Album Review: Now by Rent Strike (by Rich Bailey)

I've always enjoyed a bit of ‘folk punk’; especially Drag the River, Wingnut Dishwashers Union, The Taxpayers and Chuck Ragan’s stuff. I first came across Rent Strike when they released ‘IX’ in 2018 and vaguely followed their comings and goings ever since. ‘Now’ is a slight departure from earlier recordings in that it is more on the ‘folk’ side of things rather than ‘punk’; but that said, it doesn’t detract from some great storytelling and personal lyrics that are very emotive.

Album opener Radio Silence starts initially with typical folk guitar and folk singing, then drums, bass and the rest burst in and give the whole song a fuller, padded out vibe: later we return to the guitar/vocals. This is a great opening track about how peripheral noise (radio, TV etc.) is meaningless. Taking My Time reminds me of early Magazine, especially John Warmb’s vocal delivery – albeit in a Michigan accent. There's great, intricate guitar over pounding rhythm section. A song about revisiting the past to take what’s rightfully yours rather than putting up with what hand you’ve been dealt; “Bathed in radiation, born under a sour sign, all that I’m left with is this meaningless existence, being made to work and wait around to die.”

From The Outside is a highly emotional piece about the unfairness of existence which ends with a hopeful sense of trying to make things better; “… but I’m gonna be strong, and I’m gonna see.” Work! (Future Perfect) is a lament about having to work to live and how one person copes (beer and cigarettes) with this immutable fact – a lot of people’s favourite track on the album. There's some excellent use of slide guitar! The Solid Wall of Stuff has great lyrics about wasting life and not really knowing why; brilliantly delivered with female vocal echoes.

Next Time and Redline (Derive) are long, slow burners with thoughtful, personal lyrics that are emotionally raw and honest with magnificent and sparse guitar work that complements the words beautifully. GBRO is a song about the end of a relationship and who actually called it; “So who’s hand is on the switch anyways?” It's a swing style track with excellent trombone from Michele Fortunato. Time And Decay has an opening verse with an acoustic led impassioned pontification about getting old and being likened to an old, slow computer. The rest of the band then kicks in for a sped up country punk song about how we all turn into our parents (God forbid!).

At The Threshold is a slow, mournful broadside about how we are slowly killing out planet and we haven’t got long to do something about it. The longest track and perhaps my favourite Now (… and Forever!) links back to the opening song about sleeping with the television on and is a magnificent opus about God being dead, everybody hating the police and how to cope with how the world is changing – a quality track! The album's closer is A Spectacular Time, a synth laden, intricate song about the end of a relationship (or the end of an album?) with the closing lines – “I’ll never know if the moment was right, But I had a spectacular time.”

All in all, the album consists of some hopeful undertones to some personal and bleak topics.

Stream and download Now on Bandcamp and like Rent Strike on Facebook.

This review was written by Rich Bailey.

Album Review: On The Brink by Mark Murphy And The Meds

I want to start this review with an apology. I feel like I promised this review months ago and I’m only just getting round to writing it. Sorry Mark! In November 2021, Liverpool based band Mark Murphy And The Meds released a brand new album titled On The Brink. As soon as I heard it, I adored it and it found its way into my top ten favourite albums of the year. It’s packed with some of the best pop punk I’ve heard in a while. It had me thinking of one of my favourite bands, the Teen Idols, and there’s a lot of other Lookout Records style influences spread throughout the album. We need more of that style of pop punk in our lives so hearing On The Brink was really refreshing.

On The Brink begins with the song Stuck Inside. The track starts with a high tempo and some nice guitar riffs, before Mark’s vocals come in and ask the question “what have you done?”. I must admit that when I first read the title, and given the fact that this album was written during 2020 when the UK was in lockdown, I thought that Stuck Inside might be a song about that. It’s not. The song looks at a relationship where one of the people in said relationship changes and begins to shut the other person out. It’s quite a sad song lyrically but the tempo and melody certainly pep it up somewhat. This is followed by Susie’s Gonna Try. After a “1, 2, 3, 4!”, the song starts with no opening fanfare. It’s the proper pop punk way. Throughout the entire two minutes and twenty-eight seconds of the song we’re treated to nothing but pure energy. I love a song that does this relentlessly but is also jam packed with hooks and melodies. It’s a really catchy ear worm of a track and that you’ll be humming to yourself long after you finish listening to the song.

Therapy Room Ten is one of my stand out track on On The Brink and Mark was kind enough to let us use the song on our recent CPRW Records release Not Here Not Anywhere. The song looks at folk who go to therapy and ultimately why they go, to try and feel a little hope in their lives. I feel like this is a song that plenty of people who listen to it will relate to and hopefully if you’ve been thinking about going to therapy for anything it might give you a little push to do so. Once again the whole song is full of this infectious energy and brings you along for the ride. The fourth track on the album is titled She’s Been To Reno. Unlike the previous three tracks, Mark and The Meds add a bit more rock to their sound. The guitars still buzz along but the rhythm section for the band seems to give more of a solid spine to the song and Mark’s vocals have a more serious tone to them. I think that it is sometimes difficult to add a variety of sounds to this style of pop punk music and the band do a great job of it here.

Another Case Of Lonely has a longer introduction and has an all around softer feeling to it. To me, it seems rare for a pop punk album to show this level of vulnerability but Mark wears his heart on his sleeve throughout. This track is about a relationship ending and the sad feeling of loneliness that comes from the situation. During the track, Mark sings about not expecting things to end and working hard to try and keep things together. This is another sad song that I’m sure plenty of people will relate to, which in itself is a bit sad. Up next is That Day. Continuing the theme of break-ups, on That Day Mark sings about the day of a relationship ending and the feelings that come from that. I really enjoyed the moments of spoken word during the song, it’s something a bit different that I wasn’t expecting it but I thought it worked really well in getting the emotion of the song across. There is also a great moment where the melody and tempo takes a turn, adding a bit more urgency into the track.

The seventh song on On The Brink is titled Alone Again Nor. If you’re a Teen Idols fan then you’re going to absolutely love this, I can imagine it appearing on Pucker Up or Full Leather Jacket. The intro starts quietly but soon builds and begins to pick up speed. I loved the way the guitars worked together on the introduction – great work! Of all the songs on the album I think this might have the best melodies, which is saying a lot because there are loads of great ones sprinkled generously throughout On The Brink. It’s another big ear worm and I love it. It’s also got the fist in the air quality where a crowd will shout the song right back at the band when they play live. Stupendous pop punk right here. Hardcore Four sees Mark Murphy And The Meds turn down a different path as they perform a hardcore song. It’s full throttle throughout the one minute and eighteen seconds duration with the vocals really having a lot more venom to them. After everything else that has been before it on the album, this was a surprise and a bloody nice one at that. It’s an angry song that really hits the listener hard.

The penultimate song, Candle, continues with the energy that came from Hardcore Four but returns back to the pop punk sound we’re more accustomed to. This is another absolutely delightful melody from the band and will also find a long term residence inside your brain. I think the bass playing from Lennie Spruce stands out more on Candle that it does on any other track on the album and it’s superb. We’re even treated to a bass solo in the final part of the track before we reach a final chorus. Pogoing was always a big part of pop punk back in the day and it feels as if this song was written for a giant pogo at a gig. It’s a bouncy number that does make me smile. The final track on On The Brick is Slow Worm. For this final song the band do slow things down slightly. The guitars chug and the bass has some playful riffs that move the song forward. The first couple of verses follow this pattern but when the chorus hits we’re in for a big sing-along moment. I think that this is one of the biggest sing-along sections on the whole album and I kind of wish that they had included some gang vocals to really make this pop. They do include some super sweet harmonies as the song and album comes to its final moments however.

There’s a lot of pop punk bands in the UK but not many who are doing this particular style of pop punk. When I came across the album at the end of last year, I smiled from ear to ear when listening to it. I love this sound and this is a superb version of it. I hope that On The Brink leads to a bit of a renaissance of this sound that the UK scene is severely missing. If you haven’t checked out On The Brink and are a fan of all things Lookout or bands such as Zatopeks, The Murderburgers, The Kimberly Steaks and No Matter etc. then this an album you really need in your life.

Stream and download On The Brink on Bandcamp.

Like Mark Murphy And The Meds on Facebook.

This review was written by Colin Clark.

Album Review: Rare Instances Of Independent Thinking by I Like Allie (by Lara Roberts)

The first full length from I Like Allie, they began recording this album in 2019 in Milan, and continued through 2020. Due to the pandemic, the band hit a few obstacles during recording and it took longer than planned, but the album was released in October 2021 on Engineer Records (UK), Paper + Plastick (US), No Reason Records (EU), and General Soreness Records (It).

