Aural Aggravation

Magnetic Eye Records / Redux Records – 6th June 2025

Christopher Nosnibor

Magnetic Eye have released a few of these ‘Redux’ tribute albums now, each of which has come in two editions, and each of which has taken a different approach. Whereas the Meantime Helmet releases offered a standard and expanded version, for example, others have presented an album on one version and a ‘best of’ as a companion. And in all instances, they’ve managed to score some outstanding names as contributors. This time around, it’s the Ramones’ eponymous debut which is accompanied by a ‘best of’ set as a counterpart, and the project was ‘masterminded and curated by New York City and London-based Italian-Swiss audio engineer, sound designer, composer, multi-instrumentalist, and Grammy winner Marc Urselli’ – hence the titles.

Mondo Generator, Napalm Death, Ufomammut, Arthur Brown, David J, and Voivod are among the big-hitters featured here, but as I settle down with a cold pint of Oranjeboom, I contemplate the need for a Ramones tribute – or, more specifically, another one. There have been a few, perhaps most famously 2003’s We’re a Happy Family, which featured The Red Hot Chilli Peppers, Marilyn Manson, Green Day, Garbage, U2, Metallica, and The Pretenders, among others, and there are so many tribute acts out there, too, one has to ask ‘is this not overkill?’ Well, no, because that would be Motörhead, and what’s more, with a lower tier of ‘name’ contributors, it feels more authentic, somehow. I’m not saying U2 aren’t fans of The Ramones, but they feel like they’re on a par with the fans who bought a T-shirt in Primark and only discovered they were a band after the fact. Casuals, in other words.

Some might say that the debut album doubles as a ‘best of’, and there’s a case for that, given that every single song is a pure classic. Mondo Generator kick off the debut album covers set with a roaring ‘ONETWOTHREEFOUR’ before launching into ‘Blitzkreig Bop’, and it’s a faithful but fiery, fizzy rendition, the guitars like jet engines on what you could only describe as a proper punk blast.

Daníel Hjálmtýsson and Mortiis offer an altogether different take on ‘Beat on the Brat’ – slowed down, moody, gothic, a bit theatrical, a shade menacing, and yet somehow accentuating the pop currents which flow through this, and indeed, all Ramones songs. Boots Electric, with the help of none other than Wayne Kramer, push the pop to the forefront

Ufomammut bring the metal and convert the sub-two-minute surf-pop ‘Chain Saw’ into a six and-a-half minute grind that’s downtuned, dense, and dirty. It’s also absolutely brilliant in its execution. Napalm Death have enlisted Thurston Moore for their take on ‘Now I Wanna Sniff Some Glue’, which is a minute and a half of speaker-shredding thrash nihilism, and absolutely perfect.

The Ramones weren’t only punk progenitors, but purveyors of precise and often perfect pop songs, and this pair of albums represents the fullness of their influence (still not saying they. didn’t influence RHCP or U2., but…) Arthur Brown and The Berserker’s take on ‘I Don’t Wanna Walk Around With You’ is crazy, and absolutely perfect.

Voivod rope in JG Thirlwell for their hell-for-leather yet hooky as hell take on ‘Zero Zero UFO’ which opens the ‘best of’ set. And there are some corkers, with a slowed-down, heavy psyche yet oh-so-pop take on ‘Pet Sematary’ by Impostor Cult with Amy Tung Barry Smith being exemplary. So Hideous’ twangin’ take on ‘The KKK Took My Baby Away’ is one of the most radically different interpretations on the album, although Kayo Dot and Ihsahn push ‘Teenage Lobotomy’ in the most unexpected directions, while David J and Paul Wallfisch push ‘I Wanna Be Sedated’ to a soporific seven minutes. With a super-sparse arrangement, it sounds as if they’ve achieved their wish before entering the studio.

What these two albums illustrate, more than anything, is that The Ramones wrote superlative and truly classic songs, with earworms galore. And as tributes go, these albums do feel perfectly fitting.

AA