aaamusic | On 25, Sep 2011

Ska has a questionable reputation at best. On the one hand, we have The Specials, whose many admirable qualities easily deserves an in-depth scholarly essay at the very least. On the other hand, we have Reel Big Fish who are fun but ultimately a bit pointless outside teenage house parties. Then there’s the whole gamut of skinhead controversy around the genre. So where do New Town Kings fit in?

 

Well, they’re not really the most intensely political outfit to grace the scene, but right from the wry, almost coy opener ‘Games That People Play’, it’s easy to tell that they’re going under the skin here. The music itself is heated and energetic, perfect for dancing, but the lyricism is sharp and (dare I say it?) even smart. Second track ‘Stop’ is comparatively slightly lethargic in tempo and instrumentation, but a rapid, flowing vocal delivery combined with stabbing stop/start moments mean it doesn’t hit the brakes too early, and the deft Hammond organ solo/bridge is a treat.

It’s on tracks like ‘Dynamite’ I’m a bit disappointed by the production. This particular one begs for a massive explosion of sound with full dimensions of the band’s sound rendered in the recording, and I can tell that this would be an electric track to see live in all its urban attitude and powerful atmosphere, but there’s a sad case of studio flatness here that dogs many similar bands, and all the fire-and-thunder heat the band can muster just doesn’t quite cut it. Similarly, I’m not sure if ‘Stringalong’ is simply not as exciting, or hampered by this issue.

As a UK ska band, some Specials is going to be evident, and here we get ‘Newstand’, a song that may be sonically low-key with its loping mid-tempo hopskip and coolly melodic flow, but it is fiercely catchy and the simple yet effective use of the brass instruments feels like the long-lost cousin of ‘Blank Expression’ with a party overtone. ‘Hollowhead’ also mixes an incisive wit with pop appeal to create something glossily danceable to the casual listener yet with not only appealing hookiness but barbs to those who care – or dare – to take a closer look.

Despite some patchiness and slumps, the ‘New Town Hop’ is a brilliant attention-grabbing skank song that for once captures all the passion and searing noise’knowhow needed for great ska, and even incorporates a Latin flavour in places, becoming a wild carnival between traditional reggae-influenced ska and a salsa party. This breathes life into the next couple of songs, with the bouncy, sunny-side-up ‘Star Of The Show’, a track that could easily lose momentum in favour of lovesickness, but thankfully keeps a playful melody and thumping percussion/bass interplay underneath its sparking cymbals. On the other hand yet just as notable is ‘Steal For His Bread’, a more socially-aware, once again snappy song with a catchy nature to match its insistence.

To close, we head back to the party mood with the good-times fanfare sound of ‘Brighter Days’, before the blissfully laid-back guitar-driven verse lulls us into smiling, and the chorus is not quite as fantastic as it could be, but easily a feel-good song that will doubtless get many through the cold dark months of winter ahead, as the salsa reggae pop-punk rocking heads off into a glorious horizon of their own making.

 

New Town Kings aren’t going to set a revolution on motion with this album, but I get the feeling that if it all goes as well as ‘Mojo’ suggests it will in between its wobbles and false start, these guys will be playing 90% of festivals in 2012, with their totally uncynical, and very well-written music that remembers the importance of recognising the dark side of life, yet smiling at the good breaks in between.

 

Author: Katie H-Halinski