Album Review: Dancing With The Curse by Get Dead (by Rich Bailey)

Now signed to Fat Mike’s Fat Wreck Chords, this is San Francisco Get Dead’s fifth long player. Overall, the vocal arrangement is reminiscent of Matt Caughthran of The Bronx/The Drips with some early Tim Armstrong thrown in too [no bad thing in this reviewer’s humble opinion] – think Suicide Machines mix of hardcore/ska vocals, but by one vocalist rather than two. There is a definite ska/punk vibe through a good percentage of the tracks whilst some others have story arcs that evoke Drive By Truckers.

Stand out tracks include album opener Disruption; a slow burner that increases in pace from an acoustic sounding start to sudden energy, back to spoken word through to a ska-punk guitar/bass/vocal sound reminiscent of early Mad Caddies.

Second track Nickel Plated is more of a straight forward punk song that wouldn’t sound out of place on ‘… And Out Come The Wolves’; there’s a very slight Joe Strummer feeling about the lyrical arrangement, especially in the delivery of lines like “She fell in love with a criminal, I keep a bag under the bed, For the day I steal her away”. The track ends with a sample from the movie Sling Blade - “We don't got no goddamn band!; we don't need to fucking practice, Randy!”. Which I’ve heard sampled before, but can’t quite remember where.

Fire Sale is a joyful sounding rant about getting old and reminiscing about past endeavours; thieving, drinking, fighting: “These battle wounds on display, these scars we earn”.

Stick Up is the longest track on the album – and at 3:43, that’s impressive. Although it’s really difficult to decide, it is my favourite song. A warning of what life is really like behind the vacuous façade perpetrated by pretty much one and all. A great mix of hardcore vocals and then toned down to deliver killer lines like “This place is collapsing, hordes of uncontrollable bastards, they are coming for you, I see them moving, they’re fucking breathing, it feels like this place is cursed, so do your worst”; reminds me slightly of Rated ‘R’ era Queens of the Stone Age or The Bronx’s second studio album from 2006.

At the risk of assessing each and every track, I’ll mention just a few more: Glitch is the shortest song on the LP and is a tuneful, growly lament about friendships split apart by geography; 8 Track is full on upbeat ska; Green’s Girl and Confidence Game are both all-out punk rock songs with vocals that go to and fro between band members; Pepperspray, an acoustic track, is a bit like a US version of Frank Turner and probably my second fave song; Hard Times and album closer Take It are both great examples of the ska-punk genre with croaky/gravelly vox.

Damn, I namechecked and assessed every track. This really is a great album; if you’re into Rancid, The Bronx, Suicide Machines (and to be honest, even if you’re not), this really is a great album, and at $10 for the download – about £7 – it’s worth every penny (sorry, cent).

Stream and download Dancing With The Curse on Bandcamp here.

Like Get Dead on Facebook here.

This review was written by Rich Bailey.

Album Review: Bone IDL by Bone IDL

On a recent hunt around Bandcamp, I discovered this great band from South Wales named Bone IDL. I was immediately impressed with what I heard from the band and was gutted when I discovered I’d found them too late to see if they wanted to be on CPRW Records’ Hidden Gems 2 compilation. Not to worry as I have a blog, you’re reading it now, where I can showcase great underground bands. In December Bone IDL released their debut self-titled EP and here’s my review of it.

The first of the five tracks on the EP is named Kaleidoscope. As you would expect from all great pop punk EPs, it begins with a flourish. The opening guitar acts as a siren, the drums and bass build up towards the vocals which hit you like a brick when they come in. They are absolutely ferocious and I was not expecting it. I love them though. This is the type of aggression in music that I really enjoy. The song is about the break-up of a relationship and how usually it’s not just one person’s fault. Next is The Local (Anaesthetic). This is a song about using alcohol to try and solve your problems and the effect that has on you. Vocally the song is more melodic, though there are times where that angry monster does come out. Perhaps that’s a metaphor for what the alcohol is doing? The song is less urgent than the previous track, this really allows for the storytelling element of the lyrics to really shine through.

Synonymous is the title of the third track. This song shows off both sides of Bone IDL. The first half of the song is super melodic, the opening two verses are full of great hooks and it just builds wonderfully. When we reach around the halfway point of the song we are treated to a great guitar solo (that really shreds) before that intense vocal comes back and the song finishes in this heavy manner. This is another song about the ending of a relationship. The penultimate song is 1992. I think that this is a song about holding on to your youth and your dreams when everyone around you tells you to do otherwise. This is a song a lot of people I know will relate to. The opening verse has this great walking melody that gives the song a great energy and will get you moving. And, as soon as the chorus hits, it’s time for a big sing-along! The final track on the EP is Second To One. This is where Bone IDL really turn up ready to rock. The track had me headbanging the entire way through and I loved how it again got more intense as the song progresses. The song ensures that the EP finishes much like it began, with a ferocity that feels like getting hit by a brick.

Bone IDL are a new band that I can already see getting quite a following. They have a sound that I don’t hear that often anymore and that has me excited.

Stream and download Bone IDL on Bandcamp here.

Like Bone IDL on Facebook here.

This review was written by Colin Clark.

Album Review: Scooter Jeezie: I Think It’s Your Turn To Take Out The Trash, Margaret by Old Bones Break Easy

Old Bones Break Easy is the solo/side project of Dave Cavallo who is the lead singer and guitarist of Texan skate/pop punk band Dropped Out. On Boxing Day, Old Bones Break Easy released a brand new EP Scooter Jeezie: I Think It’s Your Turn To Take Out The Trash, Margaret. The songs were recorded to be used in an episode of the podcast The One Stars. It’s four songs in just over six minutes. As you could imagine, I couldn’t wait to review this.

The first track on the EP is A Goofy Movie. At just over a minute long, the EP starts with its shortest song. It starts out quickly, getting you hyped for what is to come. Lyrically it’s super simple, it’s mostly “what’s your favourite movie?” for the majority of the song before proclaiming that A Goofy Movie is the best movie and if you think otherwise you’re wrong. Personally I’d argue the greatest movie ever is The Mighty Ducks (all three of them) but each to their own. Back To Bed manages to get up to seventy seconds long. I really liked the harmonies used throughout the song. It’s a more serious track about feeling like there’s nothing in your life worth getting up for so just wanting to spend all day in bed. I would have loved to hear a slightly longer version of this song so Dave could expand on what he’s saying in the track.

Dinosaur On A Skateboard is a fun song about Roger the skateboarding dinosaur. I’ve been doing CPRW now for five and a half year and I’m now quite sure that I’ve reviewed a song on every single topic. This is frankly ridiculous but it’s made me so happy. It makes me think of what would’ve been my favourite cartoon as a kid. Is there a cartoon about a skateboarding dinosaur? There should be – I’ve found the perfect theme tune. The fourth and final song on the EP actually takes up almost half of the EP’s duration which is a bit mad. It’s titled Bad Dong (Dad Bod). It’s another more serious song about getting older and wanting to be a really good dad. The song is more melodic than the previous songs and it makes me think of Lagwagon when they’re at their best. It’s nice to hear Old Bones Break Easy play a longer song that actually has a bit more substance. What a great way to finish the EP.

If you’re after a short EP that will make you smile then look no further than Scooter Jeezie: I Think It’s Your Turn To Take The Trash Out, Margaret. It’s important to find fun things, these days more than ever, so I thank Old Bones Break Easy for this.

Stream and download Scooter Jeezie: I Think It’s Your Turn To Take Out The Trash, Margaret on Bandcamp here.

Like Old Bones Break Easy on Facebook here.

This review was written by Colin Clark.

