Album Review: New Lungs by Burnt Tapes

It’s been three years since I attempted to do an album review but if there is one band that will get me to sit down behind my laptop and do one it’s my friends Burnt Tapes. On August the 8th they will release their long awaited second album, the follow up to 2019’s incredible Never Better (one of my all time favourite albums). The new album is titled New Lungs and being released once again by Lockjaw Records (UK) and Wiretap Records (USA), as well as a tape from Nasty Cut Records (Denmark). Tapes on tape – it’s about time, right?

I feel like I need to address the fact that this review might come across as incredibly biased. These guys have been friends of mine for a long time now, they started out as Burnt Tapes around the same time as I started doing CPRW and we’ve reviewed every EP and album they’ve released, along with countless live shows. I’ve never made it a secret how highly I think of Phil, Pan, Jordan and Tone not just as musicians but as people, so yeah this will probably come across as a really biased review. I’m saying nice things about my friends’ new album, but rest assured that every word I type in this review I really mean and I’m not just buttering up my mates. I’ve had New Lungs on repeat in a dark room where I usually sleep for a couple of months now and I’m excited to share my views on it with you. Let’s take a deep breath and jump right in.

New Lungs begins with the song Crisis Actor. The song starts with a familiar Burnt Tapes tone that has me thinking of Lost In Transit, the final track from Never Better. It almost feels like a continuation or at least a call back, something the band are known for doing. I love this. Crisis Actor eases you into the album with Pan’s vocals over that welcoming riff. Before long the whole band comes in. This song sets the tone for the whole album with its big, emotional build. We then launch into a stretch of the four singles the band released in the run up to the album. Up first is MOTHERSGUILT. The very first line features a common Burnt Tapes trope – grinding teeth. I immediately got a kick out of this. The song explores the theme of feeling like you’re not meeting other people’s expectations of you and using the guilt that gives you as fuel to keep on going. I feel like that’s something that most of us has gone through at times, making the song hugely relatable. The chorus will no doubt earn some big sing-alongs and feel cathartic for many. 

Little Sister was originally released way back in 2023 and gave us a glimpse as to what was coming from the band. Phil takes over lead vocals for this deep and emotional song about a particularly hard and dark time with his mental health that he went through. He tells a story about the journey of reaching a low point and reaching out for help before things get even lower. This is a mid-tempo track with a catchy chorus. The stand out moment on the track however is the guest vocal appearance from Hannah Hermione Greenwood from Creeper on the bridge. This really adds to the emotion of the song. As of yet, Hannah hasn’t joined the band to do this live – maybe at the album launch at the Black Heart in Camden on the 19th of September? That would be cool. Next is the brilliantly titled You Only YOLO Once. This is one of the higher tempo tracks on New Lungs and really showcases the band’s trademark sad boy pop punk moniker. Sonically it’s an upbeat, almost summery-sounding song but when you dig down into Pan’s lyrics you discover a song about his own mental health struggles. The line “every now and then, it hits me like a bullet train” is one I imagine a lot of people listening will find extremely relatable. I know I certainly do. Of course there is another broken teeth reference in the song, because of course there is. I’ve heard that they’re trying to get a dentist sponsorship.

The album’s title track, New Lungs is the fourth and final single from the album. Continuing the more poppy version of their sound, New Lungs once again talks about mental health. The song actually starts out feeling quite hopeful as Pan sings “new lungs set to breathe new seasons, held breath and an unsure sweaty brow, I’m better now, I’m better.” This mood soon changes though as Pan sings about having a toxic relationship with either another person or their own brain and that person/brain and being brought down once again, not knowing who you are anymore. This song features another great chorus and some big hooks that will really pull a live crowd in. Shelf Life Of The Party is another fantastic song title. Phil is back on lead vocal duties and the energy remains. On my first listen to New Lungs this is one of the songs that really stood out to me. It’s about getting older and feeling burnt out, lost, like you’re finished and you’re not the person you used to be. Phil’s vocals bring an intensity to the song that I love and I really hope it becomes a regular in their live set going forward. 

Track seven is titled Office On Repeat. On my first listen of New Lungs, my first thought was that this was the album closer as it has a huge, epic ending. There’s still three more bangers to come though and trust me, the closer is an incredible ending for the album. Office On Repeat starts out as a mid-tempo pop punk song talking about the end of a relationship. As we reach the final third of the song, the tempo and melody changes and we get a big emo ending that will get a big reaction from a live crowd. There’s a few moments on this album that do make me think that this has been specifically written with a live crowd reaction in mind and I’m a big fan of when bands do that. The pace is brought right back up on Future Strangers. Have you ever come to a point in your life where it feels like something has hit a road block, you don’t know what comes next and you begin to question everything? That’s what this song is about. I enjoyed the sliver of hope that track gives you as Pan sings “it’ll all make sense in time.” It’s a simple and powerful lyric that works so well in the song.

The penultimate song is named OnlyFriends. The song starts slowly, similar in style to the classic Things Get Weird. Pan sings softly as the song gradually builds up to its big finale. This slow start really adds to the emotion of the song and really pulls you in. There’s no slow start and then bang, you’re in, OnlyFriends builds and builds and takes you with it. When that big moment does finally come in and it hits you, you feel ready to be hit. Fantastic songwriting. There is also a moment in the song when the band becomes the big stadium rock band they deserve to be when they implement a crowd participation clapping section. The tenth and final song is So Long, Sundays. This might be the most ambitious piece of songwriting that Burnt Tapes have ever attempted and of course they pulled it off. A perfect choice to bring the album to an end. This song is about going through all the hard times that happen in your life and eventually finding your way out of the other side. New Lungs is an album that has plenty of down moments, so having this moment of hope at the end is really refreshing. It serves as a great reminder that no matter how hard things can get, sometimes it will get better and it’s always great to be reminded of that. There’s a moment at the end of the song that I won’t spoil for you but it’s something that I never, ever expected to hear on a Burnt Tapes album. I guess they’ve been hanging out at the New Cross Inn for too long now. 

