Saturn's Flea Collar
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Monosyllabic, 6/10
Hellworms: Crowd Repellent, 6/10

Saturn's Flea Collar is a San Francisco band born from the ashes of Victim's Family, namely Ralf Spight (vocals, guitar) and Larry Boothroyd (bass), that plays a similar brand of funk-metal with satirical sexual-political overtones a` la Zappa (or Jello Biafra).

Monosyllabic (Alternative Tentacles, 1996) packs 20 tracks in 42 minutes of surreal psychedelic music, ranging from farcical punk-rock (Walls Impede My Progress) to big-band's swing (Doo). Occasionally, their fusion of funk, jazz, metal and psychedelia sounds like Von Lmo fronting the Chrome (Always Six O'clock) or a grindcore version of Hawkwind (Don't Fuck With The Guy Who Makes Your Food). Those eccentric moments redeem the gratuitous discordant structure of the other tracks (up to the utter chaos of The Gas Bill And Love) Most songs (The Song That Used To Be About Midgets) struggle to deliver a message over a frantic hybrid of progressive-rock and vaudeville. But too much humour ends up hurting the music, that is often a mere pretext for being funny.

Saturn's Flea Collar e` un complesso di San Francisco nato sulle ceneri dei Victim's Family, ovvero Ralf Spight (vocals, guitar) e Larry Boothroyd (bass), che suona un funk-metal dello stesso genere con piglio satirico sessual-politico alla Zappa (o Jello Biafra).

Monosyllabic (Alternative Tentacles, 1996) comprime 20 tracce in 42 minuti di musica psichedelica surreale, che spazia da ibridi punk a jazz.

Ralf Spight (vocals, guitar) and Larry Boothroyd (bass) are also the brains behind Hellworms. Boothroyd's seismic grooves and Spight's angular riffs propel the hard-rocking Crowd Repellent (Alternative Tentacles, 2000), a psychotic tour of rock subgenres: the grotesque voodoobilly of Wake Up Tomorrow, the rowdy, hammering glam-rock of Cock Rock Superstar, the sarcastic boogie of Zillionaire, the tribal and epileptic surf of Why Wait, the breathless thrash of the instrumental Mercedes To Hades. The cartoonish image hides skilled musicians, capable of sophisticated interplay and solos, as proven by the acrobatic funk-rock of Rat Brains On Crack and the mellow soul-rock of Master Manipulators. By crossing Primus and Dead Kennedys, the Hellworms concoct music that is tight, loud, noisy, visceral. Unfortunately, halfway the band runs out of idea, and start recycling riffs and melodies that have been heard countless times before, and even a decent attempt at power-pop like We're From Manchester sounds amateurish at best. (Translation by/ Tradotto da xxx)

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