released December 1982
Now we leave the studio and go over straight away to our Record Mirror correspondent: Southern Death Cult “Fatman” (Situation 2). Just as the ‘new pop’ finds itself drowning in over production and under ambition, the reaction, the reassertion of power and emotion begins.
Southern Death Cult take basic rock elements and infuse them with the feel and touch of those who have rejected rock’s arrogance and pomposity. The sound for ’83 is raw and open. Southern Death Cult are showing the way . . . . . and now over to that wonderful old paper Melody Maker.
Southern Death Cult “Fatman” / “Moya” (Situation 2). Hold the front page! A white label copy of this has just arrived, and about time too. A lot of people have been waiting for this, the first Cult single, and it’s no disappointment.
A double ‘A’ side, “Fatman” starts like the Shadows on overdrive, gains pace into a helter skelter of lead guitar and bass, before cannon fire drumming leads into the verse. Superbly sung and played, and powerful enough to wake the dead. “Moya” is equally excellent, too.
Full credit to the dense production, courtesy of Mick Glossop. Joint single of the week, without a doubt. and an auspicious vinyl debut from what will probably be THEE group to break through big in 1983 . . . . .
And of course this report wouldn’t be complete without hearing from our correspondent on the super cynical but hip NME. But hey, listen, what’s that scene? It’s the new thing going down, it’s Southern Death Cult: “Fatman” (Situation 2)
We’re told that SDC are definite signs of life, an escape valve from the usual punky morass, and their debut single is certainly a taste of something a lot stronger that we’ve been used to in this field. It’s manic Echo & the Bunnymen, it has the most brilliant rock drumming in yonks, the guitar spits pure spleen and the whole thing reeks malice and havoc.
Not exactly my sort of thing, but I can still appreciate its edge and commitment.