FUN,
SAFE AND ANONYMOUS - Soviet Valves (Self-released)
It doesn't seem that long since the previous Soviet Valves CD came across
my desk. Like their previous recording, “Fun, Safe and Anonymous”
is a brief but enthusiastic and ultimately satisfying illustration of the
band’s sound and 
attitude.
The Soviet Valves have a sound that’s really like nothing else I’ve
heard in recent times – the influences are still predominantly post-first
wave UK punk, but the sonic aesthetic goes in a demonstrably different direction
to anything the Buzzcocks could have conceived.
“Notwithstanding” starts where the last recording left off –
fast and furious double guitar and drum excitement. At the conclusion of the
song I wondered if this was going to be a replication of that first EP; but
thankfully my fears were ill-founded. “Sight that Harms/Gaze that Harms”
(I couldn’t understand the vocals in a fit, so I’ve got no idea
what the song is about) is like the Velvet Underground played ridiculously
fast (and that’s not an insult) with some objectively melodic punk respite
thrown in for good measure – and a very pleasant to the ear concluding
crescendo that almost reaches Romany energy levels.
“Politics of Exclusion” works well for two reasons; (1) the simple
chunky riff, and (2) the counter balance of dirty and clean guitar. In one
ear you’ve got something industrial (Soviet?) and harsh; in the other
you’ve got a sweet and light melody. Together it complements nicely
like Geoff Goodfellow reading poetry on an industrial estate to a captivated
ETU audience.
“Oh No, Here She Comes” starts fast, builds up pace and clocks
in at a grand total of 30 seconds of paranoid angst at the impending arrival
of some unsolicited suitor. “Crossover Angst” and “Puritan
Blues” both have moments of Sonic Youth-like (Schizophrenia) happiness,
but like Sonic Youth, balances time in the sun before clammering back for
the comfort of sonic darkness. The vocals screech and wail at various moments
like a male Kathleen Hanna; the riff hits the spot with precision that the
Pixies would be happy with.
And finally – but still importantly – I have to comment on the
skeletal presentation of the CD. I'm not sure if the packaging – single
sided insert, with only black, white and grey – is supposed to have
a Soviet realist symbolism. If this is the case, then I've missed the point
(again), which is fine. But as much as we would all like to think that substance
will triumph over form, the reality is not that simple. I’m no expert
in marketing, but I reckon something could be done there. –
Patrick Emery
3/4
SOVIET
VALVES - Soviet Valves (Self-released)
Perth's reputation in contemporary Australian musical history and heritage
is often overlooked; it's worth remembering that such rock luminaries as Kim
Salmon, James Baker, Dave Faulkner, the late David McComb 
(Triffids),
Rob (and Mark) Snarski and Dom Mariani all cut their teeth in the local Perth
pub rock scene before heading east.
Soviet Valves are a four-piece pop rock band from Perth. The composition of
the band – two guitars, drums and vox – is relatively unique (if
that's not a logical contradiction) but equally is a recipe that's been built
on successfully by certain other notable bands including the Blues Explosion
(as well as been taken beyond its logical conclusion by Salmon).
The band's debut (self-released) EP contains six songs that, while each adhering
to a fairly stable format, demonstrates a pop sensibility that's (apologies
for appearing patronising) very mature, and a good bedrock for future releases.
The prevailing sound of the EP is, as you'd expect, more on the treble edge
of the dial. Initially the fast paced, jangly aesthetic made me wonder if
there was something folk-like in the band's musical influences or objectives
(and before you jump to the (understandable) conclusion that folk = insipid,
remember that there's more than a bit of the folk tradition lying latent in
'60s West Coast garage stuff). But subsequent listens demonstrate clearly
that the Soviet Valves are certainly not a folk band with a rock tinge –
this is guitar rock that's inspired by equal parts pop and punk.
The opening track, “Carrion Luggage”, is based around a UK second
wave punk guitar feel that's very much in the Buzzcocks/Wire region (the band's
publicity blurb accurately name checks both these bands as key influences).
My favourite track on the EP is “Just Because”, primarily 'cause
of its catchy guitar melodies, and partly 'cause of the amusing, and emotionally
nihilistic, refrain: “Just because I like you doesn't mean I care”.
“Panic Dance” demonstrates the band's ability to produce a very
tight, robust sound, notwithstanding the absence of a bass player. The vocals
are of the hollering variety, though on the final track, “Gift”,
the hollering more than comfortably complements the chunky guitar licks.
The impression you get from reading the band's biographical material is of
a band that enjoys playing live, and recognises that live performance is the
most efficient (and enjoyable?) means of fostering a loyal following. My gut
feel is that the Soviet Valves would put on a live show worth checking out.
– Patrick Emery
3/4