The Rabble

RAISING A MIDDLE FINGER to the world, these leather clad street punks certainly can pen some infectious, rousing songs. Formed back in 2000 by the mohawked Chazz (vocals/guitar) and Rupe (vocals/drums) the band has built their reputation over the last seven years in their native New Zealand over a mini-EP, hundreds of gigs and several line-up changes. Forming when Rupe and Chazz were just 15 and 14 respectively, their debut full length, 'No Clue, No Future', showed stunning maturity and spawned the homeland hits 'Take A Walk' and the Celtic-esque 'Carry On'. Followed shortly after by their 'This Is Our Lives EP', it was obvious from these 8 tracks and the success of singles such as 'Friday Night' and 'The Coast Song'. Now in their early twenties and completed by Jamie (bass/vocals), this punk rock machine is rolling on, with the recent release of their second album 'The Battle's Almost Over'. The hardcore b luster of single 'This World Is Dead' (featuring guest vocals from The Unseen frontman Mark) and the fist pumping, infectious anthem 'Seeking', complete with the soulful intro/outro, show why these guys are so exciting. Mixed by Jim Siegal at The Outpost, Massachusetts (Dropkick Murphys, Blood for Blood, Brain Failure), the album tears out of your stereo like a pack of ravenous wolves. Currently unsigned (but definitely not for long) the band have burst out of Auckland thanks to their own intense work ethic, having put on their own shows, set up their own recording studio and put out their own CDs. These guys live and breath DIY punk rock. Enjoying some success in New Zealand, it's about time you checked these guys out. - Big Cheese Magazine

THE RABBLE - The Battle's Almost Over... {Filthy Lucre} The third album is always a tricky proposition for a band. It's the album that proves whether there is depth beyond the band's formative years. It's the album that should show a marked progression without compromising its original ideals and direction. Basically, it's the album that proves whether a band should be regarded with respect or is dismissed as a passing fad that was once fun, but now sounds contrived.
Thankfully, for these three fellas from New Zealand's North Island, the third album represents a resounding, triumphant success. The band takes the spirit of youthful exuberance that made the debut album such a cracker, adds some depth and musical experimentation. From the mix comes an album that is focused, insistent and mature whilst retaining all the Punk Rock energy, vitriolic delivery and petulant dynamics that have always made this band one of the best in its field.
The album's artwork states the band's case even before any music is played: vocalist/drummer Rupe walks alone but indomitable into a seemingly post-apocalypse wasteland armed with a solitary guitar case in hand. Once the CD starts, it's clear that THE RABBLE is more than able to let the music speak for itself, and damn the naysayers.
The opening track, 'Seeking' is one of many highlights. It starts with a guitar intro that would not sound out of place on latter GUN CLUB albums. Once the band makes its presence known, an anthemic chorus comes from nowhere stating the band's disdain of apathy and of its desire to push forward.
Fifteen tracks follow ranging in subject matter from the joy of youth, the spirit of Punk Rock, life experience and, best of all, some political insight and opinion with the tracks 'Dead End' and, more specifically, 'Sick And Tired'. This lyrical direction has often been lacking on the band's previous material and it's good to see the band addressing the subject without resorting to any of the recognised Punk Rock clichés.
Musically, the spectre of SOCIAL DISTORTION pervades through much of the album. It's not a blatant rip-off; just well executed songs ('Devils Highway' in particular) that owe more to SD in spirit than anything the band has previously recorded. This is mixed with a classic UK Punk sound that is somewhere between the melodic structure of 'Nobody's Heroes' era STIFF LITTLE FINGERS and the musical muscle and defiance of the 'Time Was Right' album by THE PARTISANS. Fuse those three influences together and the result could be retrogressive; here THE RABBLE makes it fresh and vibrant.
Add to that instruments as diverse as acoustic guitar, bagpipes (on the fist-throwing, exultant title track), mandolin, double bass and even a harpsichord and you are left with something that every third album should establish for the band in question: it's own sound and identity. Ultimately, that's what THE RABBLE has achieved with this record - a sound that is the band's own and, given the strength of this album, it's a formidable, tumultuous, pulsating Punk Rock beat that's as addictive as it is enjoyable.
This album also sees the recording debut of the new line-up. Chazz now handles all the guitar parts with stunning aplomb, be it bittersweet solos such as on the closing 'City Of Sin' or clinical rhythm playing as demonstrated on the sublime ascending/descending Pistolian riffing of 'Start Again'. What may be the most telling line-up change is new bassist Jamie, whose tight, dextrous playing fills out the sound and augments it with an inflammable intensity that had been missing. The blistering bass breakdown in 'Sick and Tired' ably demonstrates this.
The album does have its low points though. Both 'Bored' and 'Zombies' are a little generic. They are not necessarily bad tracks; both are energetic and ably played, they just fail to stand up to the overwhelming strength of the other 14 tracks present on the album.
Jim Seigel of Boston's infamous Outpost mixed the album which could explain some of the general depth and weight behind the music ('New Generation' has a massive sound) but for a great mix to work, the raw ingredients have to be there - and THE RABBLE has them in abundance. Mark, from THE UNSEEN, does a guest vocal on 'This World Is Dead' which is a bit of a scoop for THE RABBLE and the juxtaposition of different voices works well.
And this is released on the band's own DIY label. While others have jumped ship and signed to a major, THE RABBLE remains in control of its own destiny. Given the quality of the record - including artwork, song structure, musicianship and production - the album as a whole should be cited as something approaching a minor-classic.
This is a coming-of-age record for the band, one that sees it transcend the boundaries of routine but good Punk Rock and move into the territory reserved for genre-defining innovators. - Scannerzine

To have voices like brothers Chazz and Rupe Rabble you either start drinking Wild Turkey from a very young age, gargle razor blades instead of Listerine, or - and this is most likely for these lads - wear it out with hundreds of gigs.

The thing constant gigging ensures is tight playing, so it's no wonder the Rabble's second album The Battle's Almost Over, is grunty and adventurous rather than sticking to a strict punk rock forumla. The vicious Sick and Tired, with a fancy bass solo, morphs in multiple directions, there's the hoe-down punk of Devil's Highway and the bagpipes on The Battle are inspired.

Elsewhere there's the more traditional punk of This World Is Dead, featuring Mark Unseen from Boston's The Unseen, and the rolling pop punk of Seeking before it's rounded off by the belligerent chug of City of Sin.

Another reason why this Hibiscus Coast band is so promising is that they look the part - punk to the core. They have put out two releases themselves, including last years No Clue, No Future.

On Saturday the Rabble are at it again with a show at Auckland's Ellen Melville Hall to celebrate the release of The Battle's Almost Over.

Scott Kara - NZ Herald