Album Review - Zero F**ks! by The Wreks

A new CD landed on the post desk at Bamyasi Towers this week. Seeing the cover* and album title, and bearing in mind my less than supportive comments recently about Bristol punk-rock outfit Idles, it was with mixed emotions I loaded said disc into the magazine.

Apparently (no info. on the interweb anywhere**, but sourced through a reliable Content Editor contact) The Wreks have a history which takes in ex-Brighton bands The 80s Matchbox B-Line Disaster, Chungking, and Sam Sparrow. I've heard of two out of three of them, as Meatloaf would say, but little by any of them.

Let's check them out for some context, Matchbox B-Line first with the Music Map*** app:

Well look at that, why would Hugh Laurie be in there when I understand the B-Line were what some term psychobilly or cowpunk? The name does not appear to relate to any such real life disaster with highly combustible matchbox factories or train lines, unlike the Brian Jonestown Massacre for instance who ingeniously reference two real disasters in one name. Anyway the Matchboxes had a s**t hot reputation for incendiary live performances. The provenance for their offspring is encouraging.

Next, we turn to Chungking:

More bizarre comparisons here too with Dolly Parton, Nusrat Ali Khan, and ... Mozart! That's the first time I've ever seen a classical artist in the music map. Anyway I'm liking the electronica suggestions Zero 7, St. Germain and Air.

I do like the name Chungking too - I wonder if it was inspired by the infamous and legendary, and several times condemned, backpackers hostel Chungking Mansions in Hong K**g which is surprisingly still going. I had the pleasure myself of staying at this de-luxe residence for a month in the early 90s and had assumed, shocking fire hazard that it was, it had succumbed to its own matchbox disaster and been burnt to the ground years ago.

(I don't know who Sam Sparrow is but google thinks it could be Australian singer-songwriter Sam Sparro).

Does any of this help with The Wreks? Possibly - I get the feeling they would be an exciting band live with that pedigree. But what of the record - the catchily entitled mini-6-track EP Zero F**ks!?

I've said it before but it's easy and lazy to use the (x + y)c =  z equation.

In this case if x = Velvet Underground, and y = Patti Smith, and c is an unruly element (the c is an additional variable sometimes used to factor in an extra characteristic of time or place or person) then z (being the lovechild) = The Wreks, meaning The Wreks (z) would be the resulting unruly (c) lovechild if Lou Reed (x) and Patti Smith (y) got together. [Glad we cleared that up. Ed.]



Indeed I feel the record does draw upon a range of Velvet Underground influences. The opening track Glitterball could be off the celebrated debut "banana" album itself. It begins with a jolly N**o-like vocal over gentle twinkly vibes before the rest of the band strike in building towards an anthemic crescendo (all together now):

I love you
'Cos you're so wonderful
I hope you love me too
'Cos you're my dazzling Glitterball

Ah the Sunday Morning after the night before with my darling Glitterball.

Then it's all aboard The Bus, next stop the more sophisticated VU sound of Loaded - jangley guitars, breathy vocals and ba ba bah backing vocals. The brass refrain is an added and unexpected bonus. A lovely piece.

Miserable trundles along, less of a bus, more like a runaway train with a chugga chugga chugga acoustic guitar and a breezy harmony chorus. Does anyone remember The Men They Couldn't Hang? There's a Pogueish accordion too.

Two love songs, of sorts, follow - albeit tales of the unrequited variety imbued with the special Wreks seasonings.  Make Up is a catchy little number where the singer goes a bit Ian Curtis over a Joy Divisionish bass riff:

You look so perfect tonight
You look completely divine
I wish you were mine
You could pull anyone
Any man would take you home tonight.

(with your bright red lipstick on) #metoo

Then Don't Understand is probably the most straight forward punk rocker on the album. It's more what I was expecting and I can picture white suits and low slung guitars on a late 70s TOTP.  The song reveals more disappointment in the romance stakes for our Wreks spokesman:

I don't understand why you put me on the shelf.

P**k with a s**l.

Final track Dada bursts forth with an Un Deux Trois Quatre! It's a cracking tune with manic girl squawking over a driving one chord guitar rhythm and jungle drumming and rounds off my lovechild analogy nicely reminding me of one of Patti Smith's most urgent Horses songs.

Riding in on a current punk rock revival in the wake of bands like said Idles Zero F**ks!, with it's generous helpings of melodic pop and catchy choruses, offers the ear much more than initially meets the eye. Notwithstanding the 60s retro guitar jangle and unlikely indie pop pretensions I have no doubt The Wreks would go down a storm in a muddy festival field or dank Brighton basement, proving worthy successors to their trailblazing forefathers.

G**d stuff.

* I wonder why one of the folks on the minimalist cover art is inset? Perhaps he was not available for the shoot and had to be photo-shopped in later or is simply a little off frame for the selfie. It's another n**e touch.

** Since going to press The Wreks have embraced the digital age and can now be found at https://thewreks.bandzoogle.com/ and https://www.instagram.com/thewreks/ . Thank the l**d.

*** Find other stuff like stuff you like https://www.music-map.com/