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Hear the notorious London punk band's latest obscenity. Following their first two singles and 2014 LP, this record offers four rude and crude tunes. Emerging from the musical manifestation of a bad acid trip, songs kick in with militaristic drumming, underpinning mean riffs and heart-pumping bass, overlaid with the vulgar vocal thunderings of an irritable goblin woman. Distinct themes include: a loving ode to unsuccessful murderer and feminist outlier of the 1970s Valerie Solanas; a poisonous take-down of slick dicks everywhere; a disgusting and treasonous anti-monarchic polemic; and an erotic re-imagining of England's humdrum motorway service stations. Now doomed to (temporary, we hope) geographical separation, this record will be the last squirt of noises from these sourpuss primitives for the known future.
Gloriously cloaked in a hot red fold-out cover by singer KY Ellie depicting the Duke of Edinburgh at the point of climax, as disease-like man-milk splatters and creeps over barely-disguised phalluses and a smoking shrimp. Also includes a poster of distorted children of the night from the ugly brain of Throb bassist Ash Tray.
Our take: Third 7" from this London punk band, and based on the way that members' addresses seem to be changing as of late, I'm guessing it's probably going to be their last missive for some time. I think it's safe to say that if you prefer the grungier, nastier, and meaner sound of Good Throb's first two 7"s over the more pop-inflected, almost garage rock-type sound of their LP then you will be well pleased with this latest offering. This time around rather than the bass and guitar banding together in an infectious forward rush, they seem to fight against each other, always at dissonant intervals and with criss-crossing rhythms. As a result, these four songs seem heavier and more chaotic than the songs on Fuck Off, and if you were paying attention to Ellie's lyrics on the previous records you know that she's more than capable of spitting out enough bile to keep up with the nastiest of noise the rest of the band bashes out. It's not, however, the stylized caricature of anger that you get on so many hardcore records, though... there's always a knowing nod and a bit of humor, as on the standout track "The Queen Sucks Nazi Cock." Basically, unless you were exclusively partial to the poppy songs like "Double White Denim," everything you loved about Good Throb remains intact on this final 7", and it's as confrontational and as densely packed with truly intriguing ideas as you'll find on a contemporary punk record. Highest possible recommendation.