Wasting & Waiting

"Full-on Empty" is a brand new, 16-track CD and digital downloadable album from Columbus Ohio’s BLATANT FINGER. It is self-released on their own 89 Records label. This follow-up to 2010’s 12 inch vinyl EP "Eight for the Road" (amazon.com), keeps the Midwestern home fires burning with a new batch of catchy, guitar-driven songs. The basis for BLATANT FINGER’s user-friendly brand of punk rock is rooted in their salute to Chicago’s Naked Raygun, and Pegboy. Blending Midwestern melodic punk with the easy charm of So Cal’s Social Distortion (adding in some Agent Orange and Bad Religion) is what BLATANT FINGER has become known for.

Immediately out of the gate: 'Sapphire Girl', a tongue-in-cheek, infectiously rocking tune, about a grudgingly overprotective father; has a repetitive guitar hook, faintly suggestive of the chamber being cleared on a submachine gun, washed over with a bit of surf twang.  Next up with a 1-2 punch is 'Little Bastard'.  The hard-hitting riff and in-your-face vocals in this track offer a bit of Electric-era Cult riffs with Keith Levine-style (PIL et al) guitar overtones. Yes, it’s apparent that the 1980’s have an unapologetic imprint on the band’s DNA.  

BLATANT FINGER has frequented the stage with more than a half-ton of rockabilly acts over the years and the crossover shows up in the Johnny Cash-influenced 'All Want Somethin’, featuring Shayne Freeman from the Bloody Irish Boys on fiddle.  The cowpunk mantra 'Rustbelt Buckles' adds a cool hint of mandolin and banjo, courtesy of Molly Paukin, of pioneering country rock band McGuffey Lane.

This album is by no means a retro piece, despite the inclusion of a raging cover of The Plymsouls’ A Million Miles Away.  Blatant Finger bring a controlled edginess often missing in current rock, on tracks like the minimalist 'Post Traumatic Breakfast'; and 'Layers', a  frantic ode to the non-tattooed; both songs respectively picking up where more contemporary bands like Rocket from the Crypt and The Hives teed off.