Album Review: Bad Operation by Bad Operation

Surely by now you’ve noticed the massive resurgence in American ska punk that’s been happening over the past couple of years. Bad Time Records, the California-based label, have been at the forefront of this movement. In December they put out their latest release which was the self-titled debut from New Orleans group Bad Operation. The album, which was co-released by Community Records, had a lot of hype behind it before it was released and has earned rave reviews since. It’s now time for my rave review.

The album begins with the song Perilous. This is a great introduction to Bad Operation’s new tone style of ska music. They take that two tone style made famous by bands such as The Specials and The Selecter and give it a fresh coat of paint. The song starts out in an upbeat fashion which really caught my interest immediately. The first time you hear Dominic Minix’s vocals is a special moment – they are super soulful and impossible to ignore as Dominic sings about finding solace in music when your mental health is giving you problems. Next is Bagel Rocks which starts out with some marvellous keyboard playing from Daniel “D-Ray” Ray. With its simple but catchy “oh oh oh oh oh oh, oh oh oh oh oh oh” chorus I can see this being a real crowd pleaser when they play it live. It’s about trying to learn from your mistakes and growing as a person, something we all could try and do. It’s crazy how a song with that chorus can be so deep but Bad Operation pull it off brilliantly. The opening guitars on Brain give me great Operation Ivy feelings. This is the shortest song on the album and also the most up tempo. The band squeeze a lot into these two minutes. The up tempo style obviously means this is a high energy song. Minix shows great vocal skill in getting all the words out and them still remaining as soulful as they do on the slower songs. The track is about searching for meaning in your world and realising that your life doesn’t need to go the way that society says is the conventional route.

The fourth song is titled Little Man. After the energetic Brain, Little Man sees Bad Operation switch to a slower, reggae style and prove that they’re just as adept at this style. There’s such a nice, chilled out vibe coming from the song, you can just lay back, listen and smile along with it. Listening to the lyrics, it’s obviously a deep track about those people who can’t get on with other people and can’t understand that people are all different and that’s perfectly fine. It’s mad that in 2020/21 this song feels as important as ever. It’s sad that a lot of people still aren’t evolved enough to realise that people don’t have to be cookie cutter. Next is the album’s title track BAD OPERATION. Just to be confusing, the band, the album and the track is named Bad Operation. The song starts in a haunting and atmospheric way that gradually builds towards a mid-tempo ska song. I love the way in which Minix’s vocals are delivered. They seem deeper and more serious, brilliantly contrasting with the bouncy music that’s accompanying them. The track is about people who ignore all of the wrongdoing and struggles that go on around them rather than trying to help and be the solution. I feel like when Bad Operation play live again (or for the first time?), the next song will be their set opener. Titled Kinda Together, it serves as a introduction to what to expect from them musically and thematically as well as introducing you to the band. It will get your feet tapping immediately. The seventh track is Peachy. The song tackles the subject of mental health, in particular the feeling of wanting to stay at home but also not wanting to be by yourself. It’s a difficult scenario to find yourself in. The song is a reasonably simple one that anyone listening will pick up quickly, this will encourage great sing-alongs and hopefully a feeling of catharsis for anyone who is feeling the same.

After a small sample of The Specials classic Ghost Town, Siren’s Call has a quiet bass lead introduction. Soon some simple guitar chords and the vocals come in. Because of the quiet nature of the opening, when the vocals do start they are striking. Your ears prick to attention. The track is about suffering from anxiety and how worry and stress can affect your attempts to live a healthy lifestyle. The penultimate song is titled Baby In Arms. Minix’s vocals are so interesting on this track. They have a haunting wailing quality that sends shivers along my spine. Minix has such a versatile vocal ability. Baby In Arms is about looking for a positive and believing that something is good is on the horizon. In a world that seems to be more doom and gloom than ever it is important to find positive things to hold on to that will keep you sane. There’s a great spoken word moment during the track that really stands out as something unique. The final song on Bad Operation is Fish Out Of Water. This is a bombastic way to finish the album, opening with a short trombone solo before some pounding drums join and the song starts proper. The song is heavy on the trombone which gives it a playful sound. The track is also full of “whoa-oh” gang vocals that give the song such a big sound. The track talks about the stress of trying to have everything and how bad that can be for you mentally before eventually realising that you can be happier with less. This is such an important message for people and a really positive way to finish the album.

Bad Operation deserves all the hype that surrounded this release and much, much more. It’s phenomenal. In my opinion, it doesn’t deserve to be spoken highly of in just the punk/ska/alternative press but in the mainstream press as well. Musically it’s incredible and the themes touched on throughout the album are more important than ever. This is vital listening. It’s also a lot of fun. I hope I get the chance to see Bad Operation at some point. As good as these songs are on recording; they can only be better at a live setting.

Stream and download Bad Operation on Bandcamp here.

Like Bad Operation on Facebook here.

This review was written by Colin Clark.

Album Review: Zoanoids by Zoanoids (by Marcus Pond)

Is there a better way to start the first week of 2021 than by finding a new band releasing their debut album? After 2020, it’s hard to ask for anything more, and I was fortunate to make Zoanoids my first CPRW review of the year.

Honestly, I almost skipped over their record while perusing Bandcamp because… I don’t know, the black and white zombie-looking face outline with oozing font didn’t seem like it’d be quite my thing. But, I pressed play, and then pressed play again, and then kept listening until I decided I had to own it on vinyl.

A four-piece out of Kalamazoo, Michigan, Zoanoids are a self-described “horror and sci-fi Ramonescore band” that put out a demo in 2019 and released a few singles in 2020 leading up to their eponymous debut on Hey Pizza! Records. As a person that hates horror movies (of all the emotions to feel, why would you want to feel horror?) and is pretty indifferent to most Ramonescore bands, they still have a lot to offer (and if you do like those things, you’ll likely dig this).

The LP begins with “Teenage Werewolf”, a jam that they also released a music video for back in October. I’ll have to wait to see if the vinyl comes with a lyrics sheet, but even though I don’t know all the words to it yet, I had the line “I don’t wanna be a teenage werewolf” stuck in my head the rest of the day after hearing it. I admit I can get a little judgy about opening tracks, but this is a great start to the record.

Two of my favorite songs on the first side had some unfamiliar names, so I had to look to the Internet for some answers. I’m not totally sure that I’ve gotten these correctly, but from what I can tell, Ahriman (“Arms of Ahriman”) is the evil, destructive spirit in Zoroastrianism, an ancient pre-Islamic religion of ancient Persia. Biollante (“Biollante’s Revenge”) is a giant monster (or kaiju) from the 1989 film Godzilla vs. Biollante. The plot seems weird and makes me want to see it. Both of these tunes have a cryptic, ominous vibe to them that I really dig, and showcase not just stellar songwriting, but the vocalist’s ability to actually sing while maintaining a voice that fits great in the genre.

“Time of Judgement” is also a banger, “Dos Fuertes” is a frenetic instrumental, and “Michigan” is a not-so-complimentary ode to their home state. Zoanoids are also able to mix it up, with “Overlord” on the second side as a breezy, almost ballad that changes the tempo a bit, before plummeting back into chaos on “Directive: Solbrain”.

Overall, it’s 13 tracks in 27 minutes, with only two tunes passing the two and a half minute mark, and it’s a record that I found myself listening to front to back, and then front to back again. Sometimes I felt like the friend in the group who is kind of chuckling along at all the references the group is making without actually knowing what they all mean, but it’s a party and I’m sure I’ll figure them out later.

RIYL: Ramonescore, Teenage Bottlerocket, Dark Thoughts, The Lillingtons, The Dumbheads, Radio Buzzkills, Houseghost, zombie apocalypses

Stream and download Zoanoids on Bandcamp here.

