The Knockouts Among the Vultures
by Trevor Portz
Staff Writer
Fusing rockabilly and punk isn’t the most original idea in the world. HorrorPops, The Living End, and of course Reverend Horton Heat have tread these Mississippi Delta via the River Thames waters for years, and with varying degrees of success. So maybe The Knockouts’ newest slab of rockabilly punk isn’t the most innovative thing ever created, but for the Stockholm-based trio, Among the Vultures is so damn fun, catchy, and well done, that it really doesn’t matter.
Though they tout themselves as the “missing link between the Stray Cats and Green Day,” this isn’t an entirely accurate description. The Stray Cats reference is certainly accurate, but the Green Day comparison may be a bit of a stretch. Not to take anything away from Billy Joe and the boys, who are masters of their craft, but the sheer variety of chords and guitar solos present on Among the Vultures puts The Knockouts in a completely different category, one more reminiscent of the Toy Dolls or the Dickies. It also lacks that perfect pop punch, which, depending on who you ask, could be a good or bad omission, but in this case, keeps everything from sounding like commercialized plastic.
Opening track “Head for the Hunted,” kicks things off with more than its share of energy and attitude. Excellent riffs (some that strangely seem to evoke early Def Leppard), great guitar playing, and the cooler-than-you-but-not-in-a-cocky-way vibe define the song and act as a great overview of the album as a whole. “Under the Light” follows in a similar fashion, though with some very well-placed horns during the chorus, and a midsection that could only be described as heavy rockabilly. Perhaps the line from sock hops to mosh pits is shorter than anyone would have guessed.
“Queen of the Underground” is heavy on the “Stray Cat Strut” vibe, but the gang vocal-fueled punk chorus keeps it fresh and ensures its integrity. More Brian Setzer-influenced playing shows up during the top-notch solo in “Rotten and Obessed,” but with its unique trumpet break, 40s night club-tinged vocals, and West Side Story finger snaps, Mr. Setzer would have a hard time being anything but extremely impressed, a even a bit jealous.
Other standout tracks include “Faith Avenue,” which absolutely would have been at home on the Toy Dolls’ classic Idle Gossip, and “Ever Been Hurt,” a laid back, acoustic-filled country ballad that lets off on the energy, but not the emotion.
The K.O. only seems to be directed at the band on closing track “Here’s a Song.” Though not a total travesty, the song seems designed to be a big, pub-worthy sing-a-long, but somehow manages to fall a bit flat, ending the record on a rather monotonous, uninspired note. After the overall excellence of the previous 11 songs, however, it’s hard to complain too much. Looks like Sweden has yet again delivered a stellar album from a stellar band. Now it’s time for the rest of the world to give it a listen.
Label: Diamond Prime Music
Web: www.theknockouts.com ; http://www.myspace.com/theknockoutspunx
Band Lineup:
Johan Frandsen (lead vocals, guitar)
Ted Jergelind (drums, vocals)
Ken Stone (upright bass, vocals)
Track Listing:
01 – Head For The Hunted
02 – Under The Light
03 – A Lie Like Natalie
04 – Queen Of The Underground
05 – The Chimneys Of Chemnitz
06 – Faith Avenue
07 – Ever Been Hurt
08 – Another Second, Another Minute, Another Day
09 – Rotten And Obsessed
10 – Streets Of Stockholm
11 – Time And Motion
12 – Here’s A Song
Hardrock Haven rating 9.2/10