‘With Windmills Turning Wrong Directions’ should actually have been called ‘This Is To Anyone Who Ever Said We Sound Like No Doubt‘. From the opening 10 seconds, where vocalist Kelly Kemp shatters her vocal chords with the most piercing of screams, you just know this is a big ‘fuck you’ to anyone who has ever dismissed the Plymouth sextet as just another Orange County soundalike ska band. While ‘Your Life…’ was a record that hinted at a band looking to take a ska-based sound and throw it down a big cliff, their recent live shows added a heavy edge. This new record takes that heavy edge and gives it an anal probe. This is one surprisingly heavy record for just another ska band…
It’s also no surprise that Kelly fucked up her voice during the recording of this album. There’s not so much vocal melody as vocal torture, as you can almost feel the chords rip from her throat as she tosses it into another gut wrenching chorus. But it’s this emotion and feeling that makes this record the success it will ultimately be, and the band’s first full length so damn good. The differences from their debut EP are immense – gone are the catchy choruses and simple(r) guitar lines, and, dare I say it, in comes a more mature sound which is more aggressive and far, far heavier. It could have spectacularly backfired of course, because this won’t be everyone’s cup of tea. Whether or not it was intentional I don’t know, but any No Doubt comparison is now completely ridiculous.
‘Future Template’ kicks things off with a huge scream and thudding riff, before the fantastic ‘Stories’ hits you like a sledgehammer to the head. It’s arguably the album’s most instant effort and likely first single. It’s possibly the only single mind, something that may hinder the band’s progress somewhat if they do get some press attention. ‘The Price Of You’ sticks out because of the clever use of brass, while ‘Close To Hell and Burning’ has a cool-as-fuck intro and ‘Veronika Decides To Die’ is sure to be a live favourite.
Jon’s guitar work has really grown in stature over the last 12 months, and this is showcased on tracks like ‘Lifetime of Destruction’, as the lead guitar weaves in and out. While this track is a little clumsy lyrically, the musical comes together wonderfully – a credit to John Hannon’s production. Although hardcore purists are bound to dismiss my ‘heavy’ notion, this is still downright dirty for a band with horns, none more so than on ‘The Love Song’, which features Kelly in full-on aggressive mode, yet picks up for their trademark hook-laden chorus. Even the closing ‘A Waking Dream’, which flicks in between what appears to be totally different songs, can’t ruin what is an awesome record. If NoComply weren’t one of the country’s best bands beforehand, they most certainly are now.
This record could have backfired, but the progression musically has to be welcomed. NoComply have always been an amazing live band and this record is captures that energy well. NC will pick up plenty of new fans, but may alienate some of their older ones who prefer their ska to be poppier and cheesier. But the new NoComply, a lean, mean, fighting machine, could well find many more new doors are opened up. The next 12-months could determine whether they’ll make the jump that Capdown refused to take. It’s always hard reviewing a record when you are mates with band and label, but this really is a fantastic record and arguably Deck Cheese’s finest moment. Support British music and buy this CD. You won’t regret it.
www.nocomply.co.uk
Deck Cheese Records
Paul