While some artists are satisfied circling the shadows, TRAMP are poised front and centre, flaunting Bimbofication. Their sound is perplexing for some but vibrant for others, a competitive blend of formidable metalcore and playful punk that protrudes sound and message into a now redefined musical landscape.
The genre-queer, Derry/Donegall/Tyrone accented, therapy-rock band have become one of the most righteous and thrilling on the scene today and this EP has accelerated TRAMP’s standing as a force of nature ruthlessly.
FREE SAFE LEGAL manifests ‘some fucking autonomy’ in a deeply invigorating and disturbingly obvious manner. TRAMP’s instrumentation here marches along smoothly and eagerly, meeting Siânna Lafferty’s brooding vocals to create a sound rooted in chaos among structure. Lafferty verbalises her anger strikingly, with lines such as ‘Trips to England with baggage of shame’ and ‘God gave me this uterus it’s my body it’s my future’ carrying desperate weight.
Despite the serious subject matters that TRAMP tends to cover, they inject fun into anything they write. Junkie is a frolicsome and mocking delve into the ‘dog-eat-low-fat-dog-race’ of superficial validation. The opening siren, smooth bass, chirpy drums and burlesco vocals create a fantastical listening experience with a violent, Looney Tune-esque quality. This feels like the archetypical TRAMP track and we’re here for it.
The Birds (Lowered Suspension) oozes palpable cool. Accompanied by a killer music video that can be found on the TRAMP Band YouTube channel, the track picks apart the genuinely terrifying effect that toxic masculinity can have on society. The in your face, social justice centric ethos is on full display here with a real sense of resonance between Lafferty’s bellowing, illuminating vocals and the band’s authoritative synchrony. An anthem for sure, this is Bimbofication’s baby Bird.
TRAMP takes a brief seat with Skeletons Surfacing, a grounded and lamenting delve into the monotonous complexities of depression. This track feels painfully real when featured among Bimbofication’s theatrical extravagance and really displays TRAMP’s range as a multifaceted outlet of expression. The tedious, repetitive lyrics of the track are grinding but impactful and the beautiful composition of vocals and instrumentation perfectly conveys the melancholy felt.
YELLOW CAR NO HIT BACKS thrusts the listener back into the delightful chaos of Bimbofication’s artistic world. With only one-track left, TRAMP throws itself at the wall, temporarily breaking sanity and releasing their suppressed rage. This is TRAMP’s dismantling of the rules that they deem senseless. An acknowledgement that a ‘yellow car no hit backs rule’ could hold just as much legitimate authority as an abortion one.
TRAMP is leaving the rules behind and making their own. This is their mandate. This is Bimbofication.
