Rock Regeneration

Sep20

Album: “Seven Udder Songs” by Bitter Self Exploitment

on September 20th, 2022 at 19:07

So; after a brief hiatus, Southampton’s finest BSE are back with this fine seven-song collection, to which I have the great pleasure in waxing lyrical about! There’s a bit of old peppered with some new, but all in all, it’s simply great. Slimmed down to a trio (following the departure of Nat Darby-Hoskin) they may now be, but there’s no lack of lyrical wit and humour; hell no – this is the BSE we have grown accustomed to. The album opens with “We’re Not Famous in Japan” – not to be confused with “Big In Japan” by Big in Japan (google it)! A great sampled intro gives way to Jordan’s (lead vox) familiar vocal style. BSE’s familiar self-deprecating patter is on offer early doors, with their usual brand of fun. ‘Can’t sell out a show in our Home Town…’ oh the irony! The unusual bridge with its twisted chord sequence over heavy snare and sample experimentation is an interesting side to their output, while the mock puking to finish is curious indeed.

I’m reminded of Rezillos with the bass intro to “Career”, while the lyrical content is that anti-employment staple. Yep, that youthful feeling about the drudgery of employment at a young age with no wish to succeed. Jack’s bass is the star turn here, winding its way around Jordan’s vocal throughout. Another great bridge, steeped in early 80’s Post/Punk but not out of place. More twisted basslines and fast-paced drumming from Jack and Ben (drums) respectively on “Us And Them”. I’m guessing this is written about the thorny subject of class – the haves and the have nots. Lyrically on point and (at a risk of repeating oneself) a terrific bridge!

“Don’t Wanna Pay My Bills” is steeped in 80’s DIY Punk – simple basslines, rat-a-tat drumming and a direct in-yer-face vocal. “Pot Noodle for dinner tonight, don’t wanna pay my bills” is just one of many classic verses here. More bassline twists in the middle eight (see what I did there), while the song up’s the tempo latterly. On “Who The Fuck Am I” the intro has more than a nod to UK Subs, but the similarities end there. More self-deprecation but humorous, if a tad sincere. The bridge has that core 80’s Post/Punk feel and the break two thirds in keeps one guessing, while the ending is superb.

“Moustache Twat” – oh yes, the BSE observational comedy is in full swing here!! Knowing these guys as I do I’m guessing this is an autobiographical tale of a character they know well – it’s far too detailed to be a work of fiction, or maybe I’m doing them a disservice? Lyrically sharp with a simple bass, thumping drums and a solid vocal. “What’s he got in his Man Bag, Moustache Wax and a Packet of Fags…” need we say more?! The way the song winds down in the fadeout is a thing of beauty on what is arguably the standout cut on this collection. The album ends with “Here We Fucking Go” which I’m guessing was written while observing a game over at St. Mary’s, whiling away the time during fleeting moments of entertainment. The chorus is probably lifted from a terrace chant. Brooding basslines and thumping drums set the scene before Jordan’s menacing vocal kicks in. The standout line ‘you can find me in the Gym, or at the Pub with the lads; I’ve got a massive list of Tinder shags’ is pure genius. This could be the story of a weekend in their home town, such are the reference points which perfectly closes this fine body of work.

I have long championed Bitter Self Exploitment as the best band to come out of Southampton since “Soma High”, and that opinion hasn’t changed. One can only assume they’ve raided their Dad’s record collections for inspiration – this (self-produced by Ben) collection is more 80’s/3rd Wave/Punk than their early Pop/Punk leanings; while incorporating their brash, skewed sense of humour. With songs this good they need to expand their live output and tread the boards outside of their native Southampton, and who knows – hopefully they will grace the “Rebellion Introducing Stage” some day in the future…