The album itself is an honest exploration of anxiety, depression, peer pressure, and ultimately trying to let negativity go. Opening Number quietly eases the album open, layering vocals with a slight crescendo, while bleeding nicely into Your Superpowers Are Stupid. This is a pop-punk infused treat, with more defined guitars and faster drums, and a hint of them pushing through the “standard” pop-punk sound. Loss and regret are covered in the short song How Weak I Can Be – a sweet little love letter of a tune with lyrics that are easy to relate to. The album sways back and forth between classic melodic pop-punk and incorporating new ideas into the mix, calling on the different musical styles and tastes of each band member (eg. Cliches of Love Stories and title track Rare Instances of Independent Thinking). Laura Stevenson lends her vocals at the end of the album, adding a light, ghostly backdrop to Renato’s lead. 

Here’s the thing. I love 90s emo and melodic hardcore, and I really wanted this album to work for me – Jeff Dean engineered the album (who also worked with Samiam, Braid), and Dan Coutant mastered it (The World Is A Beautiful Place, War On Women), which obviously peaked my interest when I read the press kit. On top of that, I adored I Like Allie’s 2016 emo-pop-punk EP The Wounds You Leave, but I can’t help but feel like there’s something missing from Rare Instances Of Independent Thinking, even though I’m not sure what that thing is.

Saying that, I can’t fault the band for trying a new avenue, and experimenting with maturing their earlier pop-punk/pop-emo sound. There is a gentle vulnerability in Renato’s voice that lends itself very well to that early emo sound, and it really does feel like they’ve taken on a lot of influence from 90s melodic emo bands, and looked to merge it with their own.

Stream and download Rare Instances Of Independent Thinking on Bandcamp here.

Like I Like Allie on Facebook here.

This review was written by Lara Roberts.

Album Review: Fuckin' Woo by Flangipanis

If you happened to read my end of year list at the end of 2021 then you might have seen that I included the album Fuckin’ Woo by Flangipanis in it. As most of the readers of CPRW are either based in the UK or America, I suspect that you haven’t heard of the Brisbane, Australia, four piece so I figured I should give the album a proper review. Mostly because it gives me an excuse to spend an afternoon listening to the album again and partly because if more folk in the UK become fans of the band, then there’s more chance they’ll be able to do a UK tour. That would be nice. Fuckin’ Woo is fifteen brand new songs from the band in just twenty-seven minutes and it is the follow up to their excellent Community Backwash EP which was released in 2019.

Brand New Day feels like the perfect choice to start the album and not just because of its title. It’s a bouncy and fun track that has an air of familiarity to it. Perfect for welcoming you into Fuckin’ Woo. Despite the cheerful sound of the song, it’s actually about a much deeper issue regarding mental health. It looks into the positive and negative sides of your thoughts fighting each other and the turmoil that that can leave you in. Flangipanis follow this up with a short hardcore song called Present with the repeating lyric “I hope you like your present cunt.” This is the crass side of Flangipanis that I always get a little kick out of. They can do the deep and meaningful stuff but they’re never afraid to go for the ridiculous and offensive as well. The third song on the album is named Run Away. Run Away is a great example of how to do melodic skate punk music really well. It begins slowly with a gradual build and some “whoa-ohs” that begin to get you hyped. The tempo begins to increase and then Jodie’s killer vocals come in and it’s time to go. I adored the melody on the verses, it hooks you in wonderfully. The band fly through the first half of the song before we reach a breakdown that includes some killer harmonies backing Jodie’s vocals to complete the song.

You Don’t Have To Be A Cunt comes next. I hate the c-word but I couldn’t help but smile when I listened to it. I don’t want to say lyrical genius because that would be silly but the level of word play here is pretty impressive. Definitely not what I was expecting when I first read the title of the song. The track is about being a good person and not a bad person. It’s that simple. I enjoyed the vocal trade offs during the song. It’s fast and has so much energy. Loved it. Next is Good Little Taxpayer. This sees the band step into the world of politics. All of the bouncy fun that was on the first four tracks on the album are gone. This is Flangipanis at their most serious. It’s about all of the wrong doing that governments are doing (I’m sure the band are talking in particular about the Australian government but it certainly works for the UK’s as well) and encourages people to make a stand against them. It’s nice to see the band branch out and write a song about this topic. Worthless is a Flangipanis love song. It’s about not feeling like you have any worth but it’s okay when you’re with someone that you love.

The seventh song on Fuckin’ Woo is named Faking It. This is a ferocious punk rock song with the vocals being jam packed with venom. The song is less than ninety seconds long and is relentless. The use of the second vocalist once again adds to the energy of the song and it also adds some aggression which works really well. This is one of those songs that will really get a mosh pit amped up when the band play it live. Clothes was one of the stand out songs when I first listened to the album. Not only is it ridiculously catchy but it also feels extremely important. It’s about how Jodie used to love taking her clothes off at shows but had to stop because of men being creepy perverts. Jodie goes on to call out those men on the song. I feels like a big feminist anthem. If women want to take their clothes off at shows, they should be able to without men making unwanted sexual advances. Train Ciggie is another short, hard and fast song. It’s simply about not liking when people try and smoke on trains or when people try and spark up conversation. I’m with the band on both of these points. Writing this review I’ve learnt that durrie is an Australian slang word for cigarette – there’s a fun fact for you, for reading this far. The song is finished with a shift in melody where the band slow things down and have a group sing-along of “train ciggie, train ciggie, ciggie on a train.”

Skate sees bass player Paul take over lead vocal duties as Flangipanis skank into the realm of ska punk. This was another stand out and not just because my love of ska punk music. The track tells a story of a love of skateboarding and how when you were younger you would spend all of your free time doing this thing you love with your friends. The lyrics in the song create such a visual story, I’m surprised to see the band haven’t yet made a video for the song. Moving Out is an interesting song as the lyrics for the song were all taken from freepunklyrics.tumblr.com which is a blog that began by two friends writing super clichéd punk lyrics. As I’m listening to the song for a fifth time whilst reviewing it, I think I can also hear the riff from The Offspring’s Self Esteem but I may have just convinced myself in my head – have a listen and decide for yourself. The twelfth song on Fuckin’ Woo is Snacks At The Bar and it’s Jodie’s turn at a ska song. Flanigpanis are joined by the brass section of Blowhard for the song. When I first listened to the album, I was not expecting ska and I certainly wasn’t expecting a four piece horn section to appear and it’s a very welcome surprise. The song is about going out, trying to impress someone and making sure to remember the snacks at the bar. Both verses in the track will have you getting your knees up and having a wonderful time skanking away.

Asshole Aunt is a song about Jodie being a terrible aunt. Throughout the song they list all the reasons that they should not be a role model for the child and it’s equal parts terrifying and hilarious. This is one of those times where Jodie shows what a good lyricist they are even if the song is pretty vulgar. If you have a dark sense of humour then this is a song for you. Not all songs have to change the world and make you think. Sometime you just want to be amused and smile and Asshole Aunt does that for me. The penultimate song on Fuckin’ Woo is titled Perfectly Average. This track talks about being just one of the seven billion people on the planet and constantly feeling as if you’re not making any progress in your life but trying to make the best of it. There’s a nice positive feeling that comes from the song that gives me a great vibes. The fifteenth and final song on the album is Small Talk. I’m big on albums finishing with a bang, especially if they have a lot of tracks like Fuckin’ Woo does and Flangipanis deliver here. The final song is the party that I suspect Flangipanis always bring when they play live. The song starts slowly but quickly shifts into top gear as the band race through the chorus in a full throttle kind of way. The song is about cutting out small talk and just partying like it’s your last night on earth. There are plenty of “whoa-oh” moments and chances for the band’s audience to shout the words back at the band. The perfect way to end an incredible album.

I bloody love Flanipanis. Everything they release makes me really happy. I’m fully aware they won’t be everyone’s pint of pepsi as humour is a very subjective thing, as all art is, but they’re definitely worth taking a chance on. I think you’ll be surprised. The more I listen to it, the more things I find that I think are really important to hear in the current climate. There are songs about mental health, politics, feminism and living your best life. I listen to music because it makes me happy, Flangipanis make me really, really happy. I hope they do for you as well.

Stream and download Fuckin' Woo on Bandcamp here.

Like Flangipanis on Facebook here.

This review was written by Colin Clark.

Album Review: At War With The Silverfish by Laura Jane Grace (by Ilse R. Smit)

Generally speaking, I love an intricate promo strategy. I like looking forward to releases, I love the anticipation that is fed by teasers, singles, maybe even an elaborate world building social media campaign. But thanks to Laura Jane Grace, lead singer, guitarist, songwriter and OG of Against Me!, I have a newfound appreciation for surprise releases these past two years. At War With The Silverfish, Grace’s second solo EP, was released on September 22nd 2021 by Polyvinyl Record Co and Big Scary Monsters.

