All the ink excitably spilled over the Spiral Scratch EP, its importance to the punk moment and its surrounding DIY culture, is for once entirely justified. It is the definitive work of a definitive band – the Shelley-Devoto era Buzzcocks, rather than the melodically lovelorn troubadours, still excellent but not extraordinary, which Buzzcocks became through their post-Devoto reshuffle. It is four songs in eleven minutes of jittery speedfreak punk and I cannot recommend it highly enough.
Aptly titled, the music here is at once constrained and claustrophobic, panicky screeds of guitar and frantic drum fills hemming in breathlessly gabbled lyrics, and an irritatingly insistent, needle-like pricking at the hindbrain. The gleefully amateur (two notes, or three?) guitar solo that slices ‘Boredom’ in half is pure punk minimalism. Likewise, Devoto’s stab at capturing the sub-Rotten delivery, that uber-obnoxious yammering where the vocal cords appear to be entirely composed of snot and amphetamine, comes close to producing (or pre-emptively parodying?) the definitive punk vocal. It captures, more accurately, what you think Rotten’s going to sound like until you listen and realise how inimitable and curiously feline his voice actually is, but it still happily gobs in the eye of all other contenders.
The lyrics, again, form a litany of tactics and techniques that would come to define the genre. Beyond the obvious tenets of boredom, isolation and dysfunction, ‘Boredom’ mixes all-encompassing ennui with the knowingly self-absorbed self-abstraction of ‘you see I’m living in this movie / but it doesn’t move me’. The band are, as Devoto keeps reminding us, only acting dumb. The lyrics are, winningly, shot through with a sharp-edged wit which punk often singularly lacks, kicking off with ‘Breakdown’s laugh-out-loud understatement of ‘If I seem a little jittery…’, continuing with the dry ‘I can stand austerity but it gets a little much’, and running through Shelley and Devoto’s deadpan call-and-response dissection of relationship dissatisfaction in ‘Time’s Up’. Another of the many tensions more widely explored in punk but encapsulated here is that between an impulse towards glee in deviant pansexuality (cf also the still-astonishing ‘Orgasm Addict’), and a viscerally disgusted horror of intimacy (cf Devoto’s shriek in ‘Boredom’ of ‘who are you trying to arouse?! / get yer ‘and out of my trousers!’, like an outraged maiden aunt).
There is a sense here of there being too many words and notes for comfort or relaxation. Too many disparate thoughts and ambiguous intrigues are packed into a line like ‘I hear that two is company for me it’s plenty trouble / though my doublethoughts are clearer now that I am seeing double’ – is it discussing infidelity, alcoholism, mental disconnection or the intertwining of all three? – which neither the careering music nor the desperate vocal can stop to explain. Having too much to say in too little time is a function of punk’s peculiar certainty of built-in obsolescence and impending disaster, the impuse to throw all that you have at the world before both you and it are overwhelmed by anarchy in the UK. While ‘Boredom’ and ‘Breakdown’ write this large (‘I’m already a has-been’; ‘I just came up from nowhere / and I’m going straight back there’), the petty domestic reflection of a preoccupation with the future’s destructive ferment is nailed in the musical and lyrical impatience that has the protagonist of ‘Time’s Up’ chainsmoking and tapping his foot while his girlfriend deliberates. There is no time to waste before your time’s up. The product of a band that were over in this incarnation almost before they began, Spiral Scratch is both a document of and testament to a social and cultural moment where if you were going to do anything, you had to do it now. Everything that follows may as well be a footnote.