Alternative Tentacles – 15th May 2026
Christopher Nosnibor
Well, you can’t complain a band’s name is in bad taste when one of its member is, as their own website puts it, ‘a wheelchair-using, profanely queer and tiny rapper, with a very distinctly high-pitched sense of humor’. And instead of politely skirting the whole disability – because people are, even now, funny, awkward, uncomfortable about these things – WSC shove it right in your face. No shame, no embarrassment – not that there should be, of course, but these guys pretty much shit all over propriety and political correctness, in a way that simply doesn’t tend to happen anymore.
Anti-PC ‘comedy’ artistes, the likes of Roy “Chubby” Brown and Kevin Bloody Wilson are adored by the kind of cunts vote Reform and bemoan the fact that you can’t say anything racist anymore should rightly be criticised and deplatformed, given that their ‘humour’ is based on derision and mockery, punching down to use a popular current phrase. Wheelchair Sports Camp, however, invert that exploitation and reclaim the ground that’s rightfully their in the most uncompromising and wilfully tasteless of manners.
Oh Imperfecta sees the hip-hop duo go punk – and it’s not only being released on Alternative Tentacles, but features guest vocals by Jello Biafra, alongside a host of other guests. And this is punk at its most unapologetically trashy, thrashy, bursts of noise and scratchy guitars pitched against explosive beats and grinding synths. There’s nothing subtle about this, and nor is there intended to be. Single cut ‘Eat Meat’ is exemplary: a simple riff, simple and repetitive lyrics, Kalyn Rose Heffernan’s squeaky vocals possessing a childlike quality –the lyrics not so much. She sounds, at times, like an evil Gremlin, cackling away and raising a middle finger to the world. This is what empowerment looks and sounds like: this is the very definition of rebellion, of not giving a fuck.
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‘DENIM ft. RAREBYR$’ (only one of four of sixteen songs on the album which breaks the three-minute barrier) sees Heffernan and her ‘gimp’ Greggy (drums) revisiting their hip-hop roots, and ‘on HOLD ft. Junia-T’ is an exercise in bleak, minimal hip-hop which delves into dark and experimental territory: both are quite a contrast with primitive punk of ‘DEAD ft. Jello Biafra + Olivia Jean’ – and then there are the interludes, which feature snippets of dialogue and what appear to be answerphone messages. With ‘no stopping NO STANDING ft. Junia-T’ introducing a busy jazz element, oh imperfecta is an album which is a wild and varied ride.
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Aural Aggravation 