It’s been six years since the Burnt Tapes released Never Better and you can really hear the progression the band have made as a band on New Lungs. You can hear a change in their sound but everything you ever loved about the band remains. Daly George from The Ranch once again did a phenomenal job with the production on the album, he did a fantastic job bring all of these songs to life. New Lungs has been my most anticipated album of the year since the band released Never Better and it did not disappoint. I’m not even that sad that the reworked version of Go Drunk didn’t make the cut, as each song brings something different but it all flows nicely together. It’s an album that can be listened to as an album or as singles. I do feel like each one of these songs could’ve been used as a single. As I said at the start of this, Burnt Tapes are my friends and this could come across as biased, but I truly believe that this is a fantastic album. I would say that if you loved Never Better then this might be a bit of a grower but you’ll soon come to love it just as much, if not more. Well done friends, loving your work.

Burnt Tapes play an album release show with Modern Shakes and Making Friends at the Black Heart in Camden on Friday the 19th of September. You should come to the party. Get your ticket here.

Gig Review: Bristol Booze Cruise 2022 at Exchange, Bristol 18/6/22

When Bristol Booze Cruise first happened in 2019, we were gutted that we had other plans and had to miss out. It looked like such a fun line-up that included many of our UK favourites as well as plenty of bands from overseas, many of whom were coming to the UK for the first time ever. After then attending the Hamburg Booze Cruise a few weeks later, Emma and I promised ourselves that the following year we would attend the Bristol version. We bought tickets, a superb line-up was announced and then 2020 happened and the world stopped. Fast forward two eventful, for all the wrong reasons, years and we were finally back in Bristol and looking forward attending the boatless Booze Cruise at the Exchange. Unfortunately due to all of the events that happened in the past two years, the line-up was looking very different to the one that was originally planned. It was a great shame but completely understandable given the circumstances. We were determined to have the best possible time nevertheless and were looking forward to seeing loads of bands, as well as getting to hang with friends from all over the UK all weekend.

After grabbing food at OM Burger with Matt Ear Nutrition and his wonderful partner, Charlotte, we made our way to the Exchange and instantly found loads of friends who had gathered at the venue early. This was one of my favourite things about the whole weekend. The opportunity to catch up, hug and hang out was one that was cherished just as much as getting to see so many awesome acts and it was a real highlight of the entire weekend.

The man tasked with opening the whole festival was our pal Hassan of Triple Sundae. Triple Sundae were in Bristol to play another gig and Hassan was asked to come down to open the show. I’m glad he agreed to as I’m a big fan. Hassan played a selection of Triple Sundae songs – including a couple of new ones from their soon to be recorded debut album – as well as a track from his hip hop project Lounar. Armed with just an electric guitar in the basement, it was a cool opportunity to hear these re-workings of songs I’ve heard so many times previously. This was a great way to ease us into the weekend as well. And if you’re yet to check out Lounar then I highly suggest that you do. Lounar writes songs about Hassan’s experiences growing up as a Palestinian in the UK and speaks out about the ongoing injustices that are happening in his homeland. You can support the Palestinian people here. Please do so if you can.

Opening up the main stage was Croatia’s Trophy Jump. I was excited to finally see the four piece live after being keen to for years. Their recently released album, Feels, has been one of my favourites of 2022 and I was particularly excited to hear some of those songs performed live. The band did not disappoint with their own brand of sing-along indie punk. I don’t know how many people in the crowd were overly aware of the band before the day but there was a small group of folk down the front singing along with the band including members of Burnt Tapes, Early Flights and Dan from Tape It Shut/CPRW. It’s always great seeing a band look so pleased to be on a stage performing and they were as tight as I expected. Highlights of the set for me were Neon Lights – it was great to see Phil Burnt Tapes join the band on stage to sing his part and then get crowd surfed by the rest of Burnt Tapes – and hearing my two favourite Trophy Jump songs, Leather Couch and Hugs On Drugs, live was fantastic.

Next downstairs in the basement was Scotland’s Flinch. Flinch was a late addition to the line-up due to some drop outs. Flinch is the newest project of Slowlight’s Beth which started as a solo thing but has since become a full band. Beth was already driving for Goodbye Blue Monday on their tour so it made complete sense for them to jump on the show. I was really excited when it was announced that Flinch would be playing as I’m a big fan of their album Enough Is Enough. After Trophy Jump, I hurried downstairs to get a prime position for their set. By the time they began it was nice to see a reasonable crowd gather for the set. I really enjoyed how respectful the crowd were as well. Flinch’s music is quite quiet and, in the small basement, if people started having a chat it could overpower the music, which obviously would have sucked. Thankfully that didn’t happen though and we got to enjoy the set. It was absolutely captivating, being in a silent room added to the emotion of the songs and there was a bit of an atmosphere that suggested that we’d been a part of something. This is what live music should be about, connecting with your crowd, getting them to experience and feel something and Flinch did just that. I’m now super keen to see them perform with their full band.

Lincoln’s GUTS. were the second band on the main stage. They were another new addition to the line-up and I knew absolutely nothing about them before the set. A cool thing about the late additions to the festival was that it meant, for a lot of bands, I was going in very blind and sometimes that’s the way to discover a new favourite band. The three piece played fuzzy pop punk music and had plenty of enthusiasm. It was a big contrast to Flinch’s set previously and I think I might have had a difficult time adjusting to the different sound however. The band played with lots of energy and the crowd, that was growing with every band, seemed to really enjoy it. I did leave a little early to make sure I got a good spot for the next band in the basement, Moonraker!

Way back in 2020 when Moonraker got announced for Bristol Booze Cruise I was over the moon. They’re a band I’ve loved for a long time. I forget how I discovered them but have been hooked ever since. 2018’s Lanterns was one of my favourites of that year and their 2022 release The Forest will no doubt find its way on to my end of year list. As international bands began to drop off of the festival, I was extremely worried that Moonraker would do the same, especially as they hadn’t booked any other gigs in the UK but I was so excited to see online when they had boarded a plane to the UK and had landed. I made a point of telling the Burnt Tapes to make sure they catch them as I thought they would love them. As I entered the basement they were already down there, positioned at the front of the crowd. I made my way to join them and we were also joined by fellow Moonraker UK fan club member Matt Ear Nutrition. The Californian three piece played a set that made them so perfect for this festival – fast punk rock music with raspy vocals and big choruses. Nick and David’s vocals were superb together as they echoed around the basement. I have to admit that when I saw they were playing the basement I was a little disappointed as I felt like they deserved to play to a bigger crowd, especially as they had travelled so far, but it was cool to see them playing in the tiny room. It was hot, it was sweaty and it was a lot of fun. I got to talk to David and Nick later in the day who were two super friendly human beings who I can’t wait to see again at Fest. I’m sure guitar player Matt is also a bit of a legend but I didn’t get to have a chat with him.