Like Zoanoids on Facebook here.

This review was written by Marcus Pond.

Album Review: Anti-Social Summer by Dead Rejects

Dead Rejects are a skacore band based in New Jersey. They’ve been on my radar since 2016 following a split with Positive Junk but have actually been releasing on a very consistent basis since 2012. In December of 2020 they released their latest EP which was titled Anti-Social Summer. Featuring three brand new songs of venomous skacore with big choruses, Anti-Social Summer promises to be another excellent addition to the Dead Rejects discography.

The first track on the EP is Play The Fool. Starting out with a short audio clip which says “my rage knows no bounds” before jumping into the song, you are greeted with Shane Sparacello’s visceral vocals. It’s an intense start but it really grabs your attention. When we reach the chorus, the song becomes more anthemic and is likely to get a crowd unified and singing along. The song is about putting on a mask to cover how you really feel, something we all have done at times. Next is the EP’s title track Anti-Social Summer. This song is a reaction to the summer of 2020 when everyone should’ve been staying home because of COVID-19. The track talks about how it was great to stay home all day and have lots of spare time, then how it got boring and hard for your mental health but ultimately knowing it was for a greater good. I would imagine over the next year we’re going to hear a lot of songs on this subject, I would wager that this will be one of the best. The melody at the start of the song really brings you in and when the pre-chorus and chorus come in it gets intense and really pumps you up. The final track on the EP is titled Quarter-Life Crisis. After a long introduction, Dead Rejects really crank up the intensity. Shane’s vocals spit venom throughout the track as he sings about everything that seems wrong in his world. It seems that the story of the song is about having a breakdown in your life because you’re not doing as well as society might dictate. I think the song could be very cathartic for a lot of people who may well feel the same. Sometimes life is very hard and society does put a lot of undue pressure on folk. Always remember your life is different to everyone else’s is and your goals and achievements are just as important and wonderful as the person next to you.

This is another fine release by Dead Rejects. There’s a lot of buzz around the ska scene in America at the moment and I feel like Dead Rejects should be a band that get mentioned way more than they do. If you’re a fan of Suicide Machines, Leftöver Crack or The Infested then you’ll love Dead Rejects.

Stream and download Anti-Social Summer on Bandcamp here.

Like Dead Rejects on Facebook here.

This review was written by Colin Clark.

Album Review: Halloween Beach Party by Plastic Flamingos

Plastic Flamingos are a four piece band from Durham, North Carolina. Playing a mix of summer inspired pop punk with hints of 90s skate punk and power pop, the band who consist of Brian Summer (vocals/guitar), Elliot Schelske (guitar), Ryan Quinlan (bass) and Kevin Gavagan (drums) released their debut album Halloween Beach Party over halloween weekend of 2020.

Halloween Beach Party begins with You Can’t Spell Luau Without U. I was surprised to hear such a sad song to start the album. It’s about hoping to see someone at a party and being bummed out that they’re not there. Musically the track is quite slow and at times pretty crunchy but Brian’s high vocals give it a pop edge that I enjoyed. This feels like a very good indication of what to expect from the rest of the album. The next song is titled Guam, Baby, Guam and it really jumps out of the starting blocks. It’s a much more up-tempo track than the previous song and injects some real energy into the album. On the song, Plastic Flamingos sing about wanting to escape from the problems and responsibilities that come up in everyday life and head to the beach for some relaxation. I’m sure pretty much everyone reading this has related to this at some point in their lives, some of us probably every day.

The third track is Boardwalk Dairy Queen. This is a sweet song about love at first sight. This song is all about the lyrics. Brian does a fantastic job of making the lyrics feel visual; it’s very easy to imagine the movie of this song. The band have also managed to make the song feel quite urgent as well. I put this down to some chugging guitars and a pounding drumbeat. There’s also a nice surprise when the band get a ukulele out to add to the sweetness of the song. Up next is Heatwave. This track is about enjoying hot summers days with your friends and wondering when it will be possible to do so again. I’m not sure whether or not this song was written pre or post Covid-19 rearing its ugly little head but it’s definitely relatable either way. I miss seeing pals a lot so definitely get what Plastic Flamingos are talking about here. I’m not sure I’ve seen a sadder song title than Drink In My Hand, Tears In My Eyes in a long time. It’s one of the heavier and more emotional tracks on Halloween Beach Party. It’s about moving away from home and looking back on those times with fond memories. It was interesting to hear this sadder side of Plastic Flamingos.

Shipwrecked is a song about recovering from some mental health issues. It’s about trying to find your way back to your normal but not knowing the way there. I’m always all for bands talking about mental health so full credit to Plastic Flamingos for that. I feel like I’ve spoken about these songs being relatable a lot in this review and I’m going to again here – it’s relatable. The use of metaphors is magnificent as well. The penultimate song is titled Caribbean Love. The opening of the song weirdly reminds me of Where Have You Been? by Reel Big Fish. That might just be me though. Despites its name, Caribbean Love feels like quite a sad and melancholic song. During the track Brian sings about wanting to escape to somewhere lovely in the Caribbean with the person you love rather than being stuck somewhere cold and miserable. If it was me I’d probably moan about it being too warm but I’m a moody goth who hates sunshine. The final track is the album’s title track, Halloween Beach Party. This is a fun and uplifting way to finish the album. It’s a pop punk track that is guaranteed to put a massive smile on your face. I imagine it would be the set closer for the band. It’s about meeting up with all your friends to have a spooky party at the beach. It’s played at a faster tempo than anything else we've heard so far and really ensures that the album finishes on an energetic note.

What really drew me to this album was just how relatable a lot of the songs are. This will make the album accessible to a lot of people. I’m so impressed with the lyrics throughout the entire album. Musically it’s fun and breezy, if you don’t want to get too deep into the lyrics and just have a good time you can do that too. #PlasticFlamingosForFest19

As a little treat, Brian recorded a couple of acoustic songs for a CPRW project that sadly didn’t get off the ground. Check it out below.

Stream and download Halloween Beach Party on Bandcamp here.

Like Plastic Flamingos on Facebook here.

This review was written by Colin Clark.

Album Review: Go Outside by Eat Defeat (by Emma Prew)

Who releases new music on the 18th of December when everyone is listening to Christmas playlists? Eat Defeat, that’s who! Having been recorded in the spring of 2019, the Leeds-based pop punk band had been sitting on their latest EP, Go Outside, for quite some time. They initially unleashed it into the world back in March this year, when tours were being cancelled left, right and centre, but it was only available to download from Bandcamp for one day. Obviously I downloaded it there and then but as the EP has now had its ‘official’ – albeit unplanned – release, I felt it was time to give these song a proper review.

Summers, Eat Defeat’s bassist, lead vocalist and songwriter, describes Go Outside as ‘5 tracks that we wrote and recorded nearly 2 years ago but probably resonate more with me now than they did then. 5 songs of feeling trapped, uninspired, lonely but always looking forward.’ And if that doesn’t sound like something that’s much needed as the shitshow that is 2020 comes to an end, then you should probably stop reading now.

Go Outside kicks off with Turn-About Ranch as we are greeted by pounding drums and melodic guitars. After a few seconds the vocals come in with Summers uttering ‘Not today, I’m kind of sick and tired of forcing a smile, And I’m sure you are too.’ Eat Defeat sure are good at writing simple yet relatable songs and this is not exception. Turn-About Ranch is about that overwhelming feeling of wanting to hide away from ‘real-life’ while not exactly feeling sad but just feeling okay. It’s a fast paced track that only just surpasses a minute in length but the band manage to pack a lot in, including the introduction of keys which bring a slightly more electronic sound to the EP than you’d perhaps have expected from Eat Defeat previously. It’s a sound that is continued on the second track, Everything Is Broken, with the opening line of ‘Everything is broken, But I’m not, But I’m not.’ featuring plenty of reverb – a striking opening for sure. Those pounding drums and guitars are as apparent as in the first track but they are also joined by an infectious synth-like sound. A continuation of the themes that are covered on Turn-About Ranch, Everything Is Broken is about trying to overcome the despair that keeps you trapped inside, both physically inside your home and inside your own head, and start to make amends. The chorus – which is the same as the opening lines of the song – feels like a triumphant call to arms and is certainly as good as anything on the band’s 2018 album I Think We’ll Be OK.