Folk punk isn’t usually my thing. I don’t hate it or anything, there’s just something about it, a vulnerability in how stripped-down it can be. An emotional rawness that just makes me feel kind of uncomfortable. Like someone just handed me a bunch of their emotions and I’m there awkwardly standing there asking myself what the hell I’m supposed to do with them. Laura Jane Grace is a different story altogether. I love listening to her (my crush on her might have something to do with that).  

The first track on the EP is Three Of Hearts. Her voice, accompanied by an acoustic guitar, sounds warm, vulnerable, but mostly very sweet. Like asking someone to take a chance on you, but with the classic LJG self-deprecating twist we all know and love.

The second track, Lolo 13, is so dreamy! It’s more upbeat and the drums really round out the sound of the song. The backing vocals play a big part in the aforementioned dreamy-ness. I love how Laura uses words that don’t really rhyme without it bothering you. The lyrics are fairly repetitive, which makes me think they could do very well when performed live, since they’re easy to pick up. And not only that, I’m having a hard time sitting still while I’m writing this. I’m not surprised at all that, as I’m writing this, this is the most popular song of the EP on Spotify. Laura Jane Grace is ever so relatable when she sings about not being sure someone is flirting with her.

Long Dark Night is GROOVY! I’m loving the bassline, I’d call it my favourite character of this song. It’s a great song for road trips. It gives off a “we got a long way to go, but if we keep going, slow and steady, we’ll get there”-vibe mixed with “it will only go downhill from here”. Only Laura Jane Grace can tell me to “shut the fuck up and sit back down” and be endearing while doing it.

We reach the half-way point with Electro-Static Sweep, the longest track on the EP. The song introduces a string section, which I’m guessing is a violin, and takes a step back pace-wise. The tempo and newly added layers amplify the melancholy and nostalgia, especially when listening to the vocal effect during the beginning of the first verse that makes it feel antiquated, very compelling.

Laura Jane Grace believes that the next song, Day Old Coffee, is “the worst one she’s ever written” but released it anyway because she liked the video they made. I’m not in the position to say whether or not that is true, but I think it’s short (seriously, 1:13 long) but sweet! Or maybe I just strongly relate to my brain feeling fried and literally always forgetting I have a cup of tea standing around that has reached room temperature by the time I remember. Not a bad intermezzo at all.

Smug Fuckface is another very disarming acoustic track that I think has the strongest relation with the title of the album. Fleeting memories and fighting/negotiating that loss. Like silverfish ruining records and books.

 
Up until the start of the last song, I was convinced the EP was building up to Electro-Static Sweep, and peeling those added layers away as the album progressed. Yesterday Pt. II proves me wrong, and I appreciate that. It’s hard to label the emotion the song carries. It sounds almost cheerful and the lyrics are reminiscing. But I’m not sure if it’s a “don’t be sad because it’s over, smile because it happened” sort of thing, or that there is an agony in the recollection of meaningful memories. Let’s just say it’s an interesting song.

At this point, I’ve listened to At War With The Silverfish many, many times – in part because it’s only 14:14 long and I take my time writing these reviews. But I had a really good time listening to it. There is variety, but it’s also cohesive. It is personal and specific, but relatable. If you haven’t already, do yourself a favour and give it a (digital) spin!

Listen/buy At War With The Silverfish on Bandcamp.

Follow Laura Jane Grace on Instagram, Twitter, or Facebook.

This review was written by Ilse R. Smit.

Album Review: Twistin' The Knife Away by Heart & Lung

Red Scare Industries continue their trend for only releasing bangers. Towards the end of last year, they released the brand new full length from Cleveland, Ohio’s Heart & Lung. I first heard of Heart & Lung thanks to a lot of listening to bands playing The Fest 2021 in Gainesville. I immediately knew they were a band for me and, knowing their sound, it was no surprise that Red Scare ended up releasing Twistin’ The Knife Away. The album is eleven tracks of superb punk rock and features three different lead singers and plenty of harmonies. What’s not to love!

Twistin’ The Knife Away begins with Watch You Suffer. After a short audio clip, we’re greeted with a high energy introduction. The guitars buzz and the vocals have a hint of urgency that ensures that the album kicks off in the right way. The track is also plenty catchy with a chorus that you will be singing from your first listen and for days to come afterwards. I felt that it was pretty gutsy of the band to take on religion on the first track but seriously enjoyed it. The next track, I’m Fine, has more of a mid-tempo style with Heart & Lung immediately showing off their different vocalists and influences. The switch in style may take the listener a bit by surprise but will also help retain attention throughout the entire album. I’m Fine is about trying to convince people that you’re okay, when in truth you’re just lying to yourself and everyone else. This is something I’m sure we’ve all done and can really relate too. The band return to the poppier side of their sound on Punk Posters. This is another real earworm of a track. The opening harmonies of “putting up all my old punk posters” puts a smile on my face every time hear it. The track is about getting over a break up by going back to the things you found love and comfort in before the relationship. In this case, it’s punk rock music.

Die Alone is a forty-four second song that is simply about dying alone. It’s short, catchy and has a shreddy solo to finish the track. I’m not sure there’s much more to say about it other than I bet it’s great fun to sing live. The fifth song is titled Headache. Headache is another of the slower tracks on Twistin’ The Knife Away and offers a bit of a rest after the high tempo nature of the previous two songs. It’s a masterclass in writing a catchy song but also being extremely melancholic. The song eases in gently and sets out the scene of what life suffering with depression can be like. As the song progresses, the whole band comes in and gives the song a fuller sound. I can imagine this song also being extremely well received in a live setting and it being super cathartic. Up next is Shit Together. Starting out with some dual vocalists trading off lines was something I really liked. I’m assuming that the band are all in their late twenties and/or early thirties as they question where their lives are going and wonder when “they will get their shit together.” Another hugely relatable song that will be super fun to sing along to. The song structure is pretty simple, making it really accessible for the folk listening. I particularly liked the verse where the band essentially lists all the things going wrong in their life – I thought that was some quite creative lyric writing. Never Come Home is a song about dealing with loss and coming to terms with the finality of death. It’s definitely the saddest and most emotional song on the album and displays a different style of songwriting from the band. The “whoa-oh” shouts throughout the track really add some extra atmosphere to Never Come Home and you can hear some heartbreak as they are bellowed out.

Caveman is another short song – this time it’s just thirty-four seconds. Heart & Lung do an impressive job of packing a lot into this high octane pop punk song about starting again and going back to when times seemed simpler. Track nine is named Drunk And Right. On my first listen through of Twistin’ The Knife Away, Drunk And Right was one of the stand out songs for me. In particular, it was the lyric “shit don’t change if you don’t push back” that really caught my ear. Given the amount of gang vocals and harmonies that Heart & Lung use, it makes sense for them to have a song that rallies people to fight back against injustices. The jangly guitar sound that introduces the song and leads into the opening “whoa-oh” is masterful – the song does a magnificent job in subtly building up. It’s one where you get hooked in without even realising that they have caught you. The penultimate song is titled Control. This is a shorter song that feels as if it’s been split into two parts. The first part is just one of the band’s vocalists and a guitar along with a simple drumbeat welcoming you into the song before the whole band gradually comes in and the song explodes into a huge sound. As the whole band does come in, the song also becomes more urgent and it eventually feels like it’s a race to the finish. Last up is Earth, Wind, And Water. What a wonderfully raucous way to finish the album! Once again, the track starts out at a slower tempo but it’s not long before the chaos begins. There’s so much going on throughout the song with tempo and melody shifts, key changes and vocals galore. It’s what I love to see in a punk rock song. It’s nice not knowing what’s going to happen next. I think it’s important for an album to finish with a bang and Heart & Lung certainly accomplished this. Great stuff!

The list of bands that have released amazing records on Red Scare and then gone on to do some amazing things is massive and I can fully see Heart & Lung following on in the footsteps of those bands.

Stream and download Twistin' The Knife Away on Bandcamp here.

Like Heart & Lung on Facebook here.

This review was written by Colin Clark.

Album Review: Fires Forming by The Jukebox Romantics

New Yorkers The Jukebox Romantics released their long awaited new EP Fires Forming at the end of 2021. This was the band’s first new material since their split with The Sewer Rats which was released in 2018. I didn’t really start listening to them until they did a UK tour with our friends Triple Sundae in 2019, followed by a European tour in which they played Hamburg’s Booze Cruise Festival. I was lucky enough to catch them at that festival and absolutely loved their set. I also really enjoyed their Alkaline Trio cover set that they played the same evening. It was honest, heart on your sleeve punk rock that was written to be played in sweaty basements. That’s exactly my kind of thing so I was very keen to check out this EP. Christmas very much got in the way so now, at the beginning of January, I’m finally getting some time to check out Fires Forming.

