Recordings - Love Junk

The Refugees
LoveJunk
Revolver

Between Pop and a Hard Place.

The genres of pop and rock have always seemed worlds apart to many, fans and writers alike. Both are awash with cliché’s and self imposed boundaries. The immediacy and dance beat jaunt of modern pop seems alien to the purveyors of the seemingly more serious rock product, and vice versa. However there have been some successful attempts over the years to combine the two, one that stands out for me is Liverpool’s finest, namely the Icicle Works a band able to mix and miss-match the two to wonderful affect. The appeal of the Refugees album, LoveJunk, seems also to lie in this marriage of pop sensibilities and rock attitude as well as calling on a wide range of influences in between.

The Refugees is one of many musical vehicles, of no fixed line up, for David Marx, a man that I first saw playing all those years ago with a previous musical incarnation, The Coincidence, and immediately become a fan. A punk past, an ear for great melody and hook line and the ability to create great songs from a melting pot of influences is the path that has lead ultimately to this album.

The opening salvo comes in the form of ‘Guillotine Gene’, a song that not only distils and delivers everything I have waffled on about in the opening paragraph, but one that also suggests an English hybrid of Mike Scott and Bruce Springsteen, and that can’t be a bad thing. Whilst the closing chords of that song are still ringing in your ears Kat Evens infectious violin hook is whisking us headlong and relentlessly into ‘The Girl with the Child in her Arms’. Often associated heavily with the finger in the ear, Arran sweater clad, beardy folk scene, on the album the violin is used to greater effect and instead of hi-jacking the music and dragging it into a more conventionally Fairport realm, instead adds to the accessibility of the music with its mix of repetitive hooks and soothing long drawn notes weaving through the melody. Even the use of banjo and accordion, the latter supplied by Barry Andrews on ‘Mirror Mirror’ doesn’t feel out of place along side the rawer guitar orientated songs. The songs here are more than strong enough to maintain their identity no matter what instruments are employed without the album sounding an thing less than a complete and totally connected body of work. Less experienced musicians could have ended up with a disparate mish-mash of songs that don’t sit well alongside each other, but Marx seems to have the ability to draw on a wide range of ideas and influences and still sound like a unified and focused project.

Lyrically there is a lot at work here too. The seemingly throwaway lines, the tongue in cheek humour and the cultural name-dropping are much cleverer than they first appear. Although the usual subjects are covered of love, loss and everything in between, the stories and ideas presented are a world away from the usual dross commentary we get from the lovelorn pubescent peddlers of popular music.

From the upright bass rockabilly strut of ‘Love in the Asylum’, the driving guitar rock of ‘Tel Aviv A Go-Go’ to the lounge jazz inflected ‘Without a Counterpart’ there is something of everything going on here, not content, as many would be, to do one thing well, musically speaking, Marx has the audacity to do lots of things well, damn him. Providing most of the actual playing, except the two musicians mentioned and Kevin Wilkinson’s consummate drumming, and all of the song writing Marx certainly shows that there is a wealth of talent here. This is an album that sits comfortably between pop and a hard place, if you will forgive the pun, and I certainly look forward to re-acquainting myself with his work

Dave Franklin

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I mentioned "Without A Counterpart," as I particularly loved the (highly overlooked) "Sandinista"-era Clash influences. But all four of the songs you've currently got on your site are great - and all wildly different. (This is why I'd really love to hear the rest of your work!).

Tom Mureika
Los Angeles

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Imagine an American version of The Levellers with a dash of The Smiths. They would definitely be a little rowdier and a lot more cynical. They would in fact be The Refugees, and this three track sample off their soon to be released debut LoveJunk, is a very impressive showcase for their blend of American indie rock, nouveau Celtic rock and the third-wave Manchester sound. The drumming is perfect, the guitar work artistry, and the vocals are right on.

For an interesting treat, drop these guys a line and get yourself a copy.

The Fritz (Orlando, Florida, USA).

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I’ve said it before and I’ll say it again, The Refugees are an awesome band. I’ve described them as a nouveau-Celtic band with allegiances to Manchester’s third wave, but after hearing their first full-length release called LoveJunk, I’d like to add to that. This band has also strong allegiances to The Stray Cats, Elvis Costello, and the entire rockabilly movement – in addition to The Pogues and The Smiths.

