Flat-Pack Philosophy

Buzzcocks

Product Details

• Audio CD (March 7, 2006)
• Original Release Date: March 7, 2006
• Number of Discs: 1
• Label: Cooking Vinyl
• ASIN: B000E8N8LQ
• Also Available in: Audio CD  |  Vinyl
• Average Customer Review: 4.5 out of 5 stars  See all reviews (4 customer reviews)
• Amazon.com Sales Rank: #40,264 in Music (See Bestsellers in Music)

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Track Listings

1. Flat Pack Philosophy

2. Wish I never Loved You

3. Sell You Everything

4. Reconciliation

5. I Don't Exist

6. Soul Survivor

7. God, What Have I Done?

8. Credit

9. Big Brother Wheels

10. Dreamin'

11. Sound of a Gun

12. Look at You Now

13. I've Had Enough

14. Between Heaven and Hell

Editorial Reviews

Amazon.com

Judged against the exceptional standards of the group's own catalog, this album is not so good. The Buzzcocks, after all, invented and perfected a very smartass, insanely catchy ideal of poppy, ultra-energetic punk rock and half your favorite bands have stolen from them liberally. But judged against other reunion records, it's definitely a fun album, and is easily their best post-breakup album. Steve Shelley's infamous high-pitched vocals sound more like a strange old geezer than a hyperactive kid, but that should not come as much of a surprise. Not surprisingly, the lyrics range from society to love. The songs are mostly mid-tempo, pleasant punk rock. You could do a lot worse, but they could do a lot better. --Mike McGonigal

Product Description

It started in 1976 and is still here - thirty years of sex, punk and some of the greatest pop music ever made. In 2006, as British punk rock reaches its official 30th birthday, few of its founding fathers will be around to celebrate. However, one band remains as resilient in 2006 as they were thirty years earlier. The band that brought punk out of London and into the sticks by inviting the Pistols to play their native Manchester twice during the summer of ’76; released the first independent punk EP, thereby inspiring every label henceforth from Rough Trade to Factory, Postcard, Creation and beyond; and the band that has had a direct influence on bands such as REM, Orange Juice and The Smiths, making them a band whose cultural importance is too enormous to quantify properly…are still rocking 30 years later! This is a feat in itself considering their chequered history of run-ins and walk-outs. Flat-Pack Philosophy marks the fifth release from the Buzzcocks – Pete Shelley, Steve Diggle, Tony Barber, and Phillip Barker. In true punk fashion, Flat-Pack Philosophy packs 14 songs into 36 minutes and in places sounds like the best bits of every classic Buzzcocks single carefully welded together. It continues the great Buzzcocks tradition of romantic metaphors and of Diggle’s implicit literary references, and will certainly continue the ongoing success of this band. With the release of Flat-Pack Philosophy, the Buzzcocks can officially declare themselves punk’s strongest survivors, if not necessarily its sole survivor. In 2006, the band that started a thousand others is still making music in a different kitchen than anybody else.

Customer Reviews

Most Helpful Customer Reviews

6 of 6 people found the following review helpful:

4.0 out of 5 stars Great hooks, crunch and vocals., March 8, 2006

By	Phil (Eastern Mass, USA) - See all my reviews

The Buzzcocks really have no right to be putting out albums as good as their last few at this point in their career, but I'm sure glad they do. I thought their last, self-titled album was an incredible and glorious punk rock album. This one isn't quite so good, but it's still head and shoulders above most punk bands half their age. I know of no other band that so perfectly balances the melodic and the bombastic. No, it's not "Singles Going Steady", but it's well worth the price.

4 of 4 people found the following review helpful:

4.0 out of 5 stars Respectable reunion-era album, April 1, 2006

By	John L Murphy "Fionnchú" (Los Angeles) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

This sounds pretty much like the last one, the self-titled "Buzzcocks." It shares the ups and downs of the other records released by the 90s-00s Shelley/Diggle/Barker/Barber line-up. This band's sound can't be compared with the 70's original four; it's like 1972 Velvets vs. the 1966 Warhol-era line-up, or The Fall now vs. 1978! That is, similarities remain, the lead singer(s) are still identifiable and appealing, but also the production's shifted and the sound's more radio-friendly--to a degree among "cult" bands--where I place Buzzcocks proudly.

Since I was around as an older teen when the Buzzcocks made their splash, I admit that I will always hear their later albums as filtered through my 17-year-old ears that listened to the needle dropping down on "Another Kitchen." Giving this four stars is my ranking its consistency with other records from this second line-up, not comparing this to their other albums; on its own terms it holds up well against whatever's the young competition, but does not, honestly, stand out overwhelmingly to crush the opposition. Parts of it reminded me of The Undertones' "Get What You Need" reunion record: accomplished pop-punk by seasoned vets. It's a good, solid, but not jaw-dropping, record.

This preamble made, "Flat Pack" does have, as all the recent records do, some strong, punchy, dynamic songs--the best here is the opening title track. Shelley, as always, is in studio the more memorable vocalist and the clever lyricist. Diggle on record--in the original or the later band--suffers from being muffled on many of his tracks when he takes the mic. About three of his songs on FPP showcase his gruff, everyday bloke delivery of straightforward thoughts through simpler lyrics and more of a hard rock sound contrasting with Shelley's songs, which often display along with generally catchier poppish-punk riffs many hints of his solo albums' experimentation with found sounds, keyboards, and electronics. This much-needed fresh angle, highlighted on their overlooked album "Modern," is less prominent here, but does thicken the mix and provides a necessary density to counter Shelley's higher vocal trills and inimitably adenoidal phrasing.

The songs largely alternate, more or less, between the two vocalists. Barker's workmanlike drumming makes me miss Maher; it always meets the required beat, but lacks the original drummer's splash and insistent energy. Barber's bass, which in concert truly grabs the spotlight along with Diggle's vocals, on record does fine, but as with Diggle's singing, does not stand out on FPP above a serviceable support. The rhythm section does not leap out of the speakers on the Barber-produced discs. This is not meant to sound as harsh as it may seem; Diggle and Barber, from my observation, simply work better to project their strengths live rather than on record. Shelley, as I have explained, fills his songs with more filigree, and here Barber's production--he's also credited with arrangements, plays more to the quartet's unified energy.

It is promising to hear both singers on the last track, "Heaven & Hell", and I wish more of the band's songs would integrate both lead vocalists. Since the reunion band's albums have placed Diggle much more noticeably and given him many more songs than the original albums had featured, the back-and-forth shuffle of these album's tracks do make for a bit of unevenness. Perhaps future efforts will take more of a two-singer approach to more songs, rather than keeping the two singers and their contributions so separated. I predict that these songs will gain force in concert; 36 minutes and 14 songs does mean that at least listeners will not be bored!

1 of 1 people found the following review helpful:

5.0 out of 5 stars One of their best, December 15, 2007

By	Ignite (Toronto, Ontario) - See all my reviews

As a long time Buzzcocks fan, I really cant explain how glad I was that this album delivered. I wont even bother writing a long review, because you either like the Buzzcocks or you dont. If you dont, this wont change your mind. If you do, then GET THIS ALBUM.