The five track EP begins with Time To Fly. The track wastes no time in getting started, getting the EP off to a blistering start. Time To Fly is a real call to arms of a song. I don’t know if The Jukebox Romantics really stray much into the realm of politics that often but this track is one that really encourages the listener to stand up and rebel against the people who are supposed to be in charge and helping but are instead using opportunities to capitalise for themselves. This is such an uplifting way to start the EP. Up next is Hey Nora. This was the band’s lead single for the EP and they even made a fun music video featuring some wonderful dance moves. One of my first observations about the track was the pounding drum beat that provides such a thick spine for the song. It’s a simple beat but, boy oh boy, does it drive the song on. The song feels deeply personal and I believe that it’s about seeking answers on how to make the world a better place from a departed loved one. The chorus is a wonderfully catchy one that will have a room of people shouting the lyrics right back at the band.

The third track on Fires Forming is titled Dine Fleisch. On Punknews I came across a quote from the band’s Mike Terry stating that the song is about how we as humans have a choice about what we consume and how animals don’t have that choice. The song is written from the viewpoint of animals at a farming factory who are trying to plot their escape. Given the song’s meaning, it’s perhaps no great surprise that this is one of the heavier songs on the EP. I particularly enjoyed the intensity in the vocals, they really made me pay that extra bit of attention. The penultimate song on the EP is named You Spin Me (Right Said Fred). This song sounds like a bit of a nineties throwback compared to anything else on the EP. It shows that The Jukebox Romantics aren’t afraid to wear their influences on their sleeves. The chorus in particular reminds me of a lot of the melodic skate punk from the 90s and early 2000s era of skate punk. The track has a bit of a chaotic ending with a melody switch and some big harmonies. The final track on the EP is Castaway. On my first listen through of the EP this was the song that stood out the most, with its slow start where the band sing about wanting to get away from their home and finding somewhere better. Soon enough the song kicks in properly and we are treated to a mid tempo basement sing-along. As I listen to the song and read the lyrics, it dawned on me that the idea of leaving a town might be a metaphor and instead the song is about dealing with mental health issues, in particular trying to get through them before it’s too late. This track really has a feeling of a final song, especially with the atmospheric “whoa-ohs” that are included and the long fade out that gives you time to really think about the final lyrics of “get me out of this world before I run out of time.”

Fires Forming is a superb addition to the Jukebox Romantics discography. This really is a solid EP from such a solid band. I only have one gripe with is, I wish they had done an entire album because as soon as it finishes I still want more. Hopefully that’s in the pipeline and they’ll be back in the UK or Europe sooner rather than later. I’m keen for another shout-along.

Stream and download Fires Forming on Bandcamp here.

Like The Jukebox Romantics on Facebook here.

This review was written by Colin Clark.

Column: Colin talks about 2021 and Previews 2022

Do I usually write a column piece for the beginning of the year? I can’t remember and checking will be about six clicks I can’t be bothered with. If I did, what did I write about? I guess review the previous year and talk about our hopes, dreams and aspirations for the upcoming year. That seems like the appropriate thing for a column like this to cover. Off we go then, let’s try that.

As ever, I don’t want to dwell too much on the negative things that happened in 2021. We all know there were many awful things that happened all over the world and we can all do better to try and improve things for everyone in the future. I feel incredibly lucky to be in a bubble with the DIY punk community who are constantly inspiring me with their efforts in helping to make the world a better place, whether it’s raising money, offering help or educating people in matters of importance. It’s wonderful to see.

For Colin’s Punk Rock World we continued to plod along as best we could. We mostly wrote album reviews but as the winter finished and spring began I lost all motivation to write album reviews anymore. It was partly because I was struggling to find anything I was particularly excited to write about and partly because album reviews were the only thing I was writing and I missed writing about gigs. I made the hard decision to put CPRW on a hiatus until gigs could return properly and I could write about them as well. I’ve always said that the thing I most enjoy about CPRW is writing gig and festival reviews.

You might be wondering what I got up to in the hiatus. We did record some podcasts and had a lot of fun doing them but the thing I spent the majority of my time doing was making my way through a massive playlist of bands that were playing The Fest in Gainesville (a festival we had hoped to go to this year but unfortunately could not) whilst also playing Football Manager. I’ve got back into playing Football Manager in a big way during the duration of this pesky pandemic and I spent the summer taking Braintree Town FC from the National League South to winning the Champions League and it was a wonderful time. If you want, ask me about the big save I’m attempting on Football Manager 2022. I’m sure Emma would rather I talk about it with someone else other than her.

In August of 2021 gigs were allowed to return, for Emma and I this meant a return to our beloved New Cross Inn. Our first gig back was King Punch supported by 3dBs Down and Last Edition. I could not think of a better way for live music to return. Watching three upbeat and fun bands inside my favourite four walls with loads of friends that we hadn’t be able to see for 18 months was a great feeling. We were lucky enough to get to 13 gigs in total and I quickly realised that, as much as I had missed live music, what I had missed the most was spending time with friends and just being in the positive atmosphere that generates when the DIY scene comes together. I’ve often said that we start going to gigs for the music but we continue to go for the people. Till The Fest was a perfect example of this, I missed so many bands I had planned on seeing just because I was having a lovely time catching up with so many great people.

Speaking of gigs, in previous years I have written about my ten favourite sets of the year. I just wanted to list a few of my favourite sets of the year.

3dBS Down at New Cross Inn, London
Call Me Malcolm (Album Launch) at New Cross Inn, London
Popes Of Chillitown at Slam Dunk Festival, Hatfield
A at Slam Dunk Festival, Hatfield
Out Of Love (First Ever Show) at Craufurd Arms, Milton Keynes
Slug Puppie at The Exchange, Bristol
Triple Sundae at Amersham Arms, London
Party Boss at Matchstick Piehouse, London
Apologies, I Have None at New Cross Inn, London
Lightyear at New Cross Inn, London
Roshambo at New Cross Inn, London
Andy B and the World, New Cross Inn, London
Triple Sundae at Old Blue Last, London
Burnt Tapes at Old Blue Last, London
Alldeepends at New Cross Inn, London
Faintest Idea at Camden Underworld, London
Plot 32 at Bread Shed, Manchester
Call Me Malcolm at Bread Shed, Manchester
Popes Of Chillitown at Bread Shed, Manchester

As I said, I was lucky enough to get to 13 gigs between August and the end of the year. Sadly that pesky pandemic decided to ruin folks plans again so the gig year didn’t end in a way that anyone had wanted. Hopefully it doesn’t cause too much chaos for promoters and venues in the new year and we can get back to attending gigs as safely as possible early in the new year.

I don’t think we have tickets for too many gigs for 2022 yet, the main one that comes to mind is when Alkaline Trio and Taking Back Sunday come to London in March. But we are also planning on attending Fishstock, Manchester Punk Festival, Slam Dunk, Bristol and Hamburg Booze Cruises, Level Up Festival, Punk Rock Holiday, Till The Fest, The Fest and Book Yer Ane Fest in 2022 – all going to plan. I hope I won’t be tempting fate for the year but I will be writing a preview of the punk festival calendar in 2022 soon. Fingers crossed they can all go ahead.

With gigs starting again that meant CPRW returned and with our come back came soome excellent additions to our team of writers. We were fortunate enough to add four more writers to our team which added some renewed motivation for everyone. It was fun to do CPRW again. The expansion of our team meant we added some more diversity to what we’re reviewing due to our different tastes and I believe that’s added a great new element to CPRW for our beautiful readers. It was also fun seeing everyone’s end of year lists. In total we featured 82 different albums on our lists – really showcasing what a strong year for punk music 2021 turned out to be despite all the hurdles we had to overcome.

I feel like the CPRW Podcast continued to improve. I think that my hosting skills have come on a long way and I’m getting much more comfortable behind the microphone. I’ve enjoyed the group chats among the CPRW gang as well as welcoming special guests (mostly friends I’ve made in the DIY scene) and I’ve even conducted some interviews, something I never expected to be able to do on the podcast. Thanks to everyone who has taken the time to watch and listen or even appear on the podcast. It’s been a fun thing which we plan to keep on doing in 2022.

CPRW Records had a quiet year but we did manage to release two compilations and our good friend Wayfairer’s debut full length, if you’ve not checked that our yet then please do so here. I have a Zoom meeting scheduled soon (perhaps it’s already happened when you’re reading this) for our first release of 2022, more will be revealed when we have more details but make sure you follow the CPRW Records Facebook and Bandcamp pages to stay up to date.

We’re looking forward to plenty of our favourite bands releasing new music and discovering lots of new favourite bands in 2022. Obviously, we’ll be covering as many as we can on CPRW. As with all small, DIY punk endeavours we rely heavily on word of mouth to help the blog grow. Social media algorithms are not our friend and all the help we can get to spread our words is more helpful than you can possibly imagine. Every like, share, comment, retweet etc. is really helpful in ensuring that our posts find their way to everyone’s newsfeeds. If you read a review and discover a new favourite band, please tell us in the comments – it makes us very happy. One of my happiest moments last year (aside from Braintree winning the Champions League) was when I learnt that a someone had signed a band I reviewed based partly on a review I wrote. It really helped validate the amount of time I spend doing CPRW.

