Review: Hotbox - White Trash EP [January 2017]

Every decade has its stand out genres; the 60s had motown and garage rock, the 70s had glam rock and disco, the 80s had punk and synth pop and the 90s had Brit Pop and grunge. For the late 90s and early 2000s, kids were starting to get into rap-metal and nu-metal. Although it may seem dated now, it still has its fans and none are more obvious than this band.

Hailing from South Israel (Arad/Beer Sheva), Hotbox, the country's answer to Californian outfit Hed PE aka (hed) Planet Earth aka (həd) p.e., have done a lot for the Israeli underground scene, teaming up with bands of various genres to put on guerrilla shows and even their own festival using their own equipment. After some wait, the band have released their new EP, White Trash. 

Most of the songs on White Trash (and the band's repertoire in general) have that same bouncy groove and macho flavour as the aforementioned Hed PE. In particular, first full track, Rap Guillotine, has a riff that sounds identical to that of Killing Time. I won't say it's a rip off, as I am fully aware that these things can sometimes happen (I once realised I had almost totally rewritten a TAD song and pretty sure I hadn't even heard it before) but many may see this as a little unoriginal. I happen to love Hed PE, so it's hardly a bad song to bare similarities to, in my opinion.

The rest of the EP stays with that Juggalo-metal type vibe with lyrics mostly containing expletives (motherfucker, shit, bitch etc..) and both sexually explicit and aggressive language in general. The band's MC, Cise2 (or..Dave), certainly has a fast Bionic Jive-like delivery but the lyrical content tends to be a little cliché most of the time. It's only by the last two tracks, Ugh! and Use A Friend, where a little bit more thought seems to have been put into his words. Whereas the former is still an angry track which anyone who's ever hated their job would relate to [raises hand], the latter is a more heartfelt ode to a friend who passed away. I say friend, there are signs that it is in fact about an actual pet dog as a opposed to "my dawg". Either way, the more meaningful lyrics teamed with a passionate vocal delivery on top of a laid back yet still heavy groove make Use A Friend the EP's stand out track. 

It's quite difficult to make music like this in this day and age, so Hotbox certainly get credit for not giving a fuck and playing what they love. Alongside punk and hardcore, I have a soft spot for rap-metal, so I see them as bringing something a little different to the scene out here. White Trash has a decent production and is fun for those who already love this genre. However, if they actually want to get anywhere and gain any recognition based on their music, they need to start bringing something new to the table. 

3/5

Live Review: Atari Teenage Riot + support @ Gagarin, Tel Aviv [29th December 2016]

Atari Teenage Riot
Mechonat Hereg
Eternal Struggle
Soleil Bone



Although bands who plan to come to Israel often get bombarded with negativity by anti-Israel activists and the like, never was there more of it from within the country itself than when self proclaimed anti-fascists and fans of Israel, Atari Teenage Riot (ATR), announced their Tel Aviv concert. Many people were confused at how anti-fascists can love Israel and thus saw the band as hypocritical. At least this is how it came across online. It turns out that more people were just a bit annoyed that such an underground (albeit highly influential and respected) act as these German originators of the digital hardcore sound were playing such an expensive show. However, that hasn't stop most of the people who have come out tonight, both to see ATR and the interestingly mixed local support. 

Soleil Bone

  Unfortunately, I arrived a little late and missed opening act, Nute, but did arrive in time to check out the weirdness that is Soleil Bone (pronounced Bo-nay, I believe). Noise/experimental music has never been my favourite genre. I like it when it has a lot of intensity, passion and a even a hint of structure. Soleil Bone are more along the "let's just play and see what happens" method of noise. With a drummer (initially masked) playing quite sparsely, a guitarist creating a lot of fuzz and distortion, a guy on a controls making random noises and a vocalist growling the majority of the time, it's certainly an interesting support act but hardly anything breathtaking. It reminds me of a band made up of old guys I saw a few times in Derby, who I believe were called God Has Tits. They basically just got on stage and had a go at instruments. I think that Soleil Bone know how to play... but decide to go down a less musical path.

