I remember back in August when I attended Bloodstock. Every time I was at the main stage, in between each band's set, there would be two massive TVs displaying literally only three repeated promo videos for Airbourne, Wormrot and Wakrat's new releases respectively. This was how I came to learn of the sudden existence of Wakrat, ex-RATM bassist Tim Commerford's punky, funky new project. The promotional song for the band's self-titled debut was "Generation F***ed" (Thought I'd blip out the swear word for those reading who haven't reached puberty yet), and my initial impression was that it was completely stale save for the repetition of the song's title, which eventually seemed more of a joke than a serious part of Wakrat's songwriting.
Wakrat doesn't actually get more ambitious than what is heard on leading single "Generation F***ed". This self-titled debut effort presents itself as a set of angsty garage-rock noodlings, and it would almost be a ridiculous piece of work if it wasn't for Commerford's excellent bass work and the instrumental prowess of his two bandmates, Mathias Wakrat (drums) and Laurent Grangeon (guitar/vocals). The album isn't even 30 minutes long, consists of nine tracks, and is supposedly Commerford's way of doing what RATM did best: ranting against the government in hope that something would happen, or that someone important would listen. Unfortunately, the album largely consists of a tried-and-tested musical formula which may or may not annoy you to no end, depending on whether or not you like Wakrat's brand of punk-fuelled, funky rock. "Sober Addiction", "The Number" and "Nail in the Snail" amongst other here all develop a speedy, snappy selection of unclean-sounding riffs and prominent bass-lines, and the way they
sound isn't a particular problem. However, there isn't much personality to these songs, and within moments the listener will likely be thinking of moving on to another record which seems somewhat more innovative.
That said, the album has its excellent highlights, and these are certainly good enough to eventually lift
Wakrat out of a nearing state of stagnation. "La Liberté ou la Mort" revels in its powerful funk rock influence by adapting Commerford's bass work to the crusty snarl of Grangeon and his steady albeit menacing drum fills. "Knucklehead" almost echoes the mid-80s hardcore punk scene with its frantic pace and teeth-chattering rhythm section, throughout developing a strong, convincing and memorable sound with no hesitation. "New Clear" is a fun, bouncy listen and is strangely enough one of the more uplifting songs in an album which seems far removed from anything positive. The album's second half is basically its stand-out strongpoint, and it's with these aforementioned songs where the band begin to regain a sense of individuality.
I'd like to say that
Wakrat is a strong start for the band of the same name, but I'd probably be lying to myself. It's often more forgettable than it is impressive, but it has its energetic moments of menace, and nobody can take that away. It's rife with solid musicianship and despite the obvious lack of innovation, Wakrat's debut is a decent introduction to a potentially successful career, hopefully far removed from the remnants of Commerford's illustrious past.
