Nukeateen - The 3rd Watch Tower
Jonny from Nukeateen was good enough to get in touch to let us know about their new album, The 3rd Watch Tower, released on the 5th of March. Once again mastered by Kramer (bass player from Ween and the Butthole Surfers), he went so far as to say ‘I mix and master a lot of music these days and usually it’s a pretty emotionless event. Sometimes I get lucky, and find myself excited about what I’m listening to, I got lucky with Nukeateen’ – which to me, suggests that I’m in for one hell of a ride!
Anything That Moves opens the album, greeting the listener with a rumbling bass line before launching into a punky mix of guitar lines, pounding drums and vocals which are going to get live crowds chanting along. Raw and powerful yet well put together, the over all sound here is full of energy, suggesting that on the live scene, this is going to be one of those tracks which people long to see, getting the venue jumping and everyone involved. The Twat follows on, opening with a sludgy riff before hammering onwards into a fast paced mix of guitars, bass and drums. This is a far deeper track, adopting a far bigger sound which adds further power to proceedings. The chorus is striking here for the screamed vocals, adding in a sense of the ‘out there’ but still managing to pull it off with aplomb. Once again keeping a real sense of movement running through things, so far both tracks seem to be ones which have been specifically crafted for the live market.
Big Curls follows the theme of distorted, fast paced power, once again throwing into a track which harks towards punk whilst also incorporating the sounds of grunge into it, forming a sound which somehow sounds familiar yet unique. This is the sort of track which you’re going to find yourself singing for days after hearing it, the music permeating into your mind and staying with you whether you’re aware of it or not. Wishing Well seems to mark a moment of change on the album, all of a sudden moving towards a soft and acoustic guitar line to get things going. Sounding akin to bands like The Cure in some aspects, there’s a real sense that this is a moment of reflective calm on the album, allowing you a chance to catch your breath whilst still offering you a track which you’re going to embrace, and one which is going to keep the album moving. Catchy once again, this is another track which you’ll be humming along to for days, the roving bass line making it one which you can’t help but love and want more people to hear. Following the softer approach into Forme, the jumpy theme continues before launching into a catchy distorted mix once again. This approach from the band, of moving from soft to hard and back again works well, and makes this another track which stands out as a high point on the album for sure.
Steaming Michaels is an odd one, almost harking towards early 90’s R&B as it opens before throwing into a Primus-esque bass mix, then throwing down to a hard hitting distorted section again, before once again going back to soft. In short, what you’ve got here is a track which seems to have everything, it’s a weird one for sure, but one which sort of works in some ways – I just don’t think I understand it! Here With You Now is much more conventional and is soon upon us to take the lead over, opening with an acoustic line before adding in some bass heavy rhythms to get the track moving once again. This is another track which adopts the jumpy yet restrained approach to things, crafting a track which makes you think of sunny days and chilling out with a beer – it’s the sort of song you want to see being played on a festival stage. Down In One continues this theme of good time music, once again crafting a track full of catchy hooks and moments which make you want to get out there, get with some friends and have a damned good time. What’s most striking here is the alternating pace, it’s testament to the bands ability as a unit to pull it off, and a well accomplished track.
Good Rows presents us with another bass heavy intro before launching into some rolling drums to get things moving once more. The guitar work on this track is quite frankly stunning, matching the sludgy approach of the backing music and forming a track which is going to intrigue you yet keep you involved throughout. What really got me here as well was how simple the track really is, yet it works on a level which few bands achieve, forcing you to enjoy it but also admire the simplicity of it all. No Good (Pick A Fruit) carries on this idea, once again launching into an energy fuelled track designed to get live crowds moving and embracing every single moment. Catchy and powerful, this is quite possibly my personal favourite track from the album, and another moment which really stands out as a high point.
Closing the album with Miscue and Clarks Recovery, there’s two final chances to hear the band doing what they do best. Miscue comes as the softer track initially ,opening with an evocative guitar line which builds into the track forming fully. Soon leaving all thoughts of softness at the door and throwing into a heavy mix once again, the track seems to almost lead into the final moments of Clarks Recovery, another track which demonstrates the different styles of the band to craft a track which covers numerous styles all in one. Sounding like a hybrid of punk and grunge, this final hurrah on the album leaves you with a serious taste for the band, and one which is going to keep you coming back time and time again.
