Bitch Queens – ‘L-O-V-E’ (Lux Noise Records) Print E-mail
CD Reviews
Written by Dom Daley   
Tuesday, 09 May 2017 04:30

Bitch Queens coverÜber Rock has always had a finger on the pulse: even if it might be a little digit, it nonetheless has been in on the ground floor of many fantastic bands – and you can count Bitch Queens as one of those bands who've continued to make music and grow right before our very eyes. They have managed to get a dirty great boot hold on this business we call rock and roll, and album by album they have made an even bigger space in our rotten black heart for themselves. 


Hailing from Basel in Switzerland (not the first place you'd look for a loud band of depraved noise makers or perhaps it is), this, their latest full length offering, is by far their most accomplished piece to date and one that will cement them as one of the finest exponents of dirty lusty garage rock and roll with an overwhelming hint of glitter: more importantly, it’s their most accessible record to date and commercially viable (even if it is the most potty mouthed.)


Wrong ’uns, ne'er do wells, nefarious, troubled punks; just some of the terms of endearment heaped on these  filthy punk 'n' rollers – but, boy oh boy do they know how to play rock and fuckin roll?!


From the second 'Anti Social' growls out of the speakers, the anxiety attack is in full effect as they brutalise the listener with their instruments.  There isn't any point in resisting: just buckle up you big pussy and take the aural beating that is about to be dished out.  Apart from taking a beating from those guitars and gang vocals, there are lush strings that will leave marks, as well as lyrics that would make a Hip Priest blush.  Just think back to when Backyard Babies went total 13 on us and were half decent: well, amp that up by ten and you might be in the same ball park. The opener lays down a pretty impressive marker and a challenge to the rest of this record: what becomes obvious is that, as the record progresses, the band rise to that challenge and, by the time this one concludes, they have a career highlight in their hands.



The energy is abundant, as is the style.  These boys are coming out swinging, and if you're not with them you’re gonna be force fed it riff after mother fucking riff.  Sure, there is a death punk vibe at times, as well as the odd sprinkling of classic rock, as duly noted on the twin guitar attack of 'Deadbeat Generation'. This Deadbeat Generation are armed and dangerous, and these Bitches know exactly what they're good at - and do it better than anyone else currently.


Imagine my disgust on hearing Lee Love of the depraved Hip Priests turn up and whisper the intro on 'Polymeric Lover' to add an extra twist of depravity to proceedings.  I do hope this is the next single, because I feel they might break the interweb with the video. Sleazy… loud… pompous… this has to have been written on a steady diet of ‘70s porno mags and rocket fuel.  It’s big and brash and, damn, it's right on the fuckin' money!  Turn it up loud and drift off into a world of duelling guitars, filthy bass and pounding drums.  If that wasn't enough, throw in some guitar stabs and 'R-Rated' is off duelling - its licks and trading off the X rated lyrics with some tasty chops that only a few bands are able to churn out with such consummate ease.


'B-Stock Babies' adds some grit to proceedings, as the intro eases back and the boys in the band show the likes of the Backyard Babies that there is an undisputed champion in the house and Bitch Queens is their name. 'Devine Receiver' has a hint of prime time Motorhead in its DNA before breaking down then cutting loose - fantastic stuff!  'Boy Toys Of Glory' is unashamed, cock sure hard rock and roll and has some great arrangements on the vocals, as the gang backing vocals works really well on the sleazy chorus.


When the boys from Basel deliver such powerful tunes as 'Collateral Damage' - heavy as a heart attack and with a riff that would have KK Downing on the run, before a solo that could stop a rampaging bear at twenty paces - you do wonder why these boys aren't as big yet as Turbonegro or Gluecifer.  Then 'Girls Girls Boys Boys' is glam slamming out of the speakers from the tub thumping to the duelling guitars is about as good as it gets.


After the initial couple of plays, The Bitch Queens have definitely got their own sound, and slowly but surely it took hold and song by song it crept into my ear, and before the absolutely magnificent closer is 'Techno Is Dead' it's bold and brilliant - I found myself craving it more: by the time I'd hit repeat and turned up the volume I felt confident I'd just heard a band hit its stride and absolutely slay everything they'd done before it.


Now that techno is indeed dead - because Bitch Queens just fucking said so, and that's good enough for me - you can all put away the lycra and whistles and stop playing with glo sticks and get them legs akimbo with your thumbs in your belt because Bitch Queens have enough L-O-V-E for everyone and what they say goes.


Bitch Queens simply get better and better and I absolutely L-O-V-E this album and so will you!  Buy It! 


‘L-O-V-E’ is out now


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