Bruise Control is a new-ish punk band from Manchester. The band definitely checks off the boxes of the style, mixing it up quite a bit though over their nine-song debut full-length. The lead song, “Useless” has jangly garage rock tones meets punk aggression that builds over the two and a half minute song. While that lead tone makes an impression, I’d very broadly categorize the band as having more oi/streetpunk to their sound. I weigh the style split in that direct in part because of “Bruise Control,” which may or may not be meant as a theme song. This track is straight from the oi playbook and sounds half like a football fight song. “Taxman” has a bit of that street vibe too. Personally, I think the best songs take a hardcore ferocity meets ‘80s anxiety, whether directly like “Bottom Feeder,” or more like “Dead on Arrival,” which also adds a melodic ‘90s harmony to the mix.
“HMRC” draws out the pace, showing an ability to shift dynamics with some slow chugging that fits the structure perfectly. Few hardcore bands go back and forth in speed without creating chaos, but there’s promise here that makes me think the band might grow in a Fucked Up direction. “Come On Down” and “Never Again” mix things up too, with vocal tradeoffs and backing effects. Towards the end, it kind of cycles back toward that garage-y and indie jangle, with “Disco Fury” being like a chuggier The Hives with some Hot Snakes elements and then “Never Again” as a fitting bookend alongside “Useless.” It’s equally energetic but a little more cathartic and expansive – a natural closing track.
There’s a possibility that I’m going about this all wrong. It’s possible that Bruise Control is trying to avoid being tied to a specific sound, but on hearing their debut I hear a band that hasn’t quite found their own identity yet. I like Useless For Something when it’s on play with some good energy and singalong moments, but it doesn’t leave much of an impression beyond the moment for me, I think in part because I’m frequently thinking about all the “sounds like” comparisons as it moves from song to song.
