REVENGE OF THE PSYCHOTRONIC MAN/THE FRACTIONS CD SPLIT
Jan 2009
Reviewed by: Jillian Abbene Richmond VA/Wash DC

Revenge of the Psychotronic Man – [strikes again…]
www.myspace.com/revengeofthepsychotronicman

This time, Revenge Of The Psychotronic Man and The Fractions share the same CD.  Both with a different style, they possess the same punk-intentioned spirit.  It is ‘Revenge’ though, that manage to pack in so much in half the time on most of their songs and you don’t notice the length difference until it’s over.
 
Most bands blow their load on the first song of their CD; however, ROTPM have found a way to direct and contain the deep belly of their inferno [that needs no igniting], enough for the listener to digest most of it, and yet spew off musical bits.  The angst on this new split is far more aggressive, and I am relieved they kept their definitive rawness all within their musical punch.

A one-stroke guitar sear launches, ‘Phill Power,’ all under a minute and 16 seconds, blagging syncopated drums, in driving force - straight into a whipping four-chord measure.  Within the confined circles of Manchester, it is a song about one of their housemates who believes that when you want to do something bad (like drinking all day, etc, etc) and choose not to do it, it is displaying, 'will power.’   However, if you decide to just do it anyway regardless, because you know it will be fun, despite the consequences; it is displayed as, 'Phill Power'.  Makes sense with the confirmation as there is no stopping Davey’s sharp-gargled vocals.  They are as choppy as the signatured syncopated beats and lyrical measures of the song.  Angsty shouts are on chorus and back-up, ‘woh’s.’ Replacing a solitary definitive shout, “Break down!” a blink of steady surging guitar, and thudded drums changes back to the lightning-speed.  As a searing guitar chord makes appearance after each chorus line, the twists to the end beats with the enticement of serious fist-flailing, and body throwing, drive the audience to the end of their participating rope.

Idiot mayhem via the ROYPM machine

The ting of the cowbell launches another blast with, ‘This Is Where The Idiot Lives,’ that relives the Revenge days of, ‘Get Pissed, Talk Shit, Dance Like An Idiot,’ with enormous guitar energy and spurted beats.  Supported by Andy’s barked-out coughed-up vocals projecting over 4 chorded start-stops through the entire song, a fast switcheroo, in ½ time slows it, holding the middle.  A dragged-out gargling guttural scream picks up the pace, and packs some heat. The middle, with drum cymbal crashes, coupled by odd guitar chord changes, and a guitar stint that seems cut off – as if the energy has a life of its own.  Ironically, as their sound is just about to go out of control, it is reeled back in to a structure semblance - mowing over all that is in its way to unwind, unravel, all to an unrelenting cymbal-crash finish.

A comedic edge in, ‘Sleep In Your Bath,’ has an identifiable snotty element.  A one-metered acoustic chord strum stops with one accapella pluck of the string debut of a Jew’s harp, [which is comical] before it spins off to the decapitating guitar.  Additional vocals from Andy are not as syncopated or choppy, unlike the guitar/drum works.  It is here that they cut it close to the edge, with a stint of emphasized noise, before reeling it back into the initial melody.  Switching an octave on guitar, the melody croons in scream-shouts, precisely.  The slower time on the M8 gives initiative for the drums and cymbals to smash the beat to the ground.

Their short-lived, ‘Jagermeister Song,’ holds no bar as a tumultuous drinking song. Andy’s shouting is in the gargled melody with distinct light-hearted alternated toned backups by Tim 'Bev' Bevington, Phillip McKie, Big Hands and Graeme (The Fractions) Matt Woods and Davey Psychotronic. Clever on the lyrics, “I'll have 1 shot, 2 shots, 3 shots, 4, shots, 5 shots, 6 shots, 7 shots, I'm pissed,” chorus, all the mates jump in and add their bit.  Humorously nicked, the revealing wink of a jazz cymbal-beat quickly unravels to a fizzled slag ending.

This portion of the CD is simply just too short. Relieved, that these England Fuckers will have a full 14-track CD release, 'Make Pigs Smoke' out May 1, 2009, you can whet your appetite with the CD split on www.interpunk.com.  Well, I can tell you this, that this refutable inferno will not be snuffed out any time soon.

THE FRACTIONS [Manchester, UK]

www.myspace.com/thefractions
www.thefractions.co.uk

With the new, young faces of punk, The Fractions have an interesting mix of Ska and reggae all swaddled in a danceable punk mix.  There seems to be enough room for vocals between instrument meanderings that keep the listener hooked.  Currently, finishing up their latest full length CD, I was able to nab the last 3 songs on the split with the Revenge of the Psychotronic Man.

Here’s my take - Light fan-fare Ska levels out of the playing field in, ‘Out Of Pocket,’ all in Rancid flair.  Although a faster pace, it is still in that mid tempo that seems to be the foundation element of The Fractions’ sound. The intro trombone melody holds before the chorus harmonies.  Yes, this is for skanking! The consistent beat is balanced out by the smooth backups that are scratched up by crooning lead vocalist, Joe, who bobs through the verses in coarse rhythm.

Obviously, The Fractions love to switch the beat changes, chord changes, and melody changes - all separately and then together in the bridge.  Ignited by machine-gun drums and grinding guitar chords, the heavier, dirgier chords hype-up to double-time beats.  In hollowed-out conviction over the bouncing beat, there’s that snap-back Rancid tempo, that it is all over with one cymbal crash. 

Skapunkas The Fractions on their way to a bright future

A mellower opening in levelled Ska, the vocals break into a rasta-reggae meter (which I favor more than the crooning).  Although, ‘Down and Out,’ has me grasping for the rails like a roller coaster ride with their punk elements, it has a more developed sound than the first song. The guitar stays more in time with the guitar chords as the horn melody strings underneath the scratched-up vocals.  The middle guitar riff highlights the song.  It is here where the vocals break down with a sharper and more poignant verse.  Adding more angst, the second bridge has the increased vocals crooning but all in that lower register giving into the heavy.  It is this bit of contrast that adds depth and definition to the melody of The Fraction’s style.  Speeding up in the end, the slam-beat drums imports a collage of hardcore beated horns.  Still holding the main melody, a solemn split, dissolves on harmony.

The last song, ‘Proper Successful,’ templates with a variety of twists and turns.  Here, there is a new punk fuzz-guitar melody all chorded to a steady beat.  However, on the first verse, the beat is fractured with drums kicking it up a notch in double-time as the vocals are now fluid over the chopped up long-striding chords, all in syncopated off-times. 

In natural progression, yet another hook up of power-fuzz chords in the middle, holds a nice guitar melody with bass plunking behind.  Just then, the Ska-tinned guitar darts back in with more guttural vocals and a 2x frenzied drum pangs, guitar-groove, and crooned fluid vocals that adds more in variety than this.  In the ending, after the bass accapella, the guitar-chugs a maverick right back to the full circle of melody in streaming vocals, veering towards the dissipated ending.

Despite that these guys are Newbie’s, I can see a future melding of The Fraction’s jazz and punk sounds.  As they spread their wings a bit and develop, they will grow into one unique outfit.

[Note: the lion roar at the beginning of the CD, can be read as a clever message of: You begin with angst, and you end with angst.]