The third song is titled Panic, a feeling that is emphasised by the urgent guitars that the band open with. The previous two tracks did some things a little differently to existing Eat Defeat material, whereas this feels like the band we already know and love. Both sides of Eat Defeat are great, of course, but with Panic I felt immediately attuned to it and it’s a song I’ve listened to a lot lately. Panic certainly wouldn’t sound at all out of place on I Think We’ll Be OK, particularly with that catchy, instantly sing-along-able chorus – ‘So I’ll wait ’til the panic sinks in, The water’s rising, The pressures building. I can’t focus on anything, Until my heart slows, Just keep on breathing in and out.’ The song has obviously been written as a way for Summers to deal with his own feelings of anxiety but I think it can also be a comfort to anyone who might be feeling similar things.

Chance Would Be A Fine Thing is the name of the fourth song and the band show no signs of slowing down as the track opens with a frantic guitar riff. With the opening lyrics of the song offering a nice little nod to where the band have come from – ‘I watched you walk away, You said I think we’ll be okay.’ – the song feels more direct and distinctly personal than the others, as Summers sings of feeling lonely and missing someone dear to him who lives in a different timezone. I’ll be honest, it’s the kind of subject matter that I often cringe at, especially in pop punk music, but with Eat Defeat it just feels so sincere and genuine. There’s also some brilliant harmonies at the end of the song – damn, I miss seeing Eat Defeat live! The last track on Go Outside is Wake Up. Like Panic, this is a song I’ve listened to a lot this year – partly because it was actually released as a single all the way back in January, before the world imploded. The track has it all, from super catchy melodies and euphoric harmonies to rousing lyrics that make you want to throw your hands in the air and shout ‘Yes! I know exactly what you mean and how you feel’. The whole thing sounds huge and the breakdown around the halfway point of the song further emphasises this before leading us into some of the most poignant lyrics of the whole EP. ‘It took a long, long time, To write down what was on my mind, I couldn’t do this without you, And I don’t think that I’d want to. I can’t stop myself from falling apart, But I hope that you can, And I hope that you will.’ 

The release of Go Outside may not have gone quite as planned for Eat Defeat but I’m so glad that it’s now out there in the world for all to hear. This EP is brilliant and certainly some of the best material the band have produced to date and it really has me excited to see and hear what they do next.

If Go Outside happened to pass you in December by please make sure you check it out now, you won’t regret it.

Stream and download Go Outside on Bandcamp and like Eat Defeat on Facebook.

This review was written by Emma Prew.

Album Review: The Erin Rose EP by Good Friend

On December the 11th, Irish punk trio Good Friend surprised us all with the release of their long awaited new EP. Titled The Erin Rose EP, it comes four years after their last Red Scare release Ride The Storm. This was the release that made me aware of the band and it’s been a long four years waiting for some new stuff. It’s finally here, it’s three songs, let’s dive in.

The EP begins with Erin Rose Drinks On Shift. This is a generous slab of mid-tempo heartfelt punk rock. The song gets off to a nice energetic start and there is a bit of a comforting feeling when lead singer Adam’s vocals come in. Something I really loved about the first half of the song is that it feels like a big sing-along despite not being the most bombastic of tracks. I guess this has something to do with the melody that really hooks itself into your head. As we enter into the second half of the song there is a bridge that ups the tempo of the song and things seem to get a bit louder which ensures a big finale. Up next is We’ll Burn That Bridge When We Get To It which is an amazing song title. This is a slower, anthemic track that really showcases the full range of Adam’s voice. Personally I think he’s at his best when he’s at his most emotional. The song talks about working through your mental health problems and knowing that there will be a light at the end of the tunnel. The simple drum beat that provides the backbone for the entire song somehow adds to the emotion that pours out of the song, something you don’t often hear. The final song is Rusted Friends. On this song Adam performs solo, which really adds to the emotion of the track. I’ve never seen Adam perform solo but I imagine it would be an emotional time. This is a love letter to the pals in bands who dedicate their lives to life on the road and the highs and lows of touring. A tour can be full of amazing moments but can also be hard physically and mentally. This is a song that’s equal parts sad and uplifting, Adam’s voice is sombre throughout but the message that comes through at the end is one of victory.

Four years is a long time to wait for new music but it really was worth it. Good Friend are one of the European punk scene’s best kept secrets. Fingers crossed we’ll be able to hang out this year when they tour with Red City Radio.

Stream and download The Erin Rose EP on Bandcamp here.

Like Good Friend on Facebook here.

This review was written by Colin Clark.

Album Review: Against The Gun by Celebration Summer

Celebration Summer are a four piece band from Washington DC brought together by a shared love of late 80s/early 90s melodic punk rock. Channeling bands such as Leatherface, Samiam and Hot Water Music, Celebration Summer released their debut EP (excluding a demo and a cover) Against The Gun on Little Rocket Records in November of 2020. I discovered it by searching out bands for an upcoming CPRW Records compilation and enjoyed them so much I had to review it as well. 

Against The Gun begins with Bitter End. The song opens with each instrument coming in separately. This is a great way to start as it has you listening intently and builds towards the vocals. Having hopefully already read the introduction to this review I’m sure you can guess what the vocals are like from the bands listed but, in case you don’t know those bands, they are really powerful vocals, verging on gruff and really command your attention. The track is an extremely catchy one to start the EP and welcome you into what to expect from Celebration Summer on the rest of the EP. Up next is I Don’t Want To Be A Burden. The track begins with some uptempo guitars before some sharp vocals come in. Something that always catches my attention is when a song starts with a question so my ears well and truly pricked when I heard the opening line of “what did it mean?” This is a song about self improvement and trying to save a relationship, perhaps something most of us have related to at some point in time. This is definitely a song that is listened to best when it’s really, really loud.

The third song on Against The Gun is My Devotion. The vocals on the track, for the most part, felt a lot more restrained than on the previous two songs – really allowing the driving guitars, melodic bass and intricate drums to shine. As the song progresses it feels as if the reins get looser and looser and this really adds a lot more emotion to the track. The track is about trying to navigate your way through life and how it can feel like your wheels are spinning, things move on and you get left behind. Another really relatable subject. The final song is the six minute epic Against The Gun. This is an incredibly powerful song and one of the most poignant of 2020. It’s a song that is about feeling like everyone is against you and knowing they won’t come to your aid even when your life is at risk. The song begins with cries of “I don’t know how much more of this I can take”, this immediately shows the anger and frustration that lead singer Nate has with how they are treated. I don’t know whether or not this song was written before or after the moment when George Floyd was shot by American police officers last year but that moment really opened up a lot of people’s eyes to the horrible racism that happens in the USA and all over the world, making this song and songs like it even more poignant. If you only listen to one song on this EP, I really suggest it be this one.

Celebration Summer are a band I expect to hear a lot more from in future years as they are superb. Hopefully their relationship with Little Rocket Records will allow them to tour the UK sooner rather than later as this is a band that I feel like a lot of people will enjoy and deserve your attention.

Stream and download Against The Gun on Bandcamp here.

Like Celebration Summer on Facebook here.

