Skankin’ In The Pit
(Hopeless/California Roll)
by SHrude Boy
Half American ska-punk and half Japanese ska-punk! The novelty of this gimmick ought to last the time it takes me to review the thing, then maybe I can pitch it to the doofus at the used CD store. But alas, my financial dilemma shan’t be solved by the sale of this CD. Yes, steppin’ and schleppin’ cats and kiddies, Skankin’ in the Pit is the sonic equivalent of a few quadruple cappuchinos in rapid succession. Opening is “The Beer Song” by Mustard Plug, always a sexy-smooth shake-yer-butt good time. High-steppin’ Blue Meanies pour in on “Smash the Magnavox,” followed closely by speedster snottiskasters, the Assorted Jellybeans, with a primarily punk contribution, “Wiggerside.” A newfound fave of mine is Slapstick and their over-caffeinated poetic description of “The Park.” The fact that it’s a Hopeless comp explains the inclusion of Falling Sickness‘ “Sleep it Off.” I always get the feeling they’re either playing something intricate and I’m not following it, or they just don’t know how to write a song. Against All Authority‘s “Bakunin” falls into the oldest trap in the ska book: The horns are out of tune with the other instruments. Bruce Lee Band‘s “Song #3” is so quick, I, uh, don’t know what to say about it. Snail Ramp launch into “A Pizza Ready,” and even when listening closely, I can’t discern Ishimuru’s cho playing. I don’t know what a cho is, but I thought I’d know it when I heard it. Guess not. Young Punch‘s “Strange Energy” has just that. I can’t tell what language the singer can’t sing in, but he sure sounds like he’s having fun. Potshot sound like darling, wide-eyed Japanamation characters singing “Handle.” The yearning of adolescence caught in every “yeah, yeah, yeah” and other words that I couldn’t make out. While Fruity‘s “Cinderella Boy” originally sounded like it was at the wrong speed, their hardcore group-shout choruses mix interestingly with the flutter-picking guitarwork and “shickita-shickita-shickita” vocals. Duck Missile combine the melody of Fishbone’s “Lyin’ Ass Bitch” with a manic punk chorus in “Friendship,” and would be a stand-on-the-coffee-table party fave if I could figure out what they’re saying. Scafull King‘s “You and I, Walk and Smile” turns out to be a pop song, or something. Imagine The Seven Dwarves on a lot of coffee jamming with a manic drummer, horns and saxes, a rockin’ guitarist, and a penchant for clever harmonies. After that, Sprocket Wheel‘s “Peace of Mind” just sounds like sloppy manic skapunk. I think I’ll listen to “You and I, Walk and Smile” again, cavorting about the room like a loon. I’d better pull down the shades.
