Customer Reviews

Flat-Pack Philosophy

5 star:		(2)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

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.

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!

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.

This excellent punk group was formed in 1975 by guitarists Pete Shelley and Steve Diggle, plus Steve Garvey on bass and John Maher on drums completing the original classic line-up. Throughout the late seventies they released a trio of excellent punk-pop albums before calling it quits in 1980.
Now fast-forward to 1989. Shelley and Diggle decide to reform the group! Garvey and Maher joined too and they played some tours that lasted into the early nineties. However both Garvey and Maher left afterwards to be replaced by new members Tony Barber and Philip Barker on bass and drums respectively.
In 1993 the band released it's first reunion album called "Trade Test Transmissions" and since then, a steady stream of new albums have followed.
Finally in 2006 this album, "Flat-Pack Philosophy", was released. Bass player Tony Barber produced the fourteen songs included in it. The new album didn't disappoint. It's awesome all the way through! Not a weak song to be found here!

Shelley wrote nine songs, all sung by him. The title track starts the album in good fashion with a nice descending chord progression repeated throughout. Another stand out is "Reconciliation", in fact this is one of the best songs on the album! Excellent melodies occur throughout this punk-pop masterpiece. Also of note is the song "Dreaming" in which atmospheric arpeggios are used to great effect during the chorus. "Look At You Now" has great background vocals and a very catchy chorus as well. Track number thirteen "I've Had Enough" has a cool bridge in the middle. Listen to the mixolydian scale played by the lead guitar on "Credit"!

Diggle wrote and sings on the remainig five. His songs usually rock a little harder and have a more modern punk sound to them but all five have something memorable. Highlights include the haunting "Survivor" which is the shortest song on the album lasting a little bit more than one minute and a half. Then there's "Sound Of A Gun" that features a simple catchy riff that repeats throughout the verses. Probably the most pop sounding one that he wrote is, by far, "Big Brother Wheels" and not surprisingly this is one of the best songs on the album. Another notable composition by him is the last one "Between Heaven And Hell". It features both Shelley and Diggle sharing lead vocals for the chorus and it works really well indeed.

The songs I mentioned are what I thought were highlights but all the rest are great too! So if you like punk-pop you should add this or any other album from The Buzzcocks, one of the genre's founding fathers, to your collection!
Thanks for taking the time to read!
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