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.

CPRW Top Ten Albums of 2021: Part 4

BRETT

2021 was supposed to be the light at the end of the 2020 tunnel. There was some optimism for the worldwide vaccine rollouts (albeit at frustratingly slow rates in the non-First World) and news of some shows and festivals starting to take place, creating hope that things could return to some kind of normal. But ultimately new variants and travel restrictions eventually led to more of the same for many of us, except with fewer live streams this time.

Despite the difficulties of the past year, I am still super thankful to have made it through with my health, family and friends, and I’m hopeful that 2022 will bring with it better vibes and more live shows that I can actually attend.

I did not make it through the year on my own, so thank you to my favourite wife, Robyn, for all the support throughout the year and to the good folk here at CPRW for regularly providing me with a much-needed dose of reviews, as well as great playlists introducing me to a bunch of fresh music. As always, taking up the task of whittling down the list of releases to ten of my favourites has not been an easy one but it has been fun and I’m excited to see what everyone else picks as their favourites.

10. Nowhere Generation by Rise Against (Loma Vista Recordings)

Nobody is more surprised by this entry than me. I’m one of those Rise Against fans who considers The Unravelling and RPM to be some of the best hardcore melodic punk albums ever and pretty much most of what they’ve put out since then only serves to remind me of how good they used to be. Maybe I’ve grown up a little (probably), but something about Nowhere Generation just made me happy and brought me the kind of joy I haven’t felt with a Rise Against release in a long time. Sure, it’s less hardcore and more melodic, and the production is just as slick as you’d expect from Rise Against at this point, but none of this takes away from the dynamics and emotion put into some super catchy head-bopping songs.

9. We’re All Doomed by Avenues (SBÄM Records, Wiretap Records)

The latest addition to this list, Avenues, is a band I discovered while browsing the Wiretap Records webstore looking to buy some records. Even though it was unavailable on the site, I was convinced by the description of “classic skate punk singalongs, social justice, love/loss, and even nerdy video games” to add the album to my library and give it a listen. I was reminded of bands like Enemy You and The Fairmounts and was hooked from the very first listen. It’s only been in my library for a few weeks, but it has had a lot of play time already and as soon as circumstances allow, I will be putting in an order for the vinyl.

8. Noise Noise Noise by The Last Gang (Fat Wreck Chords)

Noise Noise Noise is the second Fat Wreck release for The Last Gang, and no matter your opinion on Fat Mike or his label, he does have a talent for picking bands and making them sound great. Brenna Red’s raw and distinct vocals sound better than ever. The tone of the bass guitar is one of the best I’ve heard all year and the production is just right. The Last Gang have essentially kept the ingredients that made their 2018 album, Keep Them Counting, so good and added more groove and reggae-ska into the mix to create a dynamic album that will keep you entertained from start to finish.

7. Dreamers by Chaser (SBÄM Records, Thousand Island Records)

If you listen to punk and need an injection of positive energy into your life, look no further than Chaser and their latest album, Dreamers. In spite of all the negativity we experienced in 2020/1, Chaser manages to deliver a message of optimism and resilience. Musically, the songs are still filled with the tight melodies, big hooks, punchy guitars, and speedy drum beats you’d expect from Chaser. The influence from 90s “EpiFat” punk bands is unapologetic throughout the album and the last song, in particular, features a number of references and serves as a tribute to the bands of that era.

6. Hindsight Is The Sixth Sense by Belvedere (Lockjaw Records, Thousand Island Records)

After being in the game for almost thirty years and a few line-up changes, Belvedere are still one of the bands that set the benchmark for skate punk against which all other bands are measured. The benchmark is moved a little higher once again with Hindsight Is The Sixth Sense. The complex melodies and lightning-fast riffs are perfectly executed and the crisp production showcases the talent of each individual band member. There are also some great guest spots from members of Less Than Jake, Wolfrik and Protest The Hero. Throw in the impactful and topical lyrics and you have close to the perfect skate punk album.

5. Fuck Art by The Dirty Nil (Dine Alone Records)

I don’t know what I expected when Robyn told me to listen to this new song ‘Doom Boy’ by a band called The Dirty Nil and played me this hardcore-esque intro, but after hearing the melodic verse (including the Turnstile namedrop) and catchy chorus I immediately wanted more. Fuck Art is packed full of melodies and lyrical hooks that are begging to be sung/screamed back at the band on stage. There is something for a fan of almost any guitar driven genre of music here, and will have even the most timid of fans bobbing their heads, singing along or shredding the air guitar in no time.

4. Twistin’ The Knife Away by Heart & Lung (Red Scare Industries)

I can’t remember how I came across Heart & Lung, probably through a CPRW playlist or recommendation, but it was well after the release of their 2017 album You Wanna Know The Truth. I thoroughly enjoyed that album and discovering them so late meant that I didn’t have to wait too long for a new full length. Twistin’ The Knife Away has at least as many catchy melodies and Fest-worthy sing-alongs as their previous outing, but with better production and tighter musicianship. There are hints of Dead To Me, The Dopamines and The Copyrights, so if you are a fan of any of those bands then I highly recommend Heart & Lung.

