Issue #81 Dec. '05
“I use to believe in nonsensical things…”
They’re young, they’re fresh, they’re exciting, and they rock with all the swagger of those that have nothing to lose and the world to gain. Coinslot uses a basic 3-piece set up with Neil (guitars), Pete (bass), and Jim (drums) capturing a multitude of sounds/genres that allow the band to stretch into whatever direction they choose:
are you suppose to be now? /
With Jessica (vocals [note: last names are mysteriously never referred to anywhere in regards to the band]) crooning, belting, screaming, cooing, and generally using all of her talented voice to vocalize the incantations of a band growing into what they want to be, whether that’s something special or not, Coinslot states: screw what we’re suppose to be, this is us.
“I use to believe…”
And so Coinslot backs it up with, what else? A few nonsensical songs that prove you need not have a serious message nor anything special to have a damn good time rocking out. The aptly titled Peanuts And Car Exhaust (huh?), blasts a bass rhythm line that leads a Punk Rave with enough energy to bounce everyone off the walls and the moon. Sing along as Jess, sounding like a real kick-ass Gwen Stefani, exclaims: “With a knife / I’ll make my sandwich / and it’s real good / Like real friggin’ good.” (huh?) What exactly are we singing about as Coinslot pushes it to the max? (Italians and Dinosaurs ruling the world [huh?]). We don’t know, maybe even Coinslot doesn’t know, but it doesn’t matter, it’s nothing special, because when the band breaks the song down in the middle for a bit of a skat interlude with each member spitting it out and then back into the punk rave to send us home in double and triple time, the words/subject matter become irrelevant to the sheer pleasure of the music.
Jumping ahead to The Adventures Of Nermal Jane, where Ska & Oi collide in the mosh pit for another good time nonsensical tune of high energy dance fun. Using an Amazon Barbie Dollhouse as the base to this story, which includes a clap & snap breakdown, Coinslot delivers an odd but realistic moral message about respecting each person for who they are (which may or may not have anything to do with Nermal Jane’s tragic tale of the lost dollhouse). Here Coinslot uses Rude Boy style ringing guitars and full band backing vocals - “It’s in her hair, Yo! Whooooaaaa, Whoooaaaa, Oi! Oi!” - to bash out a skank so powerful that we have to go back to “Night Boat To Ciaro” by Madness and “Mirror In The Bathroom” by The English Beat to remember having this much fun.
Why Not and Monstrosity balance the disc as
take on more formalized themes, both showcasing Jessica’s
vocals and the
ability of the band to structure the music around the subject. Why
Not is a down and dirty charger that relates to the
pissed off state of
an abandoned girlfriend, who after a sweet, sexy, and matter-of-factly
observation, finally exposes her claws - “I’ve
had enough of this…shit” - and lays down
the law: “No / I won’t be
there when you call / No / I won’t fuckin’ be there.”
Even when she reigns it back in and regains her composure you can feel
her seething build along with the music only to explode once again.
vocals and music carry this message to perfection and give us a taste
how special Coinslot can be.
The closer, Estrogenocide, captures Coinslot as a complete band, giving us another look (along with Whatever The F**k I Want and Why Not) at their future and how they can become a force to be reckoned with. This showstopper exudes the style, attitude, structure, and composition reserved for veteran bands. Using speed chords to uphold the cries of Jessica’s lonely, messed-up, love-sick, innocent, wallflower in need of attention girl,
Coinslot works the emotions perfectly. Progressing to drums, stick work, guitar, and bass that all tip toe along only to explode and exploit the fragileness of our tragic figure as she begs, “Please, please, please, please, please, sleep with me…” the music carries it off. Scattering yet still reigned in to the point, heart and vision of the story, it all holds together well, while teetering on the edge. It doesn’t escape itself and shows the maturity of a band that’s growing up.
are you suppose to be now? /
- Smile, Music Is Dead
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