Monday, August 19, 2013

The (International) Noise Conspiracy - A New Morning, Changing Weather

T(I)NC was a wild Swedish garage/punk band that prided itself on its extremely left wing (communist) politics and wanted to become a cross between "Elvis Presley and Che Guevara". They also managed to write extremely catchy, extremely rockin' songs that combined the best of r'n'r and politics in a way that few ever could.

Showing a perfect fusion of garage and punk'n'roll (mining territory that groups like the Miracle Workers had previously explored), the Conspiracy damn near explodes right from the start with drummer Ludwig Dahlberg beating the skins like his life depended on it on "A Northwest Passage" which blends into "Up For Sale" which uses a Blondie riff (though I'll be damned if I can remember what song it is from), but I guess in communism, songs are everyone's, right?!

"Bigger Cages, Longer Chains" is an a-rhythmic, herky-jerky, kinda James Chance-y, horn driven soul garage-rocker that leads into "Breakout 2001", a sax-y noise fest that becomes a true stomper. Another short rocker, "A Body Treatise" precedes the somewhat eerie, organ-dominated "Born Into This" that turns into a poundin' piano workout, reminding me a bit of some of the wild piano in Alladin Sane.

"New Empire Blues" is high energy garage, similar to an updated Pretty Things, with call and answer chorus and a somewhat Stoogesian sax break and a good use of dynamics. The huge chorus of "Capitalism Stole My Virginity" with its swelling organ, gang vocals, simple and effective guitar riffs and caveman drums mix so many different influences that it's hard to pick everything out, which ends up creating their own, personal sound.

Beautiful, squealing feedback and gigantic power chords dominate "Last Century Promise" and they steal "You Really Got Me" for the intro to "Dead Language of Love" before turning it inside out, adding off-time drums and then just freakin' exploding in a glorious blast of noise'n'roll. There is a brief respite with a quiet interlude before ending with the title cut, which I take to be a high-energy declaration of hopeful political change.

This is absolutely a terrific garage'n'roll album, that just happens to be heavily political - though you can kinda ignore that if it offends your sensibilities and just rock out. I'm sorry that I never got a chance to see these damn commies!