THE DOMESTICS – East Anglian Hardcore LP – review (Kibou/TNS/Cimex/Kangaroo)

domestic finds time for domestics

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It’s been six years since THE DOMESTICS last full length (2017’s Cherry Blossom Life) though they’ve kept their hand in with various splits and compilation tracks, most notably the fine No Life split with PIZZATRAMP.

With fourteen punishing tracks in under fifteen minutes, there’s no denying this new album is brimming with razor-sharp, fat-free hardcore for those possessed of a short attention span. Brief they may be, but room is made for a mid-paced bridge here, a mangled guitar solo there, a blatant snare drum obsession everywhere. Konichiwa Fuckers! is the closest they get to an instrumental, ‘cos Domestic can’t stop himself from sticking in a 1234!, an oof! and a yaaargh! Oh, James. The vocals occasionally take on a throatier, Rush Hour Of The Gods-era DOOM gargle, as on the incredible Falling Apart, with it’s dissonant intro, hyper-snare assault and rudimentary solo. See also the brutally efficient (and brilliantly titled) A Filthy Fucking Business. Did someone say snare? This album is riddled with insane levels of snappy action, most notably on Purchases‘ epic two minutes of revved guitar and varied chord changes. Dirty, raw hardcore might be the main course – exemplified by the 43-second cracker Die Like A Dog – with many a gang-shout chorus sprinkled in, but this album’s true highlight is the steadily marching HATE! HATE! HATE! The band slow it down to a troubling chant, replete with moody intensity, repetitive guitar riff, cool bassline and James’ accented roar. The lyrics speak of the paradox of hatred crushing your soul, while recognizing the inescapability of such emotions (“Well you let it be your king, and now it’s poisoned everything… maybe take a minute just to think about the people you hate“). Not likely to win any feel-good awards, even some canny song titles – Haunted Victorian Pencil (confected Victorian caricature Jacob Rees-Mogg), You Old Romantic (toxic masculinity and domestic violence), and Fuck Your Birthday (“experience is meaningless if you learn nothing“) – struggle to hide the negativity and bitterness that seeps from every pore of this album.

The bass buzzes like an angry wasp, the guitars are revved, the snare verges on overwhelming, vocals a murderous roar. Twelve years in, with a grab-bag of early 80’s international hardcore influences (Japan, Sweden, USA), picking up the milenial resurgence along the way, they’ve honed their own ferocious spitball of sound. My only nitpick would be that, in moving away from their original OUT COLD-meets-DISORDER style into snappy ADHD-core, they inch closer to the sound of James’ TOKYO LUNGS Soul Music than their own last album. Still, this is breathless, brutalising fun. Comes with a natty booklet, containing lyrics, collage art and chord progressions.

released on 1st June by Kibou Records, TNS Records, Cimex Records and Kangaroo Records, pre-order available now

https://kibourecords.bigcartel.com/

DOMESTICATED Vol 1 – James Domestic (Earth Island Books)

poetry ‘n stuff

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So, give me wings
that I may slip my tether
cast off this smalltown plumage
re-evaluate how the world is
just give me wings
please, just give me wings

from Wings

JAMES DOMESTIC is in multiple raucous punk bands, an idiosyncratic solo artist, poet, and DJ. Domesticated Vol 1 is solid proof of James’ compulsion to follow through on every creative idea he has.

2022’s exemplary split poetry book Cruor (alongside HAEST‘s Dave Cullern), demonstrated that Domestic knows his way around earthy, relatable prose. The 33 poems in this slim volume often lean on the pithy, witty style of a JOHN COOPER CLARKE, with a smidge of ATTILA righteousness. A more congenial read, there is still light and shade, as mental health struggles (Buck Up, Kid), self-doubt (Tickets, Please!, Joker), ageing (I used To Be Dorian Gray), wanderlust (Wings) and a thinly-veiled jab at Wetherspoons (Wayne Kerr’s Pubs), rub shoulders with the absurd (Mug, Three Birds, I Am A Worm) and the downright crass (The Pensioner Orgy). Domestic’s style is honed to perfection on the four vivid stanzas that make up Screen‘s summation of head-frazzling smartphone addiction (pixelate where I’m going, pixelate where I’ve been, screen…).

