Audio Bullys
What does ""punk"" mean? Does it exist? In 2008, where would you find it? For a word that is bandied about with such enthusiasm, particularly in music…
What does "punk" mean? Does it exist? In 2008, where would you find it? For a word that is bandied about with such enthusiasm, particularly in music journalism, these are surprisingly difficult questions to answer. Certainly, you won't find anything of the spirit of 1976 in the obvious places: at the reformed Sex Pistols' arena gigs; on Green Day albums; in t-shirt designs at TopShop; on nostalgic BBC4 documentaries.
No, you have to think laterally. Look in unusual places. Which, on Tuesday April 8, 2008, would have meant searching out a warehouse in Notting Hill, where you would have found Audio Bullys recording the video for 'Gimme That Punk', one of the stand-out and most telling tracks from their new album, 'Sunday Night Fever'.
The title, and the fact that (the legendary) Don Letts was directing the shoot, are less important than the sound and spirit of said track. Over an evil, jump-up electro-rock riff, that, as the ABs approach their third album, still sounds unique, it sees the duo celebrating 30 years of righteous heroes from The Beatles to Biggie to Soulwax. It is a roll call of musicians and movements who've brooked no interference; who've done their own thing, often on a shoestring; who've stood alone and broken moulds; who've looked good, rocked hard and done so with honesty and integrity. It is a roll call of people who, in their own different ways define the essence of "punk".
For Simon Franks and Tom Dinsdale, the track is a reminder, ultimately, of who they are. Franks nods: "I like the attention to detail in those youth cults, be it mods or new ravers. I liked all that new rave stuff. It was refreshing. But I do like us, as Audio Bullys, to stand on our own two feet, and not be caught up in any scene." Standing on your own two feet - growing up, in fact - has very much been the theme for the duo over the last couple of years, after they parted company with Source/ Virgin, following the release of their second album, 'Generation'.
Their decks 'n' FX "live show", with Simon upfront MCing, was still in huge demand abroad, from Serbia to Holland, but, the duo were tired of it all. "We were in this void of half-DJ, half-live, with no real plot of a show," says Simon. "It worked great in the early days, in little clubs. We were getting out of it, and we could get away with it, just on excitement. But, by the end of the last leg, the passion had gone out of it."
They had to regroup and refocus. After a little tentative recording in a pro studio, they returned to Tom's bedroom set-up in Richmond, working in the same DIY way they had when they produced early hits like 'We Don't Care'. Tom laughs: "Acoustically, it's a shit room. With little monitors. And we have to keep it really quiet, because the magic will often happen at two in the morning. But you can still write a hit in there."
Simultaneously, Simon and Tom started putting a proper "electronic rock 'n' roll" band together, to play live. Simon's brother, Jimmy Franks (guitars) and Terry Donovan (drums) were recruited, and this new four-piece started playing club gigs, from 93 Feet East to underground parties in Edinburgh, re-engaging with their hardcore fans and discovering the joys of playing as a full band in riotous British clubs. "Those gigs have just been mad," says Simon. "I don't like being looked at as a dance act anymore, I've got to say. But I suppose we've always been like that: a hybrid. Going back to 'Ego War', it was electronic music with rock 'n' roll lyrics and a hip-hop influence."
After the stifling atmosphere of being on a major label - they liken the experience to a public school: a system of headmasters, prefects and "little kids", the bands, being told what do - this period of absolute creative freedom has reinvigorated the ABs. "Now, me and Si know exactly what we want and we've got control over all of it: videos, artwork, music," enthuses Tom. "I'm just excited again."
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