Sometime in the mid 1970s, concurrently in both New York and London, those of Rock-and-Roll age decided that music wasn’t loud and aggressive enough to express their generation’s ethos. So, they strapped on some electric guitars, turned them up as far as they would go and began to play short songs about the disaffection they felt from society. Now, we call that Punk music, and that is exactly what Blatant Finger currently purveys. It is a loud, three-chord rock that ably continues what Richard Hell, Television, The New York Dolls and, of course, The Ramones began.
Tom Barrett’s bar chords and lo-fi vocals anchor Blatant Finger’s sound to said early-Punk ethos, but it is obvious upon even the most cursory of listening that they are incorporating most, if not all, of the pan-Punk influences that would come between Rocket to Russia and American Idiot. The soft distortion of Fred Sarginger’s other guitar and the sturdy and driving bass of Marc Carans evoke memories of Bob Mould and Greg Norton on such essential Husker Du records as Warehouse: Songs and Stories, while Blatant Finger’s song structures show an implied deference to Mike Ness’ punkification of Rockabilly and country.
In fact, it seems that Blatant Finger is paying homage to the entire Punk tradition as a whole, when the listener begins to hear signs of The Replacements, The Buzzcocks, Superchunk, Black Flag and scads of other bands that laid the foundation for what would later be done by Nirvana, Green Day and, one could argue, even System of a Down and Linkin Park. A Blatant Finger show is a great way to get a crash course in late 20th century musicology and your drink on.
For more information about Blatant Finger, go to blatantfinger.com