I think this post is long enough now and I want to make some lunch and get back to my Football Manager save. Thanks as always for checking us out and being really nice to us. Sometimes I get really awkward when people come and say nice things to me in person but I’m going to try and be better at that.

Best wishes to you all and hopefully we can have many fun times with great music and amazing people this year.

This column was written by Colin Clark.

Album Review: How To Live Life by Superfriends (by Omar Ramlugon)

Brighton’s Superfriends have been understatedly purveying their charming brand of poignant jangle rock for a good few years now, starting with 2018’s single ‘Iowa’ followed by 2019’s self-titled EP – a sweet and melodic set of songs enriched by flourishes of synth alongside guitarist/singer Harry Atkinson’s sprightly chord progressions. They’ve slowly but surely defined out a sound that touches on some familiar names while adding their own personalities and elements to the mix. With all this in mind, I would say that it is in no way a disservice to say that ‘How To Live Life’ is their best work yet.

 

The song opens with clean, springy guitar chording reminiscent of R.E.M’s Peter Buck, a guitarist often imitated but rarely in such a smile-inducing fashion as it is here. Then the rest of the song burbles into life with a warmth and energy, the rhythm section’s tightness and delightful contrapuntal bassline only serving to further complement the guitar’s chord progression. Atkinson’s friendly tenor is pushed slightly up in the mix and gives an element of intimacy and sadness to it all amongst the ostensibly playful instrumentation.

His lyrics draw you in with an almost conversational style before breaking your heart, and knowing that this song was conceived in the wake of his grandfather’s passing only heightens the emotional impact. Atkinson intones ‘I will try to do right by you’ in the choruses with an almost hitch in his voice that makes you want to give him a hug. But then, after an already great slice of jangle rock for the first four or so minutes, the song breaks into a slow, rolling outro, driving the material into new territory and serving as a more hopeful, rising-to-ones-feet moment with a refrain of ‘We will remember you’ overlaid with defiant shouts of the same line, almost shouting in the face of grief and emotional turmoil, to encourage the listener to keep going and try again in the face of life’s many battles.

This is an outstanding piece of work. Let’s all hope an album isn’t too far behind.

How To Live Life is out on Sunday 19th December. Pre-save it now here.

Like Superfriends on Facebook and check out their previous releases on Bandcamp.

Album Review: Waste My Heart by The Raging Nathans (by Rich Bailey)

Released on the excellent Rad Girlfriend Records and hot on the heels of ‘Oppositional Defiance’, this is The Raging Nathans’ fourth album and second in 12 months. Melodic Hardcore/Pop Punk/Punk Rock – this offering has it all; for fans of Dopamines, Copyrights, Methodones and poppier Bad Religion.

Album opener and title track ‘Waste My Heart’ is reminiscent of Coaster era NOFX – especially the vocal delivery – and is an excellent indication of where the whole album is going as it sets the tone for the rest of the record: inventive guitar riffs, pounding drums and great basslines, all at breakneck speed.

‘Freedom’ is next. At less than two minutes this isn’t even the shortest track on the album, but what a belter; anthemic chorus with a classic pop-punk vibe.

‘I Could Never Fall In Love With You’ is pure pop-punk; one repeated verse for 3 ½ minutes reminds me of End Of The Century era Ramones. A great musical bridge in the middle with intricate guitar work, this shows that the Nathans have matured greatly over the years and feel more than comfortable putting out a song like this.

Fourth track ‘Wide Awake’ kicks in like the beginning of the soundtrack to Friends but quickly deviates into a melodic hardcore track about not being able to sleep due to the ongoing stress of nightmares.

‘Out Of Town’ has a great power chord riff and pounding drums with melancholic lyrics about friendship and how much it’s depended upon: “…further with every step; wondering what’s next; but I’ll never forget that friend of mine.” Great stuff.

‘Remember’ and ‘Cemetery Drive’ flash by in an explosion of pounding drums and excellent, inventive guitar riffs. A great juxtaposition between melodic hardcore and pop-punk.

‘Overworked’ is a lament about the world of work, the mindless drudgery of clocking on and never getting paid your full worth and trying to decide whether what you do is actually worth it: “…does it matter at the end of the day or are we just wasting our time.”

‘Tempus Fuck It’ is a dark offering that has lyrics and melody not dissimilar to Rise Against.

‘New Direction’ is tight and melodic, with drums and bass at the forefront with catchy, hardcore riffs. It has unapologetic, harmonious lyrical delivery about no longer being rudderless and to stop drifting through life.

‘Shadow Of Youth’ is the shortest track on the LP and is a hardcore rant about an unnamed entity: “You’re a fuck, I hope you choke; your throat closes, you turn blue; so fucking die with a hole in your head; and every word is true.” Great guitar work to end the track.

Album closer ‘Beginning Of The end’ (great title for the last track on the LP) is about the end of a relationship. Drums lead the song with inventive lead breaks and guitar riffs in the bridge.

From the blurb on Bandcamp: ‘They’re prolific, unapologetic and “Waste my Heart” cements their legacy as the last great punk band.’ Not sure everyone would agree, but they’re certainly getting close.

Stream and download Waste My Heart on Bandcamp here.

Like The Raging Nathans on Facebook here.

This review was written by Rich Bailey.

Album Review: 9th & Walnut by Descendents (by John O'Hare)

Descendents need absolutely no introduction whatsoever. So let’s dive straight into the latest release, 9th & Walnut (Epitaph, 2021). This record isn’t a straight up new album, it’s a bunch of songs originally written between 1977 and 1980 with only three having been released previously. The most interesting thing to note is that this was recorded with the ‘classic’ lineup – which features Tony Lombardo on bass and Frank Navetta on guitar, alongside mainstay members Milo Aukerman and Bill Stevenson.

Opening track Sailor’s Choice is typical Descendents. Opening with that fizzy, bright guitar tone we’ve come to love and immediately thrusting Milo’s vocals at you within 20 seconds. The bass is expectedly prominent, precise and clean. Before you know it, Sailor’s Choice has finished and second track Crepe Suzette has opened with a cheeky bass riff. It’s perhaps the simplicity in the bass and guitar that gives this song a more rock ’n’ roll kind of vibe which I found interesting. Once again, before you know it the song has finished and we’re treated to another cheeky bass intro, this time opening up You Make Me Sick. The vocal melody is an instant hook and could easily have appeared on Descendents’ previous record Hypercaffium Spazzinate (Epitaph, 2016). If you’re familiar with Descendents’ back catalogue, you just knew this song was gonna end with the sound of someone being sick. Nice.

Lullaby is a slight departure to the previous songs in that the guitars are deeper and the main riff doesn’t sound obviously like the same band. This was the first time when it felt like the song was written by younger musicians – which it was, remember?

Track 5, Nightage is the obvious stand out, due to the -age title – a common Descendents moniker. Once again the bass is working hard throughout. Nightage is the longest song on the record, even making space for a guitar solo. Keen listeners will hear a sample of someone saying ‘Play it Frank, Play it’. It’s definitely Frank’s moment to shine. Baby Doncha Know, is a short aggressive blast, ending with some staggered drum/guitar smashes and a snotty Milo exclaiming ‘Do you know what you’re gonna do with yourself/I guess not’

Up to this point, there hasn’t been a standout track, although the excellent musicianship, complimented by Milo doing exactly what we love is really great to hear. Tired Of Being Tired came out of nowhere and blew me away. Opening with Tony showing off his bass skills and Bill Stevenson on drums sounding as if he’s in his element, the song has no chorus, but each verse ends with a fantastic, harmonised vocal line that changes the whole dynamic of the song…and then it’s gone. Thankfully this moment is played out 5 or 6 times so you can appreciate it in all its glory. I’d happily have it a few more times if I could.

I’m Shaky is another slight departure from what you expect in a Descendents song. Even the backing vocal chorus shout of ‘Guess I’m Pretty Shaky’ sounds like a different band. The bass favours a blues-rock style riff which also sets the song apart. The vocal harmonies on this song definitely give it another edge which I enjoyed.

Anyone aware of Descendents knows they’re fond of throwing in some weird, discordant songs in there from time to time. Grudge is the moment it takes that turn. It starts out fairly straight up punk, but soon enough drops to just bass and drums with a spoken word part. I’m interested to know who it is in this part, ’cause it doesn’t sound like Milo at all. To me it sounds like Paul Stanley of KISS, giving his rock and roll speech at the end of God Gave Rock N Roll To You… haha.

