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| THE SUBHUMANS
'The Day The Country Died' (Spiderleg SDL9) ****1/2 TO BURDEN the Subhumans with that decaying and decidedly unattractive label 'punk' could, for both the band and many others, prove to be a fatal mistake. But: If 'punk' is indeed what the Subhumans would profess to be and if 'punk' to You-Know-Who or anybody else) means in any way thrills, humour, sensitivity, humanity, surprises, individuality and some of the very best rock music ever made, then punk is well and truly alive . . .and living in Warminster. Correction: Make that thriving in Warminster. It's their constant quest for variety and a brazen unwillingness to conform with usual punk processes that makes the Subhumans so special. No lightning album releases here. Had they been any ordinary 1982 punk band, 'The Day The Country Died' would no doubt have been compulsively bunged out six months ago, hastily recorded, badly produced, shoddily packaged and horribly mediocre. But it wasn't and, consequently, it's magnificent. There are certain negative spots, however, like those constantly recurring mnentions of "the System", the self-depreciating, pointless "fucks" plus, of course, this excessive dwelling on a nightmare post-holocaust society. Trouble is, the Subhumans sound so proud, so plain bloody marvellous, that problems as minor as these simply don't matter: Just listen. With each track fusing stylishly into the next (no time to breathe!), our lust for invention and unashamed drama is fulfilled. The quite dazzling guitarwork of Bruce could be the key or, just as easily, it might be Dick's grating, screaming, wonderfully emotive voice. Perhaps Grant's evocative bass-lines are the secret, or maybe it's that disciplined powerhouse drumming of Trotsky's. There certainly is an air of Rock Grandeur about the whole thing (where Trot's Led Zeppelin leanings may well show their influence) but that's most definitely not a criticism. 'Subvert City', 'Dying World', 'No', 'Zyklon B Movie', 'No More Gigs' and the epic 'Black & White' all have the class and emotional power to appeal to everyone from Friday Rockshow headbangers to. . .who knows? The Subhumans are getting away with, and revelling in, songs about 'Mickey Mouse' and (horrors!) the sheer misery of being in love. They're also getting away with playing stunning guitar-solos, wearing strange trousers and taking time and immense care over everything they release. (Search out this record's sleeve for just one example.) The Subhumans continue to smash barriers, break rules and, in just one year, they've put out no less than three classic EPs. 'The Day The Country Died', is flawed enough (including a slight yet disconcerting reliance on basic thrash) to allow the follow-up to emerge as an ultimate LP; a bonafide 'indispensable' five-star masterpiece. The potential is here. WINSTON SMITH (SOUNDS) JANUARY 8TH 1983) |