Photos of band life and some ill-advised drawings – particularly when you consider Domestic is an accomplished artist – lends Vol 1 the air of a repository for random stuff. While he may admit as much in the preface, these inclusions distract from an otherwise entertaining little poetry book. Sometimes, less is more.

out now

https://www.earthislandbooks.com/product-page/domesticated-by-james-domestic

PERSONAL PUNK 2022 TOP TEN

I know, I know…

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You’re probably sick of seeing these things by now, so I’ll keep it short. This is the top ten releases received for review on the Personal Punk blog in the year 2022. It was a difficult choice as so much great stuff came through, but what pleases me most is the diversity of styles. As usual, I’ve brutally scythed it down to releases featuring at least two songs. Otherwise, MIDLAND RAILWAY’s She Loves Ted Bundy would be No. 1. Anyway, 2023 I’m ready for ya. Well, it’s already here, but you get my drift.

10 – FLESH CREEP – Bullets/King Of The Hill cassette

September saw Birmingham’s FLESH CREEP burst out of the cage with the slavering two-track salvo of harsh, savage screamo and metallic harcore. I wasn’t prepared for how loud and battering this was and it lifted me straight off my feet. Fucking brutal, enabled by a clanging production, perfectly fitting the style.

review

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9 – GODDAMNIT – All This Time Is Yours Now LP

In December, Philadelphia’s GODDAMNIT turned my head with this heart-felt punk package, brimming with blue collar anthems, a la HOT WATER MUSIC, and lighter-waving ballads, all topped off with some 90’s PROMISE RING emo rock touches. It was a toss up between this and October’s Here’s To Feeling Good All The Time by KID YOU NOT, released on the same label. A strong grower.

review

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8 – THE SEWER CATS – Cute Aggression LP

TNS Records had a good year, but I adored the combination of gum-chewing, garage-punk fuck you’s and more considered emotional moments of THE SEWER CATS Cute Aggression. With some of the savviest lyrics in modern punk rock, all I can say is, we need more of this shit.

review

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7 – ANIMAL SHITHOUSE – House Of Shit EP

A jaw-dropping, six minute epic was the centrepiece of an incredible debut by this youthful Tunbridge Wells bunch. All of this seethe-punk masterpiece is astonishing, but Words Are Just That‘s melancholy THE MOB-esque dirge, voiced by KAE TEMPEST’S Nick Blinko obsessed little brother, is truly stunning. It is surely a crime that this EP never saw a physical release.

review

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6 – ATTESTOR/ZERO AGAIN – The A-Z of Ignorance, Indifference And Apathy EP

Good to see UK hardcore nailing down the perfect split EP. This one pipped the TOKYO LUNGS/FERAL STATE EP to the post by dint of being perfectly tight, with zero fat on the bone. ÄTTESTOR kill it with 3 songs in 3 minutes of razor-edge ‘adhd-beat’. ZERO AGAIN slightly crusty take on hardcore brings to mind a metallic RUDIMENTARY PENI as covered by GRAND COLLAPSE or ENDLESS GRINNING SKULLS. Both bands firing on all cylinders.

review

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5 – TROPHY JUMP – Feels album

Not only did TROPHY JUMP deliver on catchiness, they also managed to throw in a myriad different influences. Warm brass, emo-rock, hints of prog and guitar effects, all keep company with the expected skate punk speed and anthemic choruses. Top tier indeed.

review

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4 – SHRUG DEALER – Infested EP

New York’s SHRUG DEALER were new to me but their 8-track Infested EP got me all hot under the collar. PROPAGANDHI may be the point, but these Canuck’s keep it fast, tight and addictive, throwing in a ton of references, from PROP’s own lyrics, to REFUSED and THE RAMONES. With many musical ideas fighting for space, they balanced perfectly on the edge of technical hardcore and skate punk, with a canny sense of humour.

review

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3 – JAMES DOMESTIC – Carrion Repeating LP

JAMES DOMESTIC’s debut solo LP has been a repeat player since its release in April. OK, so Giblets gets on my nerves these days, but the rest is an eccentric’s playroom of Stiff Record wonky pop, garage mania and patient, insistent experimentation, enhanced by a knowledge of dub reggae and room to breathe. A surprise keeper.

review

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2 – GRASPING AT PIECES – We Are GAP Not JFA EP

I said “A gleeful skip across the glory years of US hardcore and skate-punk, with a gimlet eye on their local hardcore history, this thing is an unalloyed joy.” That’ll do. Youthful, exuberant, classic US hardcore with zero pretensions. Belligerent teens, playing belligerent songs.

review

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1 – THE BATTERY FARM – FLIES LP

