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.

Album Review: Successfully Not Giving Up by Captain Asshole

If I’ve spoken to you about any one band over the past three years, there’s a very high chance that it’s Germany’s Captain Asshole. I first discovered them after they sent me their debut album, What An Awful Life, for me to check out. I instantly fell in love with the band and have been championing them to anyone who will listen ever since. Earlier this year the band released their second album, Successfully Not Giving Up, with the support of SBÄM Records and Say-10 Records.

Now whenever a band release a follow up to an album I absolutely adore, there’s always the worry of disappointment. Will they capture the same magic of what came before? Will they rest on their laurels and phone an album in? Will it click with me in the same way? These are all thoughts that ran through my head when I heard about this release. Happily, Captain Asshole seem to write songs that are completely tailored to my own personal pop punk tastes. Gruff vocals, big choruses, loads of energy and gang vocals galore. As soon as I heard the first single, Dave Lizewski, I knew I didn’t need to worry – this was going to be another special release.

Successfully Not Giving Up begins with the first single, Dave Lizewski. In true Captain Asshole style the song and the album kicks off with a big gang vocal opening. I speak about gang vocals a lot on the various CPRW platforms and how much I love them, but have I ever mentioned why? It’s the way that they make a song feel more inclusive for everyone. Kicking the song/album off with them instantly made me feel involved and I love that very much. After the opening chorus, the tempo jumps up and Manu’s vocals come in on the opening verse. As ever, he’s not alone as Max adds his own vocals giving the song a huge sound. There’s a huge feeling of positivity throughout the song, as the band sing about it being okay to feel different and to keep on pushing forward towards your dreams. Max starts the second song, The Sleepwalking Dead. This song has more of an extended introduction before Max jumps in and is quickly followed by Manu. I already love how the pair are sharing vocals so much. The energy is special and it gives me the goosebumps. The song is about plodding away through your life and feeling stuck in a rut. The song finishes with another classic Captain Asshole trope, the slow building finale with the big gang vocals and harmonies. Can’t wait to sing along with this bit next time I get to see them. The third track is titled Boy, I’m Homesick. On this song the band talk about remembering times past and realising how things haven’t changed for the better. This was one of the songs that was picked as a single before Successfully Not Giving Up was released. It’s clear why this was, as the song showcases all of what the band are about. If you’re a first time listener of the band it welcomes you in perfectly and is probably really relatable.

Ghost In A Nutshell (possibly the best title on the album) is a song all about bettering yourself. On the track Manu talks about looking at his life, particularly at the times where he’s been at his lowest, and attempting to bring himself back from the edge. This is a more serious feeling song than I’m used to hearing from the band and it’s great to see them expanding their songwriting topics like this. The band seem to resist adding all the gang vocals to the song which gives it a much more personal feeling. When the rest of the band do join Manu on vocals the song gets a cathartic feeling which adds a fantastic new layer to the track. The fifth song, Crushing High Lifes, brings the tempo way back up. The band talk about how quickly you can be brought back down to earth after experiencing a massive high, something we all go through from time to time. This is another song that is pure energy. I loved the opening guitar part, it’s a bit more riffy than previous Captain Asshole songs and it’s a great, if not a bit too subtle, addition to the song. It proves that the band are a lot more than experts and choruses, there’s excellent musicianship in here as well. Bringing the first half of the album to a close is You’ve Smashed The Window With Your Head Fred. The opening of the song has this big building segment that eases you into the song before Manu’s vocals eventually come in. This is one of the slower songs on the album but it still packs plenty of punch. This song looks at the need to keep going to gigs as you’re getting older and questioning why you’re still doing it. It’s the great moments you experience and the wanting to do it all over again and again. For anyone in their mid 30s and older, this is a song you will probably relate with a lot.

