Refuse/All
What Lurks Beneath
By Jillian Abbene
(SugarBuzz Wash DC, Baltimore, Richmond)
SugarBuzz Magazine
It is the bludgeoned drums, the shoveling guitar chords encrusted over slapped-bass workings, and the support of the political rantings for one infuriated message—that gives Refuse/All the reputation for bringing a “too punk” of an audience to their local venue. It is clear why they hold their margin of success alongside great bands such as, The Restarts, GBH, The Varukers, The Rabble and Argy Bargy. You can’t argue with that.
Since 2005, they have been bashing out their own brand of DIY London-based punk with tenacity. These guys definitely are not the kind of band that would just throw it all together at the last minute for just a simple jump-around. It is within their newest CD, ‘What Lurks Beneath,” Refuse/All exudes as a serious band. They certainly haven’t run out of enough material calculating into
chunked-up fury. With their interesting mix of street punk, thrash, and even punk ‘n roll, no listener can even try to guess who they sound like because it’s a different measure weighing of style within each song.
Their first song, ‘Fear Of Freedom,’ opens with a steady accappella drum pedal followed by Gary’s prevalent tinny rhythm guitar—just like they used to sound in the old school days. Shea’s lead guitar style is high-pitched yet scratchy as it sets up the ‘breather’ before the lead vocalist Kev, gives out the belter. There is something about Kev’s vocals particularly that makes him sound exceptionally angry. Projecting in his deep, gravelly vocals all with booming awareness, he is coupled with the rest of the band, and yet he contributes with definable tuneage. Holding no bar in his bellow, the cadence is held by Charlie’s drums (a left-handed drummer at that!) all in a counter-argument of dense guitar and rapid-fire beats.
Leon’s rollicking bass and drums in between verse keeps the song in somewhat of a metal fair. Bypassing the chorus, the lead riff 
twiddlings apex to the M8 with a clear switchblade flick before it turns back to the first verse tune inclusive of Kev’s grated, guttural tantrums. UK tailored; it’s all in an infuriating cockney-accented message.
A metallic guitar intro in, ‘Not Just A Dream,’ begins in a semi-distant fade before a gargantuan beat-stomp that leads to one solitary guitar sear. Kev’s ominous guttural stream of high-registered vocals along with Shea’s mimicking guitar riff, makes this an emotive song. You can tell Kev is really exuding the state of alert, with the repeat verse on the third time around as the stream of lyrics is all in one spontaneous growl. There is no second guessing as the ending plateaus with pounding drums on chorus and a spitting red-alert riff is pressed between Gary and Leon’s musical structure to a sudden halt.
The next song has clean guitar chords that begins with Leon’s heavy-dubbed bass. It’s a beefy stand-out against the ranking-ska beat of the drum in, ‘Sad Man.’ Interestingly, it’s all metal—but a unique sound. With Leon keeping the pace, nice drum rolls in before Kev delivers calculated fierceness possessed with two bars of vocal animation, and two bars of drum and guitar grooves, all grouped together with a start and stop stance. It’s a nice 
set up for the upcoming chorus. Breaking from cadence from 2/4 metered time to ½ time; the guitar is now in fuzzed-up chords swinging into a pendulum of a gang-chorus back-beat. The constant smashing drums wraps up the song as Kev lets out at the last guttural verse.
This next song entitled, ‘What Lurks Beneath,’ really puts the stamp on this CD as a keeper. The sinister yet slower intro unfolds slowly. Jumping in, the buzz-saw guitar chords follow with sear-guitar slides. It’s a circle-pit dream. Despite the fact that Kev is intentionally less tuneful, the fuzzed guitar chops unexpectedly, picking up the pace and plows right through-- creating a path for the tune to carve out a nice groove. With vocals just coasting on verse, Shea shoots off a pronged crazy-guitar riff. The rallying gang-chorus repeats on, “I will not accept your version of...—reality!” gives birth to that tribe-like vibe. Really poignant. As it sounds as if their message aims directly at the listener. For good measure, the lyrics here shell out their stance of today’s UK government-- that there is no assurance in the government system, that the wealthy are in control, and the daunting dismay that the rest of us is not exempt from struggle in adversity.
In the next song, ‘Computer Literate Illiterate,’ hydraulic drum ‘n bass rev up the guitar chords. Kev’s graveled belts grate over tight-guitar fury. I especially like the M8 with a brief rock ‘n roll riff as the chords rank hard to the third verse. The drum-beated 
solo reacts similarly to how silly string is dispensed from a can--the nozzle on the can is held down as it lets all of its contents. Sometimes it is in steady spurts, sometimes it is in one long stream that runs out at the stop. It is a nice touch.
High-pitched tinny guitar and drum pounds lead to a crescendo of triplicate tribal drums in, ‘Beatles Bequest.” From guitar chords to foot pedal, the first verse crashes with a more melodic vocal. The spotlight aims at the lead guitar riff. Heavy-handed tribal drums push the dismayed mammoth chorus on impact. Kev has plenty to say regarding the government and its inability to fulfill its job at taking care of their own, as Charlie joins in on the message with pounds on those triplicate drums. The guitar tune is the reprieve as the tinny guitar is introduced just one more time.
This next song is an honorable mention. Just when I think I know what to expect, Refuse/All switches to a rock ‘n roll song entitled, ‘Terror Stormtroopers.’ Skewed with a catchy opening of revved up guitar, the first verse in the chorus makes a leap with politically charged chorus shouts of, “Terror storm troopers!” Packed in with simultaneous angst, the chunked-up gang support emanates a darkness making this song a heavy hitter. Kev’s staccattoed gasp along with the M8 is a high-rollin’ riff that 
totally makes this song.
Who would have known that Refuse/All could also deliver a ballad? Not only do they deliver it, but they deliver it with haunting success in, ‘Rise Non-Believers.’ Personally I believe that this song is the perfect closer for the CD. Kev’s monotone balladry is a crooned and haunting battle cry. Shea’s equally melancholic guitar is solemn and solitary. The second verse is crammed with heavy-chorded strokes that shifts from despair into a fast cadence of fury. It is noted that Kev actually jumps an octave—not an easy task for someone with such deep vocals. There’s a mint rock and roll riff packed with fierceness as the song lowers itself back into the slower solemn beat inclusive of a cymbal shimmer and Kev’s accappella to the fade.
Refuse/All isn’t swayed by commercialism, nor are they bullied by the government, and they certainly do not accept those who cannot hold their own. There’s no doubt these guys dwell mightly in the trenches. I can only imagine what their live set sounds like--most likely fast, intense and loud. Get their CD first before you see them live though—these guys have the kind of sound you need to take it all in.
Kev sums it up by stating, “If there’s something to refuse, we bloody well would, and we’d do it louder than anyone else. …We will play anywhere, in any country not just UK(if practical), in any building, anywhere with electricity, really. ” So there you have it. Anyone wanting to book these guys for serious punk, get a hold of them on MySpace.
