In 1980 the Cockney Rejects sang “they all try to ignore us, but we won't let 'em win, the wankers try to put us down, but we will smash them in”, just one of many lines that captured the true spirit and meaning of the term ‘Punk’. Over forty years later and that fire burns just as brightly as ever in the hearts and stomachs of East London’s Clobber.
Having only formed in August 2021 the four piece consists of ex-members of PINTS, 50 Caliber and War Crimes (to name but a few). With stock that good it’s no wonder they’ve not wasted any time in already making a name or building a reputation for themselves. Flying the flag for DIY ethics, the band organised their first gig inside a gutted out barber shop with a rented PA system, since then the band had offers to share stages with the likes of Dead Swans, Who Cares? and Grove Street Families without a single recording or release.
This month see’s that all change though as Clobber are set to self-release their debut EP entitled The Tribal Rites of the New Friday Night. Recorded and produced by vocalist Charlie Longman’s brother Jack (ex-Giants) at Soundlab Studios, the EP contains four explosive, no bullshit, hardcore punk anthems that capture the frustration, anger and turmoil experienced throughout lockdowns and the pandemic as well as the constant threat to our creative arts and live music industries.
Whilst ‘The Tribal Rites of the New Friday Night’ and ‘The World’s Gone Mental’ effortlessly mash together those UKHC and Oi influences, they perfectly capture the current plight of the working class due to the ongoing pandemic. Add to those a dash of ‘political correctness gone mad’ and you get the lovingly titled ‘Karens, Gammons, Hippies and Conspiracies’, an all-out audio assault on the recent rise of conspiracy theorists and right-wing snowflakery that currently pollutes so much of our media.
EP closer ‘Tottenham Court Road’ is and ode to indie music venues such as the legendary Astoria, Mean Fiddler, Crowbar and the countless others that fell prey to gentrification, corporate business or property development. “Gather them up and hang them high from their suits and ties” spits Longman through gritted teeth, a plea of urgency to support what’s left of our crippled music industry and collectively give the finger to the contractors and landlords responsible for physically erasing some of our cherished history.
Clobber are living proof that Punk aint dead, it’s still alive, sneering and snarling as much as it ever was and though some of its aesthetics may have changed, the core values remain the same. Clocking in at under seven minutes, Clobber deliver four songs brimming with potential, not only to ensure their own success but also to stoke up the fire in the bellies of the disenfranchised. Poignant, political and pissed off, this is not only the shape of punk to come but also the kick up the arse its sorely needed for so long.