3. Glow On by Turnstile (Roadrunner Records)

A late introduction to Turnstile with Time & Space in 2018 made me an instant fan of their unique brand of hardcore and I eagerly anticipated the release of anything new from the quintet. Glow On is a natural progression for Turnstile but it also feels more bold, with genre-blending experimentation that is also in-keeping with the band’s hardcore roots. I’m pretty sure this album is going to be high on many end-of-year lists and I’m not ashamed to admit that my list is no exception.

2. Radical by Every Time I Die (Epitaph Records)

For the longest time, it felt like I just didn’t get the love for Every Time I Die. I had heard of them and listened to a few songs here and there but never really enjoyed it enough to commit to a full album. I decided to give Radical a try on its release day and now I can’t seem to get enough of it. The songs are so well crafted that you can’t help but feel the pure passion and intense aggression put in by the band. Becoming a fan so late also has the added benefit of allowing me to discover the band’s entire back catalogue, which is well worth the hype.

1. Ordinary Life by We Are the Union (Bad Time Records)

I have been a fan of We Are The Union since 2011 and have loved all of their previous releases. Ordinary Life, however, takes the band to another level and has ushered in the best sounding WATU so far. Reade and the rest of the band were able to find a new level of introspection with the lyrics while staying relatable and optimistic about self-acceptance. I knew from the moment I listened to this album back in June that it would be high on my end-of-year list. The songs are catchy and sincere, with enough ska, pop, and punk to keep this album in constant rotation and to make this my favourite album of the year.

If you liked my top ten, here are some other really great bands that released new music this year and which nearly made this list: Our Darkest Days, Catapults, Gibberish, On A Hiding To Nothing, and Douglas Firs.

If you’ve got this far, thank you! You might be interested in some other things I’ve enjoyed from this year:

One of the only live shows I attended with two of my favourite local bands Monday Morning Justice and Fuzigish.

EPs from Meet Me @ The Altar, Beach Bunny, Rest Easy, and American Thrills.

The Enemy You tribute by The Lillingtons. 

Propagandhi’s Today’s Empires Tomorrow’s Ashes reissue.

The Monday Morning videos and surprise live album from MXPX.

Mare of Easttown.

Watching Breaking Bad with Robyn.

The Formula 1 season but not the FIA.

EMMA

To quote The Burnt Tapes, this year’s been a weird one…

Gigs came back eventually this year and live music reminded me once again how much I love and appreciate having music in my life, which was especially important for me as I spent much of this year just not really being all that into music. I do feel like this year has not had nearly as many releases as other years – of course, we all know why that is – but those that I have enjoyed, I’ve enjoyed a lot. My list doesn’t feature as many UK (or European) artists as previous years but I fully expect 2022 to make up for that. Also, there have been a lot of good US albums released this year, so I guess that’s just how it goes…

10. Death Of A Cheerleader by Pom Pom Squad (City Slang)

I know very little about Pom Pom Squad, but what I do know is that I discovered them at some point early this year (it might even have been last year) on one playlist or another – and I instantly loved what I heard. I didn’t know if Pom Pom Squad was a band or a solo project – I’m still not entirely sure – and I only just found out that they are based in Brooklyn, NYC. In June, I happened to see that they had a whole new album out and quickly added it to my listening library. Death Of A Cheerleader is a perfect blend of exhilaratingly raw riot grrrl energy and catchy pop sensibilities. It’s well thought out as an album with a smattering of electronic interludes and sample snippets that make the whole thing feel like it could be a soundtrack – about a badass feminist cheerleader who’s out to tear down the patriarchy, obviously.

9. To Bloom Is To Grow by Passionflower (Self-released)

This album would make my list for the track Neverland alone – which might just be my favourite song of the year – without even considering the rest of it (which is also very good!). Passionflower were a new discovery for me this year and they’ve fast become a band that I’m very excited about. Based in Warrington (UK) and fronted by Kyle Richardson-Nickle, Passionflower’s music is a wonderful combination of melodic emo and energetic post-hardcore. When I first heard them (with the aforementioned Neverland), I was instantly reminded of Funeral For A Friend who are probably my favourite band from the 2000s emo era, but that’s not to say that To Bloom Is To Grow is just a nostalgic rip-off. There’s definitely a freshness to Passionflower’s interpretation of emo and I’m all for it.

8. Matador by Burning Flag (Self-released)

I am not usually much of a hardcore fan, particularly on recording, but when the band is fronted by someone as inspiring and relatable to me as Holly in Burning Flag, I can’t help but pay attention. Matador is as ferocious and cathartic as it is thought-provoking, with songs tackling subjects of toxic masculinity and misogyny as well as the general dire state of Britain and its politics. Standout tracks for me are Man Up, Toxic By Design and Eat The Rich but the whole 30 or so minutes album is intense – in the best way. Hopefully 2022 is the year I get to see Burning Flag live, assuming I’m brave enough for a hardcore show!