The second half of the album starts with Better Broken. Here Captain Asshole sing about trying to make your way through life despite all the hardships that may befall you. It’s about learning to exist and be your best even when things feel like they are at their worst. I really enjoy the switch in intensity that happens between the verse and the chorus. There’s a contrast but they also manage to bleed effortlessly into each other. I really love the chorus “it’s hard to walk with broken legs, It’s hard to think with fucked up brains, hard to forget and hard to love, it’s hard to live with a broken heart.” What a great chorus! Apocalypse Whenever was another single released in the build up to Successfully Not Giving Up’s release. The band put out an outstanding video for it that I seriously suggest you check out. Once again, this is an archetypal Captain Asshole song and another perfect choice for a single. Big chorus: check. Endless energy: check. Gang vocals: check. Harmonies: check! The production on the track makes it sound huge and it’s a song that’s begging to be played as loudly as possible. The song is about the planet coming to an impending doom and people’s ignorance to it. Despite the doom that is approaching, the band leave the song with a positive message about still believing and fighting the good fight until the very end. I agree with this statement. The ninth song is titled The One With Unagi. This track has an intense beginning, with no intro we are just greeted by Manu’s vocals shouting “drink down the weight of another year, it’s been a while for you and me”. This song is about meeting up with old acquaintances and trying to force a friendship that isn’t there anymore. As people grow older, they change and turn into different people than who they were when they were younger. I really like this as a song topic, I don’t feel like it’s one that’s really covered much despite everyone going through it at some point. Max and Manu take turns on the verses and combine for the choruses. It feels as if each of them is playing the role of old friends at the bar and we’re hearing their inner monologue throughout the song. This is such good songwriting.

Home Alone II is up next. Home Alone was one of my favourites off of debut album, What An Awful Life, so when I saw the song title my interest really peaked. I’ve heard plenty of songs about the lockdowns that happened in 2020 and 2021 and this is among the better ones. Max and Manu sing about their experiences during this time and talk about the feelings of isolation that they felt and how they coped during these difficult times. There’s an all around darker tone to the song, it makes me think about a metaphoric cloud that seemed to follow everyone around in this understandably difficult time in our lives. Max and Manu do such a good job (arguably too good a job if you want to forget all about it) of painting a picture of what it was like at the time. The penultimate song on Successfully Not Giving Up is Good News, Everyone. This song is all about growing up and taking a different path to your friends. The majority of people reading this will have seen their friends take different paths to you and you will probably have doubted your own life choices. Don’t do that. Everyone lives their lives differently and that’s completely fine. Live your dream. That’s the message I get from the song and I found it uplifting. The final track on the album is Post Malört. I think it’s now law for Captain Asshole to have a song on each album that mentions their beloved The Fest in Gainesville. On What An Awful Life they had Holiday Inn now they have Post Malört. It’s about finding a place in the world where you find comfort and feel like you belong. On this occasion it’s at The Fest but I’m sure we’ve all got our special festivals and venues where the whole world feels right and you’re completely at ease. This is an ode to those amazing spaces that give us so much.

Successfully Not Giving Up is another amazing album from Captain Asshole. In my eyes, theses folk can do no wrong. They’ve managed to keep hold of everything I loved from their previous album and have still found a way of evolving and progressing their sound. This album feels more contained and succinct than What An Awful Life, with every song heading in the same direction. It gives the album a more intimate feel but also explodes with sound throughout. A true album of the year contender. I cannot wait to see these songs, as well as all my other favourites, at least two times this year. I am hoping for more though. Do not sleep on Captain Asshole. They’re the real deal.

Stream and download Successfully Not Giving Up on Bandcamp.

Like Captain Asshole on Facebook.

This review was written by Colin Clark.

Album Review: Feel The Void by Hot Water Music (by Omar Ramlugon)

It’s not overstating things to say that the last couple of years have been pretty dreadful for almost everyone. A worldwide pandemic killed literally millions of people, while we were locked inside our houses and often not even able to bid farewell to our loved ones as they passed. Having only just started to move somewhere past that, a failing state decided to threaten us all with the threat of nuclear annihilation. It has felt like there’s simply nowhere to turn at times; Hot Water Music’s Chuck Ragan is no stranger to this, admitting in a recent interview ‘[...] man, it's been a really tough couple years. There's been multiple deaths in the family ... from losing family members to our dog, there was just a lot going on.’