They did it again. The most innovative punk album to lurch through the Personal Punk doorway this year, FLIES had a killer high-concept of 21st century toxicity, mental health and existential dread, linked by themes of stasis and decay. This band is a squirming bag of restless creativity, and every groove of FLIES is brimming with jittery post-punk, overwhelming melancholy and good ol’ pulse-pounding anger. A modern classic with not a foot put wrong. Need a second mortgage to afford the upcoming vinyl release though…

review

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DOMESTIC CURSE – The Five Curses mini LP – a review

gobby geezer vs electro-tinkering

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Ah, the ubiquitous JAMES DOMESTIC, putting the rest of us losers to shame with his superhuman output. For DOMESTIC CURSE, he inhabits similar vocal space occupied on April’s Carrion Repeating album, one John Hewson, aka CURSE (The Five String Dropout Band/The Jabberwocky Prayers), providing a backdrop of repetitive, electronic shenanigans.

With five tracks in 21 minutes, these are not hardcore quickies. Pass The Time‘s vaguely industrial beats and electronic repetition, give James the chance to whinge about how he never has enough time, despite churning out content on a seemingly weekly basis. Geezer vocals, akin to an angry Phil Daniels on Parklife, badger lazy types to ‘pass the time‘ ‘cos y’know, he’s got loads to do. If one of these ‘curses’ is a hit, a song that might reach out beyond the DIY scene, it’s Marching On. Squelching, electronic sounds, minimal, clicking/clacking beats, an undercurrent of echoey dub, this thing has a simple, repetitive synth hook and a snaggy chorus so beloved of the 90’s indie-dance scene. James anchors it with his conversational delivery, and a barely-concealed hint of frustration. If Marching On is the hit, Anti-fascist Default is the electro-punk banger, setting an explosive, anti-fascist rant to speedy, minimal, drum and bass mania: “We wouldn’t need Antifa, if there wasn’t a need to fight your sort, should have an anti-fascist default“!

There’s always a danger with electronic and/or dance music, that it’ll lose me at some point and Celebrate Your Youth does just that. Lyrically on point with its midlife crisis jibes, the battering drums overpower all, jarring with some of the vocal beats. We end on a high with Annihilate Yourself, a busy mélange of sharp jabbing sounds, constant, factory-like background noise lending a powerful industrial air. James’ delivery is darkly spoken, with angry outbursts about what so many turn to in order to escape their daily drudgery – “You’ve got a grudge against yourself! No future for you“!

After so much material, I’m totally won over to the Domestic style, and Hewson keeps his tinkering to a minimum, providing a suitably stark, electro-punk frisson to James’ vocal capers. Check it out. For fans of Carrion Repeating, the PI$$ER remix and KNIFECLUB’s Club Classics.

Released by Kibou Records (UK), Charlie’s Big Ray Gun (UK), Cimex Records (Sweden), Guerilla Vinyl (France) and Autonomonster Records (UK) on 30th November 2022, on 12″ vinyl.

https://kibourecords.bigcartel.com/product/domestic-curse-the-five-curses-12-mini-lp
https://www.cbrgrecords.co.uk/
https://cimexrecords.com/Releases/
https://autonomonsterrecords.bigcartel.com/

CRUOR – Dave Cullern & James Domestic poetry collection (Kibou/Fuck Ballads)

punk poetry comes of age

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Dave Cullern (HAEST/THE DEAD ANYWAYS) and James Domestic (DOMESTICS/PI$$ER) are known for eye-bulgingly angry outbursts with their respective hardcore bands. Sharing this 100 page book of poetry, they attempt to bring their worldviews to life through the potentially flat-eyed, unflinching medium of words on a page.

Dave Cullern

Dave Cullern clearly understands the disciplines and rhythms required for poetry to work. Much of the pieces here have the melancholy air of resigned existentialism, though not without the occasional barb of defiance. On the relatable Homesick, he flits through a disappeared childhood. Free of danger, exploration and, inevitably, growth, lucid memories of “hidden porn in the woods” and “gum to drown out old cigarettes“, among other fading rites of passage, end with the poignant lines:

“there’s no sex
there’s no hate
there’s no fire
there’s no pain
there’s no need for excuses
when nothing’s left out
in the rain“

Powerful stuff, and Cullern’s work is brimming with such philosophical musings. Take this stanza from the beautifully austere Confident And Heedless:

“we long for the touch
of old jilted lovers
who wronged us early
in our slim biographies
because fortune favours nothing
and beauty rots in the sun.”