I love it when it’s clear the placement of tracks has been thought about – following the moody, aggressive Grudge with the super melodic, bittersweet Mohicans is a stroke of genius and really makes this song pop. I was pleased to hear it featuring Bill Stevenson’s trademark double snare hits in the intro. Wonderful.

Like The Way I Know has a super memorable chorus line, delivered in typical Milo fashion. This is one of those short, sweet songs that gets stuck in your head because of its simplicity. The record takes another weirdo turn with It’s A Hectic World. It seems super simple, but having the vocals and guitars following the same melody is really effective in making the song sound a bit odd. Unfortunately this is probably one of my least favourite songs on the record, but the strange tone does add something to the sombre feel of the following track, To Remember. Lyrically, Descendents may seem very surface level a lot of the time, but they always drop at least one deeper, slightly melancholic banger. To Remember has a fantastic chorus which pulls on the heartstrings.

As quick as they grew up and wrote something deeper, they come back down with Yore Disgusting – ‘You’re disgusting/you’re like the head of a dog/you’re disgusting/you know you look like a hog’. Classic. This is followed by It’s My Hair, another straight up punk song about doing what you want with your hair. I couldn’t help but feel like the record was winding down by this song, and there’s still 3 to go.

I Need Some has some nice vocal moments, especially in the chorus and, to be fair, with some more typical Descendents flavour, it could have appeared on Cool To Be You (Fat Wreck Chords, 2004). Ride The Wild isn’t bad but feels like it’s been shoved at the end because it’s not bad/not good. The final song is a cover of Glad All Over by The Dave Clark Five which they actually do a stellar job of performing. A very pleasant end.

After being quite skeptical about how good this record could be, 9th & Walnut was a surprisingly good listen. There were no massively standout songs, but it’s fairly solid throughout and there was some fantastic moments particularly with the bass and vocals. To say that 3 out of the 4 members were 17–18 years old at the time of writing these songs is absolutely crazy and goes to show why Descendents have become one of the most loved and respected punk bands of all time.

Stream and download 9th & Walnut on Bandcamp here.

Like Descendents on Facebook here.

This review was written by John O'Hare.

Album Review: Swim Out Past The Breakers by Telethon (by Emma Prew)

When I first heard Telethon and their fourth album, Hard Pop, in 2019 I was completely blown away by their ability to embrace multiple genres flawlessly and create an LP that could quite succinctly be described as ‘epic’. And that was before I had even listened to their previous album – the 30-track, five-part ‘rock opera’ The Grand Spontanean! Telethon are certainly not afraid of doing things a little differently and so I shouldn’t have been even a little surprised when I heard their 2021 album, Swim Out Past The Breakers, for this first time… and yet, wow, they surpassed any expectations I had several times over.

Telethon are a five-piece from Wisconsin consisting of Kevin Tully (lyrics, vocals, rhythm guitar), Erik Atwell (percussion), Alex Meylink (bass), Gene Jacket (keys) and Jack Sibilski (lead guitar). However, on Swim Out Past The Breakers the band are joined by a huge array of guest vocalists and musicians, from Franz Nicolay (The Hold Steady) and Kailynn West (Tiny Stills) to Gary Louris (The Jayhawks) and Devon Kay (Direct Hit, Devon Kay & The Solutions), plus many, many more. You might think that this would be overkill for a ‘punk’ album and leave things sounding disjointed but, if anything, I think it ties the album together in a truly unique way. There is so much going on throughout the 48 minute / 16 track duration of this album that it feels like there’s always something new to discover each and every time I listen to it. And I have listened to this album a lot over the past two months or so since its release.

As I write this, it is Fest weekend and if things had turned out a little differently I would be eagerly counting down the hours until I get to see Telethon live for the first time. Alas, I have to wait another year – hopefully they will play next year as well! So, instead of watching them playing live, I felt it was time that I put my [metaphorical] pen to paper and attempt to review their fifth musical masterpiece.

From the opening track, Shit (Jansport), featuring the aforementioned Franz Nicolay and Kailynn West, which grows from a gentle and soothing to a relentlessly fast-paced power-pop banger in no time at all – with a smattering of polka (I know, what?!) thrown in for good measure – all the way through to the rhythmic and dance-inducing indie punk-style album closer Matrix (One Down At Least), featuring Chris Farren, I feel like there is truly something for everyone on this album.

For pop punk fans, there are plenty of short, bouncy and super catchy tracks on Swim Out Past The Breakers such as Outstandingly (The Riviera) (which even features a Blink 182 reference before diverging into a polka-punk breakdown), Panorama (The Polynesian) (a track that features a sublime combination of glockenspiel-like percussion instrumentation, horns and gang vocals) and the less than a minute long Worm Dirt (perhaps one of the most simple songs on the album which for Telethon still means there’s a fair amount going on). If lengthier, layered, steady building tracks are more your thing then Do You Know What I Mean (Or Not?), featuring Robb Maclean, or House Of The Future, Pt. 4 will certainly not disappoint.

My personal favourite tracks on the album come in as a double whammy at tracks number 10 and 11. The first is Americana fuelled anthem Positively Clark Street which features some skilful synth work from Gene Jacket as well as well-suited guest vocals from Gary Louris of The Jayhawks. This was the one track on the album that I instantly felt the need to recommend to my dad. And that was before I realised who the guest vocals were from – it made a lot more sense when I realised the track featured a member of one of my dad’s favourite bands! In a way that only Telethon can, they completely shake things up with the next track. Cyan does not have even a slight hint of Americana or country music to its sound, instead this is ridiculously catchy ska punk number that seems to be mostly about writing work-based emails. Cyan features guest vocals from Devon Kay which, obviously, are absolutely perfect for the song.

Telethon released a fair few singles from Swim Out Past The Breakers in the run up to its release and, in my opinion, these sounds even better in their respective places in the album’s track list. Self-starter A.E., Checker Drive, the previously discussed Positively Clark Street and Travelator each seem to take on a new lease of life in the full album setting. The songs are also well spread out through the LP so that on your first listen it doesn’t feel like you’ve already heard a continuous chunk of the album before. I’m not sure if that was a conscious decision but I certainly appreciate it.

I can’t even begin to imagine how many hours and just how much effort and care Telethon, and all others involved in Swim Out Past The Breakers, have put into creating this album. All I can say as a listener and fan of the band is that I’m thankful that they persevered with it. Swim Out Past The Breakers is stunning and deserves to be heard by all in the punk scene and beyond. This band is special. This album is quite possibly my album of the year. Go check it out!

Stream and download Swim Out Past The Breakers on Bandcamp here.

Like Telethon on Facebook here.

This review was written by Emma Prew.

Album Review: Noise Noise Noise by The Last Gang (by Ilse R. Smit)

CW: Mention of sexual assault and related trauma when discussing New Skin (#7).

I’ve basically been waiting for months to write a review for the new The Last Gang album, and I’m so excited the time has finally come! Noise Noise Noise, the second album released under Fat Wreck Chords, was released on October 8th, produced by Cameron Webb (who also worked on their previous album, Keep Them Counting), Fat Mike (NOFX) and Yotam Ben Horin (Useless ID). In April 2019, I went to Dortmund to see Bad Cop/Bad Cop play. Dortmund is fairly close and easy to reach through public transport from where I live in the Netherlands. Also the ticket price was affordable to begin with, and somehow they managed to book eight bands ranging from local bands (Molly Punch, Detlef, Scherben) to international acts such as Not On Tour and, you guessed it, The Last Gang.

I’ve been a fan of the band ever since I heard Sing For Your Supper for the first time, as I was preparing myself for the trip. And while the point here is to talk music, I have to point out that this band consists of lovely people. I didn’t get to talk to all of them that much, but they were all super nice. Mind you, I didn’t even get to see them play that night. The stage was low, maybe even floor level, and the room was packed by the time I came in. I did end up seeing their performance later that tour, when they opened for Less Than Jake (with Belgian support band The Rocket) in Dynamo, Eindhoven (NL). I know for a fact that they were pretty tired earlier that day, as they’d been touring pretty much non-stop for about a week and a half. However, as soon as they set foot on stage, they gave it their everything. You would’ve never been able to tell. The performance was on point on all the levels you can imagine and I can’t wait to see them again in 2022.

I’m basically giving you the music review version of food-bloggers that post recipes underneath their life story and I’m sorry. Kind of. TLDR: I love this band. Now, if you’ll allow me, please let me walk you through The Last Gang’s Noise Noise Noise.

