Skeet
Simple Reality
Boomkat Product Review:
An absolute gem of minimalist post-punk pop jangle from 1980 Coventry finally finds its audience, who are likely to be fans of Antena, Brenda Ray, Vazz, Young Marble Giants, Fire Engines, Maximum Joy.
The epitome of a what-could-have-been band, Skeet were a trio formed in the shadows of Coventry’s renowned 2 Tone scene by brothers Gary & Nigel Meffen, and completed by singer Kay Booth, whose endearingly shy delivery neatly contrast the lads’ spiky, jangling drive. They would record a debut EP, ’Park Road’ on a reel-to-reel and mixer borrowed from Toby Lyons (The Colourfield) and Jerry Dammers (The Specials) and play 10 shows before disbanding prior to the EP’s release. Fast forward a few decades, and the appearance of a Skeet song on a fundraiser for the Coventry Music Museum prompted the excavation of their earliest work, some 40 odd years later, on Almost Unknown, and now this further course of treats from the same sessions, sourced by Melbourne’s beloved Efficient Space.
Juicing the most from a stripped down set-up of scratchy Roland CR-8000 rhythm box, wiry guitar and that perfectly awkward vocal delivery, Skeet’s songs endure on account of their modesty and timeless melodic vitality. Between the sinuous bassline and bittersweet hooks of ‘Alone Tonight’, the pulsing porto-techno-pop of ‘Brief Call’, the shrugging turns of phrase in ‘I Was Never Told’, and the Naffi Sandwich-esque post-punk dub sway to ‘Song of Love’ they trade in pure ohrwurms, nothing less. ‘Young Girls’ practically imagines Antena meets Maximum Joy in the grey concrete Midlands, and there’s an almost NYC no wave disco drive below the belt of ‘Avril in the Alps’, and surefire Vazz-liek appeal to ‘Left on the Shelf’ that should all be ringing bells for discerning heads.
TIP!
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Boomkat Product Review:
An absolute gem of minimalist post-punk pop jangle from 1980 Coventry finally finds its audience, who are likely to be fans of Antena, Brenda Ray, Vazz, Young Marble Giants, Fire Engines, Maximum Joy.
The epitome of a what-could-have-been band, Skeet were a trio formed in the shadows of Coventry’s renowned 2 Tone scene by brothers Gary & Nigel Meffen, and completed by singer Kay Booth, whose endearingly shy delivery neatly contrast the lads’ spiky, jangling drive. They would record a debut EP, ’Park Road’ on a reel-to-reel and mixer borrowed from Toby Lyons (The Colourfield) and Jerry Dammers (The Specials) and play 10 shows before disbanding prior to the EP’s release. Fast forward a few decades, and the appearance of a Skeet song on a fundraiser for the Coventry Music Museum prompted the excavation of their earliest work, some 40 odd years later, on Almost Unknown, and now this further course of treats from the same sessions, sourced by Melbourne’s beloved Efficient Space.
Juicing the most from a stripped down set-up of scratchy Roland CR-8000 rhythm box, wiry guitar and that perfectly awkward vocal delivery, Skeet’s songs endure on account of their modesty and timeless melodic vitality. Between the sinuous bassline and bittersweet hooks of ‘Alone Tonight’, the pulsing porto-techno-pop of ‘Brief Call’, the shrugging turns of phrase in ‘I Was Never Told’, and the Naffi Sandwich-esque post-punk dub sway to ‘Song of Love’ they trade in pure ohrwurms, nothing less. ‘Young Girls’ practically imagines Antena meets Maximum Joy in the grey concrete Midlands, and there’s an almost NYC no wave disco drive below the belt of ‘Avril in the Alps’, and surefire Vazz-liek appeal to ‘Left on the Shelf’ that should all be ringing bells for discerning heads.
TIP!
Boomkat Product Review:
An absolute gem of minimalist post-punk pop jangle from 1980 Coventry finally finds its audience, who are likely to be fans of Antena, Brenda Ray, Vazz, Young Marble Giants, Fire Engines, Maximum Joy.
The epitome of a what-could-have-been band, Skeet were a trio formed in the shadows of Coventry’s renowned 2 Tone scene by brothers Gary & Nigel Meffen, and completed by singer Kay Booth, whose endearingly shy delivery neatly contrast the lads’ spiky, jangling drive. They would record a debut EP, ’Park Road’ on a reel-to-reel and mixer borrowed from Toby Lyons (The Colourfield) and Jerry Dammers (The Specials) and play 10 shows before disbanding prior to the EP’s release. Fast forward a few decades, and the appearance of a Skeet song on a fundraiser for the Coventry Music Museum prompted the excavation of their earliest work, some 40 odd years later, on Almost Unknown, and now this further course of treats from the same sessions, sourced by Melbourne’s beloved Efficient Space.
