Leatherface - Dog Disco

Leatherface
Dog Disco
BYO Records
Grade: A-

The seminal UK post-punk band Leatherface is back with their eighth full-length (and technically fifth for BYO thanks to reissues) as they continue on their re-birth journey. Forming in 1988, Leatherface - whose name admittedly makes you think of some type of grindcore death metal band - sought to combine influences through guitar powered songs and headman's Frankie Stubbs vocals. My first listening exposure to these guys came on the 1998 split on BYO with Hot Water Music, which was quickly followed by seeing them live and checking out stellar earlier albums Mush and Cherry Knowles.

Part of the mystique of Leatherface comes from the fact they broke up in 1993 and yet their work influenced such bands as Dillinger Four and Hot Water Music - bands they would later open for. I remember reading somewhere a long time ago that Stubbs pushed for the dissolution because he felt the band didn't have enough commitment and intensity. This was partially stemmed out of the less-than-ideal promotion by quasi-major Seed (subsidiary of Atlantic). The dissolution allowed Stubbs to play in Jesse and Pope, bassist Andy Crighton to form Snuff and guitarist Dickie Hammond to found Dr. Bison. Hammond instigated the reformation of the band, but decided not to throw his own hat back into the rink. So, Stubbs and drummer Andy Laing assembled talent and recorded their first new material for the split with Hot Water. Since then Leatherface has been marching on with their punk onslaught with records such as Horsebox for BYO.

Probably the thing that strikes you immediately with Leatherface is the raspy, gravel-lined vocals of Stubbs. Audibly and visually, Stubbs looks like a former coal miner who has had the life beaten out of him and yet perseveres. While grizzled, Stubbs still has elements of harmony and melody pushed out to the front. As noted above, the dual guitars are a mesmerizing affair and complement Stubbs vocals. Other members of Leatherface add vocals from time-to-time but in a very limited manner.

The first time I heard Leatherface I found it rather odd that the vocals sounded recorded lower than the music, making them barely decipherable. I figured it was some function of mixing - and also that it was on vinyl. Yet, as demonstrated again here, Leatherface, for whatever rationale, prefers the mix as such - maybe as a means to add to Stubbs gruthness. Often times you can only figure out the lyrics on the chorus as illustrated by the exceptional opener "Hoodlum." As one of the best tracks on the record, one of the lines on the chorus 'you smoke dope everyday, while I drink my nights away…" sums up Leatherface succinctly. Consistent with previous material, the songs on Dog Disco are always driven by heavily distorted and melodic guitars. Other tracks worth your time include "Small Yellow Chair" with chipper guitars, the balls-to-the-wall "Eggbound," the sweet ballad "Plastic Surgery" and the finale "Heart is Home."

Leatherface has been cited in the past for not having any single tracks that grab you and that are likely to be heard on college radio. Though this tradition continues, the core of Dog Disco is very tight and consistent. Leatherface will probably still fly below the musical radar after this record but that makes them even more intriguing. Also, you have to see Stubbs do this jig when he is playing guitar - pure awesomeness. Maybe this time around they will be able to open for the bands they influenced instead of the other way around. On an absolutely random note, I'm not sure if the cover art is one of the worst things I've ever seen or what. Also, for whatever reason and I love dogs (got 3), bands having the word 'dog' in their name or record titles makes me want to boot - I knew there was a reason I didn't like Keanu Reeves.