Album Review

Sonic Boom Six – Sonic Boom Six

• 15th Oct 2012

The fourth full album release by Manchester multi-genre mob Sonic Boom Six is something of a reanimation for the band. Signing to indie label Xtra Mile following the release of three previous albums through Rebel Alliance, the five-piece have aimed their sights higher and noticeably further afield.

Whereas the preceding records famously merge political charged punk with hip-hop and ska, the self-titled release reaches into electronic territories, borrowing drum and bass techniques associated with mainstream crossover acts such as Pendulum. The marriage between punk-rock and drum and bass is forcibly pushed to the forefront, leaving ska as the major collateral damage. There are still distinct nods to hip-hop (predominantly due to the male counterpart in the dual vocal system, Barney Boom), and considerable punk moments to please the band’s increasing cult following; yet the dance elements open the album up to a wider market – particularly evident on single ‘Virus’ or the immediate follower ‘Karma is a Bitch’.

Although the sound pioneered by the likes of Pendulum may appear to some as an outdated influence, Sonic Boom Six are principally successful in infusing the sound into their own. The songs determinedly retain the punk undertones that not only characterize the sound but also the band ethos. Underneath the outer layer of fast-paced drumming and electronic synths and guitar lies a defining attention to the political climate, coming to an inevitable crescendo of ‘Flatline’ complete with news samples discussing the infamous London riots. The newer influences increase the urgency of the sound, helping to inject the political lyrics with an enhanced charge. Simultaneously, it is undoubtedly destined to enlarge the fan base – ‘Who Will Survive’ and the aforementioned ‘Virus’ may well replace ‘Piggy in the Middle’ as the Sonic Boom Six go-to song for any alternative DJ.

The cynicism that accompanies any fusion of dance music into rock is largely diffused by the outcome, yet the niggling feeling remains at times that the band still retain the gimmicky essence. Regardless the self-titled effort is perhaps the least clichéd record in the bands discography, and manages to add an edge to the sound honed over the last decade. The self-titled record ploughs through at an impressive pace, never faltering on momentum. ‘The High Cost of Living’ knocks things down a notch or two, but does not impact on the overall bearing of the record. This immediacy reflects the band’s attitude towards the political climate, and encourages a genuinely rousing record. ‘Sonic Boom Six’ sees the band head in an uncharted direction, but one that could easily provide the soundtrack to contemporary British discontent.