2/5

Eternal Struggle

I might need to stop reviewing these guys soon as I don't really have anything new to say. Among all the more metalcore bands and hardcore punk bands in the county, Eternal Struggle bring that crushing NY-style hardcore that I've always loved. They're pretty damn lucky to be put on this line-up. It might not make sense to many people having a Hatebreed/Born From Pain/Terror style band at a show like this but variety is the spice of life! Seeing as ATR have their ties to punk and hardcore, it's a nice idea to have at least one punk or hardcore band supporting. Being made up of drum n bass lovers and ATR fans, Eternal Struggle maybe seemed like the most logical choice (also, their manager organised the event but shhh!).

Although Eternal Struggle get a really good crowd at their own shows, the head count isn't quite the same tonight because of this particular event's demographic. However, their mosh parts and beatdowns get a few people running around and a fair bit of hair banging. It's a shame they didn't do their usual cover of Sick Of It All's Take The Night Off but maybe it is about time they stuck with the strength of their original material. Hardcore dancing still isn't quite the done thing out in these parts but they would totally get that sort of action Stateside and in Europe.

5/5

Mechonat Hereg

When this show was initially announced, there was no doubt in my mind that Mechonat Hereg (Killing Machine) were going to support. I don't know much about them and only caught them live briefly before but they are essentially the Israeli Atari Teenage Riot. The blueprint is essentially the same; fast breakbeats, noises and harsh punk-like male/female vocals. Difference between the two acts is that ATR actually have structured songs. Mechonat Hereg are more of a rave band for low-key shows. They've got good energy and are the only people doing this sort of thing in the country (as far as i'm aware). Unfortunately, the music keeps randomly dropping out (some form of technical issue) which dampens the atmosphere a little and is generally a tad disappointing. The vocals and delivery are also nothing special, although vocalist Yam has an interestingly super high-pitched voice which reminds me a little of Manda Rin from Scottish electro-Brit pop trio Bis. Technically, that's a good thing as I loved Bis but I can imagine it's not for everyone.

2.5/5

Atari Teenage Riot

As more people fill up the Gagarin dance floor, everyone's anticipating the main event. I, personally, have always respected Atari Teenage Riot as I liked how they mixed electronic music with the intensity of punk. This especially came through in a live clip I saw of them from Reading Festival '99. Although I was actually at that festival as a 13 year old (my first ever big show), I didn't go the day they played but managed to catch it on TV. With the old line up including the late Carl Crack and former co-singer Hanin Elias, it was simply a high octane performance full of full throttle beats, screaming and buckets of sweat. I know that the line-up has since changed but I have been hoping for that same kind of experience.

As the lights dim, we faintly see Zan Lyons, a sometime member of ATR, step behind the table of laptops, controls and samplers. He's closely followed by man of the night, Alec Empire, the main founder of the group and poster boy for the fast paced, noisy and hyper digital hardcore sound. Alec is encouraging the crowd from the start, raising his clenched fists in the air as the venue fills with pulsating rhythms and noises and Zan operates visuals.

During the set, Alec moves to the foreground to shout and jump around with partner-in-crime, Nic Endo. Although it is odd to see her without her iconic painted Japanese symbol on the side of her face, Nic still has an amazing presence as she moves around the stage in an almost assertive fashion. Likewise, Alec has the complete attention of the crowd and they have his, as he locks eyes with everyone while spitting his lyrics of revolution and anarchy.

Many of the ATR fans here tonight have most likely come because of the band's earlier work. Some of the newer songs from the 2014's Reset album, such as J1M1 and the untypical Modern Liars with its strangely melodic and pop-like chorus, do not fare too well at the start of the set. However, it's actually album track Transducer's heavy thumping beat that initially gets the crowd uniting and thrusting themselves around like a wave. The more classic tracks like Revolution Action, Into The Death and No Remorse (I Wanna Die), the latter of which contains a Slayer sample, get the biggest reception from the crowd due to being the more energetic and punk/metal influenced.

Although there are those out there who may not be happy with the change of line-up, it does not seem to have affected ATR's live performance. Their set may contain newer songs that break away from the sound many fans know and love but the high energy and dedicated performance that I remember seeing on TV all those years ago is still there. Alec's personal love for Israel may have definitely encouraged his enthusiasm but I'm pretty sure him and Nic have that same passion everywhere they go. 