Brighton pop punks All Better had already started their set by the time I made it back upstairs. The band are currently out and about supporting their new album, How To Be Alone. I previously saw All Better in Brighton a few years ago when they opened for Spanish Love Songs, Pkew Pkew Pkew and Goodbye Blue Monday and was intrigued to see how they’ve progressed since then. The band know how to write a slick pop punk tune that’s for sure. The band seemed to be effortlessly cool on stage and looked as if they were having a lot of fun, which is what this music is all about. Their between song banter was also pretty entertaining as well. I didn’t spend much time watching their set as I wanted to make sure to get a good spot for Goodbye Blue Monday who were next on in the basement. This was perhaps the slight issue with the basement being so much smaller than the main room. You had to miss bits of the main room bands to make sure that you could get in to the basement if you wanted to see whoever was playing next in there. I have no solution on anything that could be done to fix this, it’s just part and parcel of a multi-stage festival.

If you’re a long time reader of the blog then you know what a big fan of Goodbye Blue Monday I am. I bloody love those boys, not just as a band but for also being awesome people. I’m clearly not the only one as when we made it down to the basement, about ten minutes before their set was due to start, the room was already pretty full. I made my way as close to the front as possible and was still about five rows back. It felt like there was a feeling of anticipation in the room as we waited for the band to start. And as soon as they did it was sing-alongs galore. My head is a little sketchy on the songs they played (cut me some slack, I saw every band at Bristol Booze Cruise and forgot to make a single note) but every song was so well received. Favourites from their previous two EPs as well as some new ones, from the debut album that they’re currently in the middle of recording, got plenty of love. They also played a snippet of a 16 minute epic that they’ve written for the album that I’m really keen to finally hear the finished version of. Goodbye Blue Monday are a band that connect so well with their audience and it’s a big part of why they get so much love from everyone who meets them. I think if you were in the room and didn’t know much about the band, you most definitely left as a fan. I think the set finished with Love Is A Noose For Two, Misery-Punk Ruined My Life and Take Your Pills to some final massive shout-at-the-top-of-your-lungs-alongs. I still love Goodbye Blue Monday very much and hope it’s not too long before I get to see them again.

After Goodbye Blue Monday’s storming set it was back upstairs for Soot Sprite. The Exeter based band are going on a UK tour with Okay, Bye later in the year so this was a great opportunity to see them before then. I wasn’t overly familiar with the band before the festival but I knew they were getting a lot of buzz in the indie punk scene and have been working with Specialist Subject Records. I was particularly impressed with Elise Cook’s voice throughout the set. I always think it must be hard to sing as well as you do on record when you perform the songs live but Elise smashed it. The room was extremely receptive to the set but I again had a hard to adjusting to the softer sound after the rowdiness of Goodbye Blue Monday’s set. It’s always great for a festival to have bands that sound different from one another and it’s important to check out new bands but I had a hard time really getting into it on this occasion. Soot Sprite were clearly a good band and deserve all of the attention they’ve been receiving and I will make sure to catch them again at a later date.

Hell’s Ditch were one of my highlights of Manchester Punk Festival and were a band I was looking forward to seeing again. The melodic pop punk band are a six piece and had a difficult time squeezing everyone on to the basement stage. Lead singer Nicholas Davis had to stand in front of the stage and it became basically a floor show. This only added to the fun though as it got the crowd more involved. The members of Hell’s Ditch are all seasoned punk rock pros at this point and know how to put on a show. Nicholas has a great voice and has the crowd in the palm of his hand throughout. Songs such as The Likes Of Us, Hope Is Hope and Vacant Hearts all sound superb in the basement and a few people even sing along. Partway through the set the band repeated their cover of The Clash’s Train In Vain that they performed at MPF. On this occasion Nicholas brought out a tambourine and gave it to a member of the crowd to play during the song. They did a superb job. At some point this tambourine ended up in my possession, I did not do such a good job but I did have a nice time being the seventh member of Hell’s Ditch for a short while. There was a nice moment during the beginning of the set where an elderly gentlemen who was at the festival all weekend appeared at the front and between Nicholas and Tone of the Burnt Tapes a chair was quickly found for him so he could rock out it comfort. It was nice moment to see the community helping each other out. It’s what it’s all about.

Durham’s Fortitude Valley were up next. Featuring members of Martha and ONSIND, this was another band of punk veterans. I really like both of those bands mentioned so very much expected to enjoy Fortitude Valley as well. I guess, to nobody’s surprise, I did. I do feel like it’s a bit unfair to just assume that Fortitude Valley are another Martha/ONSIND side project though as this is really the project of Laura Kovic. They have more of an indie/powerpop sound that was perfect for a Saturday evening. The band played tracks from their recent self titled album and sounded great. I only managed to catch a bit of their set as I was getting hungry so quickly popped out for some food.

At this point, I got a bit distracted and missed most of the next band – Sleep Outside. I didn’t know anything about them at all so went in blind, which is sometimes fun to do. As I arrived in the basement it was quite full for the band and I struggled to spot Emma. Sleep Outside are a three piece alt/emo band from Wales who had a sound that filled the basement nicely. Hopefully I’ll get the opportunity to see them properly soon and I’ll try not to get too distracted talking to folk.

I did make sure I was in the main room in time for Fightmilk. I first became aware of Fightmilk thanks to my buddy John from One Million Motors recommending them to me. I enjoyed them when I gave them a listen but after seeing them live I’m disappointed that I’ve only just got on the bandwagon. What a good, good band! Playing fuzzy indie punk rock, the London based band were one of my biggest highlights of the entire festival. Definitely the biggest surprise. Lead singer and guitarist Lily had this amazing presence on the stage and their voice commanded the entire room. The songs had that perfect mix of feeling powerful but also being a lot of fun. Not being as familiar with their songs as I perhaps should have been, I did feel a pang of jealousy for everyone down the front for being able to sing-along with the band. I did recognise songs such as Overbite and I’m Starting To Think You Don’t Even Want To Go To Space however and they sounded as good live as they do on record. Fightmilk are such a fun bad to watch live and I can’t wait to see them again. I was extremely sad to hear after the festival that Fightmilk encountered some misogyny towards them during their set. This is awful behaviour to say the least and I hope those involved will never be allowed into the Exchange again. There is no place for that kind of behaviour in our scene and in society in general. It’s 2022 for Gandalf’s sake.

