Skids – Burning Cities (Album Review)

skide slide - Skids - Burning Cities (Album Review)

Skids – Burning Cities (Album Review)

skids promo - Skids - Burning Cities (Album Review)To the initiated, the Skids was one of the foundations of what many consider Post-Punk—the new wave of bands that emerged or evolved from the remnants of the Punk movement in the United Kingdom in the late ’70s.

Still driven by the anti-establishment, confrontational, and sonic energy of Punk music, but at the same time tired of the predictable three-chord song structures and often misdirected, angry lyrical sentiments of most of the genre’s instigators, these so-called Post-Punk pioneers produced some of the most engaging and arty, yet accessible, kind of music. Among Skids’ successful batchmates included Siouxsie & the Banshees (“Mirage”), The Cure (“Grinding Halt”), Simple Minds (“Life in a Day”), U2 (“I Will Follow”), PiL (“Public Image”), and Joy Division/New Order (“New Dawn Fades”/“Dreams Never End”).

Formed in 1977, in Dunfermline, Fife, Scotland, Skids released four full-lengths in their heyday—1979’s still punky yet big-sounding Scared to Dance and the same year’s more angular as well as Synthpop-driven Days in Europa; 1980’s The Absolute Game, the band’s finest work and which served as the springboard of the departing Stuart Adamson (guitar, keyboards, backing vocals) for the sound of his next band, Big Country (“In a Big Country”); and 1981’s Joy, which saw the remaining members of Skids’ incorporating elements of Scottish Folk into their music. Then, in 1982, they disbanded. Consequently, Richard Jobson (lead vocals, guitars, keyboards) and Russell Webb (bass) formed The Armoury Show (“We Can Be Brave Again”), whereas Adamson had a headstart with Big Country, which he started long before the completion of Skids’ last album.

In 2007, Frontman Jobson, William Simpson (original bass player), and Mike Baillie (longtime drummer), along with Big Country’s Bruce Watson (guitar and backing vocals) and his son Jamie Watson (guitar), reformed Skids for a number of gigs to commemorate their thirtieth anniversary and to pay homage to the late Adamson, who died in 2001. More concerts ensued, but it took the revitalized group another decade before they found the time and energy to record a new album.

Now, Skids are ready to surprise both longtime fans and this generation’s enthusiasts of Alternative Rock/Punk/New Wave music, with the fruit of their decade-long return—the forthcoming Burning Cities.

Slated to be released on January 12, 2018, via NoBad, Skids’ fifth studio album is both a revisit to the band’s roots and a nod to the current state of Alternative Rock. It opens with the slow buildup yet assured confidence of “This Is Our World,” immediately setting the mood to Post-Punk proper after its piano-led prelude. The ensuing “One Last Chance” harked back to the bagpipe-guitar sound of early Skids and which became also the trademark of Big Country’s music. “Kaput” then transforms the dance floor to a mosh pit, with its slashing guitar lines, pistol-shot vocal delivery, and Psychobilly bass and drum beats.

The album’s first single, “A World on Fire” then looms large and prances proudly with its anthemic guitar melodies and Tribal drums. It sounds like a homage to the members’ past—Skids’ very own “Into the Valley,” Big Country’s “Fields of Fire,” and The Armoury Show’s “The Glory of Love.” The following title track finds Skids in their Rock-stomping predisposition, something that will please Bono and the rest of U2 (“Bullet the Blue Sky”). Another stadium-worthy, sing-along song comes next in the form of the fist-raised Punk attitude–reeking “Up on the Moors.”

A change of vibes, the sparse and cinematic “Refugees” is a throwback to Skids’ Celtic expedition in Joy, their last album. Then Skids unsettle the relaxing listener with the unexpected Punk blitzkrieg of “Subbotnik,” demanding overdue unpaid recognition. Another head-turning, relatively experimental track plays next – “Kings of the New World Order,” which combines Electropop and Guitar Rock elements; exuding whiffs of New Order’s “Crystal,” Bad Lieutenant’s “Sink or Swim,” Monaco’s “Under the Stars,” and Primal Scream’s “100% or Nothing.” With the penultimate “Into the Void,” the blazing band further skids and screeches into the muddy but melodic realms of Noise Rock; it will slide well onto a playlist that includes Sonic Youth’s “Bull in the Heather,” Mudhoney’s “Touch Me I’m Sick,” Big Black’s “Kerosene,” and British Sea Power’s “Apologies to Insect Life.” Finally, Skids wrap up their scorching new offering with the contemplative balladry of “Desert Dust,” whose Appalachian sensibilities reconnect the band with its English-Scottish Folk roots.

