RKC - British Plastic

Conceived in 2007, RKC (then Roses, Kings, Castles) provided an outlet for ex-Babyshambles drummer Adam Ficek’s more ‘oddball’ songs. Be it the gleeful gloss of his self-titled debut, or the jangle of ‘Suburban Timebombs,’ Ficek proved himself a fine multi-instrumentalist - one doing fine without his former band mates.

‘British Plastic’ then - Ficek’s first self-produced and released third effort – is his boldest LP yet. Ditching the charming quaintness of previous records, ex-band mate Pat Walden’s jagged guitars impose frequently, malignant synthesisers add a sinister edge, and industrial hazes provide a suffocating tarnish. ‘These Are the Day’s opens ‘British Plastic’ rambunctiously: the piercing guitars of Elastica’s ‘Connection’ with the bass line of Joy Division’s ‘Dead Souls’ on steroids. More disturbing is ‘Tapping.’ It’s a menacing take on MIA’s ‘Paper Planes’ as its melodies taunt creepily. Meanwhile, ‘Seeds Of Moscow’ – borrowing from the Subway’s ‘Boys & Girls’ – is a galloping force of garage tinged horsepower.

Vocally, Ficek’s more confident too. Whilst it’s easy to lose him at times (notably ‘People & Places’ and ‘I Let Go’), his delivery often matches the intensity of his music. “HERE COMES THE SUMMEEEEEEEEEEER,” he screams during the blipping of ‘Here Comes The Summer’ – his crackling wail blending into the rowdiness of the aforementioned. Writing ‘British Plastic’ about insincerity, such delivery is amplified by Ficek’s ashamed views. During the trudge of ‘If the Rain Comes,’ he solemnly cusses: “I don’t need anybody here at all / It’s not like me going down / There’s no love in this town.” On the claustrophobic clamour of ‘Mother’s Pride,’ he looks in disgust at “Too many people lying on their sides.”

Not content on keeping with the tame nature of his previous releases then, ‘British Plastic’ is Ficek’s shout out to the world, and proof of his growing ability as a wonderful musician. It’s a big step to a grander scheme for him, and one that’s paid off immensely.