Ratso – Fuck Ratso (13th Floor Album Review)
If you’d ever experienced the electrifying phenomenon of Tamaki Makaurau band Ratso live , you would likely agree that their edgy, vaudevillian spectacle, “A Good Night Out” was not only charismatic but also essential to the band’s profound impact.
The group’s innovative use of props, the dynamic presence of multiple performers on stage, their bold interactions with the audience, and the ringmaster-driven delivery all contributed to a captivating performance. Drawing inspiration from the raw psycho-punk sound reminiscent of the ‘Frisbee Phenomena’ of the 1980s and 90s, Ratso’s music can be traced back to legendary predecessors such as The Henchmen, Rainy Days, Nothing At All!, Shaft, and, of course, The D4.
However, just as they were on the brink of achieving something remarkable, Ratso faced an all-too-familiar fate in the New Zealand music scene: the band disbanded without the prospect of a farewell tour, coinciding with the release of their debut studio album. Fuck Ratso features ten sonically aggressive neo-garage rock tracks, some, nearly half of which, are also featured on their 2023 live album, Live In Otautahi.
Jake Harding, formerly of New Zealand’s garage punk band The D4, had teamed up with members of Black Science, Psycho Daizies, and Thee Rum Coves to create a compelling musical experience as their latest project, Ratso. This collaboration, featuring five core members (excluding guest artists), masterfully captured the duality of their sound—both live and in the studio.
Fuck Ratso blends the raw energy of 1970s garage punk, reminiscent of legends like Richard Hell and The Damned, with the classic heavy metal influences of iconic bands such as Judas Priest and Motörhead. Tracks Like Caine burst forth with punk rock magnificence, while Gimme A Smile takes a moment to slow down, revealing the metal undertones that lie within the band’s artistry. Then, the album truly comes ALIVE! with Live For Nothing, where the heavy metal elements emerge powerfully, only to be fortified by the anthemic Kill The King.
On The Run introduces another shift in tempo, though it doesn’t quite deliver the impact one might expect, a sentiment echoed on following tracks Living Dead and Iron Cobra. However, listeners are encouraged to persevere, as the final two songs—Space and Rock N Roll Ramradiers—are taonga, brimming with energy, style, and a sonic remedy that culminates the album in a spectacular finale.
While Fuck Ratso showcases many admirable qualities, it also reflects the challenge of balancing the diverse influences of its members. Not every element harmonizes perfectly, and some aspects may feel underrepresented in the studio recordings. Nevertheless, this album stands as a testament to past victories, marking a significant moment in the local garage-punk scene.
Simon Coffey
