You can’t accuse The Wood Burning Savages of caring less. Every track on their second album is a retort, a legitimate wail, a Ken Loach storyline. They itemise loathing, furious at the major lies and petty cruelties. It’s a parade of militant incels, grasping landlords, party ideologues and the children of immigrants who want to outlaw a system that gave their own families a point of entry.
Paul Connolly sings with authority and WBS make a noise that accents the disgust. The title track has a claustrophobic tilt that recalls the Manic Street Preachers, circa ‘Revol’. There’s an uncommon disco refrain in ‘Record of Achievement’ while ‘Climb the Ladder’ rattles at the joints like Led Zeppelin’s ‘Immigrant Song’.
School shooters and America’s poor safeguards are reported on ‘1000 Mumbling Virgins’. It’s only right to consider the lobby work of the NRA plus “Charlton Heston, with a Smith and Wesson”, loaded and unapologetic.
The zeitgeist is a filthy one and this record does not flinch. There’s an extra challenge to make sure that every complaint is freshly delivered. In truth, the attention falters a few times and lyrics like “the gap just keeps on growing, between the haves and the have-nots” are not always arresting.
Back in 2018, The Wood Burning Savages ended Stability, their first album, with a massive tune called ‘Freedom of Movement’. On this new record, they sign off with seven intense minutes, titled ‘Last of the Legacies’. It’s their best moment so far. It has compassion and melodic sway. The chimes of freedom may still be flashing but the air quality is poor and it’s a struggle to visualise the better prospects.
The song’s theme (based on a conversation between Paul and Derry artist Paddy Nash) is that a generation is being choked and denied the chance to leave something useful to the cultural estate.
Question: What can a poor musician do, to counter the merciless clampdown?
Answer: At least you you might make a record that’s obstinate and soulful like this. Tell it.
Stuart Bailie
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