The vitality of Burning Cities and the renewed vigor of Skids truly compensated for the thirty-seven years’ gap between this new album and its predecessor. It definitely re-establishes the band as one of the pillars of Post-Punk/New Wave music and reaffirms Skids’ rightful place in the history and development of the beloved music genres. CrypticRock gives Burning Cities 4 out of 5 stars.
skids album - Skids - Burning Cities (Album Review)

Tour Dates:
JAN 10TH KING TUTS WAH WAH HUT, GLASGOW
JAN 11TH KING TUTS WAH WAH HUT, GLASGOW
JAN 12TH THE LEMON TREE, ABERDEEN
JAN 18TH GEORGIAN THEATRE – STOCKTON
JAN 19TH THE WATERFRONT, NORWICH
JAN 20TH THE EMPIRE, COVENTRY
JAN 21ST PRESTON GUILD HALL, PRESTON
JAN LEAS CLIFF HALL, FOLKESTONE
JAN 27TH PYRAMID CENTRE, PORTSMOUTH
FEB 09TH GLEN PAVILION, DUNFERMLINE
FEB 10TH THE VENUE, DUMFRIES
MAY 27TH CORN EXCHANGE, BEDFORD
JUN 01ST PICTUREDROME, HOLMFIRTH
JUN 02ND 02 RITTZ, MANCHESTER
JUN 07TH SUB 89 & THE BOWERY DISTRICT, READING
JUN 08TH CHEESE AND GRAIN, FROME
JUN 09TH TRAMSHED, CARDIFF
JUN 15TH BRUDENELL SOCIAL CLUB, LEEDS
JUN 16TH 02 ACADEMY, NEWCASTLE
JUN 22ND THE RESCUE ROOMS NOTTINGHAM
JUN 23RD 02 ACADEMY, LIVERPOOL
JUN 27TH THE WEDGEWOOD ROOMS, PORTSMOUTH
JUN 28TH ROBIN 2, WOLVERHAMPTON
JUN 29TH CONCORDE 2, BRIGHTON
JUN 30TH 02 SHEPHERDS BUSH EMPIRE, LONDON

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aLfie vera mella
aLfie vera mella
[email protected]

Born in 1971, in Metro Manila, Philippines, aLfie vera mella is a healthcare worker, singer/songwriter, and editor/writer. He was the frontman of the ’90s-peaking Philippine Alternative Rock / New Wave band Half Life Half Death, which released a full-length album and several singles on Viva Records. aLfie worked at Diwa Scholastic Press as an editor/writer of academic textbooks and supplementary magazines, focusing on Science & Technology and English Grammar & Literature.In 2003, aLfie migrated to Canada; he has since been living in Winnipeg, Manitoba. He works full-time at a healthcare institution, while serving as the associate contributing editor of Filipino Journal—a local community newspaper in Winnipeg—tackling Literature, Languages, Cultures, Lifestyles, and Music.As a means to further his passion for music, he formed the band haLf man haLf eLf. He now performs with another band, The Psychedelics.aLfie has been a music journalist since the mid-’90s for various print magazines as well as websites. He began writing album reviews for CrypticRock in 2015.In 2016, aLfie published Part One (Literature & Languages and Their Cultural Significance) of his Essay Series, Can You Hear the Sound of a Falling Leaf? His next planned literary endeavor is to publish the remaining parts of the anthology and his works on Poetry, Fantasy Fiction, and Mythology.In his spare time, he enjoys reading books and listening to music. He participates at various community events; and he explores the diverse cultural beauty of Canada whenever his schedule permits it.aLfie is a doting and dedicated father to his now ten-year-old son, Evawwen.

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