This review was written by Colin Clark.

Album Review: The Big Fat Fib by Fat Chance

I first discovered Fat Chance on a Bandcamp Discovery session whilst hunting out bands for a new CPRW Records compilation. Whilst not fitting the bill of what I needed for the comp, I did absolutely love the band so added their newest EP The Big Fat Fib to my review list. Fat Chance are a ska punk band from New Jersey consisting of Ferris Denequolo – Guitar/vocals, Weftin Mohr – Bass, Shawn Werman – Drums, Lacey Liptak – Saxophone and Bryan George – Trombone/Trumpet. The Big Fat Fib was recorded live in a studio over a year ago but the band never had a reason to release it until Election Day came around last year. I’m glad they did as I might never have discovered them.

The first of the three songs on the EP is one of my favourites of 2020. Lies is an upbeat and soulful ska number that never fails to get me dancing in some capacity. It’s the sort of song that really gets you moving and never ceases to put a smile on my face. The track is about having lies spread about you and what happens because of that. This is a song I’m really itching to see live at some point, I imagine that it’s a lot of fun! Next is Don’t Rape Yer Comrades. Obviously, from the title, you know that this is a serious and heavy song. The band go towards the skacore sound as Denequolo angrily sings about what absolute scum rapists are. This is perhaps the type of song that should come with a trigger warning but also it’s so important for people to call out this behaviour and make sure that EVERYONE knows that this is not an OK thing to do. It’s mad that people would think otherwise. Finally we have Modern Politics. Modern Politics is song that jumps expertly between styles. It starts out with an extended introduction that is super heavy and features some wailing horns before switching to more of an uptempo ska style before reverting back to the heavier sound. The vocals are most prevalent during the middle section of the song where Denequolo sings very speedily about the state of modern politics and how much politicians lie to people and that sooner or later people will revolt. I can see more and more in US and UK politics (and I suspect in many other countries all over the world) that people are becoming increasingly angry about how politicians act so this is another song that was important to get out into the world.

The Big Fat Fib is a great, if not a little short, EP. It seems that the only ska bands from the USA that a lot of people talk about are those associated with Bad Time Records (people should talk about them as they’re all great) but there are also many others deserving of our attention. Fat Chance are one of them.

Stream and download The Big Fat Fib on Bandcamp here.

Like Fat Chance on Facebook here.

This review was written by Colin Clark.

Album Review: Battle Of Armadogeon by Baldhead And The Dreads

We’ve covered Baldhead and the Dreads a lot on CPRW. Before the world broke, the four piece were basically the house band at New Cross Inn in South London. Playing their own unique brand of ska punk that they’ve dubbed Paul Smith Core, the band always put on a fun show. With no gigs this year the band decided to use their spare time to make their second EP. Released by INiiT Records in November, the EP is titled Battle Of Armadogeon and was recorded in bedrooms during the first lockdown.

The EP begins with a song that’s become a big favourite at Baldhead gigs, Smoke Weed Pet Dogs. If you are already familiar with the band then you’ll be aware that drugs and dogs made up a big portion of their debut EP, It’ll Be Fiiine…, and it’s nice to see them not stepping away from their roots. Co-vocalist James takes the lead on the song which is extremely catchy. I think a big part of why people have grown to love Baldhead so much is that a lot of songs are quite simple, easily accessible and a lot of fun. Up next is Buckfast And Weed which amazingly is the first song the band has written that is 4:20 in length. Ell takes over lead vocal duties on this track, which shows off a heavier side of the band whilst interjecting brief moments of ska and reggae along with some dub for good measure. The song is largely instrumental, allowing the band to show that they’re good musicians alongside being able to write catchy tunes.

First Class War is a stand out track for me. Returning to their trademark upbeat ska punk sound, James gets political on a song about the frustrations regarding the differences in classes and how the rich people should be made to pay more taxes to help pay for important services. Listening carefully to James’ lyrics I found the song incredibly relatable and I’m sure everyone listening will share the frustrations James sings about during the song. This is perhaps the best song they band have written so far. The penultimate track, Crufts, is another that the band have played live in the past. It’s about how people breed dogs with the intention of them being just for show. It’s a terrible thing to do and I love that Baldhead wrote a song about it. The last two tracks have shown how the band is more than willing to tackle serious topics alongside the more fun and ridiculous. The final song is a bonus track named Lockdown. It’s a slower, reggae song where Ell’s gravelly vocals tell a story of the feelings and frustrations of life in lockdown. Ell sings about how we’ve all been feeling during 2020. When I first heard the song the lyrics hit me hard, as I’m sure they have for a lot of people. Fantastic songwriting.

I think it’s fair to say that this wasn’t how Baldhead And The Dreads wanted to release their second EP into the world. They could’ve easily waited for a time when things had improved (whenever that might be!?) to release Battle Of Armadogeon but I’m glad they didn’t. This EP really shows a band coming on leaps and bounds. The days when Baldhead were thought of as that band that hang around New Cross are long gone, they’re now a proper band – a very good proper band.

Stream and download Battle Of Armadogeon on Bandcamp here.

Like Baldhead And The Dreads on Facebook here.

This review was written by Colin Clark.

Album Review: Empty Spaces by Reverse (by Chris Bishton)

Reverse first started in the early 90s. Hailing from Stoke in the UK and once described as a gritty, melodic, hardcore band on the Damaged Goods label, for me they always also had a definite pop-punk bearing.

They often drew comparisons to their very British contemporaries Snuff, Leatherface, China Drum et al, particularly as I think they recorded a few times in Newcastle, which possibly involved Frankie Stubbs's input, and they also played a gig there with China Drum after they'd split.

After going their separate ways in 1997, they briefly reformed putting out an album, Chasing Ghosts, on the Japanese SP Records in 2011, only to split again. Now, it seems, they're still not done and they're back again. They might not be prolific, but my god, they're durable.

As I always do, I have a quick count up of how many songs are on the album and how long the record is. Twelve songs in just over half an hour, rightly or wrongly, ticks the first punk record requirement box for me. It means I'm over the first hurdle of perhaps being a bit reticent to go back to a band I'd loved, but maybe I should leave in the past.

With that thought, I hit play and the opening title track, Empty Spaces, kicks in. It's the first new music I've heard from them in nearly 10 years, but the sound is unmistakably them. I'm so pleased they've stayed close to their roots. Guitar joined by drums, as the two combine to gather speed and really crisp vocals. The chorus "if you're not sure… is this a world worth fighting for" is an instant earworm.

There are so many songs on this album vying to be the catchiest. Undone is just one, with a great mix of soaring guitars and alluring vocals, followed by my favourite track Broken Windows. It builds for the first 20 seconds or so with guitar then drums, before the vocals start and the song really kicks off.

The album's tempo skips along well. For some reason Stay Angry, Fire Flies and the penultimate track Northern Soul, standout for me. I say "standout", but I realise when I listen to this again and again my favourites on the album change, which is unusual for me as I can be a bit of an "I know what I like type".

The album concludes with the song Bloody Mary & Grant Hart, a brilliant song title if ever I've heard one. Like the rest of the album the pace of it is perfect, somehow allowing me to grin and singalong both at the same time.

In a year that's been so bad for so many reasons, we've actually had a tonne of great music released and this album is right up there as one of my favourites. Perhaps a bit surprisingly, but they absolutely deservedly should be welcomed back with open arms with this new record. And whilst gigs may still be hard to come by, once we're out of this mess I really hope these guys do a few shows because, judging by their album, they'd put on a hellava comeback performance.