An occasional humorous interlude lightens the mood. The cheeky Yesterday’s Heroes, wherein the flaws of various rock stars, artists and writers are inventoried, concludes with a witheringly prosaic put-down of Bono. It is, however, the use of abstraction to grapple with his subject matter where the real power lies. As Research Round Earth! flows through you, it’s pointed take on the proliferation of fake facts and conspiracies is rendered more impactful through subtlety. Ghosts In The Rearview is a particularly devastating treatise on the fleeting nature of our lives, while We Jam Econo’s love letter to the DIY punk scene should be mandatory reading for any jaded scenester. Cullern concludes with the vivid Watching The English, a long, heartbreakingly bleak piece that could effortlessly slot into any collection of classic poetry.

James Domestic

James Domestic also follows standard poetic patterns and tropes. The blunt earthiness of his lyrics are present, but poetry allows him to explore sensitivities and a deeper self-analysis. Less Dylan Thomas, more Attila The Stockbroker, Domestics’ opening gambit is the brilliantly on-point Books, in which he reveals the dichotomy of wanting to read, certain in the inevitability of obsession and a subsequent retreat from the world. I’m sure the irony of the same argument held against social media isn’t lost on this poet. “Starved to death but well read” indeed. Just Talk Loud is the perfect example of Domestics’ ranting poet style, as he lambasts the racist, ignorant sun-worshippers who take their base holiday habits to foreign climes. Admitting that “the cognitive dissonance leaves me at a loss“, he concludes: “Just talk loud if they can’t understand ya, The great British plague on España“. He returns to the imposter syndrome touched on in 2020’s THE DOMESTICS/PIZZATRAMP No Life split (Imposter), and the bizarre yet touching Hastings ties the titular town to Buddy Holly, childhood trauma and Germoline. Celebrity Chefs, and their suspiciously slim waistlines get the sharp end of his stick, The Wait gave me a belly laugh and This Is The Life, My Friend touched me deeply. Goodwill‘s diatribe on charity shops’ overpricing of vinyl turds is surely the final word on the topic, there’s a dark fairytale in The Fizzybum Tree and a somewhat sad, self-critical hymn (Human Schtick). Despite several humorous couplets, and perhaps revealingly, Domestic chooses to end on the nihilistic snot of Crouton.

Two differing styles, both rooted in a tradition of challenging societal norms. Two writers who understand the disciplines required to effectively imbue their respective voices into the medium of poetry. By turns elemental, poignant, melancholic and absurd, this book is rich with the mosaic of life. If, like me, you have a strained, oftentimes sniffy relationship with poetry, I urge you to add this to your meagre collection. It’s for real.

Ancient Domesticean Proverb
Not giving a fuck sounds cool and punk rock
Until someone doesn’t give a fuck about the things you
love
Then it’s not quite as good, is it?

James Domestic

released on 19th September 2022, click on the links below to order

https://fuckballads.bigcartel.com/

http://kibourecords.limitedrun.com/products/731527-dave-cullern-james-domestic-cruor-book-limited

TOKYO LUNGS/FERAL STATE – split 7″ EP (Kibou/Urinal Vinyl/Toxic Wotsit/No Time/Mass Prod.)

savage double-header

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Hyperactive duo James Domestic (THE DOMESTICS, BOTCHED TOE, PI$$ER, HAZARD PROFILE and, y’know…) and Simon Battery (CASUAL NAUSEA & THE DOMESTICS), make up the entirety of one-time side project TOKYO LUNGS.

DA LUNGS deliver eight brief tracks of snappy, raggedly produced hardcore. With song lengths from 30 seconds to just over a minute, it’s little wonder that they go from very to ultra on the speed spectrum. Only the snotty bleeaaurgh! of The Axeman provides a breather and, that they manage to write such short songs with verse, chorus and the occasional scuzzy guitar solo is nothing short of incredible. Have to admit, I heaved a weary sigh at the thought of yet another set of ‘stripped down hardcore’, but these rough n’ ready shots of UK thrash punk are great fun, all the better for their brevity. Highlight: the spritely Living On Crumbs.

