CD: The Rezillos - Zero

Long-time-coming second album from Scottish punk rock originals

There’s a particular sound that the best 1970s British punk rock has, scuzzy, scorched riffage emulating Chris Thomas’s multi-layered guitar production for the Sex Pistols. The Rezillos had it and they still have it. This is their first album since their 1978 debut, Can’t Stand The Rezillos, and it sounds as if it was made the following year rather than three-and-a-half decades later. The Rezillos, from Edinburgh, never embraced punk’s fury, nihilism or politics but, coming on like The Ramones crossed with The B52s, they fetishised sci-fi retro kitsch, looking a riot of quiffs, mod-ish ties, wrap-around shades, and lurid plastic clothing.

As ever, the band centres on Eugene Reynolds and Fay Fife whose singing and vocal sparring provides the songs with a zany kind of drama. They kick off with the rampaging “Groovy Room” which borrows its riff from The Ruts’ “Babylon’s Burning” but sounds more like an on-form Cramps goofing about. There are at least two love songs to aliens with suitably bizarre lyrical couplets, such as “Tiny boy from outer space/I really love your flattened face” (from the weirdly effective slowie “Tiny Boy”).

Along the way forays are made into Eighties hair metal on “Life’s a Bitch”, which sounds like W.A.S.P. or Twisted Sister, straightforward punk rock is embraced (“You’re So Deep”), as is twangy garage rock (“Spike Heel Assassin”), and the oddball experimentalism of the title track has a punchy heft. Particularly notable, also, is the dynamic and tuneful amphetamine beat pop of “She’s the Bad One".

I have a soft spot for this sort of music. I was sustained and nourished during the musical drought of the mid-Eighties by defunct, forgotten punk acts that I discovered in second hand record shops. I have no illusions that Zero is going to revitalize a general appreciation of The Rezillos but, like the consistently entertaining but under-appreciated output of The Damned or Motörhead, for those that like this sort of thing there’s much here that’s raucously welcome.

Overleaf: Watch the video for "No.1 Boy"

Add comment

The content of this field is kept private and will not be shown publicly.

Plain text

  • No HTML tags allowed.
  • Lines and paragraphs break automatically.
  • Web page addresses and email addresses turn into links automatically.
There are at least two love songs to aliens with suitably bizarre lyrical couplets

rating

3

explore topics

share this article

the future of arts journalism

You can stop theartsdesk.com closing!

We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d

And if you can forward this information to anyone who might assist, we’d be grateful.

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

DFP tag: MPU

more new music

Three supreme musicians from Bamako in transcendent mood
Tropical-tinted downtempo pop that's likeable if uneventful
The Bad Seed explains the cost of home truths while making documentary Ellis Park
Despite unlovely production, the Eighties/Nineties unit retain rowdy ebullience
Lancashire and Texas unite to fashion a 2004 landmark of modern psychedelia
A record this weird should be more interesting, surely
The first of a trove of posthumous recordings from the 1970s and early 1980s
One of the year's most anticipated tours lives up to the hype
Neo soul Londoner's new release outgrows her debut
Definitive box-set celebration of the Sixties California hippie-pop band
While it contains a few goodies, much of the US star's latest album lacks oomph