verse and the tenacious song’s cantankerous punk ‘n’ roll confrontation whilst the second uncages even thicker aggressive sinews to sculpt a heavy rock spawned challenge.
A potent start to the album is further ignited by the following She’s My Rock ‘N’ Roll and its thrilling tempting. An alluring rhythmic enticing sparks a rockabilly bred grooving flirted with by spicy harmonica, they in turn kick-starting a heavy anthemic canter of contagious rhythms and incendiary sonic enterprise led by the ever magnetic tones of Stine. The track is glorious, punk rock at its tenacious and riotous best, and again as old school as it is imposingly new. The album’s first major pinnacle is backed, if not quite matched, by On The Road Again, a swiftly engaging and infectious stomp which has ears, feet, and appetite locked in within a handful of chords and resourceful seconds. There are no big surprises within song and arguably Funland in general, yet they only provide a nonstop and fully satisfying stomp to get eagerly involved in.