Formed in 1981, The March Violets, like fellow post-punk band Joy Division and New Order, made use of a Nazi-related name in a hostile and ironic manner, in this case, referring to “late bloomers”, those opportunists who joined the Nazi Party in Germany after March 1933. In their initial period (1981-1987) they released a very successful shorter album, “Natural History” (with the single “Religious as Hell”), along with successful independent singles “Snake Dance” and “Walk into the Sun”.
In all of these, along with the compilation “The Botanic Verses” in 1993, they displayed creative innovation and technical competence with a particular style that originally combined the vocals of lead singer Rosie Garland (who would become a successful cabaret performer, novelist and poet and Fellow of the Royal Society of Literature), along with guitarist Tom Ashton (also a producer and film composer), Loz Elliot, Detroit Denbigh, and drum machine Dr. Rhythm. There was an array of other members who would come and go, which probably meant the drum machine (itself in various configurations) to be the most consistent member. Following the initial breakup of the band, there was a brief reformation in 2007, and most recently from 2010 onwards, which has resulted in multiple studio albums (e.g., Made Glorious (2013), Mortality (2015)) and most recently Crocodile Promises (2024).
For those familiar with the original sound of The March Violets newer original content, like Crocodile Promises, has more of an alt-rock than post-punk sound, with more than a touch of the gothic rock as a continuing thread throughout. This really should not be surprising; bands, like people, can and should develop over a forty-five year period. Except Hawkwind of course; the universe will suffer heat death and they’ll be droning through space and time and sound exactly the same in 33 billion years.
Typical of the old Violets, Crocodile Promises is a short album of nine songs, spanning a mere 36 minutes. But those minutes are emotionally packed, passionate, and deep. The first track “Hammer the Last Nail”, is a prime example; powerful vocally, powerful lyrically (getting away from toxic gaslighting people), and with powerful guitars at pace. The next track “Bite the Hand” is highly memorable, relentless, and could be interpreted literally about dogs chasing rabbits but, just maybe, has a metaphor at play.
The bass-heavy “Virgin Sheep” continues the fast and relentless style with notable chord changes, before being followed by the slower, melodic, “Kraken Wakes”, replete with monstrous imagery. “World Away from Kind” has an introduction that is more in the traditional sound, along with slower periods and great deal of lyrical gentleness. “Crocodile Teeth” is generally in the album’s overall style, and gives plenty of tortured lyrics of anxious self-doubt; it is from here that the album title is derived. The final two tracks are “Headed for the Fire”, which comes a great howling guitar introduction and closer to their older style, and finally. “This Way Out” which has more emotionally charged lyrics and an impressive rhythm.
Overall, this is not just a good album, it’s a very good album. It is impressive enough that the Violets reformed the band after such a long hiatus, impressive that they have kept the band together since then, impressive that they are still performing, impressive that they are producing new content, and downright remarkable that they are doing so with such passion and energy in their music and lyrics. It is this latter aspect which is a very significant point of difference between the Violets and many other bands of a similar vintage and is deserving of enormous respect.
Leave a Reply