And so roll on the unplugged punks. It’s been mentioned before on Punktastic that for some reason (one that nobody seems to be able to accurately point a finger at) the UK currently finds itself enamoured with acoustic punk rock. Whether it’s the penetratingly brutal lyrics of Tom Gabel, the folk stylings of Frank Turner, the country tinge of Kelly Kemp or the cheeky ska strummed by Chris Murray, for whatever reason our ears prick up when some old punk picks up an acoustic and starts singing (yes, singing not screaming) away. Latest case in point, this split 7ā from Kevin Seconds and Mike Scott.
If you caught former Phinius Gage man Mike Scott‘s turn-of-the-year split with Flav Giorgini (of Squirtgun fame) you’ll know what to expect of this record. Scott’s trademark bleak vision is contrasted by the chin-up feeling of Kevin Seconds. The two are unusual bedfellows but, as with the Giorgini/Scott release, that’s where this works. This is very much a case of two very distinctive musicians working together out of mutual respect rather than just because they sound similar.
Seconds’ half of the split offers up some seriously posi vibes as well as a sunshine dip in the pools of relaxed and easy-going calm. Like his previous releases it’s a fair few miles away from his time in 7 Seconds. āDisappearing Girlā comes across as deep-south tinted punk rock, whilst āSights and Snickersā is bouncy, upbeat and very reminiscent of Mike Park‘s solo work. At times this all sounds like The Explosion unplugged, at others like a stripped down to the bare minimum venture into gospel music.
By comparison, Scott is dejected, apathetic and purposefully lethargic. The doom and gloom that have punctured his previous solo output is as prominent as ever, but this time around there’s a definite sense of heartache. Don’t worry, Scott hasn’t gone all emo, rather the two tracks on offer here forgo the usual politics and band-life subject matter for something a little more heartfelt. Add to this a sound that comes across a little more beefy than normal, as well as probably being the best sounding songs in Scott’s catalogue, and it all makes for a more than agreeable few minutes.
Altogether it’s a more than remarkable submission, as good a yield as either artist has previously put out unaccompanied. At just shy of 10 minutes it’s all over in a bit of a flash, managing just about to whet the appetite rather than truly ram home its intent. If only the split had been album length. Still, these 9 plus minutes etched on vinyl prove to be well worth rooting out, particularly if you’re in the acoustic punk rock fan club.
Alex