Leicester’s aptly-named FERAL STATE feature members of CONFLICT, KITTIE SHITTER, BOTCHED TOE & BILE CASTER (this genre has all the best names). More considered than TOKYO LUNGS but only just, they play brutal thrash, rooted in d-beat and accentuated with a gnarly crust vocal. Think DOOM, circa Rush Hour Of The Gods, only with shorter songs. Upping the ante with some fastcore speed and forays into Scandinavian and Japanese influences, they offer up relentless, anxiety-inducing riffs. See Cause Of Death and Sent To Suffer for iron-clad proof, while on Sick, a Death Church-era RUDIMENTARY PENI vibe creeps in. They are at their best when they lean on the throttle, as on the phenomenal Keep Your God and the aforementioned Sent To Suffer. Five tracks of ferocious noise, with a welcome return to sore-throat vocals. The only negative is a godawful – and thankfully almost inaudible – bass sound. Pulverizing stuff.

released 9th September 2022, a multi-label effort from Kibou (UK), Mass Prod. (France), No Time (USA), Toxic Wotsit (UK) and Urinal Vinyl (UK)

JAMES DOMESTIC – Holiday single & GMP MSK remix (Kibou)

punk legend x punk chameleon

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I discussed Holiday a little in my take on April’s Carrion Repeating album, but DOMESTIC has seen fit to release it as a single now, presumably to capitalise on the Summer heatwave. The more interesting aspect of this release though, is the dub remix treatment given by GMP MSK. The alter ego of one Dave Ellesmere, renowned drummer of DISCHARGE (on the Why EP), FLUX OF PINK INDIANS, THE INSANE and many others, he’s been tinkering around in the field of electronic music for 20 years. Who knew?

The regular version of Holiday has early MADNESS b-side written all over it. A steady, insistent drum beat, reggae bass line, keyboard nips and occasional jagged guitar form the backdrop to James’ wry, BAXTER DURY-like observations on tedious holiday habits. The addition of Clare Gillett’s soulful, slightly gravelly vocals is a masterstroke, utilised even more effectively in the remix.

GMP MSK gives Holiday the full-throated dub treatment, a la KING TUBBY protoge SCIENTIST. At nearly 2 minutes longer, he slows the tempo and accentuates the bass for a more traditional dub reggae feel. All the elements you would expect are here – echo, reverb, tempo tinkering, isolation, accentuation – balanced adroitly between busyness and breathing space. The use of echo and heightened prominence results in James’ vocal taking on a darkly judgmental air, Clare’s effectively extended to an eerie wail.

GMP MSK has held on to the playful tone of the original, layering it with darker brush strokes to emerge as a more austere proposition. Original or remix? Make your choice.

Released by Kibou Records on 26th August 2022 so out now

JAMES DOMESTIC – Carrion Repeating LP (Kibou/TNS/Amok)

eccentric outing for serial multi-tasker

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Known chiefly for his involvement in a string of hardcore, d-beat and garage DIY punk bands, JAMES DOMESTIC turns to his solo project to kick back and indulge his more experimental leanings.

From the off, it’s clear how important space is. James utilises his knowledge of dub reggae to allow these tracks room to breathe, this patient use of space reaching its pinnacle on the delightfully languid Weekend Carbs. A lazy, Sunday afternoon workout, reminiscent of a meandering MADNESS b-side, an IAN DURY-esque vocal weaving its way throughout. The songs featuring the vocals of Clare Gillett also benefit from this room to breathe. Their use is minimal but crucial, particularly on a pointed observation on human behaviour such as Holiday. Clare’s soothing voice accompanies James’ casual intonations over a steady beat, reggae bass, keyboard nips and occasional cutting guitar. Push On Through‘s (reviewed here) stark repetition captures the madness of bleary-eyed, late night drives before jerking you awake with needle-points of loud guitar. Clare’s biggest showing though, is on final track Never Enough. She can’t help but get all soulful on this catchy piece of indie-funk. Incidentally, this song, along with procrastination hymn Mañana (reviewed here), sees James berate himself for not getting shit done. Incredible, considering his prodigious output.

Before all that, Itchy Itchy opens the album in fine style. A cheeky spoken-word piece set to jerky, minimalist dance-pop, this effective stage-setter is powered by a persistent drum beat, stabs of guitar and catchy keys. Elsewhere, things get a little outré on Casual Vulture and Giblets. The former’s all electronic beats, bleeps, disorientating keyboards and minimal bursts of guitar, while the latter has echoey jabs of noise and a weird obsession with the word ‘giblets’. Bean Counter is the closest you’ll get to anything resembling James’ more orthodox bands but it ain’t that close. Chugging garage rock with a spoken/shouted vocal and minimal keys, accountants will love it – “You’re just a cunt who can count“! Faze Out (reviewed here) isn’t too far behind, a vibrant, fuzzed-out garage stomper with wonky keyboards. There’s more on offer across this album but you need some surprises, right? Let’s just say, steel drums and a twisted children’s TV theme-alike (Is That You?) are just some of the other treats scattered throughout these grooves.