*Fun Fact: the first time I listened to this was on a CD in the car. I liked it, but wow… the band had gone in a pretty different direction in their time away. It turned out there'd been a mix up at the pressing plant and the new Jaded Eyes album had been pressed on CD and included with the Reverse LP. Boss Tuneage sent out replacements to everyone as soon as they realised… so, as if you need reminding, another reason to support your independent punk label.

Find Empty Spaces on Bandcamp here and streaming on the usual platforms.

Like Reverse on Facebook here.

This review was written by Chris Bishton.

Album Review: The Distance Between by Arms & Hearts (by Emma Prew)

We all know that 2020 has been difficult and strange year for a lot of reasons. It’s been an odd year for new music although there has been plenty of it, all things considered. Personally, despite starting the year being excited to discover new artists and hear new albums from my existing favourite artists, it got to a point over the summer and into autumn where I just wasn’t that enthused about listening to music in general – new or otherwise. There have however been some exceptions to that, including the album I’m going to be talking about today!

The Distance Between is the much-anticipated debut full-length from Manchester-based Arms & Hearts that was released on 13th November. We’ve been fans of solo songwriter Steve Millar, aka Arms & Hearts, and his heartfelt acoustic punk for almost as long as this blog has been around. I know fellow CPRW contributor Richard was very impressed by this album so hopefully I can do it some kind of justice in my review. Read on and see what you think…

The Distance Between opens with the somewhat bleakly titled Epitaphs. After a few seconds of an almost eerie sounding fade in, the track begins with some firm strummed acoustic guitar chords. The first lines of the song – ‘I didn’t come here to talk about dying, but lately it’s all that I’ve been thinking about’ – are indeed pretty bleak but it also feels honest and genuine. The song is about dealing with feelings of existential dread that unfortunately goes hand in hand with suffering from depression. There’s a sense of building throughout Epitaphs that feels very appropriate for an opening track and it leads us nicely into track number two. Kerouac On A Minimum Wage is up next and the pace is immediately ramped up for this melodic and catchy tune. There’s a lot more going on instrument-wise here compared to Epitaphs with steady drums, great layered guitar parts, subtle baking vocals (which I believe are courtesy of Sam Moloney of Mixtape Saints) and a decent dose of harmonica – have I mentioned that I love a bit of harmonica? The song is about working in a soul destroying minimum wage job in our unavoidably capitalist society and struggling to make ends meet – ‘This is how we live when we ain't really living, this is how it feels when the wheels ain't spinning, cursing Christmas lights as we welcome another year, another year of just scraping by’. It’s definitely one of my favourites on the album, maybe even one of my favourite songs of 2020. Track number three, Forever The Pessimist, opens with a wonderful melodic electric guitar part that is backed up by acoustic strumming. One of the things that immediately struck me about this album, particularly compared to some of Arms & Hearts’ previous releases, is just how much fuller their sound is. A full band Arms & Hearts live performance is certainly something I’d love to see one day. Forever The Pessimist is about Steve’s journey to sobriety and coming to terms with the fact that alcohol isn’t a suitable coping mechanism when you’re already struggling. It’s hopefully a song that some listeners will be able to relate to and find comfort in.

Obviously, by this point of The Distance Between, we know that this isn’t exactly a cheery, sunshine and rainbows album – but let’s face it, that’s not really my cup of tea. Things do however take a seemingly darker turn with Static. At the start of the song, the guitar playing is muted and Steve’s vocal feel bitter as he begins to sing of struggles with his mental health, focussing on the unpleasantness of having a panic attack. A real highlight of the track is towards the end when Steve’s vocals are complimented with backing harmonies – ‘because all I wanted was to feel something now all I feel is nothing, all I feel is empty’. It’s something that I know would/will sound incredible live. The fifth song, Community, features Jared Hart from New Jersey punk bands The Scandals and Mercy Union. The song is about life on the road as a touring musician and the sacrifices you have to make – both physically and mentally – in order to be able to do so, something that both Steve and Jared both know a thing or two about. Often the life of a touring musician can be glorified as a life of partying and seeing the world but the reality, at least for DIY punk musicians, is not so black and white. I’ve said it a few times already but this is going to be another great tune to sing along to in a live setting – it’s even got some classic punk rock whoa-oh-ohs. Up next is Out For Blood which, if I remember rightly, was the first single released from The Distance Between earlier this year – check out the excellent video by Fish Outta Water Films. This is definitely one of the more upbeat songs on the album and I mean that both in terms of melody and subject matter. Out For Blood is about eliminating toxic people from your life and the track is pure catharsis to listen to. You also can’t complain about the infectious nature of the chorus, even if it does have the potential to get stuck in your head for days. ‘If you're out for blood then come and get some, If you're out for blood then come and get some, If this year's taught me anything it’s how evil people can be, If you're out for blood then come and get some, If you're out for blood then come and get some, if you bring the lighter fluid I'll bring something to make a spark, and we'll burn it down.’

The seventh track on The Distance Between is titled Worry In The Walls. It’s a slower paced and more stripped back song than some of the others on the album but that simply allows the listener to fully focus on the emotion in Steve’s voice – ‘Will we ever find the money, to live half a life?, all this work to live to work beats it out of me’. It could perhaps be said that there’s a bit of a New Jersey influence throughout Arms & Hearts’ music – often compared, understandably, to Brian Fallon – and on Worry In The Walls I am definitely getting Bruce Springsteen vibes. The haunting harmonica playing that breaks up the song and the horns towards the end further support this. The penultimate song on the album is its title track, The Distance Between. Starting slowly with a muted guitar part and hushed vocals, The Distance Between gradually builds into something with such a huge, dare I say epic, sound. It’s unlike anything else on the album before it – very much a full band affair with layer upon layer of dreamlike guitar parts. The song reaches its final crescendo with thirty seconds to go before fading out in a distorted fuzz. The album could have ended there and it probably would have made perfect sense… It doesn’t and that’s okay because what comes next is the icing on the cake for me. Fortitude is not a new Arms & Hearts song, having originally been recorded in 2017 and featuring as a live set closer for many years, but I was so happy to hear it as The Distance Between’s closing track. I’m sure I’m not the only one who would consider Fortitude to be my favourite Arms & Hearts song and this new version is just even more wonderful. It’s an acoustic track that somehow manages to have such a big sound and instantly begs you to sing along with Steve. There are some flawless group backing vocals on the track that really give it a similar feeling to hearing the song live. I love it and it’s honestly just awesome to finish listening to the album with a big smile on my face.

I was always going to like whatever Arms & Hearts released next but The Distance Between has surpassed my debut album expectations. Yes, it’s got some quite dark and, at times, miserable subject matter but there’s also a real catharsis to it all and there’s no denying that it ends on a more hopeful note. An excellent album in a not so excellent year.

Stream, download and [pre]order the vinyl on Bandcamp now and like Arms & Hearts on Facebook.

This review was written by Emma Prew.

Album Review: Hymns For Wizard's Castle by The Ativans

I first came across The Ativans on one of my Bandcamp Discovery adventures. I feel like I was probably searching specifically within Canada as it’s a conveyor belt for amazing punk bands. The artwork for the seven track EP Hymns For Wizard’s Castle caught my eye with its cityscape imagery and straight clean lines. The band are a four piece from Calgary and Hymns For Wizard’s Castle is their second release after 2015’s Landlocked.

The EP begins with Don’t Know. This is a short and sweet song that really wets your appetite for the rest of the EP. It begins with a high tempo and has a garage punk feel to it with its buzzing guitars and distorted vocals. If you’re new to The Ativans this is a great taster of what to expect from the band. This is followed up by Without You. The guitars continue to buzz on the track but it has a cleaner production, making it fit nicely into the realm of pop punk. It also sounds as if there is more melody in the song. This is probably down to the slightly slower tempo of the song. Without You is about the aftermath of a relationship and seeing how well your ex-partner is doing by themselves. The third song, Means A Lot, is an instantly infectious track that will have you nodding your head and tapping your toes in no time at all. The track feels like an introspective one where the band’s lead singer looks deep down inside themselves and thinks about things they could have done better. The track also features some nice guitar solos that allow the band to show off their musical ability as well as giving an extra element to their sound.