Juicing the most from a stripped down set-up of scratchy Roland CR-8000 rhythm box, wiry guitar and that perfectly awkward vocal delivery, Skeet’s songs endure on account of their modesty and timeless melodic vitality. Between the sinuous bassline and bittersweet hooks of ‘Alone Tonight’, the pulsing porto-techno-pop of ‘Brief Call’, the shrugging turns of phrase in ‘I Was Never Told’, and the Naffi Sandwich-esque post-punk dub sway to ‘Song of Love’ they trade in pure ohrwurms, nothing less. ‘Young Girls’ practically imagines Antena meets Maximum Joy in the grey concrete Midlands, and there’s an almost NYC no wave disco drive below the belt of ‘Avril in the Alps’, and surefire Vazz-liek appeal to ‘Left on the Shelf’ that should all be ringing bells for discerning heads.
TIP!
Boomkat Product Review:
An absolute gem of minimalist post-punk pop jangle from 1980 Coventry finally finds its audience, who are likely to be fans of Antena, Brenda Ray, Vazz, Young Marble Giants, Fire Engines, Maximum Joy.
The epitome of a what-could-have-been band, Skeet were a trio formed in the shadows of Coventry’s renowned 2 Tone scene by brothers Gary & Nigel Meffen, and completed by singer Kay Booth, whose endearingly shy delivery neatly contrast the lads’ spiky, jangling drive. They would record a debut EP, ’Park Road’ on a reel-to-reel and mixer borrowed from Toby Lyons (The Colourfield) and Jerry Dammers (The Specials) and play 10 shows before disbanding prior to the EP’s release. Fast forward a few decades, and the appearance of a Skeet song on a fundraiser for the Coventry Music Museum prompted the excavation of their earliest work, some 40 odd years later, on Almost Unknown, and now this further course of treats from the same sessions, sourced by Melbourne’s beloved Efficient Space.
Juicing the most from a stripped down set-up of scratchy Roland CR-8000 rhythm box, wiry guitar and that perfectly awkward vocal delivery, Skeet’s songs endure on account of their modesty and timeless melodic vitality. Between the sinuous bassline and bittersweet hooks of ‘Alone Tonight’, the pulsing porto-techno-pop of ‘Brief Call’, the shrugging turns of phrase in ‘I Was Never Told’, and the Naffi Sandwich-esque post-punk dub sway to ‘Song of Love’ they trade in pure ohrwurms, nothing less. ‘Young Girls’ practically imagines Antena meets Maximum Joy in the grey concrete Midlands, and there’s an almost NYC no wave disco drive below the belt of ‘Avril in the Alps’, and surefire Vazz-liek appeal to ‘Left on the Shelf’ that should all be ringing bells for discerning heads.
TIP!
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Boomkat Product Review:
An absolute gem of minimalist post-punk pop jangle from 1980 Coventry finally finds its audience, who are likely to be fans of Antena, Brenda Ray, Vazz, Young Marble Giants, Fire Engines, Maximum Joy.
The epitome of a what-could-have-been band, Skeet were a trio formed in the shadows of Coventry’s renowned 2 Tone scene by brothers Gary & Nigel Meffen, and completed by singer Kay Booth, whose endearingly shy delivery neatly contrast the lads’ spiky, jangling drive. They would record a debut EP, ’Park Road’ on a reel-to-reel and mixer borrowed from Toby Lyons (The Colourfield) and Jerry Dammers (The Specials) and play 10 shows before disbanding prior to the EP’s release. Fast forward a few decades, and the appearance of a Skeet song on a fundraiser for the Coventry Music Museum prompted the excavation of their earliest work, some 40 odd years later, on Almost Unknown, and now this further course of treats from the same sessions, sourced by Melbourne’s beloved Efficient Space.
Juicing the most from a stripped down set-up of scratchy Roland CR-8000 rhythm box, wiry guitar and that perfectly awkward vocal delivery, Skeet’s songs endure on account of their modesty and timeless melodic vitality. Between the sinuous bassline and bittersweet hooks of ‘Alone Tonight’, the pulsing porto-techno-pop of ‘Brief Call’, the shrugging turns of phrase in ‘I Was Never Told’, and the Naffi Sandwich-esque post-punk dub sway to ‘Song of Love’ they trade in pure ohrwurms, nothing less. ‘Young Girls’ practically imagines Antena meets Maximum Joy in the grey concrete Midlands, and there’s an almost NYC no wave disco drive below the belt of ‘Avril in the Alps’, and surefire Vazz-liek appeal to ‘Left on the Shelf’ that should all be ringing bells for discerning heads.
TIP!
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