Saturn's Flea Collar is a San Francisco band born from the ashes of
Victim's Family, namely
Ralf Spight (vocals, guitar) and Larry Boothroyd (bass), that
plays a similar brand of funk-metal with satirical sexual-political
overtones a` la Zappa (or Jello Biafra).
Monosyllabic (Alternative Tentacles, 1996)
packs 20 tracks in 42 minutes of surreal psychedelic music, ranging
from farcical punk-rock (Walls Impede My Progress)
to big-band's swing (Doo).
Occasionally, their fusion of funk, jazz, metal and psychedelia
sounds like
Von Lmo fronting the
Chrome (Always Six O'clock)
or a grindcore version of Hawkwind
(Don't Fuck With The Guy Who Makes Your Food).
Those eccentric moments redeem the gratuitous discordant structure of
the other tracks (up to
the utter chaos of The Gas Bill And Love)
Most songs (The Song That Used To Be About Midgets)
struggle to deliver a message over a frantic hybrid of
progressive-rock and vaudeville.
But too much humour ends up hurting the music, that is often a mere pretext
for being funny.
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Saturn's Flea Collar e` un complesso di San Francisco nato sulle ceneri
dei Victim's Family, ovvero
Ralf Spight (vocals, guitar) e Larry Boothroyd (bass), che suona un
funk-metal dello stesso genere con piglio satirico sessual-politico alla
Zappa (o Jello Biafra).
Monosyllabic (Alternative Tentacles, 1996)
comprime 20 tracce in 42 minuti di musica psichedelica surreale, che spazia
da ibridi punk a jazz.
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Ralf Spight (vocals, guitar) and Larry Boothroyd (bass)
are also the brains behind Hellworms.
Boothroyd's seismic grooves and Spight's angular riffs propel the hard-rocking
Crowd Repellent (Alternative Tentacles, 2000), a psychotic tour of
rock subgenres:
the grotesque voodoobilly of Wake Up Tomorrow,
the rowdy, hammering glam-rock of Cock Rock Superstar,
the sarcastic boogie of Zillionaire,
the tribal and epileptic surf of Why Wait,
the breathless thrash of the instrumental Mercedes To Hades.
The cartoonish image hides skilled musicians, capable of sophisticated interplay
and solos, as proven by the acrobatic funk-rock of Rat Brains On Crack
and the mellow soul-rock of Master Manipulators.
By crossing Primus and
Dead Kennedys, the Hellworms concoct
music that is tight, loud, noisy, visceral.
Unfortunately, halfway the band runs out of idea, and start recycling riffs and
melodies that have been heard countless times before, and even a decent attempt
at power-pop like We're From Manchester sounds amateurish at best.
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