Nukeateen have got a sound which isn’t going to appeal to everyone, but personally I admire them for keeping their approach firmly their own. Their sound is crafted to be unique, whilst at the same time forming a sound which will pull you in and make you want to hear more. Sure, there’s moments here which verge on the strange, but at the same time, the album as a whole works on so many different levels that it’s impossible not to admire them. I for one thoroughly enjoyed it and can’t wait to see what comes next!
Anything That Moves opens the album, greeting the listener with a rumbling bass line before launching into a punky mix of guitar lines, pounding drums and vocals which are going to get live crowds chanting along. Raw and powerful yet well put together, the over all sound here is full of energy, suggesting that on the live scene, this is going to be one of those tracks which people long to see, getting the venue jumping and everyone involved. The Twat follows on, opening with a sludgy riff before hammering onwards into a fast paced mix of guitars, bass and drums. This is a far deeper track, adopting a far bigger sound which adds further power to proceedings. The chorus is striking here for the screamed vocals, adding in a sense of the ‘out there’ but still managing to pull it off with aplomb. Once again keeping a real sense of movement running through things, so far both tracks seem to be ones which have been specifically crafted for the live market.
Big Curls follows the theme of distorted, fast paced power, once again throwing into a track which harks towards punk whilst also incorporating the sounds of grunge into it, forming a sound which somehow sounds familiar yet unique. This is the sort of track which you’re going to find yourself singing for days after hearing it, the music permeating into your mind and staying with you whether you’re aware of it or not. Wishing Well seems to mark a moment of change on the album, all of a sudden moving towards a soft and acoustic guitar line to get things going. Sounding akin to bands like The Cure in some aspects, there’s a real sense that this is a moment of reflective calm on the album, allowing you a chance to catch your breath whilst still offering you a track which you’re going to embrace, and one which is going to keep the album moving. Catchy once again, this is another track which you’ll be humming along to for days, the roving bass line making it one which you can’t help but love and want more people to hear. Following the softer approach into Forme, the jumpy theme continues before launching into a catchy distorted mix once again. This approach from the band, of moving from soft to hard and back again works well, and makes this another track which stands out as a high point on the album for sure.
Steaming Michaels is an odd one, almost harking towards early 90’s R&B as it opens before throwing into a Primus-esque bass mix, then throwing down to a hard hitting distorted section again, before once again going back to soft. In short, what you’ve got here is a track which seems to have everything, it’s a weird one for sure, but one which sort of works in some ways – I just don’t think I understand it! Here With You Now is much more conventional and is soon upon us to take the lead over, opening with an acoustic line before adding in some bass heavy rhythms to get the track moving once again. This is another track which adopts the jumpy yet restrained approach to things, crafting a track which makes you think of sunny days and chilling out with a beer – it’s the sort of song you want to see being played on a festival stage. Down In One continues this theme of good time music, once again crafting a track full of catchy hooks and moments which make you want to get out there, get with some friends and have a damned good time. What’s most striking here is the alternating pace, it’s testament to the bands ability as a unit to pull it off, and a well accomplished track.
Good Rows presents us with another bass heavy intro before launching into some rolling drums to get things moving once more. The guitar work on this track is quite frankly stunning, matching the sludgy approach of the backing music and forming a track which is going to intrigue you yet keep you involved throughout. What really got me here as well was how simple the track really is, yet it works on a level which few bands achieve, forcing you to enjoy it but also admire the simplicity of it all. No Good (Pick A Fruit) carries on this idea, once again launching into an energy fuelled track designed to get live crowds moving and embracing every single moment. Catchy and powerful, this is quite possibly my personal favourite track from the album, and another moment which really stands out as a high point.
