It's Funk, It's Rock, It's Punk and More.
So, it’s the 1980's and the process of digital recording has taken away the tape hiss of years gone by in favour of a cleaner, brighter sound. Now, that’s all very well and lovely you might say but then, as Rob Gordon’s merry band of audiophiles would ponder, where’s the character gone? Recording in analogue brings out the personality of each separate instrument does it not? Digital only serves to ram a big, chunky stake through the heart of the band, the vigour of the tracks and the warmth of the album overall.
Well, despite what your thoughts are concerning the whole analogue vs. digital issue, and whether or not you even care, the gnarly, frantic rockers Kingskin proudly declare that latest album, ‘Slug’ was: “Recorded live and mixed in five days using analogue tape.” Well done chaps! That’s two fingers up to the bloody, modern brigade for a start.
But you know what? Kingskin might be onto something, because ‘Slug’ is an exciting, lively album fuelled by that hiss of tape and the signature punctuation of each instrument. Recorded by Steve Albini (Pixies, Nirvana, PJ Harvey) the 11 tracks have elements of Primus here and Nirvana there, all pasted together by front man Chris Lamb’s angry, punk-esque voice.
The resemblances to genre defining Primus can be heard from the get go with first track ‘Shotdown in a Small Town’. Trevor Lynes doesn’t so much take his bass for a walk but forces it into a 10k run reminiscent of a certain Mr. Les Claypool himself. Add to this the searing guitar intro, the crashing cymbals (Russell Watts) and the growling tones of Lamb’s voice and you’ve got yourself a gut punch of a welcome to Kingskin’s second output.
Second and third songs ‘Radio Shotgun’ and ‘Stoner Girl’ have a funkier sound to them, coloured with influences from the Red Hot Chilli Peppers and you begin to fully appreciate that ‘Slug’ was recorded live with its raw energy and vibrant flow.
Seventh track ‘Mexican Taxi’ continues this feeling with its funk/rock mix of fast paced drums and progressive guitar and bass lines. An image begins to form in your head of sweaty clubs rammed full with cowboy biker types wearing sombreros, sloshing snakebite down their tattered jeans because surely, Kingskin’s fan base must be as eclectic as the songs themselves.
The only disappointment on an album which mixes raw energy with tight progression is the last track, album named ‘Slug’. Lasting over six minutes, the song may break into different parts, but it sounds like a mere repetition of what has already passed by our ears.
Still, only one dud out of 11 is impressive by any standard. Watch out for Kingskin, coming to a town near you.