Cold Meat

Reviews

Cold Meat Cake & Arse Party EP

Perth’s COLD MEAT has been at it for ten years now, but truth be told, this new EP (their first release since 2020’s Hot and Flustered LP) is where everything finally clicked for me. The string of singles that they dropped in the back half of the 2010s mostly struck me as solid attempts to force pegs into recently made GOOD THROB-shaped holes; a reductionist thought if not an entirely inaccurate one. In hindsight, it’s easier to acknowledge the many similarities between the two bands as a shared collective consciousness, one informed by snarling and shambolic KBD primitivism, speedy, razor-edged hooks in the Dangerhouse tradition, the fiery anarcho-feminist rhetoric of Eve Libertine-fronted CRASS, etc., rather than any sort of intentional coattail-riding. Cake & Arse Party is a concise, immediate five-song statement of intent, taking aim at the multitudes of damaging modern world bullshit which have only proliferated in the last decade—”Machine” blazes with one of the most furious, slow-build accelerating rhythms this side of the BAGS’ “Survive,” with vocalist Ash breathlessly shrieking about hustle culture reducing human value to the output of one’s productivity, as the bratty garage bash of “Prick at the Pub” tears down male energy vampires like a switchblade-carrying Slampt Records act, and Ash’s taunting shout of “I cannot remember how it feels to be myself” over the harsh, blown-out feedback squeal in “Artificial Energy” hit a nerve deep within my antidepressant-fogged brain. A perfect encapsulation of the supremacy of the 7” as a punk art form, absolutely vicious.

Cold Meat Hot and Flustered LP

Perth’s COLD MEAT were practically perfect from their first utterance, the Sweet Treats tape released nigh on five years back. I say “practically” to acknowledge that their atonal KBD clang, personal-political feminist lyrics and ever-changing pseudonyms stuck fast to a template established by GOOD THROB a few years prior. Hot and Flustered, COLD MEAT’s debut album, eclipses that minor issue majorly—this sounds like no individual entity so much as the latest raging entry in a half-century continuum of fucked-off snarky DIY punk. There are hooks on here visible from space, highlighted by a spot-on production, and lyrical earworms in waiting. Ashley Ack, as she goes by this time, is imperious here, one of punk’s current vocal powerhouses for sure, and at certain points (the closing section of “Women’s Work,” notably) seems to channel the spirit of Vi Subversa, the POISON GIRLS absolutely being part of that continuum I mentioned. A blazing band that keeps getting even better.