Electro-clash in the truest sense of the term, Scotland's The Magnificents match up early 80's electronic effects with visceral punk noise. Their self titled debut is brash and confident; low on subtlety but high on tension and conviction. In the shape of 'The Apollo Creed' and 'Digital Dirt' they could claim to be the rightful successors to the long-forgotten but sadly missed Earl Brutus; both tracks are big, dumb and ugly anthems, burning with a vital energy lacking in much of the 80s electronic scene. Conversely, 'The Russian Disco' and their self-aggrandising finale 'This Is The Magnificents' overdo it on the length and seriousness front; they are better when they make fun of the straight-faced likes of Visage and Gary Numan. Yet, generally speaking, it's a rare triumph for brawn over brains.
Electro-clash in the truest sense of the term, Scotland's The Magnificents match up early 80's electronic effects with visceral punk noise. Their self titled debut is brash and confident; low on subtlety but high on tension and conviction. In the shape of 'The Apollo Creed' and 'Digital Dirt' they could claim to be the rightful successors to the long-forgotten but sadly missed Earl Brutus; both tracks are big, dumb and ugly anthems, burning with a vital energy lacking in much of the 80s electronic scene. Conversely, 'The Russian Disco' and their self-aggrandising finale 'This Is The Magnificents' overdo it on the length and seriousness front; they are better when they make fun of the straight-faced likes of Visage and Gary Numan. Yet, generally speaking, it's a rare triumph for brawn over brains.
print this review
email this review