7. Graceful Rage by Harmony Woods (Skeletal Lightning)

I almost forgot about this album when it came to putting together my shortlist but as soon as I hit play on the first track, Good Luck Rd., again it all came flooding back to me and I knew this had made my top ten. This is an album of heartache but instead of making you feel sad, it makes you feel empowered – particularly if you are a woman. The album is about processing grief and trauma but it feels like Harmony Woods are coming to terms with these feelings throughout the album and those experiences have just left them feeling stronger. Vocalist Sofia Verbilla’s voice is absolutely incredible, like jaw-dropping-ly good – they’re undoubtedly the ‘best’ vocalist of any on my list. It’s only when I’ve come to write about this album that I’ve realised just how apt its title is. ‘Graceful Rage’ really is the best way to describe these songs.

6. Bless My Psyche by Sincere Engineer (Hopeless Records)

2021 has been another year of new musical discoveries for me but it was also the year that one artist that I was already well acquainted with, Chicago’s Sincere Engineer, would release their much anticipated second album. The wait was finally over come September and, because the band had released a fair few singles in the run up to the album’s release, I already knew that Bless My Psyche was going to be great. I was not wrong. The album is a bit of a leap forward from their 2017 debut, Rhombithian, with perhaps a bit more of a polished full ‘punk’ band sound but it still retains elements of Deanna Belos’ acoustic roots – not to mention Deanna’s self-deprecating humour. The relatability and level of emotion packed into these songs is what makes it so appealing and the melodies throughout are pretty darn catchy too. I really hope I get to see Sincere Engineer live next year.

5. Ordinary Life by We Are the Union (Bad Time Records)

Confession time: I’d not really listened to We Are The Union before Ordinary Life was announced and the band released lead single, Morbid Obsessions. It was oh so catchy – the perfect balance of ska and pop punk – and, of course, told a very personal story for vocalist Reade Wolcott, coming out as a trans woman. It’s not something that I can relate to personally but I can certainly appreciate how powerful the message of the song is – I can’t help but think that it must be a huge comfort to trans folk in the ska and punk scene. Ordinary Life is the perfect blend of honest lyrics about dysphoria and heartbreak with hook after hook and catchy choruses a’plenty. There’s been a lot of great ska punk releases this year – this is one of many on the Bad Time Records roster alone – and this is certainly one of my favourites.

4. Call In The Mess by Nervous Dater (Counter Intuitive Records)

Due to it being released way back in February of this year, Call In The Mess must be one of my most-listened-to albums of this year – and I’m not sick of it yet! After getting into Nervous Dater’s previous album, 2017’s Don’t Be A Stranger, in a big way towards the end of last year, I was very pleased when I found out that I didn’t have long to wait for the follow-up. This is an album that I fully intended to write a full album review of earlier this year but, well, life got in the way. The album is full of fuzzy indie punk melodies and some of the most wonderful vocal harmonies, thanks to all three members of the band sharing singing duties throughout. I feel like there’s a fair amount of variety throughout Call In The Mess – not just due to the different vocalists – from the country flavours of Farm Song to the crunchy upbeat pop punk of Tin Foil Hat and Red String Map. There’s a lot to love here, for sure.

3. The First One by Andy B And The World (Pookout Records)

You might not know who Andy B is (former Fandangle and New Riot bass player), but I bet you’re aware of many of musicians who make guest appearances on this album – members of Less Than Jake, [Spunge], Random Hand, Call Me Malcolm and Lead Shot Hazard, to namecheck but a few bands. The First One is an album that has been over four years in the making and features over 130 different musicians from all over the world. But that’s not what makes this album so impressive, nor why it appears so high on my end of year list this year. What makes this album so great is quite simply how good the songs are. Genre-wise, The First One is first and foremost a ska punk album but there’s an awful lot more to it than that. There’s elements of folk, reggae and straight-up punk rock on show here and no two songs sound alike. Lyrically, the album tackles themes of mental health, friendship and politics – topics that I know are incredibly relatable in the world of punk rock and beyond. Despite the amount of guest musicians involved in this project, I can’t help but feel that The First One has fallen under the radar a little bit. If you haven’t listened to it, now is the time! You won’t be disappointed.

