Broken Bones: Religion Is Responsible

RELIGION IS RESPONSIBLE

Metal Forces Magazine Date Unknown

Written By Mike Exley

“There was quite a lot promised for this EP, and I must say I’m a little disappointed with the result, not because it’s poor because it certainly isn’t, but because it only has two new tracks. The two tracks are really good, showing the way forward that Broken Bones are persuing, but it’s too short and doesn’t have an enlightening B-Side, “Brain Dead” and “Last Breath” making up the numbers.

Let’s look at side one though because that’s clearly the most important. Opening track and title has a superb solo to start but then the combined power of Bones line-up takes over and it’s a winning formula of good vocals, powerful bass and excellent guitar all the way in a strong rock vein that will please many punters looking for continued to development in the Bones camp.

Track two, “The Madness,” then comes across as a good balance with a punk feel to it on the drum track and another superb guitar break from Bones and it certainly leaves a good taste in the throat. Not a fantastic release and definitely more of a stop gap, but still a nice touch.”


RELIGION IS RESPONSIBLE

Brum Beat Magazine August 1990

Written By Mr.D

“Refreshing new product from the re-vamped version of an established hardcore act. Distinctive, clean production allows the boys to shine. This music sounds modern by virtue of it’s roots rather than plagiarism.┬áThere’s a video shot at the Marquee for “Brain Dead,” so obviously the record company is giving them necessary support.

Outstanding guitar work, particularly on the title track, plus unfashionable bass and drum sounds, sets this apart from mainstream metal. Could this be the old story of success in the U.S.A. and/or Europe and not at home? I sincerely hope not.”


RELIGION IS RESPONSIBLE

RAW Magazine August 8-August 22 1990

Written By Dave Ling

“In which the Brits slow down their usual Hardcore hyperactivity to a bass-dominated Metallica-style dawdle. Astonishingly, the change of pace suits the quartet, though “The Madness,” sees them gradually accelerate more into familiar territory, and the live version of “Last Breath” is fast and heavy enough to repudiate any accusations of wimpdom.”