4/5
All photos by Adam Oscar

Live Review: Toy Dolls + Aviv Mark ve HaNetzach @ Reading 3, Tel Aviv [9th December 2016]

Once in a while, a legendary act will come to Tel Aviv. Normally it's a 60s/70s rock band or a singer/song writer but on the odd occasion like today, we get to witness one of the oldest British punk bands. The Toy Dolls might not be all that relevant in the scheme of punk rock nowadays but a lot of the bands that are would tell you that they were a big influence. Therefore, there are a lot of punk fans, both old school and new school, attending tonight's show at Reading 3, a pretty swanky looking venue in the north of Tel Aviv by the sea.

Aviv Mark ve HaNetzach

   Opening up tonight's event is local band Aviv Mark ve HaNetzach (which I think stands for "Aviv Mark and The Eternity"). Previously known as Aviv mark ve HaMavet ("Aviv Mark and The Death"?), it's a pretty typically mature-aged Israeli "alternative" group. With two drummers, they come off a bit like Melvins but just not as heavy or as interesting. There's the odd good riff and sometimes the two drum kits are put to good use by playing different patterns at the same times but it does also get a little messy. With my attention to Hebrew lyrics never really at its best in a live setting, I can't really say much about lyrical content but the vibe is mostly dark. It's more 80s new-wave meets 90s grunge and just similar to quite a few bands I've seen/heard out here before. It is still fun to watch, especially the energy of both drummers and the bassist, but out of all the acts in Israel who could support tonight's main act, this choice doesn't really make sense.

2.5/5

The Toy Dolls

   To some, The Toy Dolls are a joke punk band only famous for their version of Nelly The Elephant. Tonight, there is many a fan who knows that they are more than that and the band prove it.

   Arriving on stage in their grey and red suit-like attire with tiny red ties and iconic sunglasses, Olga (guitar and lead vocals), Tommy (bass) and Duncan (drums) are met with raucous applause and cheering. I personally clapped the loudest for Duncan (Redmonds), for I am a Snuff fan and admire him for being a great singing drummer.

   Being a band with a repertoire spanning 30+ years, it's hard to get every song and every hit into a set. Although the band doesn't supply the likes of  I Got Asthma, James Bond Lives Down Our Street or The Devil Went Down To Scunthorpe, they still do the fun Spiders In The Dressing Room, the rocking Idle Gossip and their superb and almost metallic rendition of Bach's Toccata in D Minor.

  Seeing and hearing The Toy Dolls in person is actually quite an interesting experience. Alongside silly songs like the catchy The Death Of Barry The Roofer With Vertigo and the infamous crowd-pleaser Nellie The Elephant, the latter of which unsurprisingly getting the greatest reception, they also play comparatively more sentimental songs such as Alec's Gone and She'll Be Back With Keith Someday. Using more melody and having deeper lyrical meaning than some of the others, these are personal highlights for me as I found myself singing along.

   As the band play through their set, that is practically all they do. There doesn't seem any need for too much banter, jokes or self indulgence, they basically play one song, say "thank you" and then crack on to the next one. Normally I would criticise a band for not being engaging enough but I can't accuse The Toy Dolls of that. Olga and Tommy are always looking at the crowd and encouraging them to sing along. The two also have good chemistry on stage, often jumping about and swapping places, doing Status Quo style synchronised guitar swaying and just seeming to be full of life. This rubs off on the crowd as even people standing at the back and the sides start to dance. Although the crowd aren't as rowdy as what I've seen before, the few that do find themselves on stage get quite heavily escorted off by security. Sometimes this makes sense if a crowd member is getting in the way of a performance or interfering with the musicians. That didn't seem the case this time and came off as unnecessarily aggressive.  

We hear more covers nearer the end of the set, including the instrumentals Wipe Out (The Surfaris) and the timeless classic When The Saints Go Marching In, but it's the final encore where we get the bouncy "la-la la" sing-along of She Goes To Finos to round off a fun night.

  Everyone has a different interpretation of what punk is. The Toy Dolls might not be as tough and serious as Sham 69 nor as fast and aggressive as Discharge but they do what they do well, with charisma and from the heart.

