Ipecac Recordings – 1st November 2019
You could look at this from two different angles: one – some people never grow up. Two – some people never sell out. Cunts’ eponymous debut is the product of both simultaneously. The ‘snarling LA-based punk band’ features guitarist Michael Crain (Dead Cross/Retox) and singer Matt Cronk (Qui), with drummer Kevin Avery (Retox/Planet B), bass player Keith Hendriksen (Virginia Reed) and guitar player Sterling Riley (Hepa.Titus).
So they all have other projects, and so the fact Cunts will never achieve radio play or mainstream attention simply by virtue of being Cunts isn’t an issue. Then again, their other projects won’t achieve major-league success and radio play either, despite not being graced with a media-blackout moniker, meaning that none of them has anything to lose or gain here. So yeah, fuck it: Cunts are keeping it real and keeping it antagonistic, and forget being cynical, they’re doing this for the right reasons: they’ve got the rage. Rage used to be for the young, descending into the impotent bitterness of the cliché grumpy old man. But times have changed. Older, wiser, more furious and better equipped to articulate that rage, Cunts represent the new generation of over-40s who, rather than mellowing and settling into midlife, have all the anger and need to vent or suffer an aneurysm. These are the worst of times, and we live in a divided world.
This is proper old-school gnarly US hardcore punk shit, played at a hundred miles an hour, and if song titles like ‘Ass to Grind’ and ‘He’s a Lady’ carry distinctly un-PC connotations, the lyrics reveal the band as being on the right side of consideration for difference. They’re not afraid to venture into Unsane gore territory, but shock tactics aren’t entirely without merit in a desensitized society. There’s noting subtle about an of this, least of all the over art.
‘Goin’ Out West’ gets a bit Ministry, but with glammy / goth overtones to its thudding stomp, while a number of the frenzied thrashabouts, like ‘Fail at Failure’, clocking in at 1’46”, and the 1’ 26” ‘Seagulls’ bear hints of Dead Kennedys, while ‘For the Greater Good’ lunges messily into Unsane territory, and there are a fair few tracks that clock in well under three minutes, with the longest song on the album being just 4’08” and no other songs being much over three-and-a-half minutes.
Cunts is fiery, shouty, fast and furious with the emphasis on the furious. Primally raw and brutally uncompromising, it’s harsh but vital, and punk at its best.
You could look at this from two different angles: one – some people never grow up. Two – some people never sell out. Cunts’ eponymous debut is the product of both simultaneously. The ‘snarling LA-based punk band’ features guitarist Michael Crain (Dead Cross/Retox) and singer Matt Cronk (Qui), with drummer Kevin Avery (Retox/Planet B), bass player Keith Hendriksen (Virginia Reed) and guitar player Sterling Riley (Hepa.Titus).
So they all have other projects, and so the fact Cunts will never achieve radio play or mainstream attention simply by virtue of being Cunts isn’t an issue. Then again, their other projects won’t achieve major-league success and radio play either, despite not being graced with a media-blackout moniker, meaning that none of them has anything to lose or gain here. So yeah, fuck it: Cunts are keeping it real and keeping it antagonistic, and forget being cynical, they’re doing this for the right reasons: they’ve got the rage. Rage used to be for the young, descending into the impotent bitterness of the cliché grumpy old man. But times have changed. Older, wiser, more furious and better equipped to articulate that rage, Cunts represent the new generation of over-40s who, rather than mellowing and settling into midlife, have all the anger and need to vent or suffer an aneurysm. These are the worst of times, and we live in a divided world.
This is proper old-school gnarly US hardcore punk shit, played at a hundred miles an hour, and if song titles like ‘Ass to Grind’ and ‘He’s a Lady’ carry distinctly un-PC connotations, the lyrics reveal the band as being on the right side of consideration for difference. They’re not afraid to venture into Unsane gore territory, but shock tactics aren’t entirely without merit in a desensitized society. There’s noting subtle about an of this, least of all the over art.
‘Goin’ Out West’ gets a bit Ministry, but with glammy / goth overtones to its thudding stomp, while a number of the frenzied thrashabouts, like ‘Fail at Failure’, clocking in at 1’46”, and the 1’ 26” ‘Seagulls’ bear hints of Dead Kennedys, while ‘For the Greater Good’ lunges messily into Unsane territory, and there are a fair few tracks that clock in well under three minutes, with the longest song on the album being just 4’08” and no other songs being much over three-and-a-half minutes.
Cunts is fiery, shouty, fast and furious with the emphasis on the furious. Primally raw and brutally uncompromising, it’s harsh but vital, and punk at its best.
AAA
Aural Aggravation 