Cabbage only started to gain public attention last month after Courteeners announced them as one of their support acts for their Old Trafford gig next year. But this, released this morning, is already the Mancunian post-punk five-piece’s third EP of 2016, after forming last year.
Necroflat in the Palace (0:00-4:02)
The title-track opens the EP up with an intimidating bassline and heavy, chaotic guitar riffs. The tune is the lovechild of The Libertines and Palma Violets with its anger and energy, as well as the genuine difficulty to actually detect what lead singer Lee Broadbent is saying at times.
But that doesn’t matter. As long as you hear: “I was born in the NHS. I wanna die in the NHS,” at least once, which is no task at all because it’s repeated about 10 times throughout the song, you get the political message.
Broadbent shows his anti-establishment attitudes as he fights for the working class and demands their important public services aren’t privatised or taken away.
A decent first track for the EP as the band go gung-ho and set their stall out for a political commentary, with their pent-up frustration with society almost being audible from Asa Morley’s drums and Eoghan Clifford’s guitar.
Indispensable Pencil (4:03-7:05)
The tune begins with another simple but effective bassline from Stephen Evans and it has you tapping your feet to the beat within seconds.
And when Clifford gets going, his intricate, loud riffs contrast well with Evans’s bassline but the prospect of a fine punk track soon comes thunderously crashing down.
Not only are Broadbent’s words inaudible, at best, in this one but he makes voice is so high-pitched and quivery that it denies the song of all possible credibility and I just can’t take it seriously.
The music isn’t a far cry from Royal Blood’s and Slaves’s creations but the lyrics need to be more innovative, and also be sung clearer.
Grim up North Korea (7:06-13:13)
The EP’s penultimate track starts against the trend of the first two as Clifford and Joe Martin very slowly pick their guitars, almost replicating the sort of music you’d imagine to be played in a spa massage parlour.
But with a couple of hits of the gong – the band sticking with the Korean theme, the tune reintroduces you to the sort of music played in the first two tracks.
Another political tune, which is taken more seriously due to the slower beginning, as Broadbent compares Britain’s problems and obstacles with those of North Korea’s. The singer asks people to open their eyes and see the unfettered power some leading figures have.
A decent song but, again, Broadbent doesn’t use too many different lines and bridges but rather recycles the same few words throughout the six minutes.
The final track on the EP is definitely my favourite. It isn’t a lyrical masterpiece but does have a couple of lines that feel real and mean something. Broadbent roars “I sleep on broken glass and there’s no tiles!”
The frantic guitar-playing duo of Martin and Clifford are excellent in this one and add further substance to the raw emotion in Broadbent’s voice.
The song just oozes pure frustration and anger, and almost acts as a cathartic release. You can imagine all band members tiresomely making huge sighs after performing this track because it lets them speak out about the issues that make their blood boil.
Necroflat in the Palace is a decent EP with some good basslines, riffs, and drum beats. The energy and political messages are refreshing and interesting.
An exciting young band, despite some poor lyrics, who I’m sure will continue to improve and bring out more good tracks in the near future.
By Ryan Petterson