2. Swim Out Past The Breakers by Telethon (Take This To Heart Records)

Like Sincere Engineer, the new album from Wisconsin five-piece power-pop band Telethon was one I was very much looking forward to. You might think that greatly anticipating an album could lead to disappointment but that was never going to be the case with Telethon. They’re a band who are not afraid of doing things a little differently and somehow they still managed to surpass any expectations I might have had when they released Swim Out Past The Breakers in August this year. There’s so much going on throughout the 16 track album (side note: normally I would consider 16 songs to be far too many for an album but not here) that, despite having listened to it seemingly non-stop since its release, it feels like there are always new things to discover. It spans multiple genres and features a host of recognisable guest vocalists but each and every song manages to retain that iconic Telethon sound all the same. I was a big fan of their previous album, Hard Pop, in 2019 but this definitely tops it. Now I just need to get my mitts on the vinyl…

1. Like A Stone by Remember Sports (Big Scary Monsters, Father/Daughter Records)

Like A Stone is one of those albums that just makes me FEEL things. I can’t even really begin to explain what it is about the album that connects with me like nothing else that I’ve heard this year. The album was released towards the end of April and it was a time when I just wasn’t listening to much music at all. In a way, I’d fallen out of love with music and was finding solace, that I previously would have found in music, in books and podcasts instead… But then I listened to Like A Stone by Remember Sports and something just clicked. It gives me warm fuzzy feelings from start to finish and vocalist Carmen’s lyrics just seem to speak to my soul. Every. Single. Time. Sonically it’s a flawless combination of distorted indie rock riffs, melodic hooks and subtle harmonies with a surprising amount of country twang thrown in thanks to the addition of some banjo and pedal steel guitar. I haven’t heard nearly enough people talking about this band and this album (except for CPRW Marcus!) and I don’t get it. This album is amazing and I wish that everyone I know could get that.

BONUS: Bad Operation by Bad Operation (Bad Time Records)

I have to give an extra special shout out to the self-titled debut album from New Orleans’ new-tone punks, Bad Operation, which was released on 18th December 2020. It’s one of my most played albums of this year and, even twelve months later, I still just can’t get enough. If it had been released just a few weeks later then I have no doubt that this would appear very high on my top ten albums of 2021. I am very, very excited to see what this band does next.

Other albums that didn’t quite make the cut this year include The Battle Of by Bong Mountain, Dark Hands, Thunderbolts by Crazy Arm and Heat by The High Times.

There were also a load of brilliant EPs released this year that it would be remiss to not mention. My favourites were: Attempts At Understanding by Animal Byproducts, Blame Game by Beach Bunny, Hey Tori by Cherym, The Summer I Got Good At Guitar by Fresh and Saccharine by Pinkshift.

Bring on 2022!

DAN #2

So, last year, during the covid times of 2020, I felt like I was mainly sinking my teeth into my traditional comfort foods when it comes to music – that being political punk rock or emotional pop punk. So it felt like I didn't do a lot of listening to new music which wasn't all a bad thing but I felt like I was missing out on some new band. This year I went out of my way to do exactly the same again this year! Whoops! Maybe next year I will manage to push that comfort zone a little further but, regardless, I'm happy to talk about my top ten records of this year! 

10. Inside (The Songs) by Bo Burnham

Like lots of people this year, I watched Bo Burnham's Inside comedy special on Netflix and fell complete head over heels for a perfect blend of jokes, songwriting and life crippling introspection like we have never seen recorded before. Then, shorty after, I ended up downloading the songs from the special and can say that I have made more connections with the darker emotions portrayed in these songs than most other music this year. It's terrifying how well these songs explore the anxiety of being an artist during a pandemic and this currently awful world we exist in. It comes across as one of the most interesting records this year that I could easily recommend it to anyone who enjoys punk!

9. Hindsight Is The Sixth Sense by Belvedere (Lockjaw Records, Thousand Island Records)

This is record is the year’s face-melter stuffed with riffs to the brim,.Belvedere's new offering is everything you could hope for from one the masters of skate punk! This one feels like it has no off switch with every song being a perfect showcase of why skate punk musicians are not humans but gods of their instruments and writing songs where all that complexity blends perfectly together. My personal favourite were "Elephant March" for one of the coolest opening hooks of all year and "Camera Obscure" for its amazing harmonies! 

8. Nowhere Generation by Rise Against (Loma Vista Recordings)

"I'm gonna skip this one, it's finally the Rise Against album that isn't aimed at me" – That's what I thought when I heard the title track. But after giving the opening track a listen, I was reminded exactly why I'm still a huge fan of this band’s tight political punk rock that is still accessible to a wider audience and that Rise Against are still the best at making. Tim's voice at this point is a honed machine belting some of the best chorus hooks of this year. The track list is varied with songs like "Talking To Ourselves" appealing to new fans while "Broken Dreams, Inc" and "Monarch" are more skate punk in sound and speed! Honestly, this one feels like it blew the doors off my expectations and I'm stoked to have it on my list. 

7. Hearts Of Gold by Dollar Signs (Pure Noise Records)

This one feels rough around the edges in all the right ways. Dollar Signs make each and every one of their gruff pop punk songs feel super personal with brutally honest lyrics that border into too much information, with the confessions of weakness and stories that don't show them in the best light but it really makes them connect! The production and writing adds to the DIY feel which adds to the charm and honesty. "I Love You" is the most real love song I have heard this year. I loved this record from the first listen and it has just grown on me even more as the year has gone on.