German punk heroes Irish Handcuffs were the penultimate band on in the basement. To my knowledge, they are the only band to have played every edition of Booze Cruise so it was great that they were able to keep that streak going and were able to get over to the UK for the weekend. The three piece had previously played in Brighton the night before with our friends in Till I’m Bones and the band had impressed them, which added to my excitement to see them play once again. Irish Handcuffs were also supporting their brand new album, Transitions, which is their first in eight years. I’ve not had a chance to listen to it properly yet but judging by the songs they played during the set it’s one I’m going to absolutely lovely. If you’re unaware of what Irish Handcuffs sound like then I think they best way of describing them is melodic pop punk with soulful vocals, kind of like Dave Hause’s former band The Loved Ones. I’m certain the band picked up some brand new fans during their set. Whilst they were playing I noticed that they had Alkaline Trio written on their set list. When they got to that part of their set they told the crowd that they would be playing a cover set at Hamburg Booze Cruise where they would be playing songs by bands that are trios. They wanted to do a test run of Mercy Me by Alkaline Trio. They smashed it and earned a big sing-along from the crowd. At one point Dan #2 came and grabbed me and we sang the chorus as loudly as we could. It was a nice moment. I wasn’t planning on seeing Irish Handcuffs in Hamburg due to clashes and the fact that I would be seeing them in Bristol. I might have to change that plan though as they were so good.

The penultimate act on the main stage was Watford’s Nervus. I only ended up seeing a bit of their set due to wanting to make sure I got a good spot for the Burnt Tapes who were on in the basement next. This was a wise move as we entered the room with a few minutes to go before the set started and it was already getting busy. CPRW Podcast star Lara and her husband Nicky were excited to see the Tapes for the first time ever, as were our friends the Vegan Punks Dan and Jess. I later found out there were a few other people seeing the band for the first time ever. I guess it’s something I take for granted, as being based near London I get to see them all the time. And every single time they steal the show for me. I managed to squeeze my way right to the front to have a great sing-along with the band. This was my third time seeing the band this year and I was as excited as ever for a massive sing-along. For the next 30 minutes, it was almost like a massive karaoke gang vocal party as the crowd sang every word right back at the band. The band thrive in moments like this and the crowd get even more excitable. At one point Dan#2 had a little crowd surf and considering the low height of the ceiling and how tall they are it was quite the spectacle. I was very pleased that my favourite Tapes song Dirt Roads seems to have found a permanent home on the set list, I think belting out that brilliant chorus was the moment I felt my throat starting to get sore. The set originally finished with that perfect combo of Things Get Weird and Yuzi before, after being encouraged by the crowd, the band squeezed in a cover of I Don’t Wanna Be An Asshole Anymore by The Menzingers. They did overrun their slot slightly but it was a great time had by all.

Bristol hometown heroes The Menstrual Cramps were given the task of closing what had been a fantastic first day of Bristol Booze Cruise. We had seen The Menstrual Cramps for the first time earlier this year when they also headlined Fishstock at the Exchange. Since then I’d also seen them at Manchester Punk Festival. Both times I had really enjoyed it and I had no reason to suspect that it wouldn’t be three for three. I think it’s fair to say that the crowd on this night hadn’t been as busy as it had been at the previous two times I’d seen them but there were still plenty of enthusiastic people ready to have a great time with the band. The band launched into their opening couple of songs and then disaster struck! Their guitarist broke a string. Thankfully the DIY punk scene is a helpful bunch and the Tapes were on hand to let The Menstrual Cramps borrow one of their guitars. From then on, the band tore through their set playing songs such as Hashtag Sad Penis, Tinder Girl, Mutual Masturbation and Neo Nazi among many others. As this was my third time seeing them in the space of about three months it allowed me to sit back and think about what the band’s message is rather than just being blown away by the energy that singer Emilia and the rest of the band have on stage. The Menstrual Cramps are one of the most important bands in the UK at the moment and not just in the punk scene. This is a band that the more mainstream alternative media should be paying attention to. With messages about consent, abortion, racism and misogyny among others, there are a lot of things that can be learnt from the band. They’re an empowering band and one that is seriously needed at the moment. They’re the sort of band that encapsulates what punk should be in 2022.

The first day of Bristol Booze Cruise had been a lot of fun. It was great to be surrounded by friends from all over and every single band killed it. We hung out in the Exchange bar for a little while after the bands finished but fatigue began to set in, so we said our goodbyes and made our way back to the hotel to get some rest ready for another day of bands and buds the next day.

This review was written by Colin Clark. Photos by Emma Prew.

Gig Review: Drones Final Gig at The Lexington, London 7/5/22

So, Drones have split up after twelve years. During their time together they became one of the most well loved and respected DIY bands in the UK punk scene. Despite some line-up changes throughout the years, the band only ever seemed to go from strength to strength and got to bow out at the absolute top of their game. The band announced that they were splitting up at the beginning of the year and that their final two shows would be at Manchester Punk Festival and one final headliner at The Lexington in North London. We were fortunate enough to be able to attend their Lexington show which featured support from label pals Burnt Tapes and newcomers Cult Revival.

First up were Kent’s Cult Revival. The five-piece only formed in 2021 and had, so far, only played one gig together. I thought it was really cool for Drones to pick such a new band for their last show. In a way, the crowd could replace some departing heroes with some new ones. Not knowing much about Cult Revival I was intrigued to see what their sound was. Unfortunately, it took a couple of songs to really get a feel for them as the sound was not as good as it could have been. The band played a fresh and interesting sounding emo style with elements of alternative rock thrown in that I’ve not heard a lot of recently. The use of two singers, one with cleaner vocals and one with a big scream, was a nice contrast and the band do seem to have come up with a sound that could see them do some exciting things. There was a nice moment during their set where they did a quick cover of Green Day’s Good Riddance (Time Of Your Life) which they dedicated to their friends in Drones – which I thought was a lovely touch. Slam Dunk is on the horizon and Cult Revival have the kind of sound that I think will be very popular for fans of that festival in years to come.

