Like the Jersey Devil, like the chupacabras of the Americas, The Mother Fucking Guns are a local legend. But, unlike the aforementioned creatures, this is one beast of a band that has yet to break out into the national, worldwide even, consciousness.

And that is criminal.

While their contemporaries moved onwards and upwards (whether deserving of it or not) to hit singles and magazine covers The Guns remained something of a best kept secret. Their live shows were incredible - always - with all dullness left in the cloakroom before the room was entered....and ultimately left with the addition of huge grins slapped across features and sweet sounds ringing around the attendees clued-in enough to be in the right place at the right time.....the same place that the band found themselves in several years ago but somehow, inexplicably, they treaded water commercially when others swam to success.

For us cool kids who hold bands close to our hearts irrespective of fashion or trends the fact that The Guns threw off the shackles of their contemporary sound - which was, coincidentally, infectious Head Automatica-infused ear candy - and loosened up with a more natural sound was manna from Heaven. This move would put a severe dent in the band's aspirations for a time but, and this is key, that they felt more comfortable in these shoes mattered more than corporate acceptance, surely. 'With The Guns', the debut album from what seems like an age ago, contained a statement from the band in its sleeve notes that summed up their attitude completely, stating that the album, although loved and cherished by the band members, didn't really reflect the current live feel of The Guns when it was finally released, oft delayed. This honesty only endeared them to hearts and souls further. While the record contained truly great songs - the incredible 'It's On Like Donkey Kong', 'You Can Eff Right Off', 'Gordons and Lemonade' - that remain highlights of the live set to this day, the fact that the guys felt comfortable in admitting that they had already moved on was admirable, their refusal to roll over and die for plaudits impressive.

I get the feeling that 'Fuck The Demon Outta Me', the band's forthcoming album, is gonna get the same kinda treatment in the near future. The Guns are so fluid, constantly moving and striving for new sounds that I can't help but get the impression that this new ten track release captures a band, again, in a certain place at a certain time. This is why it is important that you jump onboard immediately: miss this boat at your peril.

'Daughter Of A Bad Man' opens the album and, wow, this isn't what I expected....or maybe I did. For a band that opens live shows with the subtle, slow-burning 'Colder' I guess I should have realised that they would open an album with a ballsy move of a tune; bluesy, moody, sexy, this opening song struts out of the speakers before exploding into frenetic life for its final half minute. 'All Aboard' follows, riding on a frantic spoken intro from frontman Alex Wiltshire, who will, over the course of these ten tracks, prove that he is one of the finest vocalists troubling this country, and is home to a customary massive hook: great song. 'Treacle & Pie' has been a staple of the band's live set for some time and already a sure fire fan favourite; its inclusion here is revelatory. The female backing vocals that the song is riddled with are massive...and massively arousing - there's nothing sexier in a song than female vocals that drip out of the speakers like honey, right? This album is worth buying for this track alone....luckily there are seven more potential winners to come.

'Answers' has been doing the rounds in the band's live show for a time now and, again, makes the transition from stage to studio with ease. The garage-dirty guitars that swamp the album get right under your fingernails and the "Give me a fuckin' break" hook, given the band's history, perhaps has a double meaning. 'Voo-doo Boogie' is another slab of bluesy, emotive rock, its "I'm more rock 'n' roll than you will ever see" refrain a subtle giant: a dark undercurrent taints this great song. 'You Drive I'll Eat This' drags the female backing vocals back to great effect, Wiltshire trading lyrics with an unnamed female who...err...doesn't want him to stop.

'Missing Girls' is the single that preceded 'Fuck The Demon Outta Me': I remember the first time I heard it live - a cow belled veneer coating the intro before the punched guitar took over. Again subtle and seductive, this song is testament to the confidence of a band that appears to be able to knock out infectious song after infectious song with consummate ease, and in whatever style they fancy. 'Moan Kill You Too' opens with guitar work that reminds me a little of Semi Precious Weapons before settling on a fuzzed-out direction, complete with trademark melody splattered all over everything and Wiltshire's vocals impressing, as always. 'Nighty Night Creeping' is another dark 'n' dirty episode in song supremacy, opening with grimy bass before smearing itself over the listener, sugar-coated barbs of melody fingering every orifice. 

'Stranger Than You', the tenth and final track, confirms only one thing: this album is too short. I could listen to The Guns all day and all of the night. Understated musicianship allows Wiltshire to close the record in style, his great voice rising to the top of another slow-building, slow-burner of a song that you half expect to kick off at some point but doesn't....and benefits from its restraint.

What The Mother Fucking Guns will sound like on their next release is highly debatable...but that is for another time; 'Fuck The Demon Outta Me' is about the right here, right now and is essential listening for anyone with a clue and a soul. A late contender for album of the year? Damn right.

http://www.tmfg.co.uk/

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