Eccentricity abounds on Carrion Repeating, as James flits between languorous spoken word, frustrated dalek and angry raver. The music is gleefuly idiosyncratic, with an eye for hooks amid playful instrumentation. A left-field pop sensibility, akin to the Stiff Records sounds of the late 70’s, wedded to a jaded, contemporary worldview pervades throughout as James plays around with space, echo, dub and minimalism. The end result is an eccentric yet accessible quirk-pop ride, a raised eyebrow around every corner. Experimentation, not alienation.

Released 22nd April 2022 on vinyl/digital. Try ordering here

BOTCHED TOE – A False Glimmer Of Hope LP (Kibou/Toxic Wotsit/Amok/No Time/Pike)

distressingly bleak uk punk

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BOTCHED TOE are made up of one part DOMESTICS/PI$$ER, two parts HAEST/MATHILDA’S SCOUNDRELS and one part KITTIE SHITTER/FERAL STATE, though the experimental leanings of PI$$ER and the folk-punk of MS are nowhere to be found. Instead, they attempt to cheer us up with a punishingly negative soundtrack to the current misery of pandemic and life under Tory rule. Simple, memorable riffs, rumbling bass, pounding drums, vocals a primitive roar and the echo effect from PI$$ER along for a few laps. Lyrics are kept to a minimum, repeated bellows of rage to fit the overall ‘less is more’ concept.

High points include Third World’s formidable breakdown & spoken section, the catchy riff/single string solo of Government Schtick that fair schticks in your head and Botched Toe’s lightening-quick ‘fuck you’ guitar mangle. Overall highlight? Cream‘s slow, sinister rock has one of the best guitar chugs heard in a while, before opening this shit up for catharsis’ sake. The album ends on a high with a cover of BONEY M‘s One Way Ticket. Not really. It does, however, share the title and for your money you get a rumbling bass and drums intro, shouty chorus and another crucial spoken bit. One way ticket to your graaaave indeed. Ten tracks in 18 minutes so it doesn’t hang about, but then this isn’t cheery stuff. The straightforward riffs, loose drumming and vocal delivery give it a semi-improvisational vibe. Live, you could easily imagine the band bursting into a jam and just going with it, James’ primal roar freestyling over the top.

A false glimmer of hope? You got that right, BOTCHED TOE. With a sound like SORE THROAT playing on POLICE BASTARD‘s gear at a 90’s all-dayer, this is the desperate sound of utter despair, a punishing clamor of frustration for a dumbed down, miserable existence in modern Britain. Bruising.

Multi-label release with Kibou and Toxic Wotsit (UK), Amok (Germany), No Time (USA) and Pike (Sweden). Pre-order now for 11th February 2022 release on standard black or limited pink vinyl. Check it out here

JAMES DOMESTIC – ‘Mañana’ (streaming) Kibou Records

procrastinating JD

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He’s back, and with a highly dubious lyrical conceit. Mañana? Such is the prodigious work ethic of JAMES DOMESTIC, one imagines the only time he procrastinates is when he’s asleep.

Nevertheless, he treats us to a lazily-paced 4 minute garage-pop song about just that. A slice-of-life borrowing from later-period MADNESS, where cheeky playfulness is imbued with jaded introspection. By the end, James’ irritation at his apparent idling – despite earlier promising that he will ‘smash through that list, ‘cos it’s been taking the piss‘ – sees him sounding like a frustrated dalek.

JD has an unquestionably effective vocal style, a salt-of-the-earth BAXTER DURY (who, in turn, is heavily indebted to his father Ian) with clear enunciation, heavy on the accent. The addition of wonky carnival saxophone – courtesy of PI$$ER‘s Eddie O’Toole – and Clare Gillett’s soulful vocal, add much to this catchy slice of pop eccentricity. The bio mentions all kinds of luminaries, but MADNESS and JONA LEWIE definitely hold strong for Mañana.

The vinyl version of the album, Carrion Repeating, becomes available for pre-order on 14th January 2022 and, on the strength of the teased tracks so far – reviewed here and here, promises to be eclecticism personified. Here’s the links.

https://kibourecords.bigcartel.com/products?search=carrion+repeating&search-submit=

https://jamesdomestic.com/store

https://kibourecords.bandcamp.com/album/carrion-repeating-pre-order