Next up were Drones’ long time friends and Lockjaw Records label mates, Burnt Tapes. You know we’re massive fans of the band at CPRW and any opportunity to see them is always a pleasure. A bit like Cult Revival before them, the sound for the first couple of songs was a bit off but it didn’t stop the crowd from engaging in a big sing-along. The band tore through so many favourites, barely stopping for a chat. Perhaps wanting to squeeze as many songs in as possible during their thirty minutes on stage. Songs such as Drift Champ ’16, Dirt Roads, Robert Cop and Greek Wood all got great reactions, alongside closers Things Get Weird and Yuzi. A new thing that the Tapes have incorporated into their live set since lockdown is bass player Tone getting into the crowd and encouraging them to squat down during the intro of Things Get Weird. It’s a fun bit of crowd participation that Tone in particular gets a real kick out of. As always, Burnt Tapes smashed their set and got me excited to see them again at Bristol Booze Cruise next month.

Last up, it was time for the final ever Drones set. During the changeover we popped outside for some air. Upon returning the room was packed with a lot of people very keen to give Drones a proper send off. The band took to the stage and the anticipation was high as the band started their set. I was extremely pleased that the sound issues that had troubled Burnt Tapes and Cult Revival at the beginning of their sets didn’t seem to be an issue for Drones. Of the few times I’ve seen Drones in the past I’ve always come away just mesmerised by just how good they are live. Lois is such an incredible front person, charisma oozes out of them and makes them extremely watchable. Their vocals sounds spot on and accompanied by bass player Kerr’s shouts is really when the band come into their own. The opening of the set sees the band getting the crowd more and more amped up and it’s not long before the mosh pit gets going and we get our first crowdsurfers of the evening. As I’ve seen Lois do at most Drones shows I’ve been to, it’s not long before they enter the crowd to sing. The crowd seemed to part for them to make a corridor for them to stalk down whilst belting out Rorschach. I always enjoy seeing a band get down in the crowd, not only does it create a stunning visual but it shows there is a togetherness between the band and their fans that’s just wholesome. I stood towards the side of the crowd and had a great view of both the stage and the crowd and it was amazing to see both parties feed off each other to create a truly special moment. The set sadly flew by and it seemed to get to its conclusion far sooner than anyone (including the band, I suspect) would have liked. They saved a couple of surprises for the end though. The first being the current members of the band being joined by some old members for a song, during which Lois took the opportunity to crowd surf, and then as a final song all Drones members past and present performed together, in what I jokingly referred to as a McBusted moment. It was a pretty special moment to witness. It felt like a great way for the band to go out. This was not quite the end though, as the crowd demanded that Drones returned to the stage for a well deserved encore.

This was such a special way for Drones to go out. The room was full of friends of the band from all over the country for one last party with them. The whole evening was full of positive feelings and love and I felt particularly blessed to have been able to witness it. I’ve no clue what the members of Drones have planned but I suspect that we will see them pop up with other musical projects in the future – there’s too much talent in the band for them not do something else.

RIP Drones. Thanks for the music. Thanks for the memories.

This review was written by Colin Clark. Photos by Emma Prew.

Gig Review: Burnt Tapes at Old Blue Last, London 13/11/21

I was thinking the other day, something nice that has come from the all the bands not being able to play gigs for so long is that they’re all now back doing comeback shows. Every gig has felt like a big reunion with everyone in great spirits. It was now time for London’s Burnt Tapes to make their long awaited return to the stage with the help of Be Sharp Promotions. The whole gig felt like it would be a great big friends fest and that feeling was amplified with the addition of Triple Sundae and Katie MF.

The gig would be taking place at the Old Blue Last in Shoreditch, a venue I hadn’t been to in years. Leaving Liverpool Street Station we were really taken aback by just how many people there were everywhere. You don’t get this many people in New Cross. After getting some food in Spitalfields market, we made our way to the venue and once we were inside there was a nice feeling of familiarity to be surrounded by all the pals from the New Cross scene rather than all those pesky Shoreditch trendy types.

The always absolutely delightful Katie MF would be opening the night. Katie was playing solo acoustic this evening and amazingly, despite seeing her play a lot over the past couple of years, this was my first time seeing her without the band. Something I believe Katie is very good at is tailoring her songs for the type of gig she’s playing. On this occasion, she played more of an upbeat and rowdy set of songs than she would perhaps would at a folkier type of gig. The set mostly consisted of unrecorded songs that are getting me super hyped about her next release, whenever it may be. Something I’ve noticed in her songwriting is that her songs are getting more uplifiting. Her previous release Everything Trouble Meant was an EP full of sad break up songs but the direction she’s going now seems to suggest there is a bright light at the end of the tunnel where everything will be fine. It’s a message I love. She finished a glorious set with a song that Emma thinks is titled Set It Alight which got such a fantastic reaction from the Old Blue Last crowd. The best way to start the night.

Next to take to the stage were Triple Sundae. Before the supports for the gig were even announced I think most people would have assumed that Triple Sundae would be playing. The two bands have been playing together in the same London DIY scene since their beginnings and have become great friends over the years. It was only right that Triple Sundae played this gig. The band themselves had already played their triumphant comeback show a month earlier at Till The Fest but this didn’t dampen anyone’s excitement to see them take to the stage. I said after the Till The Fest show that it was perhaps my favourite time ever seeing them. I take that back. This was my favourite time seeing Triple Sundae. Since coming back, there seems to be a new found enthusiasm within Hassan, Zandro, Mike and Andy and they have really smashed their sets. The smiles on each member of the band’s faces was just lovely to see and they were putting everything they had into the performance. I can’t think of many bands that get the kind of reaction from their fans as Triple Sundae do. It really is a case of everyone in the room is in it together. So many times during the set Hassan just stepped away from the microphone and let the crowd take the lead vocals. It’s something you love to see. Something I always enjoy when I see Triple Sundae play is how they make a point to shout out everyone in the room who has helped and supported them over the years. The love that comes from the crowd is always reciprocated right back by the band. It’s how it should be. Another stunning set by Triple Sundae

