On the back of some well-chosen support slots recently Yorkshire’s finest Klammer unleash album number three. You Have Been Processed is quite a departure from their self-titled second album, yet retains the “Post/Punk Dark/Pop” sound they are rigidly employing in their music to date. It opens with the dark shimmering pop of “Coast to Coast”, the brooding bass holding things together matched to Poss’s clear and audible vocalising. Chiming guitars in the mid-section replace the earlier gloomier notes amid the power chords on this strong opener while the ending is somewhat fierce. The first single from this collection “Modern God” needs no introduction. Subtle cymbal tapping in the intro gives way to chiming guitars (Steve) and a chunky bass that crackles with menace in the background almost throughout. Poss twists his vocal and shows huge range as the various layers come to the fore, notably in the chorus. The ending is truly wonderful as the pace drops and just evaporates.

“No Memory” starts with searing guitars and a notably 80’s Post/Punk vocal. The clicky basslines in the background compliment the vocal shifts and the simple drumbeat. It’s dark, brooding and moody while Poss stretches his vocal throughout. The bridge is simple enough although I find the chorus a tad repetitive as it builds to an abrupt halt. However, parity resumes on recent single, the brilliant “Spiral Girl”. It opens with some clever effects, matched to guitar chimes and Mike’s clicky bass. Poss’s haunting tones slowly build to the chorus while the underlying sound in the background seems more akin to a haunting TV drama. Iím reminded of JuJu-era Banshees in the guitars and wondering if the song is written with someone in mind. Brunoís rat-a-tat drumming and Steveís chiming guitars remain constant throughout while the bridge is kept short, allowing the song to remain a three-minute epic.


On hearing the opening bars to “Mechanical Boy” one could be forgiven for thinking of Killing Joke, yet once the almost spoken word vocal kicks in its pure Klammer. The bridge sees the chords stretched to the limit while those haunting chimes return to the fold. One can only speculate that the ‘Mechanical Boy’ within the lyrics needs to break out of his confines and see the bigger picture. That stretched bridge reappears late on, taking the song to its sharp conclusion.

By contrast “Baddest Blocks” just breezes in unannounced with a racier intro and an echoey broad vocal. Multi-layered with cymbal-led drumming I’m guessing it’s a song of one’s surroundings or purely one of life’s observations. As it reaches its conclusion the final lyric leaves one in no doubt where its content lies.

“Tonight” begins all chiming guitars, once more matched to a punchy bass. More social commentary here I’m guessing. The chorus forms the latter part of the song before fading to another bassy sharp ending. “Common Sense” sees more echo in the intro and a dark, brooding bass. A simple song structure throughout and one-paced but the bass takes centre stage, never veering once. Latterly it awakens briefly and that abrupt ending comes into play once more which seems a common thread on the album.

“Twas But a Magpie” is faster and heavier with more guitar and vocal layering. A brief bridge gives way to the vocal before returning to the faster beat throughout. It’s by far the most straight-up Punk offering on here, dispensing with their trademark Dark/Pop style and maybe a nod to future releases – but no less relevant on this collection. “Human Clay” could (and should) be the closing track. Softer and mellower with a clicky chord section early on. Poss then ups the ante on his vocal, allied to simple drumming and more chimes to its finish. The final verse is simply great in its delivery.


“Production” reminds me how I first got into Klammer – reminiscent of Dirk-era Adam and The Ants it has all the gloomy elements of the first wave of Post/Punk acts. Dark brooding basslines, chiming guitars and a vocal that never knows where it’s going next. The backing vocals add intrigue to the overall sound. “A Long Cold Summer” with its jangly guitar intro gives way to a rat-a-tat drumbeat. The singalong chorus then follows which I find unusual for Klammer. I’ll hazard a guess it’s an ode to a loved one/ex-partner and may just be the best song on here. Those jangly guitars just clang away in the background as the chorus is endlessly repeated; while the song just fades away to its conclusion, which is great.

On this their third album Klammer has again pushed the boundaries and not just stuck with one style. The production I feel is cleaner and tighter with maybe a nod to where future material might go regarding their sound. I canít see them ever leaving their Post/Punk Dark/Pop roots behind, but clearly on this record, they have experimented more. It’s hard to stand out in a crowded market, but they are head and shoulders above the crowd still. Don’t believe me, then buy this record and decide for yourselves.

Track Listing
Coast to Coast
Modern God
No Memory
Spiral Girl
Mechanical Boy
Baddest Blocks
Common Sense
T’was But A Magpie
Human Clay
A Long Cold Summer

Band Members
Paul (Poss) Strickland (Vocals/Gtr)
Steve Whitfield (Gtr/Vocals)
Mike Addy (Bass Gtr)
Bruno Almeida (Drums)



Words by Ross A. Ferrone.

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