Closing the album with Miscue and Clarks Recovery, there’s two final chances to hear the band doing what they do best. Miscue comes as the softer track initially ,opening with an evocative guitar line which builds into the track forming fully. Soon leaving all thoughts of softness at the door and throwing into a heavy mix once again, the track seems to almost lead into the final moments of Clarks Recovery, another track which demonstrates the different styles of the band to craft a track which covers numerous styles all in one. Sounding like a hybrid of punk and grunge, this final hurrah on the album leaves you with a serious taste for the band, and one which is going to keep you coming back time and time again.
Nukeateen have got a sound which isn’t going to appeal to everyone, but personally I admire them for keeping their approach firmly their own. Their sound is crafted to be unique, whilst at the same time forming a sound which will pull you in and make you want to hear more. Sure, there’s moments here which verge on the strange, but at the same time, the album as a whole works on so many different levels that it’s impossible not to admire them. I for one thoroughly enjoyed it and can’t wait to see what comes next!
Nukeateen
We were contacted recently by Nukeateen, which apparently means a catalyst used in explosion of a body’s senses. Disruption of Karma into a state of uncontrollable frenzy, achieving the above and an alcoholic cocktail of unknown ingredients – so there you go! Nukeateen are an original 90’s indie/grunge band who released three singles between 1996/97 and their debut album back in 1998 – however they unfortunately split in 1999 and left it 10 whole years before getting back together. Now releasing a new album every year from 2010 onwards to allow everyone to hear the 48 tracks they’ve got ready, this could well be a band worth checking out. Having had their album mastered by Mark Kramer of The Butthole Surfers fame, and having supported Blaze Bayley on a recent tour, these guys seem to have all of the good stuff on paper, but how does the music hold up?
Molotov Cocktail opens proceedings and immediately transports you back to the good ol’ days of proper grunge music – there’s a real Nirvana/Pearl Jam/Alice in Chains/Stone Temple Pilots feel here, the vocals gravelly whilst the guitars do all the main work. Almost catchy in the progression, this is a track which you can just listen to, the bass and drums setting a steady beat whilst the guitars rove around, the vocals encouraging you to join in the chants of ‘nukeateen’ as it progresses, in all this is something which works on different levels. As the track fades I found myself almost disappointed it had ended, but fear not for this is only the first track!
Bossy comes in second, opening drum and bass heavy before bringing back in those guitars. This track once again harks back to the good days of music, reminding those listening that whilst there’s new stuff out there, the old grunge cannot be beaten. Sounding akin to a heavier form of Nirvana this time around, this is track seems to echo around the speakers, the bass driving the track and the vocals once again hammering the message home. As Greebo comes into being, it’s almost a shock to calm everything down and hear the acoustic guitar taking the lead. This is another example of pure downright grunge done well by the guys, it’s catchy yet somehow off beat – as you listen you find yourself going back to the days where this music was more out there – and my question is what the hell happened! Catchy once again, this track is quite simply a triumph, and one of my favourites from the album.
How Unlike You continues the theme of the previous track, opening with cleaned up guitars to make sure you’re pulled in and listening. The vocals are set high in the mix on this track so they really seem to steal the show, forcing you to listen a little harder – then throwing a Bush-esque distorted riff section at you to make sure you’ve not forgotten what it is this band can do! Adding in a cheeky solo just to top things off, this track is one which I think captures this band perfectly, it takes all of their elements and showcases them, almost showing off in a way but without becoming over the top about it. Dumbass once again continues this idea, the last few tracks really bolstering the album and pushing it up to new levels. This track once again opens almost clean yet still deep and dark, the chord progression following the conventions of grunge yet somehow stamping a unique take on it. What I really liked on this track though was how you expect the distorted guitars to kick in and for everything to really take off, yet they hold back – this in turn makes you keep listening just so you don’t miss anything, it’s very cleverly done. Just as you give up hope – there it goes – awesome.