I’ve never heard anything like this before, but this is one sound I plan on continuing to listen to for some time. LoveJunk has some truly wonderful and inspired songs contained within, including ‘Guillotine Gene,’ The Girl With The Child In Her Arms’ (which reminds me a great deal of Chicago’s Drovers), ‘Love In The Asylum,’ the rockin’ and rollin’ ‘Tomahawk Junky’ and the highly 80s-esque Mancunian ‘The Madness Of Love.’ The Refugees are exactly what the doctor ordered to cure listeners of the boredom caused by listening to too much alterna-crap on the radio.

The Fritz (Orlando, Florida, USA).

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Thirteen songs from a Hoboken band that make ‘’original rock’’ sound like a bad thing. In other words, The Refugees debut LoveJunk is so original, and so rocking, that those words just don’t cut it. Rollicking pop-laced, Irish tinged melodies that go from sombre to hopeful without either lacking. Another band I’d very much like to see live.

The Aquarian (New Jersey, USA)

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Accompanied by a cadre of musicians from luminary acts like XTC, The Waterboys and Squeeze, local face and transplanted Brit David Marx gracefully alternates between melody and violence on The Refugees new CD, LoveJunk.

Marx, whose word-mincing, not-for-the-elderly music column mysteriously disappeared from the pages of this newspaper some time ago, has honed his song-writing skills and channelled them into a studio recording ripe with interesting production touches. The self-produced album includes 13 songs and almost as many musical instruments, ranging from The Beatles-ish ’Tomahawk Junky’ to the violin driven ‘Tel Aviv A Go-Go.’

Marx Comes across most forcefully as a live performer, and his edge is somewhat blunted by studio deliberation. Still, his newest set demonstrates the convictions he touted as a music critic for this paper and later, The Asbury Park Press.

He’s a romantic and can sing a convincing love song, but he’s more impressive when he’s pissed off, as on ‘Cold Blood’ (‘’I’ve got the Church of England screaming at me/Through a blood bleached robe of Christianity,’’ he snarls, as guttural guitars well up behind him).

As a songwriter, Marx cites influences as wide-ranging as The Clash and Sam Cooke, and LoveJunk footnotes a slew of rock styles without ripping them off. It also stays well within the boundaries of the three-and-half minute pop song formula and still manages to take risks. Even the jauntier, borderline-cliché numbers are spiced by novel instrumentation and less-than-predictable arrangements. It would be interesting to see Marx develop his vision further with the support of a record label – he’s been paying his dues long enough.

Daniel Mintz – The Atlanticville (New Jersey, USA).

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Let me begin by saying that I LOVE THE WATERBOYS/WORLD PARTY and DAVID MARX is very reminiscent of my favourites… not surprising, since the man hails from the British Isles; Swindon, England to be exact – and the three artists share a lot of the same socio-political concerns of that area (Americans are very oblivious to the struggles of some of our closest European relations).

There are definite Celtic influences, in part due to British violinist Kat Evans, and a European style of delivery. Yet Marx’s particular relationship with the USA – where he resides and observes – gives his music a hearty American edge.

It’s the kind of stuff that alerts the ear; that what is being heard is different. And good!

Songs included here are my personal favourites ‘The Girl With The Child In Her Arms, ‘Tel Aviv A Go-Go’ and ‘Without A Counterpart.’ The promo sent didn’t say whether it was recorded locally or ‘’over there,’’ but the production is top notch!

I think we’ll be hearing more from David Marx if he sticks around for a while, and doesn’t get lost in the ‘’Sounds of Asbury Park bullshit…’’ He has a sound that’s unique to the local alternative scene, and with a big label push, the capacity to make an impact on the international scene – if his live show is as hip as this album.

SD - Ex-Press (New Jersey, USA).

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LoveJunk - Urban Celtic rock. Energetic delivery of infectious, upbeat tunes with thoughtful lyrics. Actually sounds like a live recording!

SOAP (New Jersey, USA).