6. [laughs] by Kali Masi (Take This To Heart Records)

My oh my! This one is special, I would be surprised if this one doesn't top everyone else's lists! Kali Masi have created this perfect pick of gruff punk rock slow jams tugging at heart strings like losing old friends might. I'm normally the person that avoids the slower release of the year but every single verse hook held my attention and the emotion rich texture of the vocals is so good. It is a perfectly produced record with nothing sounding out of place with some of the best builds and payoffs on this list.

5. CLOUDS (THE MIXTAPE) by NF (Self-released)

As usual I'm breaking Colin's Punk Rock World by putting a single rap album on my list! NF's emotion rich rapping style and dynamic almost movie soundtrack like beats have always been the big draw but on this record his lyricism and rhymes schemes have taken centre stage, creating some of the most unique and hard hitting songs I have heard this year. The storytelling throughout in "Story" and a Tech N9ne feature on "Trust" were my personal highlights.  

4. Our Hell Is Right Here by Drones (Lockjaw Records, Thousand Island Records)

Drones’ third full length solidifies the ground work done by "Exiled" with a confident step forward. Every song is a punk rock banger with a teeth kicking chorus to match and the drumming on this record and keep the blood pumping throughout! The production is super sweet blend where the guitars and drums sound powerful without overshadowing the big chorus hooks! Also "Lost In Translation" is easily my song of the year, I must have looped it about 20 times after hearing it for the first time and I will still happily listen to it on a loop for the bass fills alone!

3. Megabear by ME REX (Big Scary Monsters)

Megabear is the most ambitious record on this list. A 32 minute 52 song masterwork which is designed to be played in any order, perfect for the streaming age! This new release from ME REX has been the sound track to every late night drive, every sad evening and every dark night long inspiration search. It is full of call backs, perfect hooks, amazing lyrics and positively chilling chords. Like last year, they have brought me to tears of joy and I barely have the words to describe why. The party is never over but I don't really mind ’cause they are playing this record from the speakers and it makes me feel safe, happy and fulfilled! 

2. Beginnings by The JB Conspiracy (Everything Sucks Music)

Not a single wasted second is how I would describe this album. The JB Conspiracy sets a new bar for UK ska punk in perfection with every unskippable song being either a powerful pulse raiser or a flawless flowing singalong. Nothing falls out of place, all the instruments play their parts adding to the fullest sounding record I have heard all year and the vocals are belted out in amazing high ranges that complement the deep and powerful sound of the instrumentation. "Egos At The Door", "Battles" and "Head/Toes" is my favourite run of 3 songs ever with the transitions from one to the next being perfection. To top it off, getting to see JB play a handful of these masterpieces live in Bristol and London made this my solid number 2 pick of the year. 

1. Rare Americans 2 by Rare Americans (Self-released)

I can name every song off this record, I can sing you every hook on this record and, until this year, I had never heard a single song by Rare Americans but I'm now one of their biggest fans. They have captured the same energy as a later Streetlight Manifesto album with the story telling through the lyrics to back it up, without ever being able to tell what is coming up next. Each note played on every instrument complements, back-ups and improves every song – I can't fault it. There is a great deal of skill in making an album that seems to contain so many different sounds and style of songs, with them all fitting together. "Brittle Bones Nicky" is the best opening song I have heard in all year and "Berlin" is the best slow song. I get inspired every time I have listened to this record and I'm sure I will come back to it every year. 

Gig Review: Till The Fest Day Two 9/10/21

Day two of Till The Fest (read day one here) started with a 5-a-side football tournament organised by Giles Bidder. I won’t talk too much about the highs and lows of the tournament but I will say my team, Atheltico Shit Show, battled bravely to a third place finish with Be Sharp’s Paul Smith finishing as our top scorer and Harsh Buzz’s Adam “sixpence” Dray as the assist machine.

After the football tournament finished we hurried up to The Amersham Arms to catch Our Lives In Cinema. Because of the timing of the football I was unsure whether or not I’d have time to catch OLIC, this made me sad as they’re a great band and their lead singer Mark Bartlett is the biggest sweetheart in punk rock. I haven’t seen Our Lives In Cinema since they kindly opened Do It Together Fest in January 2020 (that was potentially the last time they played?) and I was keen to have another sing song with them. This was also their first show with Mike from Müg on drums, a fantastic addition to the band. The band opened their set with the amazing It’s Always Sunny In Patterson Park and I was immediately loving the set. The set was made up of tracks from their two exceptional EPs. They may have also played a brand new song but I could have potentially made that up? It was a joyful start and set up what was going to be a lovely day brilliantly.

After OLIC finished their set, I rushed back to the Air BnB to get showered properly after football. There was no way I wanted to spend another eight or so hours in my sticky football gear so off I went. Definitely the first time I’ve showered between sets at a festival!

