Above: Rot n' Rollercoaster filmed at Champions, Bournemouth 24/09/2010 (supporting Ed Tudor Pole).
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Above: Sleepwalking Sleeptalker filmed at Champions, Bournemouth 23/04/2011.
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Above: Plasticum filmed at Mr Kyps, Poole on 01/06/2012 (supporting Buzzcocks)
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Above: Beachbum Baby video put together by Matt Upchuck.
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Message the band at their Facebook page to get their CD's -- probably for about the price of a pint.
The following review of 'In Space...No-One Can Hear You Smell..' is taken from the bhone website. I have printed the review, instead of just posting the link, as there is slight uncertainty whether the bhone website will remain online. The review was posted by Karl Hayman on 03.10.11 and, at the moment, you can still visit the bhone website at this link.
Review
Clocking in at just under twenty minutes, The C-30's 8-song record is all killer and no filler. Opening song, ‘Rot ‘n’ Rollercoaster’ is a snarly Pistols-esque track with catchy lead wrapped up in a tight rhythmic package which follows on to ‘Snakes & Liars’, giving definite hints of scuzzy lo-fi indie at a dirgy tempo that gets stepped up half way through. The guitar throughout has a recognisable QOTSA bulbous-ness (I think that’s a word), not skimping on any of the aural frequencies and providing a strong and full musical identity.
Through the CD, there are four tracks of a shorter more urgent nature, including track 3, ‘You’re Not Alone’. Opening with a trebly guitar riff, the song is punctuated by its urgency and storms through for its 1:44 length. A surprisingly long burst of lead from guitarist Andy Nazer fills the middle of the song, which allows it to rise above lesser, simpler alternatives.
The C-30's are more than your average punk band. Known for tight performances and songs that demand a strong rhythm, the three piece, completed by Paul ‘Sonic’ MacKenzie on bass and Dom ‘Upchuck’ Webb on drums, draw from a variety of influences it seems and creates an amalgamation of all.
A prime example is ‘Don’t Forget To Prey’, opening with drums, bass and then guitar in what sounds like a multitude of layered single notes as opposed to chords. Under Nazer’s Offspring-esque vocals is a track that meanders between a loose tightness and a tight looseness. In my opinion, it is the most commercial song of the CD and could easily fit into the sets of any punk band doing the rounds at the higher levels today. Set around a catchy hook of a chorus and a pace that sky rockets in the later half of the song, this could be a cleverly hidden indie pop gem, but is performed in a way that doesn’t detract from its core.
Two more tracks fly by in the next four minutes, one almost akin to newer Incubus material, if Boyd and co. decided to let loose once in a while, entitled ‘Angry Women’, again including impressive lead work from Nazer. ‘He Was A Nun’ is a pure channeling of 70′s punk again, echoing ‘White Riot’ by The Clash most recognisably. The lyrics are spat out over a simply orchestrated track, highlighted with tight playing and accentuated stops.
Final track ‘Wake Up’ is a change, with bassist ‘Sonic’ taking vocal duties in a brooding grower which unfortunately never seems to quite take off. Whether this is something that would work better live, I have yet to see. Heavy bass and palm muting lends to a constant build up that never climaxes in the way it is urging to..Overall, the CD is a great collection of catchy, accessible punk, which politely borders acceptable over obscene. The production lacks definition on vocals, which lets down the band in creating a polished product, but that could maybe to deliver a recorded album that mimics the likely sound of a live gig. I personally love the ballsy brick wall of guitar sound, though concede that at the detriment of the vocals, the undeniably catchy hooks are rarely heard how they should be.
The trio are clearly confident in what they are wanting to achieve, and even though I’m sure they would admit they are not trying to reinvent the wheel, they are producing a unique sound that does not lie with just punk influences. There is a strong energy which I would bet is matched and surpassed on stage. Although the CD is a good representation, to get the full C-30's experience, it may be time to pull on the Doc Martens again and get down to their next show.
Review
Clocking in at just under twenty minutes, The C-30's 8-song record is all killer and no filler. Opening song, ‘Rot ‘n’ Rollercoaster’ is a snarly Pistols-esque track with catchy lead wrapped up in a tight rhythmic package which follows on to ‘Snakes & Liars’, giving definite hints of scuzzy lo-fi indie at a dirgy tempo that gets stepped up half way through. The guitar throughout has a recognisable QOTSA bulbous-ness (I think that’s a word), not skimping on any of the aural frequencies and providing a strong and full musical identity.
Through the CD, there are four tracks of a shorter more urgent nature, including track 3, ‘You’re Not Alone’. Opening with a trebly guitar riff, the song is punctuated by its urgency and storms through for its 1:44 length. A surprisingly long burst of lead from guitarist Andy Nazer fills the middle of the song, which allows it to rise above lesser, simpler alternatives.
The C-30's are more than your average punk band. Known for tight performances and songs that demand a strong rhythm, the three piece, completed by Paul ‘Sonic’ MacKenzie on bass and Dom ‘Upchuck’ Webb on drums, draw from a variety of influences it seems and creates an amalgamation of all.
A prime example is ‘Don’t Forget To Prey’, opening with drums, bass and then guitar in what sounds like a multitude of layered single notes as opposed to chords. Under Nazer’s Offspring-esque vocals is a track that meanders between a loose tightness and a tight looseness. In my opinion, it is the most commercial song of the CD and could easily fit into the sets of any punk band doing the rounds at the higher levels today. Set around a catchy hook of a chorus and a pace that sky rockets in the later half of the song, this could be a cleverly hidden indie pop gem, but is performed in a way that doesn’t detract from its core.
Two more tracks fly by in the next four minutes, one almost akin to newer Incubus material, if Boyd and co. decided to let loose once in a while, entitled ‘Angry Women’, again including impressive lead work from Nazer. ‘He Was A Nun’ is a pure channeling of 70′s punk again, echoing ‘White Riot’ by The Clash most recognisably. The lyrics are spat out over a simply orchestrated track, highlighted with tight playing and accentuated stops.
Final track ‘Wake Up’ is a change, with bassist ‘Sonic’ taking vocal duties in a brooding grower which unfortunately never seems to quite take off. Whether this is something that would work better live, I have yet to see. Heavy bass and palm muting lends to a constant build up that never climaxes in the way it is urging to..Overall, the CD is a great collection of catchy, accessible punk, which politely borders acceptable over obscene. The production lacks definition on vocals, which lets down the band in creating a polished product, but that could maybe to deliver a recorded album that mimics the likely sound of a live gig. I personally love the ballsy brick wall of guitar sound, though concede that at the detriment of the vocals, the undeniably catchy hooks are rarely heard how they should be.
The trio are clearly confident in what they are wanting to achieve, and even though I’m sure they would admit they are not trying to reinvent the wheel, they are producing a unique sound that does not lie with just punk influences. There is a strong energy which I would bet is matched and surpassed on stage. Although the CD is a good representation, to get the full C-30's experience, it may be time to pull on the Doc Martens again and get down to their next show.