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This is the closest I’ve ever heard an Irish-laced rock band to come to Rum, Sodomy and The Lash era Pogues, which is an incredibly good thing. Definite Clash-style punk rock tendencies on LoveJunk, with ‘The Girl With The Child In Her Arms’ combining Strummeresque vocals with very fast and full rocking music. It’s also got that Irish folk feel that The Pogues have – using instruments that I wouldn’t even want to guess at (tin whistle, to name one?). The marching feel to ‘The Madness Of Love,’ although slower and more reserved that the earlier tracks, lends an urgency and passion hard to surpass in these days of slacker apathy and grunge boredom.

If Shane Macgowan decides to not sing with The Pogues their next time round, David Marx should take over. Completely impressive.

The Aquarian (New Jersey, USA).

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The work of David Marx evokes memories of that much-maligned phenomenon Power Pop, happy times spent listening to the likes of The Buzzcocks and XTC. Supremely tight, energetic Pop-Rock playing, witty lyrics, and a sense of the absurd married to real tunes, adds up to a kind of music I thought had died long ago. Personal favourite moment: the ludicrous inter-cutting guitar-and-harmonica solo on Which Side Are You On?

If any of the recordings this month deserve more than this brief 15 seconds of fame, it’s David Marx. Let’s hope someone has the nous to do something about it. You see – I can be upbeat. At least once a year.

TR – International Musician (UK)

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Singer/Songwriter/Guitarist/Juggler (OK, I made that bit up) David Marx sent in this three track offering that initially struck me as a manic Elvis Costello take off. But upon closer inspection, I found some intricate melodies, jumping rhythms and some deliciously maniacal guitar playing. The man hopes to get himself a band together and get out on the road as soon as possible – see ‘em while you can still afford a ticket.

TH – International Musician (UK)

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LoveJunk – Pop rock with a distinct 80s flavour a la Costello, Waterboys, Hitchcock et al. Expressive male vox, good song structures, inventive arrangements, nice instrumentation. Excellent production. Recommended. Thirteen songs.

Musician’s Exchange (Chicago, USA).

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More spectacular packaging still from David Marx: childish handwriting on a small brown package obviously assembled by someone with a serious staple fetish. But there’s some serious stuff on that cheap and nasty C15 computatape. Each song is a minor, hell major, epic of a type not heard since the early Seventies. Hard to know what he’s on about, but it must be something important, propelled by a slightly Robert Plantesque voice, very groovy musicianship and overblown arrangements a la Mott The Hoople. And the song construction is a welcome return to the ideal; a gradual progression from restrained and melodic in the first verse to manic and chaotic in the last. There’s a certain beauty in that, just like life.

MS – International Musician (UK)

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Whilst I infinitely enjoyed much of this material for what David Marx had produced, there were also many elements and influences that I could later identify. Firstly, he does not go in for a purely atmospheric sound, intended to blow the imagination of the listener; but rather - Songs! ‘’The Breath Of Objection’’ has a really likeable swing to it, and Marx has a timeless voice – a rare quality – whilst the various vocal harmonies and frantic acoustic guitars could have come straight from a Crosby, Stills Nash & Young album. But don’t be fooled, this is no lost in yesteryear child of a lesser decade, as the rest of the material shows.

It is quite possibly NOW music, from an artist not afraid to show his roots.

GN – Making Music (UK)

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Garantiert ist Stimmung angesagt, wenn der Englischen Songwriter David Marx sein neues album LoveJunk vorstellt. Werauf gute Songs in der Tradition von John Lennon bis Oasis steht, kann das Programm durch eigene Wunsche mitgestalten.

CZ – Cologne City News (Germany)

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Recently arrived from Swindon, England (hometown of XTC), David Marx and his Refugees beguile with a ragged but inspired debut album, LoveJunk. ‘Mirror Mirror’ is a joyous Celtic sing-along in the tradition of The Pogues, while ‘The Girl With The Child In Her Arms’ blazes like early Joe Jackson with Kat Evans fiddle. The trashy rockabilly of ‘Tel Aviv A Go-Go’ more than delivers on its promising title. Buy this album!

Wunderlust (New Jersey, USA).

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