It was now time for Burnt Tapes and the room was absolutely buzzing. This was their first London headline show since their album launch show for Never Better back in 2019. After setting up their gear, they then left the stage and some traditional Greek music began to blare over the Old Blue Last speakers. It really gave the set a big-time feeling and really added to the level excitement throughout the room. The band soon returned to the stage and kicked off their set with Getitgotitgood and Drift Champ ’16. From then on, the next forty five minutes was filled with big sing-alongs, crowd surfs and stage dives – and I couldn’t have asked for anything more. The set was full of songs from Never Better and their 2020 release Grower as well as a couple of special covers. With each song the reaction seemed to get better and better. I fully expected them to finish their set with Yuzi but they decided to include it early in the set. I got extra excited when they played Dirt Roads, as I’ve been asking them to play it for months and was it great to finally see them play it again. The two pronged vocal assault from Phil and Pan throughout the set sounded as good as ever and Tone and Jordan’s rhythm section proves once again that they are one of the best in the scene. After Dirt Roads, the band slowed things down with Lost In Transit. Midway through the song Phil decided to put down his guitar and jumped into the crowd to be surfed around the room before getting put safely back down on the stage. The Burnt Tapes have played a few Menzingers cover sets in the past and treated the Old Blue Last to renditions of I Don’t Wanna Be An Asshole Anymore (where Zandro of Triple Sundae sang lead vocals) and After The Party. Both went down an absolute storm. After the covers, the band finished the set off with Things Get Weird where Tone joined the crowd on the floor to start the song and then Don’t Make Me Play Bocelli. What an epic ending to not just an incredible set but a wonderful night.

I think that when I look back at this gig in the weeks, months and years to come, it will be one of my favourites ever. With everything that’s gone on over the past eighteen months this gig seemed to mean so much to so many people. The level of love in the room was something truly special to be a part of. As we left the venue (and walked awkwardly through the weird hip hop clone swaying dance party that was happening downstairs) we were on a massive high, absolutely buzzing with a night of brilliant moments replaying in our minds. I couldn’t help but think about how much the Tapes, as well as Triple Sundae, would’ve smashed The Fest if things had worked out better. These two bands, as well as Katie MF, deserve all the success in the world, not just because of their brilliant music but because they are amazing people.

This review was written by Colin Clark. Photos by Emma Prew.

News: Burnt Tapes Release A Brand New Cover

Our good friends in Burnt Tapes have just released a brand new cover song for us all to enjoy! The guys have been down to The Ranch with Daly George to record a cover of the Loverboys classic Working For The Weekend. Singer and guitarist Phil said "we were asked by Californian label Cleopatra Records to cover an 80s track as part of a comp that is coming out later this year. This track resonated the most because 'everybody's working for the weekend and everybody needs little romance' am I right people. Everybody needs some digital romance in the time of Corona!"

The band are working hard on their second LP that they hope to release later this year and they've also just released their first beanies that you can buy on their Bandcamp page now!

Colin's Top Ten Albums and EPs of 2020

I think it’s fair to say that 2020 hasn’t been a year with much to look back on too fondly. The Coronavirus has brought the world to a halt, people have died, people have lost jobs and businesses, and the world seems more divided than ever at a time when we should be coming together. The world of music has been hit as hard as any other industry due to bands not being able to play gigs or, in a lot of cases, even be able to meet up to practice. For a lot of bands, plans to get back into a studio to record new music has either been severely delayed or just cancelled all together.

I think it’s also fair to say that, because of what’s happened in 2020, it’s been difficult for a lot people to have the enthusiasm to check out new music. It’s been a mentally tough year for everyone and people have preferred to go back to old favourites that they find comfort in rather than going out of their way to find new bands. Personally, when I’m struggling I find a comfort and excitement in going online and discovering lots of new bands from the world of punk rock. I think 2020 has been a mega year for new music. Frankly, I’m surprised I’ve managed to find so many great new bands considering the restrictions in recording and playing shows. When we first started to think about our end of year lists there was a lot of worry about being able to pick ten new releases that you think are worthy of a top ten list. I ended up with a shortlist of about twenty five albums and twenty EPs. I also had to cut out a few splits as the decisions would have been far too difficult to make. As with every year, I’ve put far more thought into this than is probably necessary but I do have a big passion for promoting music I love and wish for more people to check out bands I think are amazing.

Before getting to the top tens here are some honourable mentions: Toodles & The Hectic Pity, Swayze, Out Of Love, The Chinkees, Beat The Smart Kids, Maladroit, Jerks!, Hangtime, Got Trash, Aerial Salad, American Television, Apathy Cycle, Bashful, Broadway Calls, Custody, Foreign Bier, Goldfinger, Jet8, Kid You Not, Less Than Jake, Millie Manders & The Shut Up, Panic Problem, The Raging Nathans, Red City Radio, The Special Bombs, Wolf-Face and The Yum Yums.

Lastly, before revealing my lists, I wish to point out this isn’t a list of what I think the best releases are. Music isn’t a competition and you can’t have a “best” album or EP because it is all subjective. This is a list of releases that I have had the most fun listening to, have excited me or have touched me emotionally.

Imagine reading almost five hundred words of an end of year list before finding out which bands are on the list, probably a bit of overkill really. Right, on with the lists.

Top Ten EPs of 2020

10. Dead Inside by CF98

One of the bands I was most disappointed not to see at the cancelled MPF this year was Poland’s CF98. In the spring they released this fantastic skate punk EP full of interesting, uplifting and powerful songs. In the past few years it’s been wonderful to see more and more bands that aren’t just men having impacts on the skate punk scene and Dead Inside shows exactly why CF98 are so highly thought of. When gigs are allowed again, CF98 are high on my list of must see bands.

9. Proper Confessions by Brightview

Brightview are one of a number of bands in this article that I discovered this year via Bandcamp. They are a three piece band from Germany who play emotional punk rock. When I first listened to their EP Proper Confessions I was instantly reminded of Against Me! and The Gaslight Anthem. At times the band has this raw, folky style and at times there’s a hint of Americana storytelling involved. I’m not sure why more people haven’t been talking about these guys as, to me, they are one of the most exciting new bands I’ve heard in recent times. If Stefan and the Booze Cruise team happen to be reading this, please could you find a spot on next year’s festival for Brightview – thank you!

