This lot hail from the sunny climes of South Africa (or, if you’re attempting to pull off the accent, ‘Sith Ifrica’) and are currently residing on 20 Deck over here. I hadn’t heard much of them before this release, so I didn’t know what to really expect. It’s definitely a grower, requiring repeated listenings before the melodies can really get under your skin, but once they’re there, they aint going anywhere.
The air of dissatisfaction pervades the whole album, from opener ‘Johnny Walker’ which documents drinking yourself into oblivion to “take the pain away but only for so long” to “This Town“, a recognisable song about the shortcomings of living in a small town. The subject matter, as far as punk rock goes, is as old as the power chord itself, but the lilting horn section manages to compound the sense of cynicism and pain by augmenting the minor key melodies, creating a unique sound that’s got more than a touch of Sublime.
That’s not to say it’s all doom and gloom in the world of Leek. The voice of hope in ‘The Kids Are Alright’ is underpinned by a chunky riff that is gradually built up into a stomping street punk song that provides the idealism for the future which is so necessary in this day and age. ‘We’re Not Gonna Fight’ is strangely pertinent in the atmosphere of war that we currently inhabit. “We’re not gonna fight your money grabbing war” should be put on a banner and displayed worldwide – this shows the issues that Leek are dealing with are sadly going to be relevant at all times.
It’s obvious that Leek are somewhat pissed off with their own country. Songs concerning rape (“No Consent”), police corruption (“Protect And Serve”) and racism (erm…”Racist”) are all fuelled by a righteous indignation that is embodied by the sheer visceral intensity of their music. Guitars are thrashed and drums battered, with a passion that is conveyed perfectly through the socially conscious lyrics. This is the most interesting thing about ‘Roll the Dice’ – the sunny melodies and harmonies putting the sheen on a collection of songs which are concerned with the most vile of things. I like that, lulling the listener into a false sense of ska-tinged security, but belieing the true meanings to the tracks. Solid.
Ben