Fast Blood’s debut record came out a couple of months ago, but I just listened to it for the first time it today. The band crossed my radar when their single “Salvation” was featured on BuffaBLOG back at the end of April (note: that website is an excellent source for great music). I loved that track and then completely forgot to seek out the album when it was released on May 3. Better late than never.

Here’s “Salvation”, a silly video for a killer song:

Fast Blood is from Newcastle in the UK, and a lot of their music would have fit right in on a Tony Hawk’s Pro Skater soundtrack. They’ve been around since 2019, and Sunny Blunts is their first full-length record. It’s blisteringly good punk rock. The UK seems to be having a real punk rock moment right now (wonder why?), and Fast Blood is a killer addition to the scene.

Singer Abigail Barlow has a voice made for punk rock. Her voice falls somewhere between Cinder Block from Tilt and Amy Taylor from Amyl and the Sniffers – she’s got range and power, but every line is delivered with something just short of a scream, usually with a trademark yelp at the end. The first track on the album is a perfect showcase for what’s to come. Here’s “Sexual Healing”:

The band is fast and tight, and the songs radiate fury and frustration while maintaining hooks and melody. “Gone For Good”, “Pulling Teeth” and “Small Town” is a furious run of songs about Brexit, a relationship ruined by booze, and narrow-minded neighbours, respectively. This interview in NARC Magazine has choice quotes from Barlow about the last one:

In every small town, there’s always going to be great people with great attitudes and morals but I’ve heard many shitty things about people who’ve never gone anywhere else, they’ve just lived there for a long time, not accepting of anything that’s new or different. I am from a small town and I’m not an arsehole. Well, I’m not an arsehole in that way.

The production of this record perfectly suits the band’s sound. It’s balanced and just polished enough. The band’s skill is on full display, but Barlow’s voice is never buried in the mix, and it takes just a little effort to discern the lyrics. Her howl and the harmonies come through loud and clear. It’s the caliber of anything released on Fat Wreck Chords or Hellcat Records. It’s difficult to believe they achieve this depth of sound with only one guitar.

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