4/5

All photos courtesy of Miguel St Labao

Live Review: LISP/Petey's Dead/Methods @ Keoss Studios, Tel Aviv [8th September 2016]

Awww yehh! New band time! Tonight, I've come to Keoss studios in Tel Aviv (which has suddenly been doing more and more shows) to check out the debut shows for two punk trios. One is practically a supergroup and the other is a sort of reboot of a previous band.

Methods

Starting off the night is alt. rock/metal/punk/whatever trio Methods. Methods have been quickly gaining recognition and rightly so! I've already been impressed by their previous performances and their tracks online. Tonight, they start off their set a little differently than I remember, with a more progressive and jazzy instrumental, slightly reminiscent of bands like And So I Watch You From Afar and 65daysofstatic. Although not normally my thing, it still has enough groove and interesting parts to make my head sway. From there on in, the band continue with their own blend of alt. rock sensibilities and technical musicianship. Throughout their set, a mixture of different bands come to mind, including alternative legends Therapy?, post-hardcore band Quicksand, British metallers Earthtone9 and even fast melodic punk band Strung Out. The already familiar Sub-dimension and 1.1 have a few heads bobbing and the rest of the set is equally enjoyable. Drummer, Vladi, might have a few fumbles tonight here and there, but he is still one of the best technical drummers I've seen.The band are difficult to pigeonhole, but that makes them more intriguing and exciting.

3.5/5

Petey's Dead

Coming from the remains of the fairly unknown SaveIT, Petey's Dead still play the same Flatliners inspired punk. As well as new material, the band play the odd SaveIT track, such as the punchy and thought provoking Dennihalation In The Middle East from said band's first EP. The band may tackle quite political and serious subjects but do it subtly, which makes for good listening. There is nothing quite mind blowing about their performance but the material is incredibly well written. With guitarist Matan now in the ever-popular Not On Tour, Petey's Dead are getting more recognition and chances to play than SaveIT, so hopefully the music will start to speak for itself at shows and things will pick up.

3/5

LISP

While Petey's Dead is practically the same band with a new name, LISP is yet another product of different members of different bands wanting to create something new together. In this case, not only do we have Not On Tour bassist, Nir, and Kids Insane drummer, Yoni, but former Kids Insane guitarist, Assaf, is also on board.

Despite all being talented musicians from very reputable bands, LISP isn't quite the blend of hardcore and skater punk one was expecting. Instead, the songs tend to go along a more pop-punk vibe. As pleasant as the songs are, nothing quite grabs you or shocks you at all. Yoni's drumming does stand out, although not purely because of his skills like in previous bands. His heavy handed and more hardcore style comes off sounding a little out of place with the songs themselves.

Despite only having played one show, LISP are already in the process of making an album. It could very well be that their songs are just growers, so they might sound better on record. Either way, I'm looking forward to checking it out.

2.5/5

Live Review: Jeronimo EP Release Show @ Maaxan 7, Beer Sheva [25th August, 2016]

Lion's Den
Jeronimo
Elephant Hive
MAGA

Continuing with trying to venture outside of Tel Aviv for shows, I got a lift down to Maaxan 7 in Beer Sheva (South Israel) to celebrate the release of their 2nd EP by post-punk rock trio, Jeronimo. Two classic rock trios, MAGA and Lion's Den, and experimental rock duo, Elephant Hive, have also come along for the fun on the evening that also happens to be Lailah Lavan (White Night - not a racist thing) in Beer Sheva.

MAGA

Starting off the proceedings as soon as they arrive, Tel Aviv's MAGA play through their set of classic style blues-rock. Taking in elements of late 60s/early 70s bands like Creedence Clearwater Revival, Cream and even Black Sabbath, the trio play catchy numbers with all the energy of their predecessors. With some songs being more uptempo and simply structured (e.g. Did You?) and others introducing more groove and experimental tangents (e.g. Again), they have a varied enough repertoire to be considered entertaining. It's incredibly difficult in this day and age to play this style of music and come off as original, so there are no real surprises here. However, they are convincing enough, both in look and in sound, to make one believe that you are somehow watching an actual 70s band.