Number 6 see’s My Friends Rat – a bassy opening track which seems to slow everything down a touch, almost giving you the chance to reflect on everything just to see how far you’ve come. Telling the story of a friend who owned a hamster, the lyrics are without a doubt bizarre, but the music seems to let this go, creating a track which you’re not sure how to take but knowing that it works. Don’t Go changes everything though, opening with a bass and drum laden section which could happily accompany any chase sequence you can imagine, this is fast, raw, exciting and music which will get you moving along. This is the sort of track you want to see performed live, the sheer amount of energy captured on the recording here is testament to these guys ability to craft a track then use everything they’ve got to make it as massive as it can be. Catchy once again, this is one which I know I’ll be coming back to – it’s really similar to early A stuff yet seems once again unique, excellent!
Sleestacks continues the faster and more energetic approach to tracks, this time continuing to drive the track with the bass whilst the drums set the beat – give it a couple of listens and you’ll be chanting along to ‘sleestacks’ and nodding along to the beat, there’s something really accessibly here yet somehow once again they’ve retained that energetic edge which can so often be lost. Track 9 soon takes over in the form of Toast, a track akin to Presidents Of The United States tracks, again slowing everything down a little yet keeping all of the power there to be heard once again. Catchy once again, this is a track which really encapsulates the softer side of grunge and indie, showing that a distorted guitar doesn’t mean the track has to be a nonstop assault on your ear drums but instead can be laid back and easy going – and I like it!
Donutman seems to once again return the band to their grunge influences, the opening sounding like a certain Nirvana track of particular fame, but this lasts a mere few seconds. Launching into some deeper vocals to tell the tale of seeing some donuts, this seems to be a return to the more bizarre lyric writing of the band – but it works. Alternating between the chilled out and easy going sections, then the faster pacier sections, this is a track full of contrasts which will keep you guessing from start to finish. As the track closes and Tookatile kicks in, it’s almost a shock as the guitars and bass kick in over the drums, returning to the faster approach this time around but still keeping everything catchy. What’s really interesting here is how the vocals adopt a monotone approach, yet this doesn’t let the track down. The roving bass line seems to switch places with the voice, almost letting the bass and guitars tell the story of the track whilst the vocals back them both up.
Final track, Sounds Like Me closes this album in style and leaves you wondering how the next album is going to take over from this. Opening bassy and with a jumpy pace, this is another track which is sure to kill crowds on the live scene, I know I want to see it performed! Catchy once again, this track is another visit to the grunge factory, something these guys know how to do incredibly well, the result being a track which finishes the album off perfectly yet leaves you wanting to go back through it all once again.
I’m a big fan of 90’s grunge, largely it’s the music I used to listen to before I really discovered the world of metal so for me, this album has been a real pleasure to check out. I love the idea of releasing new albums every year for 4 years as well, and as such, look forward to hearing what’s to come after this one. The band can craft tracks which grab your attention and force you to listen, whilst at the same time making sure that they’re not offensive or over the top, it’s just downright good music! So, in summary, what else can I say but more please!
To find out more about Nukeateen, check out their Facebook page HERE.
Molotov Cocktail opens proceedings and immediately transports you back to the good ol’ days of proper grunge music – there’s a real Nirvana/Pearl Jam/Alice in Chains/Stone Temple Pilots feel here, the vocals gravelly whilst the guitars do all the main work. Almost catchy in the progression, this is a track which you can just listen to, the bass and drums setting a steady beat whilst the guitars rove around, the vocals encouraging you to join in the chants of ‘nukeateen’ as it progresses, in all this is something which works on different levels. As the track fades I found myself almost disappointed it had ended, but fear not for this is only the first track!
Bossy comes in second, opening drum and bass heavy before bringing back in those guitars. This track once again harks back to the good days of music, reminding those listening that whilst there’s new stuff out there, the old grunge cannot be beaten. Sounding akin to a heavier form of Nirvana this time around, this is track seems to echo around the speakers, the bass driving the track and the vocals once again hammering the message home. As Greebo comes into being, it’s almost a shock to calm everything down and hear the acoustic guitar taking the lead. This is another example of pure downright grunge done well by the guys, it’s catchy yet somehow off beat – as you listen you find yourself going back to the days where this music was more out there – and my question is what the hell happened! Catchy once again, this track is quite simply a triumph, and one of my favourites from the album.
