While the untimely death of JOEY RAMONE last year has left a gaping, iconic hole in Punk's 25-year jubilee celebrations, the arrival of a new gang of no-holes-barred guitar gunslingers, THE D4, ensures that those of us who still care about such incendiary music won't have to mourn too much longer.
Actually, while da Brudders Ramone are an obvious influence here (along with JOHNNY THUNDERS, whose "Pirate Love" they faithfully cover), Auckland, NZ'S THE D4 probably have a more solid bond sonically with a slew of more recent Australasian raunch merchants such as CELEIBATE RIFLES or (especially) THE LIME SPIDERS. Hell, like MICK BLOOD with t' SPIDERS, THE D4 even have a frontman with a fittingly ace name in JIMMY CHRISTMAS.
By association, then, "6 Twenty" has plenty to offer lovers of spunked-up garage rock. Indeed, for connoisseurs, they often recall the best of the "NUGGETS" - era obscure heroes. Daring to introduce organist CAMERON ROWE on the libido-thrusting "Ladies Man", they vividly invoke THE SHADOWS OF KNIGHT, while the riff on the equally cool "Little Baby" is a ringer for "Last Time Around" by Chicagoan "NUGGETS" troupe THE DEL-VETTS.
But the unquenchable thirst for raw power THE D4 display quickly makes a mockery of any obvious "retro" accusations you fancy flingin' custard-pie style at their craggy, hard-livin' mushes. The delicately-titled "Rock 'n' Roll Motherfucker" sets out their stall in fine style, while tracks like "Party" and "Come On!" pursue high voltage hedonism with a bloody-mindedness that's both impressive and damn infectious.
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Aside from the aforementioned "Pirate Love", "6 Twenty" also features two other like-minded covers: the frantic "Invader Ace" (originally by GUITAR ACE) and THE SCAVENGERS' "Mysterex", which starts off like a PIXIES-style surf instrumental, but ends up a snotty, anti 9-5 rant and is full of raised middle finger abandon.
Admittedly, "6 Twenty" is open to accusation in that the word "variation" obviously doesn't feature in its' lexicon. Indeed, the relentless rifferama only lets up during the album's two epic tracks, "Rebekah" (around the time of the false ending) and set closer "Heartbreaker", which slides in on a bassline suspiciously similar to THE CURE'S "A Forest." Hmm.
So, sure, this might make a difference if you've a problem with unpretentious, Jack Daniel's swigging, balls out rock 'n' roll, but if (like me) you like your guitar rock gutsy, unreconstructed and invigorating, then the chances are THE D4 will be your bag.
Here they come then, slouching down the street and lobbing fuzz punk grenades. Make way for the new James Bondi Beach Boys.
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