I made it back to Amersham with plenty of time to spare for what was one of my most anticipated sets of the entire weekend – the return of Triple Sundae. I was actually back in plenty of time as the band were only just getting ready to set up when I got back to Amersham. It was nice to have more time to catch up with folk we’ve not seen for ages! Soon enough, after drummer Zandro had sorted out some drum stool issues, the band were ready to go. The band had only had one practice prior to the gig and had a stand in bass player in the form of Connor from SKIV so you could forgive the band if they were a bit rusty. Instead they played what was potentially the best Triple Sundae set I’ve ever seen. From the opening of Fabricated to the end of Indecisive it was all big, passionate and emotional sing-alongs. They took us back to 2014 with a rare play of Unseen from The Brainfreeze EP which included New Cross regular Theo jumping on stage to sing with the band. Other highlights included the huge singalongs for Everything’s Cool and Dazed and just seeing the smiles on the band members’ faces throughout. You could see there was a feeling of “this is why we do this” whilst the band played their set. Triple Sundae were due to have a massive year in 2020 only for the pandemic to cruelly ruin all of their plans but on this evidence they seem to have a new wind in their sails, ready to go bigger than ever before. It’s something they really deserve; the folk of London have known for years just what an amazing band they are and it’s time for the rest of the UK and beyond to find this out as well. I can’t wait to see them get back on stage again with their friends in Burnt Tapes on November 13th at the Old Blue Last. See you all there.

When I originally worked out my schedule for Till The Fest I had planned to see Transit Plan next but unfortunately they had to pull out of the festival. Instead of seeing another band we decided to take the opportunity to grab some dinner at Radio Delicious which is a pizza place just across the road from New Cross Inn. The pizza was delicious and gave us a great opportunity to hang out with some friends in a quieter location. Great pizza, great friends, great times.

After our pizzas, we made our way down to Matchstick Piehouse for the first time today to see Party Boss. Party Boss are a three piece from London who had spent the week on tour with Dutch punks Sweet Empire. We arrived at the venue a little while after the band had started playing and it was great to see an enthusiastic crowd had gathered for them. Kyle of Resuscitators was having a particularly good time dancing around in front of the band. The set up in the Piehouse had the band on the floor, which gave the venue a fantastic DIY punk feeling that worked so well for Till The Fest. I imagine Ollie has promoted many floor shows over the years so it seemed very fitting. Despite only being a three piece I was very impressed with the band’s stage presence, they had me captivated throughout. I think the only time I looked away from the band was to tell John Allen of Disconnect Disconnect Records (who released the Party Boss single) how good I thought they were. So far Party Boss have only released two songs, both are melodic punk bangers that are crying out to be shouted along too. This was the theme of the entire set and they got me so excited to hear more from the band.

After Party Boss finished their set, we left the Piehouse to make our way to the New Cross Inn to see Redeemon. On our way there I had a message from the beautiful Matt Speer of Ear Nutrition fame telling me that unfortunately they were stuck in traffic and wouldn’t be able to make the show. Disappointing news but it did mean we would be able to see all of Sweet Empire who were the next band at Piehouse. It was great to see Sweet Empire back in the UK. There’s an amazing amount of great bands in Europe and since the morons of the UK decided to vote to leave the EU, there’s been a real concern on whether they could come over here for shows. Sweet Empire found a way though and played a brilliant set. The Dutch four piece play a unique brand of melodic skate punk and always impress when I’ve seen them live. A big crowd squeezed into the Piehouse to see them. It seems that Sweet Empire have made a lot of great friends in the UK who were all very pleased to be able to see them live again. One of my highlights of the weekend for sure.

Next for us was Drones at the NXI. I have to be honest and say that Drones aren’t a band I often listen to at home but whenever I see them live I’m always extremely impressed. The band were in the middle of a UK tour so they were really on form. A decent sized crowd had gathered at the New Cross Inn for Drones who were already tearing the roof of the venue. Drones are one of those bands that always seem to kill it live, playing with so much passion and energy. Each member of the band is extremely watchable on stage, it doesn’t seem to be one person doing the bulk of the performance work (if that makes sense?). During the last year the band released their latest album, Our Hell Is Right Here, on Lockjaw Records and it was great to hear some of these songs live. During the set I popped down to the downstairs bar, when I returned I noticed the crowd had split down the middle and singer Lois was perched on top of the bar singing Rorschach from the Exiled album. Drones have earned themselves a reputation for being one of the best live punk bands in the UK at the moment and it’s clear to see why on this evidence.

