Lozt Prophetz
Para Todas Las Putas Celosas (demo)

After the first demo "Here Comes The Party," Lozt Prophetz released their second work, "Para Todas Las Putas Celosas," in 1998. For those who don't know, the Lozt Prophetz would later become Lostprophets, with a lineup significantly different in style and elements (the pivotal role of DJ Stepzak is crucial, who would leave the group in 2000), a past without hairspray on their hair and no radio pop/rock to speak of, the key element here is rapcore, with the duet of the newly-twenties Ian Watkins and Stepzak who, accompanied by the strong contribution of Nu Metal from the rest of the band, have fun and thrill in delivering fast, sharp, effective vocals mixed with melodic hardcore, all perfectly complemented by heavy scratching.

I know it’s hard to imagine the Welsh group in this light, given the look they have today hovering between emo and homosexuality, and the mellowness of their sound, but they had the desire to break through, which is evident in tracks like "Wiseguy" and "Jaimore". ' Whack style will never be our style cause me and the hard rock will always be buck wild ' reads the first verse of "Seasonz," the premises have always been to maintain a distinctive style and distance from 'easy listening'. An intro plus 4 tracks, concluding with "Bitchez", a sharp chorus on a loop with a dedication "Para Todas Las Putas Celosas," to the jealous prostitutes (perhaps a projection of themselves into the future). Without being verbose, I candidly confess that it's striking to listen to this demo and the previous "Here Comes The Party" from 1997 that I already reviewed, even more aggressive than this one, and then compare all of that to the present, two completely different bands.

After so many years, I consider the departure of DJ Stepzak to be decisive, although Jamie Oliver did a good job replacing him; in the debut album "The Fake Sound Of Progress", he tried to cushion the transformation with much less evident presence of scratch and hip hop segments, but ultimately shutting down the rough yet extraordinary style of their beginnings. With bitterness, I admit that if the premises had been maintained and remained more or less uncontaminated, the story in 'Pontypridd' (Cardiff, Wales) would have been different, and the lost prophets would have remained such and not screwed, by money, by success...  and not only.