3.5/5

Elephant Hive

This is either my second or third time seeing Elephant Hive. I can't remember, although I've definitely already reviewed them. Having set themselves up with their own drum kit in a position more central of the venue, the Tel Aviv duo still play short blasts of experimental, jazz-tinged rock but with some different songs to their previous set(s). They seem to have added pieces with more structure. The drumming and guitar riffs sit perfectly well together and everything sounds more controlled and song-like. One song in particular is reminiscent of Primus' Shake Hands With Beef. It has a similar low-tuned, funky groove and even the same quirkiness. They certainly have impressed me more this time than before but I still think they currently cater to a pretty niche demographic.

3/5

Jeronimo

Although it's meant to be their night, Jeronimo hit the stage as the penultimate act. As the band plays a few tracks from their first EP (the ORANGE one), all 3 tracks from their latest EP (the PURPLE one) and some as yet unreleased tracks, it's obvious to hear how their sound has matured.

They are a band that states to have a Fugazi influence but it's the side of Fugazi that I, personally, don't quite connect with. I like the Fugazi with funky bass lines and angry punky vocals, whereas Jeronimo take more from the intense, progressive side of Fugazi's post-punk sound. It is still enjoyable and really showcases their musicianship. Bassist Auriya provides us is with some groovy yet subtle licks on tracks like Lions Suspended in Air and their self titled track. It is drummer Itamar who especially shines through; his overall steady timekeeping and ridiculously tight drum fills are impressive and a joy to watch. Guitarist and co-vocalist Yonatan also gives a great performance, even going amongst the crowd during solos. 

The band do have a few good riffs and some fun moments but, sadly, I think it just goes over my head a little. They are doing very well for themselves and working incredibly hard and that deserves great respect.

3.5/5

Lion's Den

Finishing off the night is hairy Tel Aviv trio, Lion's Den; one of those few bands whose look reflects their name. The band tends to be closely linked to the previous mentioned MAGA but their styles are actually quite different.

Although there is a hint of similar classic rock and blues influences, the likes of Pearl Jam and Soundgarden come to mind as I watch and listen to them. There's a mixture of laid back and funky grooves met with some low, grunge-like outbursts. Along with the bare chests and long curly hair, I can't help but think that these guys would've been great on the Seattle scene.

The chemistry between guitarist/lead singer Yoni and bassist Yoav is strong however drummer, Itay, is not always quite on the same wavelength. He still does a great job, playing with full energy. I'm definitely glad I've finally seen Lion's Den, as their mix of Seattle grunge and classic blues rock has pleasantly surprised me.

3.5/5

Live Review: Sugar Hill Gang / Lucille Crew @ The Barby, Tel Aviv [30th August 2016]

Once every so often, you will hear a name of an artist or band that you never expected would come to Israel. Sometimes it's because of the band being quite underground and for a niche market. Other times it's because the artist is so big and legendary that you don't imagine them coming to such a small country. And then there are those who are not only big and legendary...but that you didn't even know were still performing!
 As a part of their first ever European tour in over a decade, tonight sees the arrival of hip hop legends, The Sugar Hill Gang, to Tel Aviv's Barby club. Surprised by many people asking me "who?" when I mentioned I was going to see them, all it took was quoting the first line of Rapper's Delight to rectify that problem. Despite being on the same night of the release show for local queens of the underground Deaf Chonky, I could not miss the opportunity to see what The Sugar Hill Gang had to offer.

Lucille Crew

  With the Barby at about half its capacity by this point, the night starts off with opening act Lucille Crew. I have seen the name a lot on social media. I don't know much detail about the band, but they are an Israeli hip hop band, or groove collective, as they prefer to classify themselves. Despite hearing the odd song or two, which I was impressed by, I hadn't really paid them much attention. I had heard positive feedback from quite a few friends; tonight I get to see it for myself.