Soon it was time for Call Me Malcolm to once again take to the NXI stage. We were fortunate enough to be able to attend the band’s album launch show a few weeks earlier but were just as keen to see the band again. This was also a great chance for a lot of the people from out of town to see Malcolm play at their home venue. If you’re a regular reader of CPRW you will know that Malcolm did not disappoint. As you might expect, the set was packed with songs from their newest album, Me, Myself & Something Else, as well as some favourites from I Was Broken When I Got Here. As soon as the band kicked off the capacity New Cross Inn crowd really lost it. I don’t think there was a stationary body in the room. Lucias and Mark’s dual vocals were on top, top form and every word was lovingly sung straight back at the band. When I reviewed Me, Myself & Something Else last year I commented on how Mark seems to have taken extra vocal responsibility, and this has enhanced the Call Me Malcolm live experience even more. It was already a pretty special thing but now, wowzas! The way the crowd reacted and the way the band played, you could’ve been forgiven for thinking this was a headline slot but there was in-fact another band to go. Call Me Malcolm are gigging all over the place for the rest of the year, make sure you go and see them ASAP.

I think you have to be one hell of a live band to follow Call Me Malcolm and still keep the energy in the room high. That was the task for UK ska punk legends Sonic Boom Six. Amazingly the band were making their very first appearance at the New Cross Inn. This was also the band’s first live appearance in two years. Any worry I might have had about the band keeping the energy up after Malcolm was soon forgotten as soon as the band started Bigger Than Punk Rock and the crowd, especially some die hard Boom fans down the front, began to move. I did feel like Laila’s vocals were a bit quiet but that was most probably down to where we were stood at the side of the stage. SB6 were showing exactly why they’re so highly thought of in the UK scene, bringing out big tune after big tune. It’s easy to forget just how many great songs the band have written throughout their career. From old favourites such as Sound Of A Revolution and All In to newer tracks like No Man, No Right and My Philosophy to everything in between. It was nice for the band to bust out Sunny Side Of The Street, I joked with a friend that it was because they hadn’t played a show for two years and needed a breather. It was awesome to hear that track live again. Another highlight was For The Kids Of The Multi-culture, a song that is still so relevant despite being released nearly a decade ago. Barney Boom added an extra, updated verse to the song which was a nice touch. The band then finished with Piggy In The Middle followed by a special surprise cover of Operation Ivy’s Sound System. A great way to finish the day…or was it the end?

Triple Sundae’s Hassan would be performing a special after party set as Lounar down in the NXI basement. A small and hardy crowd gathered to watch Lounar perform their hip hop songs, assisted by Till The Wheels Ollie on the decks/laptop. I know that earlier in the day Hassan wasn’t really feeling doing the set so late as he was tired but was convinced to do it anyway and I’m glad he did. This was such a nice, chilled way to finish what was an exhausting day surrounded by friends watching one of the most talented people I know perform his second set of the day. If you haven’t yet, check out Lounar’s debut EP, Daye3, here. All proceeds go to Medical Aid for Palestinians.

This was another brilliant day at Till The Fest, I was starting to feel broken but was also really excited for the third and final day. Also known as Lightyear day!

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

Album Review: Our Hell Is Right Here by Drones (by Robyn Pierce)

Drones is one of the many awesome bands I’ve discovered through Manchester Punk Festival, and I was an early fan of theirs in 2018 when their first album Exiled came out. Their debut release already showed an intense, high-energy band, with amazing musicianship and a sharp socio-political focus, and it was easily one of my favourite albums of that year. So, I was really happy when they announced that they’d be releasing their next album on Lockjaw Records in February, and the album title of Our Hell Is Right Here seemed to suggest that Drones may once again be calling out social injustice and exploring difficult issues. The band has been through some tough times and had to overcome the additional challenge of recording during a pandemic, which perhaps makes this album a little more special. After getting into it, it’s clear the second album still has all of the lashing energy of the first but also includes more personal topics and a gritty but hopeful energy.

The album bursts open with ‘Please Vacate the Planet’, hitting you right away with pounding drums and ripping guitars. These are soon joined by Lois McDougall’s powerful vocals, which all work together to give Drones the big and layered sound I’ve come to love. It’s a lot like Rise Against, particularly their older faster-tempo songs, although Lois’s unique voice really sets them apart. The first track is quickly followed by the aggressive self-love of ‘Live and Let Live’ and the title track ‘Our Hell Is Right Here’, both backed by big hooks and a driving beat. In the first, Lois sings about having the courage to be yourself and not striving for external validation, while the latter delves more heavily into shared pain and betrayal. ‘Manipulate’ completes this high-tempo start to the album, including some gorgeous background “woahs”, before slowing things down with a call to ‘Listen’. ‘Listen’ is a short acoustic song with some beautiful synth embellishments, reassuring those who may be struggling with mental illness or who “feel like dying” that they’re not alone and that someone is willing to listen.