Carmaggedon Chameleon is the track on Hymns For Wizard’s Castle that stands out the most. The song has a longer build that the previous three songs and when the vocals do come in they grab you immediately. There’s an added gruffness to the delivery that I adored, it gives the track an added bit of intensity which I think had been missing from the EP. The track is about the damage that cars are doing to the planet and how we’re all to blame for this. One thing I wish the song did have is more gang vocals on the chorus – it would have been so good. Next is Gavin’s Dad Is On Acid. I found myself singing along to the chorus of this one pretty quickly. Obviously, it’s about Gavin’s dad’s drug habits although hopefully it’s all fictional, rather than a true story. Regardless of whether the story is true or not, it’s a fun sing-along and does put a smile on my face.

The penultimate song is titled Garrison Cres.. The Ativans slow things back down slightly for this track, giving the EP a bit more variety. The song feels quite sombre overall but the band do manage to add catharsis to the chorus. The lead singer sings “it’s all that I’ve got left to give” as if they can finally admit it and it feels like a release. There is a fairly extended instrumental that leads towards the song’s final chorus that fills the song out nicely – I particularly enjoyed the bassline in that section of the song. Last up is the brilliantly titled Back To The Start. There’s a positivity oozing out of the track that I loved – I really enjoy when an EP or album finishes on a bright and positive note and Hymns For Wizard’s Castle certainly does that. It’s about learning from your mistakes and endeavouring to make yourself better, something we should all aim to do. 

I’m not sure why there was such a long time between Ativans releases but I’m sure this EP is more than worth the wait for long time listeners of the band. And if you’re new to the band, like me, then this is a great introduction to them and I’ll definitely be spending some time listening to the band’s previous release. Another great band from Canada!

Stream and download Hymns For Wizard’s Castle on Bandcamp here.

Like The Ativans on Facebook here.

This review was written by Colin Clark.

Album Review: Revolving Doors by …Whatever That Means

We first featured …Whatever That Means back in 2016 after they released a fantastic split with Burn Burn Burn. Now, after four long years, the band have released their third full length album – Revolving Doors. The Seoul, South Korea based three piece play melodic pop punk music and are one of the hardest working bands in Asia. Over the years they’ve played shows with Strike Anywhere, FCFive, The One Thought Moment and NoOpinion. When I saw that Revolving Doors had been released, I was super keen to revisit a band I enjoyed so much four years ago.

The album begins with its title track, Revolving Doors. The song is just fifty three seconds long but is really memorable due to its catchy lyrics. The song is about feeling as if you’re stuck in a cycle and constantly having to start again. Perhaps this a nod to the length of time between releases. Next up is Prisoner 503 (The President). The track begins with a Korean language audio clip which features some guitar tone being faded in before the vocals come in. Whereas Revolving Doors was quite a poppy track, Prisoner 503 feels like a 90s skate punk favourite that’s been freshened up. The track is about two sides of the political landscape coming together when they know that things aren’t right and need a change. The gang vocals shouts of “who are you working for?!” work really well as a tool to combine a crowd and I imagine this is quite powerful in a live setting. Up next is Can’t Be Wrong. What I really enjoyed about this track is that this is the first time on the album that the band showcase their male and female lead vocals combined. Both singers take a verse each at the beginning before harmonising for one another on the chorus. Can’t Be Wrong is just over a minute long and is packed with energy. There’s a definite feel of early Bad Religion on the song and you can’t go wrong with that.

The fourth track is The Inside and again shows off the pop side of …Whatever That Means’ sound. This song starts out feeling like a great anthem for living life to the fullest and living it your own way but as it progresses it takes a bit of a darker turn, as the singer speaks about how hard it can be mentally trying to put on a front about how good your life seems. This song is probably relevant to so many people. We all want to seem as if we’re living our best lives but many of us to struggle to keep up the facade and we shouldn’t feel pressured to do so. I Need To Know is a Tom Petty And The Heartbreakers cover. It has a rock ’n’ roll edge to it that helps it stand apart from many of the other tracks on the album. ...Whatever That Means breathe new life into the song by upping the tempo of the track and giving it a bit more bite. The song is about the falling apart of a relationship, whether it’s professionally or in your private life, and feeling as if you’ve been left in a state of limbo, not knowing what is going on and where you stand. This is a horrible and frustrating feeling and is definitely another song I find relatable. The sixth song is 68, 22 and is an acoustic track. I was a little surprised to find an acoustic track at this stage of Revolving Doors but it really stands out because of its placement in the album. This is a campfire punk rock sing-along that’s an ode to the places that punks call a home, the places where we feel accepted and where we get our educations. This song really got me emotionally as we’re currently living in a time where I can’t go to my punk rock home. Beautiful song.

Next up is the song Red Flags which features JaeHyun of The Kitsches. Red Flags gives the album and injection of energy and aggression that is really quite striking. The song is about the stress that exams can put on young people and the mental anguish it can cause. This is without a doubt one of the hardest hitting songs on Revolving Doors and JaeHyun’s screams add so much intensity to the track. Save The Union keeps the energy high with another fresh take on the classic skate punk sound. This song again utilises the male and female vocalists that really helps ...Whatever That Means stand out amongst their contemporaries in the genre. I can’t think of any skate punk bands that feature male and female lead vocalists – if you know more please let me know. When the song began I instantly thought of Pennywise with the heavier side of skate punk, except Pennywise haven’t released anything this good for years. The vocals from the verses come out at breakneck speed leaving you amped for a massive sing-along chorus. The song itself is about coming to a crossroads in a relationship where things aren’t as good as they once were and trying to work out in what direction things should go. The penultimate track, So Much To Say, wastes no time in getting started with the vocals jumping right out of the gate. Once again, the band take inspiration from 90s skate punk for a track that I imagine would have appeared in loads of skateboard films if it was written twenty five years ago. The album is completed by I Can’t Take It (The Totally Bummed Out Drew Smith Version). For those unaware Drew Smith is a former member of Burn Burn Burn and the owner of the awesome Tiny Dragon Music. This is the second acoustic track on the album. Rather than being another uplifting song like 68, 22, this is a sadder track about being stuck in a rut, hating your life and struggling to get out of bed. There’s a sadness in the vocals but also a frustration and anger that really gives the song an interesting sound that will really rouse the listener. This is obviously something a lot of people will relate to so I imagine there will be a massive feeling of catharsis amongst the listeners of this song, especially if they get to hear it live.

What a fantastic album Revolving Doors is! I would assume that there aren’t many (if any) readers of CPRW who are checking out the South Korean punk rock scene. If all the bands are anywhere near as good as …Whatever That Means then we definitely should be.

Stream and download Revolving Doors on Bandcamp here.

Like …Whatever That Means on Facebook here.

This review was written by Colin Clark.

Album Review: Humbucker by Moving Targets (by Chris Bishton)

Moving Targets are a band I've loved for decades. Alt-punks from Boston, Massachusetts they formed in the early 80s, split in the mid 90s, only to reform again thanks to the force behind the band – lead guitarist, vocalist and all round powerhouse, Kenny Chambers. Apparently he wasn't finished as he set about recruiting new members Emilen Catalan and Yves Thibault, resulting in a comeback album and European tour last year.