8. You Belong Here by Shinjoku Riot

When I first listened to You Belong Here by Mexican pop punks Shinjoku Riot it almost felt like they wrote the EP with me in mind. All four songs have this wonderful sing-along quality, with Rafael’s vocals really seeming to have improved since their last release, All We Have Is Now. You Belong here starts out in an urgent manor and finishes with what I think is the best song they’ve written so far in Face First To The Ground. This is one of those releases that I imagine will be even better performed live than it is recorded.

7. Alright by The Hype Pathetics

The Hype Pathetics are a band that I covered quite recently and I had so much fun reviewing them that I had to include them in this list. The three piece from Denver, Colorado, play fast and fun power pop punk music. This EP is so much fun. It’s the type that will you have you at the very least tapping your toes but you’re more than likely to find yourself having a full on dance party wherever you are listening to it. Every time I’ve listened to it I’ve found myself shaking my thang and having the most fun in the world. Something that has been desperately needed in 2020.

6. Pretend It’s Not Over by Resuscitators

I was in two minds about whether or not to include Pretend It’s Not Over by Resuscitators on this list due to their connection with CPRW Records but then I listened to the EP again and decided I had to as it’s really, really good. I have a memory of the band’s drummer Kyle coming up to me outside New Cross not long after the EP had been recorded and playing me some songs on his phone. Obviously, being played on a phone outside of a busy gig, it wasn’t easy to hear the songs so clearly but what I did hear was superb and it got me excited for the release. In my opinion the EP is such a big step up from the band’s previous material and has hopefully showcased them to a whole new group of fans. If you enjoy fast, melodic, gruff punk rock then Resuscitators should be on your radar.

5. Grower by Burnt Tapes

I’m not sure there are many bands in the UK DIY scene that work harder than the Burnt Tapes. Never a band that stands still for long, the band released Grower this year. Featuring three brand new tracks alongside an acoustic version of the fan favourite Yuzi, this yet again shows some more growth in the band’s songwriting. With each release the band seem to find their sound more and more, along with gaining new fans with each release. The Tapes were supposed to make two trips to America this year and I’m sure that they would have received incredible receptions wherever they played.

4. Tales From A Red Flag Galaxy by Stubborn Hearts

Stubborn Hearts are another band I found on Bandcamp and had a really fun time reviewing. They are a two piece from New York who play urgent melodic punk rock. Tales From A Red Flag Galaxy blew me away the first time I listened to it. It’s a bit of a throwback to the 90s punk sound but also feels fresh. Lead singer Jenn Lombari’s vocals are captivating whether they’re singing in a fast paced tempo or a slower more angst-fuelled style. The songs are brilliantly catchy but also contain a lot of substance and, for a two piece, they manage to make a lot of noise. The EP also finishes with a wonderful cover of Outer Space by The Muffs, so check it out for that reason alone.

3. Someday, One Day by Modern Shakes

When I first heard Someday, One Day by Modern Shakes I fully expected the band to do the double for my favourite EP of the year, having previously topped 2019’s list with Murmur. It says alot about just how good I think numbers one and two in my list are that Someday, One Day is number three. I feel that the band are one of London’s best kept secrets and if 2020 hadn’t gone the way that it has then these guys would have played gigs all around the UK by now on the back of this EP. If you’re not aware of Modern Shakes yet, they are front by former Janowski frontman Ian Crooks, who in my opinion has one of the best voices in punk rock at the moment and they play melodic pop punk music that would fit perfectly on a The Fest line up. They write songs about life as you approach your thirties and the problems that you face. I’m looking forward to 2021 and hopefully seeing these guys absolutely smash it.

2. Straight To VHS by Abandon The Midwest

Straight To VHS has everything I love about punk rock on it – catchy songs that I can relate to, dual and gang vocals and a raw and urgent energy to it. From the first moment I listened to it I was absolutely hooked. It’s been out about six months now and I still find myself getting so excited whenever I listen to it. I really love the contrasting vocals the band have. BJ’s cleaner pop vocals and Matt’s raspy, gruff vocals give the band their own recognisable sound. When you hear a song come on you’ll know it’s Abandon The Midwest. The Orlando based band have also released my song of the year in Mistreat Yourself. It’s a mid-tempo sing-along, fist in the air riot that I am aching to see live. Hey Tony and The Fest team, if you happen to be reading this, could you put Abandon The Midwest on the line up next year please? Thank you.

1. My Name Is by ALLDEEPENDS

I don’t think I had a more anticipated release for 2020 than My Name Is by ALLDEEPENDS. After seeing one of their first gigs at Book Yer Ane Fest at the end of 2019 I was itching to hear some recorded material from the band. My Name Is was eventually released by the legends that are Make-That-A-Take Records in the summer and I was blown away. Combining folk, hardcore and rap – three genres that aren’t usually bed buddies – and creating one of the most unique and exciting sounds I’ve heard in forever. I can’t say enough good things about this band. They are the band that I’ve recommended whenever someone has asked for something new to listen to this year. The EP is full of this raw energy that explodes from the speakers and seeps into your body. I always find myself getting so pumped up whenever I listen to My Name Is. This EP reminds me of what I first loved about punk rock in the first place – it makes me feel things, it makes me think, it makes me sing and most of all it makes me smile. I really can’t think of a better debut EP I’ve heard in a very long time. I’ve been listening to it relentlessly for six months now and that excitement I had when I first heard the EP is as high now as it was back then.

Top Ten Albums of 2020

10. Walter Concrete by Dead In Four

Dead In Four nearly appeared twice on my lists as they also released a fantastic EP in the form of Media Shower in 2020. Another of my 2020 Bandcamp discoveries, Dead In Four is the project of Mark Oslord from Bedford, New Hampshire. Walter Concrete is the softer of the two releases but features ten songs of brilliant dreamy punk rock. Oslord’s voice reminds me of a mix of Em Foster of Nervus and Matt Skiba of Alkaline Trio and is just fantastic.