We start off with the title track, one of the more reggae infused songs on the album. I’ll admit that I’m not too familiar with reggae, I quite like what they’ve done though! The choice to open with a track that is a bit more dreamy/laid back, instead of a song that blows through your ears like it just burst through your front door is an interesting one, something it has in common with the song itself in my opinion. It’s definitely not what I expected to hear with the title being ‘Noise Noise Noise’. When listening to this song, you can hear singer and guitarist Brenna Red wander through her memories of the scene she grew up in, that things aren’t the way they were back in the day. There are a couple of instances where the song really builds up, only to fall right back into its preceding energy-level. While that can be really frustrating in some instances, I think it really suits the song. Just as Red is about to snap out of her day dream-like state fuelled by these memories, it’s the music that drags her back into it. It makes the song haunting, in a way. Random note: the lyric “Take the 42 north past Electric to ride” makes me think of SNL’s Californians. No? Just me?

WFTW, the second track, stands for “We Fucked The World”. I decided to read the lyrics before I listened to the song for the first time and I’m impressed. The lyrics are quite dark, but they make it sound so catchy and fun! I wanna dance to this song about how the world is on fire and how it’s all our fault. You can tell that the lyrics have been written somewhere in the past year and a half. The song is a bit more upbeat, changing tempos here and there to let those reggae elements shine. I have a feeling we’ll get to hear more of it as the record progresses, but I think this song also showcases Brenna’s range. One moment her voice sounds very warm, a tad edgy (kind of like if Dan Andriano’s voice and Matt Skiba’s voice had a baby), a moment later she’s loud, on the brink of screaming. Around the midpoint of the song we are gifted a wonderful guitar solo by Ken Aquino. Although Ken is not an unfamiliar face if you’ve been able to catch the band live the past couple years, this is his first TLG record, as their lead guitarist. The outro is fairly long, which I didn’t really expect of the second song. It makes me wonder whether they’ll “come back”. They don’t, but I’m okay with that. We’re floating, slowly drifting away. Where to? Only the next track can tell.

The drifting quickly turns into the straight forward punk rock song Prosthetic Lost Cause. The band does a very good job in creating some sort eeriness and intensity in the verses, an ambiance I love to bathe in. The lyrics are interesting, as it deals with mental health issues and the side effects it brings along. It’s not a sad song though, it’s more about immersing yourself in that darkness and loving it. There’s definitely times during the periods I’ve been depressed where I felt a similar way. That I was able to see beauty in that darkness and that, in a way, I enjoyed feeling miserable. And although I think the song comes at it from a different perspective, I appreciate its content. The bridge brings back that floaty feeling I was mentioning earlier. The song is over before you know it though, a good one to put on repeat when you’re in a particular kind of mood (or any mood for that matter).

Enter Shameless, the fourth track. Remember Brenna’s exceptional voice I mentioned earlier? This is the track. The track is an homage to Trump if you will, haha. I’m sure we all have people in our lives, in politics or in our day to day, that are just downright horrible and we just can’t wait to see them crash and burn. It’s so frustrating when they just keep getting out of situations unscathed, keep getting away with their bullshit. If that sounds recognisable, this is your new punk rock anthem. It’ll help keeping your eye on the prize, taking the high road is overrated. You’re welcome.

Panic Dreaming starts off as a campfire-y song. Very minimal, just vocals and an acoustic guitar, later accompanied by bass. Not for long though, because the band quickly flips the switch and goes all amplified and out. The vulnerability of the acoustic part really suits the main question in the song: what happens after we die? It’s a topic most people don’t like to talk about and the mental cycles we can spiral into are scary. I love the timing of the heavy powerchords that come in as Brenna sings “Panic Dreaming Dystopia” because I think that’s exactly what that would sound like! It gets more upbeat after that though, because it would have been too heavy/confronting if the rest of the song wasn’t as darn melodic as it is. Special shout out to the backing vocals.

Gimme Action can definitely be classified as a call to, well, action. I can’t imagine this song not being inspired by the insurgence of the BLM movement we’ve seen this past year and I appreciate that. In the track by track breakdown on Brooklyn Vegan, Brenna tells more about the chorus and the story of La Mulâtresse Solitude. I don’t think I’ve heard about her before, but her story is both awe inspiring and grim. I really encourage you to read it, we don’t spend enough time learning about people like her and I’m glad I did (a little bit). On a lighter note: I usually have a hard time (compared to other instruments) distinguishing the bass from the rest of the music in songs. If you’re anything like me in that regard, this song makes it very easy for us to enjoy and appreciate Sean Viele’s bass skills and, for that, I am grateful.

New Skin really hits home. It’s kind of painful to listen to, because of how relatable and real it is. I don’t want to group survivors of sexual assault together with people who have not been in similar situation, but at the end of the day pretty much every woman or person of another marginalised gender has been affected by sexually transgressive behaviour or feel like they need to protect themselves from it. It’s also very powerful though, we don’t have to deal with this all by ourselves and that feeling of togetherness also resonates with me as I listen to this song. Musically and vocally it’s definitely a solid song, although I do wonder if it’ll be a track I’ll put on repeat a lot after writing about it. And for anyone who needs to hear it: you’re not broken, but it’s okay if that how you’re feeling right now.

We pick back up with Paris Green, a very cheery song about how the world is on fire: environmental edition. Money can buy you many things, but a liveable planet for future generations? We’re not quite there (yet… Fucking space race). I love all the different topics that have passed the review so far. Really makes you think about how capitalism/(neo)colonialism/imperialism is really fucking things up. *Puts on Gimme Action again.*

Second to last is Intelligence Is A Plague, referring to the time we live in where facts are considered opinions and vice versa. A very current topic unfortunately. The track is a bit grungy, I can’t quite put my finger on it and I don’t have the right words for it, but the guitar sound (I don’t know effect names) and the way Brenna Red sings really go there. The 6/8 time is cool too. If you’re a layman like me, that means that instead of dividing a beat in two, the one-and, it’s divided in three with emphasis on the first count. If that doesn’t help, you’ll hear it when you listen to the drums. Learning (together) is fun! But it’s kind of an odd track in that way, very different with all those different elements thrown together – very cool. If I hadn’t known any better, I think it would have made a good closer of the album. The lower tempo and the different vocal harmonies/backings really give the outro a very drifty feel and it could have easily ended there. But it doesn’t!

To The King has a bit of a dramatic/theatrical intro and I’m here for it. The album goes out with a bang though, because To The King is haunting in an enjoyable way. It has everything – lyrics you can belt out (that’ll be so much fun live), some final guitar-heavy showing off parts, range, drama and intrigue. I feel like it could be in a musical/rock opera. I think that, out of all the songs, the meaning/lyrics of this one is the most metaphorical which might also give it the more theatrical vibe I’m getting. It’s about pursuing ones passion and having to jump through hoops, having to compromise to be able to continue that pursuit. This song is surely not the only track where this is the case, but I have to point out Robert’s drumming. Not only do I think that it’s excellent, there’s this pattern/rhythm thing he does in several songs – for the life of me I have no idea what it’s called (cool story bro). What I do know is that I really like it and I’m always stoked to hear it. So Robert, whatever it is you’re doing, keep doing it! Anyway, great finish!

Overall opinion: amazing album. Some things jump out more than others, but I really like all the different elements that can be found when listening to Noise Noise Noise front to back. I’m sure as I listen to it more in the future, I’ll still find new things that’ll suddenly stand out to me. I pretty much always appreciate songs about social issues and, well, The Last Gang is just really good at doing what they do! Keep it up Gang!

Stream and download Noise Noise Noise here.

Follow The Last Gang on Facebook and Instagram.

This review was written by Ilse R. Smit.

Album Review: All We Could Afford by The Strikeouts (by Brett Coomer)

The Strikeouts is a punk rock band from Sweden made up of 5 guys who like punk rock. They have a cool logo and have recently released an EP called All We Could Afford. That’s about as much information I was able to find from the Internet about them but that’s OK, the 7 songs on this EP speak for themselves and offer a great introduction to the band.

The opening track and first single, ‘Fake News’, is about the inauthentic “influencers” that seem to dominate social media with their obvious bias and paid-for opinions. The hard-hitting drums and catchy chorus make ‘Fake News’ a great example of what to expect from the rest of the EP.

At first, ‘Somethings Gotta Give’ feels more light-hearted in its lyrics; but, after listening closely, the song reveals a desire to be less cynical in a world full of things you hate and to find a different perspective. It’s one of the more pop-punky tracks on the EP, although it doesn’t stray too far outside of the skate punk lane by including a few lead guitar riffs and featuring a pogo-worthy breakdown around the half-way mark.

‘Breaking Point’ turns the energy levels up again, speeding things up a bit to get our heads bobbing and testing the rhythm-challenged amongst us to tap our foot faster while staying in time. The background “woah-woah”s and “how much more”s throughout the song make me think this would be a great song for crowd participation. The energy level is maintained with track four, ‘Slammed’, which reminds me of the best parts of Pennywise. I can easily imagine the bassist asking for the Randy Bradbury “Full Circle” settings before pressing record in the studio.