Humbucker is their sixth album and the second in the last two years. Great news for us that they didn't come back for one last hurrah, rather Chambers seems reinvigorated, although apparently it nearly didn't happen as he needed a nailing biting dash to the airport to get on one of the last planes out of the US to Canada before the COVID lockdown in order to record the album.

I love the fact that he made that flight. Wires, their album from last year, was one of my favourites and it marked a glorious return after 25 years. Truly brilliant to hear a band that I have such a soft spot for put out such a great record after such a long time away. A second album in quick succession was always going to be a bonus and Humbucker provides that great alt-punk sound from a band that's been reborn.

The first track is The Hole. It's got a typical Targets vibe to it. A bit of Hüsker Dü, meets Pegboy, meets Dinosaur Jr. Is that indie, alt-punk or simply punk? I dunno, but it's a great song and possibly my favourite on the album.

Opposite is beautiful. It's mid-tempo, but with peaks and troughs of alluring guitar and lead vocals from Chambers and delicate ahhh-ahhh backing harmonies. Lost incorporates an acoustic guitar at the start of the track and has me kind of hypnotised once the electric guitar kicks in. I love it.

Feed is heavier. Big, strong guitars that almost have a grungy feel about them, before Harder Than The Rest follows which picks up the pace. Chambers' guitar dominates for over a minute before his vocals kick in. It's another contender for my favourite on the album.

World Gone Mad comes half way through the album. This song, along with Make It Right, are familiar as they were released on a split with The Swipes earlier this year. They're good songs but I do now find myself wondering why they've been included on this album when they were also on another release just a few months ago. But, I quickly admonish myself – you can't have too much of a good thing right?

Waiting For You is also on both these releases although on the split it's an acoustic track whereas on Humbucker is gets the full electric treatment. It's unusual for bands to "reimagine" tracks this way round. Usually it's the electric tracks that get the acoustic makeover, but this way round leaves me loving the new supercharged electric version.

Throughout the album there are massive guitars, but it's not agitated, distraught or out of control. Having listened to Humbucker all the way through many times now, I'll say that I don't rank it as high as Wires. But then again, I never expected to. Wires really was spectacular. But the thing for me is Humbacker is still a great album that, critically, doesn't leave me thinking a band can't sustain quality after what must have been a huge effort to start making and releasing records again.

There are a lot of songs on this new one. Fifteen to be precise, which I also think makes it a little too long. Twelve is the optimum number for me, but this is nit-picking. I'll take this as a sign that their creative juices are flowing and they've got more to come.

I should have seen the band when they played London last year, but in the end I couldn't make it because the gig turned out to be a matinee. As I'm writing this, I'm kinda aware that pre-COVID I would having been planning to go to The Fest about now where they would have been one of my must see bands. I was so looking forward to both of these until the universe conspired against me, so now I'm spinning the latest album and looking forward to next year when it has to be third time lucky.

Stream and download Humbucker on Bandcamp here.

Like Moving Targets on Facebook here.

This review was written by Chris Bishton.

Album Review: How's The Carry On!? by Sophisticated Dingo

I first discovered Melbourne, Australia’s Sophisticated Dingo due to CPRW’s Marcus buying their latest EP How’s The Carry On!? on Bandcamp. I’m always keen to check out bands I haven’t heard before so I clicked the play button. I discovered a delightful indie/garage punk act and knew I had to review them and share them with the CPRW audience.

The EP begins with the song Vultures. The first thing that struck me about the song was how much noise the band, who are just a two piece, could make. Sophisticated Dingo somehow have a huge sound that you would expect from a four piece band not just two. I assume that a large part of this is done with the use of effects pedals. The vocals are so distinctive, they are of a higher pitch and at times you can really feel the strain in the singer’s voice which is something I personally love. Vultures is a great opening track as it is filled with energy and gives a great example of what to expect from the rest of the EP. Mary begins with some 8bit music before the track starts proper. Continuing the high energy sound we first heard in the opener, this is a frantic song that has me thinking of Canadian pop punk heroes PUP. This is certainly the kind of track that will get a crowd going crazy in the pit. Mary is a love song dedicated to someone who comes into your life during a difficult time and makes it better. Without a doubt one of my favourite songs of the year.

The third song is named Ego. It starts out with an atmospheric sound and some drums before being joined by the guitar. This opening is such a big contrast to the opening two songs and shows a different side of Sophisticated Dingo. For the most part, the track goes along at a slower pace but there are moments when the song threatens to explode. Even the moments when the tempo is upped, it feels as if the band are using a lot more restraint. The penultimate track is titled Don’t Wanna Be and it starts with a jangly, raw sound that I like a lot. It gives the song an extra layer of emotion that really grabs your attention. The song is about feeling as if you’re being judged for your choices in life, in particular chasing your dreams no matter how unlikely they seem. The melody in the song is wonderful and really gets stuck in your head. It’s quite a wordy song but still manages to be packed with little ear worms meaning that you’ll be singing along to the song in no time at all. How’s The Carry On!? is finished with What Is Going On? Showcasing the band’s indie influences, the track could easily fit on all of your favourite indie playlists as well as some featuring punk bangers. As it’s a final song it does have a big ending that builds and captivates in equal measure before ending with a quiet fade out.

Sophisticated Dingo are definitely a band you should know if you enjoy your indie punk. Many bands from Australia have found success in the UK over the past few years and I really wouldn’t be surprised if Sophisticated Dingo were one of the next to do so.

Stream and download How's The Carry On!? on Bandcamp here.

Like Sophisticated Dingo on Facebook here.

This review was written by Colin Clark.

Album Review: Revistor by Debunker

Debunker are melodic gruff punk band from Texas. In October the three piece released their second EPm Revisitor. I was familiar with the band after checking out their self-titled debut in 2018 and was keen to hear how the band have progressed over the past couple of years.

Revisitor begins with Over It. The track starts in a powerful fashion with a big drum roll that screams that Debunker are here and mean business. The guitars come in and really set the tempo with some buzzing riffs before finally the vocals join in. Debunker expertly mix melody and gruffness in a way that will really get you shouting along with the band. The track is about a friendship that has gone sour due to being used as a stepping stone to get ahead and asking will things ever go back to how they were. Up next is Streetlights where Debunker really focuses on the melodic side of their sound rather than going for the high tempo style. The guitars feel quieter but compliment the vocals brilliantly, buzzing away in the background of those magnificent vocals. I really enjoyed the subtle harmonies that are sprinkled throughout the song, adding a superb extra layer. The track finishes with a thunderous sing-along of the lines “don’t stop for anything” that will surely get a crowd participating in the song.

The third song is titled Full Circle. There’s a lot going on in this track that is surprisingly less than two minutes long. I feel like it will be the type of song that you will be able to listen to many times and consistently hear new things. Despite there being a lot going on, Full Circle never feels too busy or clustered so a lot of credit has to go to the band for accomplishing this. The song features a shift in melody towards the end where the band seemingly all comes together for the big finish. The penultimate song is titled A Bogus Adventure. Debunker recently released a video for this song which can be found here. The track is about trying to find your way in life, things not going as well as you thought they might and the stress that it puts you under. The tempo of the song is perfect; it fills me with energy from start to finish. Revisitor finishes with Camellia. This song is a bit of a departure from the previous four songs on the EP. The vocals don’t feel as in your face as they did previously. This really helped me zone in on the lyrics of the song. It didn’t give me the energy that the other songs have but it certainly moved me more. It’s a sad song that I believe is a tribute to an old friend who has passed away. It’s a sad way to finish the EP but it leaves a lasting impression.

If you’re into the gruff punk sound then you really should be checking out Debunker for quality songs that sound like they would be amazing live.

Stream and download Revistor on Bandcamp here.

Like Debunker on Facebook here.

This review was written by Colin Clark.