9. No Slow TempOs by Youth On Drugs

I think this year, more than any other, it’s been important to find the fun and silliness in music. Music, like a lot of art forms, is a type of escapism. No Slow TempOs offer one of the most fun releases of the year. This is catchy pop punk that doesn’t take itself too seriously, something that’s really been needed this year. Youth On Drugs have such an infectious sound and every time you listen to them you’ll find something new that you love. Is there a country that produces better pop punk bands than Canada?

8. Magic Summer by The Sewer Rats

I’ve been in love with The Sewer Rats since first seeing them at Hamburg Booze Cruise in 2019. In the summer of 2020 they released a new album titled Magic Summer, released in the UK by our friends at Disconnect Disconnect Records, and it ruled. The four piece combine Lookout Records style pop punk with a hint of skate punk to create a sound like no other. Thematically the band talk about growing up and falling in love alongside more serious topics such as veganism. Whatever they’re singing about, you’ll be singing along with them due to their incredible skill at writing catchy hooks.

7. Can’t Complain by Kill Lincoln

Can’t Complain by Kill Lincoln felt like the most anticipated ska punk album to be released in years before it came out in August. It did not disappoint. Squeezing eleven tracks into twenty-nine minutes, the album is a high octane thrill ride that barely pauses for breath. Can’t Complain sees the band at the very top of their game, not just with their playing skills but also with their songwriting. It feels like the popularity of ska punk is rapidly growing again in the United States and Kill Lincoln are at the forefront of the new movement.

6. 42 Losers by Melanie

Emo/pop punk isn’t a usual go to when I’m checking out new bands but I absolutely loved 42 Losers by New Zealand’s Melanie. What really grabbed me about this album is the raw emotion that comes from James Dentice’s vocals throughout 42 Losers. Whether it’s more of an uptempo song or a slower track, you just can’t ignore them. Given that Melanie are based in New Zealand, it feels unlikely that I’ll ever see them live and this makes me sad. Good thing that I now have 42 Losers to listen to when I am sad.

5. Revolution Summer by The Suicide Machines

This might be a controversial statement (feel free to disagree in the comments) but I think Revolution Summer by The Suicide Machines is the best thing Fat Wreck Chords have released in years. The long running ska punks from Detroit returned with their first new full length in fifteen years and they feel invigorated. Revolution Summer retains all of the social political commentary that the band have become known for but there’s also a feeling of positivity that really took the album to another level for me. This is an album that’s compulsory listening in 2020. I’ve listened to it a lot!

4. Slurring The Rhythms by Shut Up! Twist Again!

European punk rock has become a big part of my life in recent years and I’m always looking for new bands to discover. Without a doubt my favourite discovery of 2020 are French indie punks Shut Up! Twist Again!. The band released their second album Slurring The Rhythms on Guerilla Asso and Fond Of Life Records in August and I stumbled across it a month or so later and was hooked. The thing that first attracted me to the band was their ability to write songs that make me want to sing along. I like to feel involved in the music I’m listening to and that’s certainly the case for Slurring The Rhythms. Musically you can hear just how much thought has gone into every song on the album and the use of gang vocals are second to none. Hey, Stefan, if you’re booking Brightview for Booze Cruise Festival could you also find room for Shut Up! Twist Again! please? 

3. The Spaces In Between by Arterials

Another band I’ve been telling everyone to check out this year is Hamburg’s Arterials. I first fell in love with them whilst watching them play on a boat in Hamburg. The energy that they had live was brilliant and lead singer Flo has those wonderfully raspy vocals that I always enjoy. I was lucky enough to get an early listen of the band’s new album, The Spaces In Between, during the spring and I knew straight away that it would place highly in my end of year list. Each and every song on the album spoke to me in one way or another. I think it’s important for punk music to make you feel something, whether it’s feelings of catharsis, empowerment and influence or anything else. The Spaces In Between is great at this. Topics such as mental health, political and social injustices, friendship and climate change are all featured on the album. If you’ve not checked this out yet then make sure you do soon, it’s another important record for 2020.

2. Me, Myself And Something Else by Call Me Malcolm

I’m sure nobody reading this is surprised to find Call Me Malcolm on this list. It’s no secret how much I love this band. When the band released Me, Myself And Something Else (on Wiretap Records no less) my first thoughts were how would it compare to the awesome I Was Broken When You Got Here, which is by popular opinion a masterpiece. Well, in my opinion, they topped it. Musically the album feels heavier and you can clearly hear that following Random Hand for much of 2018 and 2019 has rubbed off on Malcolm. Of course, the album touches a lot on mental health issues and coming to terms with your struggles, and the band continue to show what fantastic songwriters they are. The big highlight for me on the album is the stepping up of sax player Mark Farthing as a co-lead vocalist. When he takes lead he shines and it’s added an additional dimension to an already amazing band. There’s every chance that Me, Myself And Something Else would have been top of this list if I’d had the chance to see any of these songs played live this year, I can’t wait to get the chance to!

1. Get Your Retaliation In First by 3dBs Down

Get Your Retaliation In First by 3dBs Down blew me away like no other in 2020. 3dBs Down are a band that I discovered in the past few years after befriending Paul Smith of Be Sharp Promotions (yup, that guy) and him telling me over and over again how they are the best band ever. Fast forward to this year, when this album landed in my inbox. After seeing them live a couple of times I was expecting something decent but I really wasn’t expecting an album that is this good. The band somehow manage to combine pop punk breakdowns and ska upstrokes into one cohesive sound and also have the very best harmonies in the UK punk scene – past, present and probably the future. Get Your Retaliation In First is the band’s first album in fifteen years and it became the soundtrack of my summer. It’s also the album I probably had the most fun reviewing all year. It’s so varied, not one song sounds the same and there are so many little intricacies that you hear for the first time with each listen. I’m sure there were a lot of new people to the UK punk and ska scene that discovered 3dBs Down for the first time this year and this album is a perfect way to welcome them to what the band do. The album touches on many social and political themes but also has some of the most uplifting songs I’ve heard all year. This album really has it all, it’s a lot of fun but it also makes you feel things. And did I mention the harmonies? Jeez, they’re so good. I’ve got my fingers crossed that 3dBs Down will play Get Your Retaliation In First in full at some point next year. Hey Paul, can you book that please? Thanks! Get Your Retaliation In First is my favourite album of 2020.

This top ten was written by Colin Clark.