‘This Goddamn Generation’ is the second single and another song that tends towards a more pop-punk influence. It has a super catchy chorus with a great melody and a message about how newer generations are sometimes unfairly criticised without the understanding that they are not only influenced by the world around them but also the earlier generations that brought them up.

For a slight change of pace, ‘Intimidate Me’ offers some variation with cleaner and groove-laden verses moving into heavier double-time choruses. The mid-tempo parts of the song never feel out of place and show that the band is capable of crafting a song with dynamics that harken back to the likes of Rise Against.

The last track, ‘Flat Earth Anthem’, starts off with drums and guitar riffs that feel like they could be outtakes from Strung Out’s early catalogue. It’s the shortest song and is fun and fast with a big ending. It’s a great way to conclude the EP, making you want to click that repeat button and start again.

Throughout All We Could Afford, The Strikeouts make no attempt to hide their leanings toward melodic skate punk with a few pop-punk and technical flourishes added in to keep things fresh. They execute it really well and the nods to the “EpiFat” 90s era punk offers comfortable feelings of nostalgia and makes for a very enjoyable listen. If you’re a fan of bands like FOD, Mute, Rise Against or the non-frat aspect of Pennywise, you will have blast listening to this EP, which I hope is a taste of more to come from The Strikeouts.

Stream All We Could Afford from these places and like The Strikeouts on Facebook here.

This review was written by Brett Coomer.

Album Review: Glow On by Turnstile (by Richard Mair)

Invention in hardcore can go one of two ways. Taking landmark albums such as Converge’s ‘Jane Doe’ and Refused’s ‘Shape Of Punk To Come’, they can either double down on the ferocity, becoming almost too intense and visceral whilst bludgeoning the audience to submission through cavalcades of frenetic noise like the former or alternatively incorporate elements from disparate scenes and sounds to extend the palette of hardcore – such as jazz, dance and pop like the latter. Both approaches are needed and whilst the Converge approach is unlikely to bring a new audience, instead helping retain advocates and more than likely fostering a more rabid and passionate fan base for the scene, the second is certainly needed to help re-profile what hardcore can be.

Currently acting as the new nexus for hardcore Baltimore, Maryland’s leading lights Turnstile return with an album that pushes the boundary in much the same way as ‘The Shape Of Punk To Come’ did in 1999. Perhaps more linear than Refused’s masterpiece, ‘Glow On’ is arguably the next brilliant crossover album the scene has been yearning for over the best part of a quarter of a decade. This is pop hardcore; not like the unique (and bonkers) pop hardcore noise of The Armed but perhaps more akin to The Movielife’s ‘This Time Next Year’. Sure, it’s a softer more polished album than their previous full lengths; yet its DNA is unashamedly in the rhythmic hook-laden hardcore they’ve become synonymous with. Despite the gloss and sheen, this is a hardcore album. Will it polarise opinion? Undoubtedly. Will it take Turnstile to a much larger audience? Inevitably. And this is certainly a good thing when you look at the excellent and diverse acts coming out of Baltimore at the moment from the politically charged, self-aware metalcore tinged Sharptooth to the east coast youth core revivalists of End It; you would hope they would elevate their scene to new heights. In essence, Turnstile are sure to be ushering in a new golden age of hardcore.

‘Glow On’ is not a perfect album. Before we get carried away it does have its flaws. The obvious one being that some of the songs need more. The biggest culprit of this is album closer ‘Lonely Dezires’. As an album it builds to what should be an epic closer, and yet at 2:42 it feels too short; especially as it feels it would naturally round out with a big chorus instead of the more electronic tinged melody that seems to put a stop to proceedings a little premature. It’s also likely that the desire to push boundaries comes at the expense of creating a coherent flow and rhythm (something predecessor ‘Time And Space’ balanced perfectly); consequently at times it can feel disjointed. The flow in the middle of the album for example feels a little off with ‘Alien Love Call’ (an excellent song in its own right) sitting uncomfortably next to the more traditional hardcore songs of ‘Wild Wrld’ and ‘Fly Again’.

These are little niggles and probably missteps that stand out given how great the album actually is. Opening track ‘Mystery’ sets the tone for the album and it’s very clearly a Turnstile song of old, although subtly introducing some of the electronic flourishes that permeate through the whole album. It’s a juggernaut of a hook-ridden song with a pre-chorus that helps elevate the chorus proper to one of epic proportions. The song is likely to be described as ‘limbs’ when heard in a live setting.

Following ‘Mystery’ is ‘Blackout’, which is just a masterclass in beats and grooves; especially through the verses. Yet its chorus is simple, effective, rammed with melody and in every sense reminiscent of songs that Turnstile were producing on their early EPs; complete with a very typical hardcore beat down. It’s absolutely a song that hardcore purists will love. Rounding out the opening section is ‘Don’t Play’, a song that has tinges of early Smash-era Offspring (think ‘LAPD’ / ‘Tehran’ / ‘Come Out And Play’); complete with a very skate-punk intro. Underpinning much of the song is a really neat melody that highlights the creative approach the band have taken with ‘Glow On’. All opening three songs are standouts and yet it’s the 4th song that really demonstrates their growth and progression…

‘Underwater Boi’ has all the hallmarks and tropes of a hardcore song (chugging riffs but slowed right down, beat downs although delivered by a voice as opposed to an instrument). It’s the perfect deconstruction of a hardcore song into something brand new. It’s so different to anything they’ve done before and yet works perfectly in the context of the album. It’s a genuinely fun song. The same thing can be said of the 80s vibe that runs through ‘New Heart Design’, with its Duran Duran style verses. This creativity extends to the inclusion of the aforementioned ‘Alien Love Call’ which features Blood Orange / Dev Hynes as a guest and again demonstrates how versatile hardcore can be in the right hands.

‘Holiday’ and ‘Humanoid / Shake It Up’ both have a feel of ‘Time And Space’ about them. ‘Holiday’ in particular is all about the groove, where as ‘Humanoid’ has a distinctly Ramones-inspired hardcore-ness about it, especially the vocal delivery. This is where the album really works; despite all its forward leaning pretensions its these nods to the past when aligned with the new that give the album its sparkle. This extends to the most traditionally hardcore, lyric based song: ‘Turnstile Love Connection’ with its ‘Thank you for letting me be myself’ self-actualisation chant; which comes across as a love letter to the scene for recognising their success in developing their sound and allowing them to be true to themselves.

‘Lonely Dezires’ closes the album; and whilst it’s a great song in its own right it feels lacking as a closer given what has come before; and rather than ending with a bang, which would be more fitting, it means the album feels like it fades away (unless you see this as subverting expectation in a way that only Turnstile can). It’s a small gripe, as a stand-alone song it’s brilliant, but in the wider context it falls a little flat. I’m sure many will disagree!

The real stand out performance on the album has to be the rhythm / percussion section of Franz Lyons and Daniel Fang – genuinely, they have laid a marker down for others. The changes in tempo and rhythm they orchestrate are outstanding; ‘Dance Off’ and ‘Wild Wrld’ in particular showcase their talents. One nerdy statement to make is that it needs to be heard in the best format possible. Listening to Glow On through a Dolby Atmos set up it takes on a whole new depths and layers as beats and voices cascade from all directions. Mike Elizondo’s work on the production (and synths) is truly outstanding and needs to be recognised.

Returning to the fun element, hardcore is often a genre that is – by its nature – very serious and yet this album has an innate care-free feel about it. It’s genuinely fun with a broad everyman vibe. It’s a hardcore album for people who like to dance and sing to the music as opposed to get angry and throw their fists in the air as proclamation of the truths of the hardcore band in front of them. This appeal is crucial and whilst I’m much more of a fan of the political tinged, angry vitriolic hardcore, this is a perfect gateway for people to discover bands such as Bane, Battery, Have Heart, American Nightmare, Converge or Rotting Out, that may at one time felt intimidating. Coupled with this, hardcore is in a really healthy place at the moment; The Armed have released a genuine masterpiece this year and acts such as Power Alone, Initiate and Sharptooth are providing a much needed feminist lens to a once male dominated scene. Finally, One Step Closer have dropped an incredible album that is likely to benefit off of the back of the interest in ‘Glow On’; and in doing so taking them to a much wider audience than they could have expected with their debut full length. After the recent emo revival, it really feels like the next wave of hardcore is ready for its time in the sun.

I’ve seen a lot of love for this album already and rightly so. It is an incredible piece of work that stands to elevate Turnstile to almost unheard levels for a hardcore band, such is its crossover appeal. It is flawed; yet that makes it all the more real and natural. Does it eclipse ‘Time And Space’… I’m not so sure; however what it does do is firmly cement Turnstile as one of the most forward thinking, accessible and essential bands currently laying beatdowns down.

Stream and download Glow On from your chosen music provider and like Turnstile on Facebook here.

This review was written by Richard Mair.