There’s been quite a buzz around the people in the know about Epoxy and after chatting to lead singer and mastermind Brett Kimberlin it’s not that difficult to see why. Creating a unique brand of grunge-punk, Epoxy take bits from the likes of Nirvana and The Dead Kennedys and throw them into one big melting point, coming up with a concoction that is strangely compelling. The background story is as interesting as the music itself, with Brett having served time in jail as a political prisoner. This record is a snapshot of his life behind bars and away from his music. It smacks of his desperation at being away from his music, his family and perhaps most importantly, being away from his freedom of speech.
Epoxy use their stage well pushing forward their own brand of frustration and anger, most of which is aimed at the establishment – and in particular the US President George W. Bush. Insightful at times and clever for the most part, the lyrics are the central focus point throughout often leaving the music in the shadow. That’s not to say the music is at all bad, but for those who love having a ‘message’ in a song, this is a band for you.
Sonically Epoxy are never going to be for everyone. The musicianship is fantastic, but the riffs are borrowed at times – ‘Amber’ in particular follows very closely to several Nirvana songs – and the vocals may not appeal to everyone. But get over those hurdles and you have a band that are exciting, pushing back the envelope and putting something envigorating back into their music. ‘Doing Fine’ thrusts back and forth with a guitar sound reminiscient of the Seattle grunge era with a modern day twist. Contorting itself around some inciteful lyrics, the track weaves its way into your brain and will have you singing and drumming along with fervour. ‘X’ is more bass heavy and ‘Notches’ a fine blast of melodic pop, coated with a coarse production and a snarling vocal.
‘Amber’ does feature a riff I’m sure everyone will find familiar, but the lyrics are again a saving grace, while ‘Vicegrip’ builds up into a monster of a song that combines the vocal melodies of REM with a harsher and more punk feel. ‘Donuts’, a track about prison food, is a song that you will either love or hate – experimental in a sense but maintaining enough semblence of a standard song to keep people interested. ‘Artwork’ borrows the intro riff to the Nirvana song ‘About A Girl’ dropping the punishing Epoxy sound and creating something far more melodic and easy on the ear. Brett’s vocals are far more conventional, leaning to a more creative Beatles-esque style of writing which suits the band.
‘Love Snuff‘ is a further nod towards Nirvana and ‘Mouth It’ has a fantastic opening – again slower and simpler than some of the songs on offer, but a track that builds up slowly and offers variety, which as we all know is the spice of life. Not quite a lighters in the air anthem, but it builds up some pathos and sets the scene very nicely for the effects-laden ‘Applause’. ‘Trampoline’ is a favourite of mine, remaining melodic without losing any credence, but the lyrical genius of ‘Killing Fields’ is a real highlight. You can sense the anger building up as the riff gets faster and faster – showing Epoxy use their brains as well as anybody out there right now. The closing ‘Keyhole’ is as bittersweet as you could get, a desperate vocal over a fragile acoustic guitar and sits perfectly at the end of the album.
Epoxy talk a good game but are able to back up their words with an album which is very good and promises a lot for the future. I doubt very much that this will be the last we will hear of Brett Kimberlin and Co, and with labels sniffing around they could well make the impact Brett is desperate to make. Not a record for everyone to enjoy, but an original recording that is well worthy of checking out and keeping an eye on.
Paul.