How joyful it is when expectations are not only met, but exceeded? How blissful when something cuts through the dross of the majority to present a whole new outlook? Suicide Bid is a London-based collective that deserves to become more than just a good idea, but an inspiration to everyone that wants a bit more than a few snappy poses and bad poetry from their music. And ‘This Is The Generation’ is not essential simply because of its ‘worthiness’ or punk credibility, but because it engages with issues that NEED interrogation in such a way that isn’t preachy or oblique – it says, simply, this is what we believe in, we are going to stand up for ourselves.
The ‘we’ is crucial. While Suicide Bid may number Babar ex-King Prawn and Jon ex-Filaments among their ranks, they merely play their part alongside the other members of the collective. No ego, no showboating, just a group of individuals using their particular strengths to make music. The dub/ska on display here is so well-executed that the basic, familiar techniques are refreshed because of their anachronistic presence in a punk scene desperate to work out how to evolve. This is protest music in the truest sense, with lyrics ranging from the blisteringly contemporary (the July bombings) to injustices that are all-too recognisable (worker exploitation). But as I said, ‘This Is The Generation’ isn’t only good because of the political and social side to the songs, the music is perfectly pitched to call back to the fold everyone that wants some good, honest, unpretentious music. The thick bass of ‘Insult To Injury’ contrasts effectively with the scratchy off-beat stomper ‘When Morning Comes’, while the proficiency with which the assorted musicians handle the instrumental ‘Debil Dub’ is an exercise in restraint and subtlety.
The fact that this is being released by Household Name is another huge boon. While it’s undeniable that their stock has fallen recently with Howard’s Alias, Capdown, Lightyear, Five Knuckle and Adequate 7 all, for one reason or another, not being part of the regular roster. HHN is the natural home for this seething, focussed attack on what can be called the evils of society (without a shred of hyperbole) and it’s exciting to see them getting back to the forefront of a UK scene that their bands arguably forged. With a release as evocative, inspiring and downright vital as this one from a homegrown UK collective showing no sign of dying any time soon, the future’s looking bright again.
Ben