  Being a full NINE piece band, things already look promising as soon as they arrive on stage. I'm normally pleased if there is at least one horn player, so seeing a saxophonist, trombonist and trumpeter on stage is more than joyous. The band walk on to a "bring da motherfucking ruckus" playback (Wu Tang Clan). This makes me think that what we're about to witness to heavy as hell gangster rap. Unfortunately, it isn't but it's still damn good!
  Playing music that reminds me of Ozomatli, The Roots and Fun Lovin Criminals, Lucille Crew rightly deserve the "groove collective" label. Mixing both latin and Middle Eastern rhythms with an old school hip hop style, there's a lot of focus on groove. They seem to already have some fans in the audience, who dance and sing along to the likes of What The Hell, Big City and the horn-stab-tastic (should be a word..) Bounce.   Rapper Rebel Sun and vocalist Gal De Paz work great together. His Jurassic 5/Roots style delivery and her haunting vocals, that lie somewhere between Paloma Faith and Beth Gibbons (Portishead), compliment each other well. It's interesting to point out that the lyrical content, especially where the rapping is concerned, is actually quite sexually explicit and adult at times, although it all somehow manages to come across as so innocent and family friendly. The band altogether are fun and seem like a genuinely tight family unit. I was pleasantly surprised.

4/5

Intermission 

I don't normally talk about what goes on in between sets at a show. This is normally because nothing happens apart from some songs being played over the PA and the setting up for the next act. Tonight is different. Being a hip hop show, there are some b-boys in the house who just can't keep themselves from busting a move. A dance circle ensues and practically becomes an extra warm up act on its own. There still isn't a lot of people here by this point, at least not as many as I would expect for what I consider quite a major event. Those who are here are making good use of the time and the good music.

Sugar Hill Gang

The dancing dies down as sounds start coming from the stage. The band's Dj, Rob Temple, is stood by his decks and introduces the MCs. As original Sugar Hill Gang members the gigantic Wonder Mike and the suave looking Master Gee arrive on stage accompanied by the pimped-out Hen Dogg, all heads face towards the stage and cheering begins. The legendary rappers immediately showcase their decades experience as entertainers, interacting with the crowd from the start. They might be using clichés like "Let's tear the roof off" and "Do you guys know how to party?" but it would be more surprising if they weren't. 

 

  As the band go through a sprinkling of their own material, including classic track 8th Wonder, Fast Lane, La La Song (their collaborative house track with Bobby Sinclair) and a new song or two, they are met with smiles and a bit of boogying. However, a majority of the band's set is made up of half-covers of classic hip hop and r'n'b/motown/soul tracks. The Message naturally goes down quite well, as does a wonderful medley of r'n'b classics like Best Of My Love, ABC and "...Sex Machine". 

 

  Having already explained to the audience about their early days playing house parties and the club circuit, the band actually take to playing instruments. These guys don't just attempt to play, but they have some proper musical chops. As well as Master Gee proving that he has rhythm on the drums and Wonder Mike surprising us with his impressive finger work on the bass, it is Dj Temple who, after being in the shadows for the first half of the set, suddenly shows that he too has some pipes on him, as he takes on lead vocal duties while also playing keyboard. The band basically transport themselves to a practice room, having a bit of freestyle funk jam, touching upon the Crazy In Love/Are You My Woman lick as well as breaking into a little bit of the MJ classic, Billie Jean.

 Leaving the instruments behind, the gang get back to their 3 MCs and 1 Dj setup. As well as mentioning how great it is to perform under the Sugar Hill Gang name after all the controversy (check out the documentary "I Want My Name Back"), saying how much they've enjoyed being in Israel and how great the food is, the band also give thanks to their influences and everyone who has helped them along the way. This leads to another short cover of Purple Rain in honour of the late Prince. As sweet as this is, it's not until the legendary Jump Around horns start playing that everyone really starts..well...jumping! As the place goes nuts, the band suddenly slides into the classic Apache and is later followed by Sugar Hill's signature tune Rapper's Delight. Let's be honest...these two tracks are why most people are here tonight. They could just do these two tracks on repeat and the crowd would be happy. Apache brought on a dance craze made even more popular by The Fresh Prince of Bel Air and Rapper's Delight is forever considered the first song to bring rap and sampling to the US. They are both long standing party anthems and they have the same effect here tonight. The band even return to the instruments during Rapper's Delight, showing that they can actually play the Chic sample on their own.

