This review is of the second album from Bury St Edmonds grungey punks The Winonas – formerly Socks On Records alumni Dudesmell.

‘Dead Romantics’, produced in-house and now on Noise Merchant Records, is the second album from the group, following debut full-length ‘Glass Skin’ from 2024. Appropriately released on Valentine’s Day, they continue to intertwine grungey post-punk sensibilities with passionately shouted lyrics, while incorporating a synthy backdrop.

The vocal style featured is raw, matter-of-fact and delightfully tuneless, and I enjoy how it contrasts with the high-scale instrumentation.

Right, let’s get into each track before I give everything away, goodness…

1. I GOT THE JUICE

The album kicks off with a medium-fast drum beat, which ushers in a stream of synth that underpins a constant, grungey riff.

‘I GOT THE JUICE’ (fully capitalised song titles are presented throughout) tells first-person tales of passionate chaos, with the chorus discussing going with the flow and “kissing faces, and I’m taking no names”.

Verses follow the same vocal and line structure as the chorus, with the only break from this coming with shouts of “oh, no, no” towards the end. Overall, the song depicts a thematic shift from The Winonas’s previous work from political observation towards more personal pain, lust and romance with a hint of sardonic humour.

2. GOLD TOOTH

‘GOLD TOOTH’ is the longest track on the album at just under four and a half minutes. It heightens the heaviness of the riffs involved compared to the opener, while decreasing the tempo just a tad.

Betrayal via lies from a previous loved one is the overriding emotion portrayed in this one, with the protagonist explicitly ordering the culprit to “get it all out, then get the fuck out”.

A decent little guitar solo erupts following the second chorus, accompanied by a headbang-worthy beat breakdown.

3. (DON’T) BITE THE HAND THAT FEEDS

Those raw feelings of being wronged continue into the next song ‘(DON’T) BITE THE HAND THAT FEEDS’, which features AWAP vocalist Matt Mason.

The track brings the speed up, starting with a mid-fast drum beat that cascades into more high-scale, melancholic-sounding guitar tones. These underpin a vent about being taking advantage of, having been left “standing in your smoke”.

Following a chanted refrain of the song title, the listener is treated to a synthy bridge that mirrors the main riff in the song.

4. THE DEVIL IN THE WRONG DRESS

The fourth track, ‘THE DEVIL IN THE WRONG DRESS’, dials down the riff pitch, helping convey the realisation that someone first long thought to be a trustworthy companion had “been cheating on all our dreams“.

Kicking off with a sample of radio DJ Paul Harvey’s 1965 “If I were the devil” monologue (apparently it’s somewhat famous, but I hadn’t heard of it, or of Mr Harvey), this vent is aimed towards a torn relationship that saw the protagonist metaphorically (I’m assuming) “spill my blood on your new jeans”.

Two quick verses of betrayal, connected by a sinew of riff work precede the chorus. The listener is then treated to a lovely guitar solo, following said chorus.

5. WINONA RYDER (HEARTBREAKER)

OK, now this grungey ditty is dedicated to the band’s favourite actor and namesake.

There is a smidgen of reprieve present in discussing the experience of seeing with Winona Ryder on screen and becoming smitten, before the song quickly exclaims “You broke my heart!”. Dreams do not last in this album.

A wider variety of riffs is presented throughout, mostly low-pitched but rising into a crescendo towards the end. The second half of the track is dominated by an intense refrain repeating how “strange and unusual” our Winona comes across as.

6. SERVANTS

Sixth track ‘Servants’ goes all acoustic on our arses, and despairs at a lack of action against a rigged system, while discussing putting on a front while hurting inside.

In a world where “everybody’s got a different view”, the song acknowledges that “everyone wants to make a change, and everything just stays the same”.

‘Servants’ is indeed an island of bitter-tasting apathy on an album otherwise made up of feelings of passionate lust and betrayal.

7. DON’T PUSH ME

‘Don’t Push Me’ is the shortest track on ‘Dead Romantic’ (not notably short – two minutes, forty-six seconds – but still), and features some of the heavier guitar work on the release. Another solo appears in this one, that manifests itself as a noodly tornado of guitar notes.

The song takes aim at the rich powers that be, vowing in the chantable chorus that “I’ll push back” if life continues to be made financially and mentally shit, basically.

There is a determination to not remain downtrodden in the long run, and a call for unity against austerity.

8. THE DARK THOUGHTS OF A MAN IN A CRISIS BECAUSE HELP IS OFTEN PROMISED BUT SELDOM RECEIVED

That long song title spells a return to feelings of betrayal. Dealing with a brain that “is off the track”, the protagonist feels lost, questioning where friends who can help are.

Though previously keen to provide one more chance to people, and to hope in those people, “they always drag me down”.

The guitar solo in this bad boy gradually rises in pitch to a metaphorical boiling point – very apt for the topic of the song, for a limit to patience has been reached.

9. FATAL ATTRACTION

Penultimate song ‘Fatal Attraction’ begins with a dominant bassline that is joined by synth. A lighter instrumentation matches a change in mood, with the track focusing on what an authentic, healthy relationship can be.

Earnest proclamations of “I love you” and “You’re beautiful” dominate the song, with statements that both partners can be themselves interspersed throughout.

Also interesting is how the song ends – with a couple of seconds of operatic symphony. Overall, I like to think that this is some sort of flashback to better times, before things go to crap for the protagonist.

10. THE MIRROR

This album concludes with a slow track that was released as a single, back when the band was Dudesmell, but has been rerecorded. Featuring Daisy Cox, acoustic guitar is blended with further strings and synth to underpin longing for a loved one no longer a part of one’s life.

Missing said loved one, the song states that “the spaces between us whisked you away”, and that “I still miss you”.

At the end of an album dominated by grungey sounds and lyrics about betrayal, this combined with previous song ‘FATAL ATTRACTION’ provides a different, more introspective mindset with, for better or worse, cleared air.

Closing remarks

In ‘Dead Romantic’, The Winonas display a range of influences from ’80’s post-punk and new wave to ’90’s grunge that blend together in harmony.

Lyrically, the release comes across as unfiltered and passionate, targeting culprits of negative micro and macro impacts on personal life. While the picture painted is bleak at times, there is plenty of fight.

If you like the idea of combining Cobain-inspired lyrics with instrumental sounds reminiscent of the likes of Depeche Mode and Joy Division, you’re sure to get some kicks out of this album.

Thank you to the band for approaching me, and to you for reading. Up the Posh, and up the Punx 🤘