KillRadio may bear a namesake that at first appears to simply be a shameless "look-at-me" attempt at gaining recognition, but such a proclamation does have its merit. In conjunction with the music they create such a statement seems necessary, especially considering their stance on modern society. Yes, KillRadio is the latest face of the punk rock rebellion emerging from the West Coast with a message to wake up, get out and revolt. Yet their stance on society and politics is as impassioned as the punk music they perform is irresistible. On their Columbia Records debut, the painfully titled "Raised On Whipped Cream", these California natives bring an enthusiastic blend of punk and funk rock that is as much Amen or The Kinison as it is MC5 or The Clash.

Though one could easily write KillRadio off as just another timely pseudo-punk ensemble seeking acceptance, there is more to these newcomers' debut album than meets the eye. To delve deeper into the social commentary on display is to find an album ensconced in thick 70's funk grooves inter-cut with raucous rock licks, frantic basslines and a subtle dub/ska aesthetic (without the brass) that encourages one to dance. Brandon Jordan has a voice that carries the same contemptuous nasal drone that Johnny Rotten made infamous during punk's initial explosion, yet he doesn't simply rely on attitude alone to thrust the band's opinions into impressionable minds. In fact such distinctive wails are spliced with a variety of guttural screams and a wavery, unconventional singing voice that exposes Jordan's lack of range while instilling the group with a "by any means possible" urgency that carries throughout the record. Cuts like "Do You Know (Knife In Your Back)" and "Penis Envy" show the bands ability to push their message through caustic hooks resplendent with repetition, making "Raised On Whipped Cream" an album that has much more substance than the confectionery treat its title would suggest. While also retaining its overall momentum and replay capabilities.

This outing is rife with social and (to a lesser extent) political outrage. The group understand the opportunity that has been given to them and have no reason to restrain from expressing their very clear-cut opinions on everything ranging from war to corporate America. In another time this would have been the type of record to incite riots, what with its staunch disdain for the prototypical way of life, but it is unfortunately being serviced to a generation apathetic to such grievances. In this sense KillRadio appear to be fighting an uphill battle to even inspire a reaction from Joe Everyman, as the 'punk' music of today most assuredly does not contain a message. Given that it is an election year a band of such ilk may find a spotlight to release their discontent - but they also tread a tremulous line of being relevant and of being reactionary. Whichever the case, KillRadio have the left-of-center sound that helped Billy Talent become one of 2003's most buzzed about fringe-punk eccentricities and with their "Sex Pistols meets Snot" delivery, this album has the potential to have more effect than a mere ten second aerosol high ever could.