Wrapping things off returning for an encore of random funk jamming, it seems as though Sugar Hill Gang really want to continue the party. Unfortunately, I think most of the crowd had already lost interest as soon as they realised they weren't going to do Rapper's Delight again. It is a bit of a let down that not enough people have come out to witness these legends reunited for such a special tour, but it hasn't seemed to have bothered them, persevering  and giving it all they've got and just a whole lot of LOVE.

4/5

All photos courtesy of Raz Mor

Review: Deaf Chonky - FARSH [2016]

For those reading who are not at all connected to the Israeli underground scene, you might not know who Deaf Chonky are. For those of you who are involved, you must be familiar with these two young ladies by now!

Deaf Chonky (a play on words of the Russian for "girls") are a young musical duo who have basically become the biggest thing in the Israeli underground/punk scene within a year, if not less. They don't actually consider themselves punk, preferring to use the term "garage-folk" (copyright pending). It is highly appropriate, to be fair. As I already mentioned in a previous live review (see here), they do have punk and riot grrl elements to their music, but it's more that they use that energy and angst with more experimental folk musicianship and thought provoking poetry.

When listening to the new album, FARSH, the poetry is there from the beginning. In 30 second intro track, Wild, guitarist and main vocalist Adi passionately uses metaphors which, admittedly, go a little over my head but seem to focus on the concept of getting things (possibly "life") over and done with quickly. As it ends with a scream, it gives hope that things can only get more crazy from here on in.

Most of the album continues with the poetry but mixed with very good song structure and passionate musicianship. In some cases, like with Shirley, the poetry takes on more of a narrative style but the lyrical content throughout the album tends to be social commentary, using high level English and more metaphors.
  Folk(a) Party(a), the song the band considers to be their only real "punk" track, has crazy saxophone parts courtesy of Itay Levin. Its changes in dynamics (part sea shanty, part experimental rock) makes it an exciting track, although it doesn't quite have the "party" vibe I was hoping for. If that's meant to be ironic, then that's ok but annoying! Kontrol, compared to its demo version (from last year's Mostly Farsh demo), has more structure and an intriguing chorus but has kept Adi's tongue twister delivery in the verses, which was the main charm of the song.
  Bad Things Could Happen is an epic musical journey, going off at tangents but ultimately circling back to the anthemic and infectious chorus, musically reminiscent of The Fun Lovin' Criminal. Social Security, possibly the album's highlight,  switches between angsty garage rock and sweet 60s style doo woop without sounding forced or self indulgent. The sweet "ooh wa ooh"s in the chorus paired with the lyrical content gives the song quite a menacing undertone. Diagnosa, nearer the end of the album, could almost be a theme tune to a Tarantino movie, with a Misirlou inspired main riff. It's a fun number with Tami's upbeat drumming making the tune the most danceable on here. 

As well as just structural and genre experimentation, the girls showcase their range of musical talents. On the traditional folk-sounding and mostly Hebrew sung Gozalim (Baby Chicks), we get to hear Adi's banjo and contrabass skills and some harmonica by Tami, as well as their sweet vocal harmonies. The harmonica also shows up on International Criminal, which comes off like a creepy waltz due to its 3/4 time signature and dark lyrics. 

Unfortunately, midway through the album, the lyrical genius and interesting musicianship takes a bit of a backseat as there's a sprinkle of what feels like "fillers". Brush Your Teeth and its repetitive "Time for bed" refrain is catchy and reminiscent of 90s Brit Pop but could be longer. It's a good track but feels like an afterthought. Their version of short Lithuanian song, Dolijute, is cute as hell but could have just been left as a live number. Then there's 08, which I'm starting to think is a mistake that they just left in. It's literally a 20 second soundcheck on parts of the drum kit! 

Tying things off using a sampler and synth on the short pulsating Looks Good, Deaf Chonky have certainly created an album which can't really be pigeon-holed easily, nor be considered "boring". Despite the odd unnecessary inclusion, most of the songs on here are incredibly well put together, both musically and especially lyrically, sometimes even resembling the poetical genius of artists like Nick Cave and Patti Smith. Their musicianship has improved since their demo and their creativity has really shone through. Although their popularity may have initially grown to hype, FARSH is proof that Deaf Chonky have something special going on.

4/5