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I don’t want to come across as that old guy who says that music isn’t as good as it used to be (I think it gets better and better all the time, if you must know). But there is, consciously or otherwise, a wonderful nod to the Sex Pistols in that opening and recurring riff of this new one from The Anomaly. Not that it matters; as we all know, there are only so many notes, and everything echoes with something else. Nothing, as they say, is new under the sun.
Although London-based, multi-instrumentalist, Imran Khan is in no way plundering or plagiarising past glories, that blast of punk-infused guitar certainly sets the tone for what is to follow. And what follows is a snarky, energetic, anti-establishment rant against the rat race, one embracing the same sense of disenfranchisement that hung above that late seventies scene. But musically, too, it punches and powers through in the same way that punk did, well, early punk, at least. Before the fashionistas and politicos took over the genre, punk was the sound of amphetamine-fuelled, ragged pop music, and the same sense of sonic self runs through “Get Me Out Of Here.”
But it is more than just a revisit to seventies subversiveness; there is something of the here and now about the music, too; the lead breaks, in particular, are smoother and more indie-driven. There is also something anthemic about the track, and it would be easy to imagine a festival crowd punching the air to this as the sun goes down over the back of the stage, leaving Khan, a silhouetted cheerleader, to escapism, freedom and abandon.
Punk’s not dead; it just grew up, stopped trying to be outrageous for the sake of it, and learned some new moves. It still doesn’t want to get up for work in the morning, though. I guess some things never change.
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