Having joined the likes of
the Specials and
the Clash on the compact list of overtly political British ska-punk bands, North London collective
the King Blues have lately become more renowned for their battles with each other than their battles with the system. After being dropped by Field Recordings due to poor sales of their 2008 sophomore album, Save the World, Get the Girl, they appeared to have imploded when four of their members left in acrimonious circumstances at the same time, one of whom, guitarist Fruitbag, posted a rather blistering message board attack on frontman Jonny "Itch" Fox, accusing him of constant mental abuse and abandoning his principles for the sake of commercial gains. These allegations may have questioned the whole credibility of their anti-capitalism mentality, but rather than meekly retreating into their shell,
the King Blues' third album,
Punk and Poetry, sees them come out fighting with more fervor, more radical spirit, and more anger than ever. Deciding to scrap the album's original concept of a straightforward "21st century punk record," Fox and company have instead created a highly charged protest affair that slams everything from the BNP (the contrastingly sweet ukulele-led sea shanty "Shooting Fascists"), the influence of Internet porn (the lovers rock reggae of the slightly comical "Sex Education"), and the decline/neglect of their neighborhood (the Ghost Town-inspired "The Future's Not What It Used to Be"). While the words undeniably do the talking, its 12 tracks are also complemented by Chris Sheldon (
Feeder,
Biffy Clyro) and regular collaborator Peter Mills' similarly charged genre-hopping production. "Set the World on Fire" is a pogo-inducing
Buzzcocks-meets-
the Streets rally against cosmetic surgery, corporate science, and the media; "Five Bottles of Shampoo" is a melancholic
Just Jack-esque brass-fused tale of a misogynistic clubber; and opening track "Last of the Dreamers" is a passionate call to arms set against a backdrop of gothic chanting, doom-laden piano keys, and free-form jazz percussion. The
My Chemical Romance-style shouty punk-pop of "I Want You," the riotous
Clash-influenced anthem "Headbutt," and the spiky new wave of closer "Everything Happens for a Reason" show the bandmembers aren't always preoccupied with nation-addressing diatribes, but
Punk and Poetry is far more effective when it's trying to hold the world to rights. Like its second track clearly indicates,
the King Blues are very angry indeed, but whether you believe the behind-the-scenes accusations or not, there's no denying that in this case, they appear to have put this emotion to very good use. ~ Jon O'Brien