Elements of back-lashing against the fall of traditional punk, edges out through some The Moldy Peaches rawness, the insight and uncompromising touch akin to The Fall, topped off by the Liam Gallagher baiting front man Tom Atkin’s coarse, yet driven vocals.
Hull’s The Paddingtons use this second album to shamelessly and proudly exclaim that despite having a New York base, when making America their second home, they have lost none of their Northern grit and no shit approach.
‘Punk RIP’, is a shrill valediction to the glory days of Da Pistols and Sham 69. A The Cribs veined, hanging back-drop and shouty vocals gives lead single, ‘What’s The Point In Anything New’ a mainstream, radio friendly coating.Something that is bearable only for the fact that the rest of this rugged full-length spews out versatile crudeness, at times flashing some underlying depth.
A Ska edge is brought to the fore, ‘Shame About Elle’. Atkin’s vocals have developed into a broader range this time around, as the harmony helped, drawling vocal driven, 80’s indie rock slanting ‘Sticky Fingers’, testifies. New wave rawness and spice is paraded throughout, ‘Molotov Cocktail’.
There does appear to be a more rounded and varied instrumental element to The Padds this time around. A languid feeling capturing a crunching lyrical touch is borne out in the vitriolic slow melting, ‘Stand Down’ featuring a downtrodden lag;
“Oh, you’ve seen it all before; knocking at your door.Oh, you’ve let it waste away, nothing comes your way.”
Political nettle grasping is done with rhythm rumbling catchiness, punctuating the piercing points about the deceitfulness and hatred nature of the yob culture, ‘Gangs’.
‘Heart Song’, underlines the masterful touch of percussionist Grant Dobbs, whose profile adds vibrancy and drive. Keeping The Padds at the forefront of indie/punk and steering them clear of the lame ditch that seems to catch out many acts of this cut.