I don't want to sound too righteous, but honestly, so many people who claim to be deeply into punk rock don't have a clue about it. I'm talking about the countless NME journalists and keyboard warriors on YouTube who constantly argue about what exactly 'is' punk and what 'isn't', and they've mostly been miles off the mark. NME are particularly guilty, along with many UK music publications, as they have been busy, in the past few years especially, championing the likes of Gallows as the 'saviours of punk rock'. Firstly, who decided that punk rock as a genre needed 'saving'? And secondly, whenever I listen to any of their tracks, all I hear is a messy, tuneless barrage of almost white noise, with the only lyrics being distinguishable being the odd expletive here and there amongst the sound of what seems to be Frank Carter trying to puke up his vocal chords. They certainly aren't 'saving' punk rock. I don't like the term 'saviors of (insert genre here)', but if you're gonna bandy it around, then I'd be very inclined to take it from Frank Carter and co and slap it emphatically on the backs of Richard Harris, Sadie Williams, Phil Morgan and Stuart Cavell, known collectively as The Submission.
I'm well aware of how bold a claim that statement is, but I stick by it. And that comes after witnessing just one frenzied half-hour set in a small club in Gravesend. And now we arrive at this 5-track EP, purchased for the princely sum of £2, presented as it is in a plastic wallet with the cover being what looks like an intense mosh pit. As visual embodiments of a band's sound go, this one is very effective. And I will say this right off the bat, I enjoyed this EP almost as much as I enjoyed seeing them live.
In terms of production, I've been warned by Rich that the quality isn't too great, but to be honest I had no problems with it. Sure, it's scratchy stuff, with the backing vocals not quite meshing with each other, and overall this is the polar opposite of the highly-polished, high-budget affairs many of us are more used to, but I wouldn't say it affects the quality of the music, and it may actually add something to it - it gives the music a slightly rawer edge which I think actually compliments it. Think along the lines of The Offspring and Green Day's respective pre-major label records, 'Ignition' and 'Kerplunk', and you have a fairly accurate picture.
The five tracks on here consist of three originals and two covers, and while the two covers - hugely enjoyable punk remixes of the '80s pop song 'Spin Me Right Round' and the rock 'n' roll classic 'Johnny B Goode' - are entertaining listens, the three originals are the songs that really merit praise here. It's easy enough to say that they are simple blasts of pure punk rock joy, but what makes them such entertaining listens is that they aren't just standard three-chords-and-that's-your-lot - every individual member injects extra life into the mayhem to take it up to another level. Rich hollers his vocals with wild abandon, but instead of just tuneless larynx-shredding, it meshes into the high-octane rhythms very well. He and fellow guitarist Phil intersperse the fast-paced riffs with thrilling and angular guitar breaks and solos to make the likes of Captain Sensible of The Damned or Brian Baker of Bad Religion proud, particularly on standout track 'You Just Don't Know'. Drummer Stuart drives things forward all the time, throwing in rolls and helter-skelter fills only where appropriate, and bassist Sadie augments the six-stringers' assault with some neat bass lines which bring to mind such famous punk bassmen as Mike Dirnt of Green Day or Paul Simonon of The Clash - hardly the centre of attention, more the glue which musically holds everything together.
Lyrically, do not look at the sniggery, blink-182-esque toilet humour of the title track as a guide, although it is funny in places. Instead, look at the aforementioned YJDK and the 'Reggae Rock Rebels' with it's fantastic skanking verses, as better guides for themes, the former being a powerful rant against those who look down their noses at others not quite like them, with Rich taking great pride in declaring: "I don't wanna ever be like you!" and the latter acting as a counterpoint, rallying the troops in emphatic style to break out of whatever humdrum town they may be stuck in (quite a common situation for many in towns across Kent), and when all four bellow the lines 'Jump up!/Shout out!/You're reggae rock rebels' with a ferocity that distorts the microphone, you can't help but want to join them.
Of course, this is hardly original stuff - the title track nabs a vocal line from the Stiff Little Fingers back catalogue, YJDK runs like a medley of all the best songs from the Clash's debut album, and RRR bounces along on a very much Rancid-style vibe. But at no point does it feel like blatant re-hashing of some dated concepts - the tracks all buzz with their own electricity and intensity, and are laden with hooks which are all their own, no matter how many nods to past legends they may make. And, ironically for a band who sing 'I don't think it really matters/whether you are, punk or not', The Submission are the best pure, 100% punk rock band I've had the pleasure of hearing in a long time, and one listen of this handful of tracks will leave you desperate for more.
If you can, go and see them live, and enjoy The Submission in their element. But if they don't happen to be playing anywhere near you tonight, then this little disc is a very enjoyable listen, and serves as a fascinating taste of things to come.
Standout tracks: You Just Don't Know, Reggae Rock Rebels.