Moving Targets (Virgin Records, 1978) was the debut album of one of the British seminal punk bands of the time, Penetration. By the time of this release the small band from Ferryhill, formed in late 1976, had actually achieved a lot (including their performance at iconic Roxy club and the great Don't Dictate debut single), qualifying as one of the strongest and more original sparks of the exploding punk phenomenon. Yet, their short-spanned career due to disillusion with the music industry and vital circumstances of members led them overshadowed by so many other bands of the period, with arguably less dedication to both instrumentation and lyrics. Such a circumstance remained the same until their quite recent comeback in the 2010's which has given them well-deserved recognition. Yet, when confronted with Penetration's material, one really reflects on the causes of their relative obscurity considering the broad popular culture's embrace of early punk bands (Sex Pistols, Ramones) and other long-career punk projects sparked at the same time on both U.K. and U.S.A. (Dead Kennedys, Circle Jerks), situating them along with the hundreds of little-known-about short-spanned punk projects such as The Adverts. This reflection may concern style.
Even though many of their leaflets and cover followed the punk art ethos of re-politizing the avant-garde (collage, appropiation of the message and iconography, image manipulation, shock value and dadaism, now under the umbrella of punk visual art), they also resorted to personal and original live performances, and prefigured some themes now we would consider Sioux-esque. This also applies to lyrics, which, even if mostly political, contain a great deal of melancholy, self-reflection and vulnerability; in fact, Penetration might have prefigured some post-punk themes if not for its rawness and genuinely punk tempo. Noteworthy their naming the band after the Iggy and the Stooges's song. As somebody said, Penetration was one of those neglected bands doomed by a curse ('too artsy for punk, too punk for arts') inflicted by both the rigid labels of music industry and the early punk fans looking for a more straightforward and plain approach to the new musical horizon of the time. Of course, that would explain said conflicts with their label, and the decision to freeze the project (they continued personal musical careers, thanks God) even if their second release, Coming Up For Air (Virgin Records, 1979) had such as great hits as Shout Above The Noise, instant favorite for me personally. All these facts and dates helped me understand how in hell I never listened a word about them until this very month, having been shocked by Pauline Murray's piercing and definitely unique voice by pure chance at an old compilation of sessions.
Concerning Moving Targets, their debut album, is, as expected, one of the best chances of figure out their style, and it's still considered a fresh approach to the genre. Lineup: vocals, two guitars, bass, drums and keyboard. You get a quick build-up with Future Daze, and a tease of sorts concerning Pauline's vocals and Fred Purser's guitar: nothing too memorable sans the growing rhythm and tension it's designed to induce. Life's a Gamble gives you lots of love, on the other hand: a sexy punk bassline with lots of interesting guitar riffs and an infectious chorus. Vocals span higher and get you flying, yet I'd argue you don't really meet Pauline's singing style until Lovers Of Outrage, a most representative song of what Penetration is about. A long song for a punk album, condenses lots of emotions, styles and has really fierce bits as it goes, with complex arranges and subversive yet really evocative lyrics along. Then Vision comes along, a slow-paced theme seemingly mocking faith yet in a very distanced and nice way, almost a poetic description of a pilgrimage. Silent Community brings back punk flavor again, with a nice evolving construction and some flashy, rock-like lead guitar solo. A most alternative approach appears again with Stone Heroes, amazing theme. Epic, almost enchanting lyrics and vocals to arabic-style guitar riffs and almost invoking drums, sounds exactly like something out of Siouxsie's Juju (1981!). Next theme, Moving, is peculiar also: rigid, rhythmic and somehow monotonous, really presses your brains until you want to effectibly move or punch the wall, which is really punk and an achievement, musically. Too Many Friends also mixes various styles, just the guitars change from ska-oriented to a well-disposed wall of coldness, helped by keyboards. Interesting experimentation with clicking guitar sounds and background voices make for a complex track. Reunion comes right after this, and it's the sad track, in my book; really shows that the band can make a slow and piercing theme. Nostalgia, the sad-named theme, is actually a more conventional punk song, with lots of chores and Gary Smallman hitting the drums non-stop; a great display of vocals overall, also. Last track, Free Money (Patti Smith tribute indeed) really creates its own acoustic space once it starts, from an almost elegiac tone to an amazing explosion of sound right midway. Everyone shines here, as it should be the case with any closing theme. Lyrics about dispossession get faster and faster as the ending album smoothly recovers its initial energetic pace after the preceding themes.
Tons of composing in a pretty atypical work for punk generally speaking. A rewarding album and fresh music out of a long time not listening to it, Penetration has really warped me into a search-and-find state related to Pauline's collaborations with The Invisible Girls and other projects I'll probably when the time comes.
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