Review: Disgraceland ‘Penguins Can Fly’ EP
So, it’s February; the million days of January have finally passed, dragging on almost as long as the endless rain that is currently drenching the UK, prolonging the post-Christmas malaise.
The kids are back at school long enough for it to be bloody half term already and are bored of all the shiny babbles they received from a fat man with a brimming sack, who seems to be one of the few notable figures not in the [redacted] files. New Year, same old shite you might say.
Something coming out of the dark onto the review slate to brighten the days is the latest EP from Devon-based punk/rockabilly misfits Disgraceland. Released with little fanfare, the four-track Molotov cocktail represents some of the most ambitious and well-rounded material from the three-piece to date.
Formerly rising from the ashes of Grifter and recruiting ex-Drivechain/Fatty Chan bass player Chris Glew to join Ollie (vocals/guitar) and drummer Foz, the trio have been not so quietly hammering out tunes that skewer the system with sardonic humour (and sometimes flat-out vitriol) regularly since 2018. As I write this, the sad news has dropped that Chris has parted ways with the band after eight years, but this EP serves as a lasting legacy of what he brought to the table.
This latest collection of tunes, Penguins Can Fly, represents something of a sonic upgrade. They have always prided themselves on an old-school approach to rock and roll, dating back to previous incarnations – after all, Grifter had an EP literally titled The Simplicity of the Riff Is Key. The idea of three chords and the truth rings loudly and belligerently through this sixteen-minute white-knuckle ride.
Never shy of offering acerbic commentary on the world in the past – 2023’s Tweed took aim at society with the precision of a shotgun – The Pig’s Ear kicks things off with a punk-infused boogie that owes much to the ‘70s crash of The Specials and The Stooges, updated with some Reverend Horton Heat and The Bronx. The rockabilly, skank-inducing chugs and full-throated hooligan choir sing-along of the chorus is as catchy as a measles outbreak at a pro-life march. Speaking of which… the subject matter of the lyrics is as gleefully irreverent and satirical as ever, as Ollie – who delivers some of his finest vocal work for the band yet – questions events surrounding Pennsylvania on 13th July 2024.
Musically, the band are at their most ambitious on this release. Having holed up and demoed the EP at Foz’s house, refining and enhancing the songs to within an inch of their lives before they entered PMC Studios under Andrew ‘Doc’ Collins’watchful eye, there is a depth and a degree of musical sophistication that was not as obvious in their other releases. Everything sounds loud and vibrant with layers of melody running throughout, allowing each nuance to shine.
Such is their confidence, they can turn up, rock your world and disappear into the night before you know what hit you…
This enables the band to pour every drop of passion into a short space, and there is a lot going on here. As the snare shots of the first track fade, the feedback snarls and the bass and drums combine with a bounce as they charge into Kim. An ode to one of the greatest powerhouse women in rock n roll, Sonic Youth’s Kim Gordon. This angular, heads-down mini anthem is defined by a huge clattering chorus that’ll stay running around your head long after the EP has stopped. Featuring a Dead Kennedy’s like verse, the build and release almost has you wanting to shout ‘Oi’ at the end of each bar, before the sugar rush of the main hook and dazzling solo takes hold.
The New Jive address the struggles of mental health with a swing and a doo-wop toe-tapping rhythm. Harking back to a feel that owes a debt to the likes of The Clash with its ska infusion and towering chorus, it feels very reminiscent of safety pins, tartan trousers and, most importantly, hope. It marks something of a departure from their usual growling, frenetic energy as it drips with less cynicism and anger, making it sound all the fresher for it.
With that break from regular programming over, Lurch – penned in the death rattle of the Conservative administration – takes aim at the incompetence running the UK, conceding that the current ruling body is not any better, but better than the looming Temu MAGA tribute act plying its wares. The low rumble of the bass and patter of the drums lend the track a London’s Calling feel as they crank the tension. When the track explodes after the lines, ’scumbags, criminals, liars, and cheats’, the band gleefully smash into a chorus that has a Thin Lizzy-esque lead and decidedly old school rock and roll vibe.
The creeping notes on A Gentleman of Impeccable Character help build the story they are telling. The song is a true tale of an attempted murder that took place 50 yards from Ollie’s front door, where the accused got a reduced sentence after his association with the judge saw him described as ‘a man of impeccable character’. Very much a track that works thanks to the dynamics, each line is delivered in a mixture of amazement and disgust before the explosive chorus of ‘Bring the hammer down’.
The creeping notes on A Gentleman of Impeccable Character help build the tale they are conveying. It tells a true story of an attempted murder that took place 50 yards from Ollie’s front door, where the accused got a reduced sentence after his association with the judge saw him described as ‘a man of impeccable character’. The dynamics make it work – each line is delivered in a mixture of amazement and disgust before the explosive chorus of ‘Bring the hammer down’.
Disgraceland have never not been fun in their existence. All three members have a pedigree that exceeds the attention the band currently receives. Their live shows are a raucous, in-your-face celebration of rock music without pretension, ego massaging, or the need for validation. Such is their confidence, they can turn up, rock your world and disappear into the night before you know what hit you. However, on Penguins Can Fly, they have tipped their hand to being far more than a simple way to get your rocks off.
Label: Independent
Band Links: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Mark Hunt-Bryden