‘Learn’ is the longest song on the album at just over four and a half minutes, building up some staccato guitar chords into a soaring chorus, with some added technical flourishes here and there. It’s a song that really showcases the band’s prowess as musicians and as songwriters. Next up is ‘Josephine’, which was released as a lead single together with a trippy animated music video featuring a dangerous space mission, alien strippers, and overindulgence. It’s driven by a fantastic central riff and a catchy chorus, strategically slowing down in parts just to build right back up to a glorious rip-roaring ending. Coming into the second half of the album, ‘Lost in translation’ is a blistering two-minute track about emotional vulnerability and how “you’ve got to learn how to share if you want to live”. ‘Epitaph’ is a solemn mid-pace song about the terrible things the mind whispers in our darkest moments, while ‘Colourblind’ leans a little more into hardcore and ‘Grey Matters’ delivers more fist-pumping goodness. ‘Void’ has a killer breakdown that I would just love to hear live, and the whole album wraps up with the rousing call to action of ‘Warning Signs’.

Our Hell Is Right Here is an excellent second album from Drones, with gloriously big guitar riffs, incredible vocals, and raging melodies. While the songs differ to those on their first album in turning their attention inward to more personal matters, it’s a welcome reminder that we owe just as much to ourselves as we do to others. This is an album that celebrates resilience, grit, as well as vulnerability, and delivers high-energy hooks from start to finish.

Stream and download Our Hell Is Right Here on Bandcamp here.

Like Drones on Facebook here.

This review was written by Robyn Pierce.

Gig Review: MPF Presents Bands In A Brewery at Signature Brew, London (by Dan#2)

When I saw the line-up for "MPF Presents: Bands In A Brewery" had two of my current favourite UK bands in Just Say Nay and Drones, it was a no brainer. I had to go to this warm-up event for the fest! When I got there, I quickly learnt that some of the MPF crew had been at the Signature Brewery for the whole day, brewing the exclusive MPF 2020 signature beer. Furthermore, they had tied it in with International Women's Day, by inviting some of the women playing at MPF, along with the female members of the MPF crew, to be the ones to brew this year's signature beer for the festival. This in itself is very cool, but the afternoon's booze-up also kicked off the show with a nice, friendly, warm vibe, despite being in a freezing cold warehouse!

I walked into the main room in the warehouse and was instantly impressed by the massive brewing equipment, which made for an awesome backdrop to the night. As I entered, Chloe Glover was just beginning her set of lovely acoustic songs in a folky punk style. It was really cool to hear Chloe's powerful voice filling the room and bouncing off the walls, making the most of the echo. I found myself closing my eyes and soaking in the complex sound above the noise of people chatting (as pretentious as that sounds). Chloe's songs struck a real emotional chord with me, and I found myself smiling at her lyrics about being a disappointment to your parents – sounds as though we're in the same boat. She has an EP called "Dark Matter" coming out on 20th March which I'm now really looking forward to picking up!

I was stoked to see Follow Your Dreams once again deliver on their brand of ferocious hardcore. The room's aforementioned echo had a really interesting effect during this set, adding to the intensity of the drums in the hard-hitting sections, but also adding to the moments of respite as the echo of the guitars faded. They played some great new songs from their upcoming album which was really cool, but the definite highlight was them treating a little girl (vocalist Kaz’s niece) on her birthday – first, they had her announce them after their first song, then treated her to some crowdsurfing later on in the set. It was magical to see some wholesome hardcore with Follow Your Dreams living up to their name by helping a little girl follow hers!

The next act was Katie MF, and this was actually my second time seeing her perform this week. Despite the band’s drummer, Tobias, playing the entire set one-armed due to an injured shoulder, the whole set still sounded great: Katie's vocals filled the room beautifully, giving the songs a nice extra kick. One of Katie's new songs, "Clusterfuck", really stuck out from the rest. After the set, I caught up with Colin and we discussed Katie's knack for writing great political songs you can get behind – not to mention her kick-ass-Against-Me-rock-and-roll vibes.

I was really worried about how Just Say Nay would sound, being a ska band in such a big room with their staggering 8 members. It really worked for them, though – the room's acoustics really drew out the brass and flute. I love watching these guys perform every time: their chemistry on stage, their songs and the energy they give out is just the best – they're always a pleasure to watch. My personal highlight of their set was getting to hear the new single "You Embarrassed Me in Front of Jamie Lenman" live, it was a lovely addition to the set against some of the old songs like "Pass Me A Cloud".

Drones don't play that frequently, but every time I see them perform I find myself wishing I get to see them more often. Their political, blood-pumping anthems make them one hell-raiser of a headline band. Their new material sent shivers down my spine, and I was super happy to finally get to hear "Graves" (my favourite Drones song!) along with "Shells Fall, Pins Pulled" which sounded absolutely fantastic with Lois singing it. Midway through the set, Lois was handed two crates of beer from Signature Brew to give out to the crowd. The beer was quickly placed into the crowd and was immediately circle-pitted, then danced around like an idol! Drones also sparked a very drunken human pyramid which ended up collapsing in on itself in a cascade of laughs! They closed with "Inferno" which was the perfect end to a great night.

Seeing so many friends from the UK scene in the same place reminded me of last year's MPF’s vibe and got me excited for the fest in April. A lovely, boozy warm up show!

This gig review was written by Dan Kilvert. Photos by Emma Prew.