How Unlike You continues the theme of the previous track, opening with cleaned up guitars to make sure you’re pulled in and listening. The vocals are set high in the mix on this track so they really seem to steal the show, forcing you to listen a little harder – then throwing a Bush-esque distorted riff section at you to make sure you’ve not forgotten what it is this band can do! Adding in a cheeky solo just to top things off, this track is one which I think captures this band perfectly, it takes all of their elements and showcases them, almost showing off in a way but without becoming over the top about it. Dumbass once again continues this idea, the last few tracks really bolstering the album and pushing it up to new levels. This track once again opens almost clean yet still deep and dark, the chord progression following the conventions of grunge yet somehow stamping a unique take on it. What I really liked on this track though was how you expect the distorted guitars to kick in and for everything to really take off, yet they hold back – this in turn makes you keep listening just so you don’t miss anything, it’s very cleverly done. Just as you give up hope – there it goes – awesome.
Number 6 see’s My Friends Rat – a bassy opening track which seems to slow everything down a touch, almost giving you the chance to reflect on everything just to see how far you’ve come. Telling the story of a friend who owned a hamster, the lyrics are without a doubt bizarre, but the music seems to let this go, creating a track which you’re not sure how to take but knowing that it works. Don’t Go changes everything though, opening with a bass and drum laden section which could happily accompany any chase sequence you can imagine, this is fast, raw, exciting and music which will get you moving along. This is the sort of track you want to see performed live, the sheer amount of energy captured on the recording here is testament to these guys ability to craft a track then use everything they’ve got to make it as massive as it can be. Catchy once again, this is one which I know I’ll be coming back to – it’s really similar to early A stuff yet seems once again unique, excellent!
Sleestacks continues the faster and more energetic approach to tracks, this time continuing to drive the track with the bass whilst the drums set the beat – give it a couple of listens and you’ll be chanting along to ‘sleestacks’ and nodding along to the beat, there’s something really accessibly here yet somehow once again they’ve retained that energetic edge which can so often be lost. Track 9 soon takes over in the form of Toast, a track akin to Presidents Of The United States tracks, again slowing everything down a little yet keeping all of the power there to be heard once again. Catchy once again, this is a track which really encapsulates the softer side of grunge and indie, showing that a distorted guitar doesn’t mean the track has to be a nonstop assault on your ear drums but instead can be laid back and easy going – and I like it!
Donutman seems to once again return the band to their grunge influences, the opening sounding like a certain Nirvana track of particular fame, but this lasts a mere few seconds. Launching into some deeper vocals to tell the tale of seeing some donuts, this seems to be a return to the more bizarre lyric writing of the band – but it works. Alternating between the chilled out and easy going sections, then the faster pacier sections, this is a track full of contrasts which will keep you guessing from start to finish. As the track closes and Tookatile kicks in, it’s almost a shock as the guitars and bass kick in over the drums, returning to the faster approach this time around but still keeping everything catchy. What’s really interesting here is how the vocals adopt a monotone approach, yet this doesn’t let the track down. The roving bass line seems to switch places with the voice, almost letting the bass and guitars tell the story of the track whilst the vocals back them both up.
Final track, Sounds Like Me closes this album in style and leaves you wondering how the next album is going to take over from this. Opening bassy and with a jumpy pace, this is another track which is sure to kill crowds on the live scene, I know I want to see it performed! Catchy once again, this track is another visit to the grunge factory, something these guys know how to do incredibly well, the result being a track which finishes the album off perfectly yet leaves you wanting to go back through it all once again.
I’m a big fan of 90’s grunge, largely it’s the music I used to listen to before I really discovered the world of metal so for me, this album has been a real pleasure to check out. I love the idea of releasing new albums every year for 4 years as well, and as such, look forward to hearing what’s to come after this one. The band can craft tracks which grab your attention and force you to listen, whilst at the same time making sure that they’re not offensive or over the top, it’s just downright good music! So, in summary, what else can I say but more please!
To find out more about Nukeateen, check out their Facebook page HERE.