Just from the title alone, it’s clear that Feel The Void was very much informed by these turbulent times in which we continue to find ourselves. The album spits and crackles with all the furious energy that you’d expect from these Gainesville stalwarts, but it’s tempered with a deep warmth and humanity from life experience that comes from the majority of the band being well into their 40s by this point. Chuck Ragan and Chris Wollard have always been adept with their lyrics and vocals as they are with their guitars, never going for the obvious and instead adopting a wry, spare approach that always serves the music. Indeed, it’s a duo so well known in punk circles that the addition of The Flatliners’ Chris Cresswell may have raised a few eyebrows. Wollard even noted that Cresswell becoming their third guitarist/vocalist was uncharted territory for the band; ‘[...] I had no clue how to do it with three. I didn’t have a plan. I don’t think any of us did, other than plug in and figure it out.’

And figure it out they did. With Brian McTernan at the helm producing, Feel The Void is easily Hot Water Music’s best record for a long while. Whether it’s the shot in the arm from Cresswell, having McTernan back in the fold, or just finding strength in each other and channelling difficult days into their music, they sound revitalised. The album confidently moves through different moods and feelings we’ve all had these last few years, whether it’s the pulse-pounding rage and anxiety of ‘Killing Time’, the laughing in the face of pain exemplified by ‘Collect Your Things And Run’, which manages to make a brilliant hook out of the rhyme “Count to 4, 5, 6, I feel like shit”, or the heart-breaking, grief stricken ‘Habitual’.

The mix is marvellously uncluttered, even with three guitarists, allowing them all to find their place while Jason Black and George Rebelo’s killer rhythm section is as fantastically in the pocket as ever. Vocally, everyone is sounding on top of their game, with Ragan’s stentorian roar, Wollard’s smoky but slightly more tuneful rasp, and Cresswell’s more polished delivery shining, whether they’re backing each other up or leading the charge. The tag team approach taken on the title track is particularly thrilling. Cresswell does lead a song of his own – the killer ‘Turn The Dial’ – and it’s testament to his ability as a musician that he isn’t overshadowed by the four punk lifers around him. Elsewhere, the gnarly rush of ‘Scratch On’ is followed by the almost ballad-like ‘Ride On’, and the album closes itself out with the tuneful, defiant ‘Lock Up’, which features one of the best and most apropos chorus lyrics for these times; “Damn the world that rakes me over the coals/Every day I owe”.

This is a really special record. While there are plenty of cuts that will instantly win you over, there’s still more that don’t grab you at first flush but will slowly work their hooks into you with each listen. It’s Hot Water Music’s best record since The New What Next, easily surpassing Light It Up and pipping Exister to the post. It’s fraught with pain, uncertainty and frustration, but underpinning it all is a sense of the strength garnered from allowing yourself to be vulnerable, so as to confront your darkest impulses with the help of your loved ones, even if that pain comes from letting a loved one go. If that sounds like it would appeal to you, then don’t hesitate to pick this up. We could all do with some reassurance these days, and if Hot Water Music are still making records this good, that has to count for something.

Stream and download Feel The Void on Bandcamp here, as well the the other usual music outlets.

Like Hot Water Music on Facebook here.

This review was written by Omar Ramlugon.

Album Review: Self​-​Titled by Creekwood Adjacent

Creekwood Adjacent are a band from Wilmington, North Carolina, who play raw melodic pop punk music. I stumbled upon them thanks to the fine folk at Punk Rock Radar just as they released their self-titled album at the beginning of the year. The first thing that really caught my attention was a superb cover that I’ll get to later but I found the entire record to have a lot of charm.

Giving Up gets the album off to a flying start. Some guitars and drums build the song up before some gruff and raspy vocals kick things off properly. I’m really reminded of early Burnt Tapes with the style. The band are not polished but do capture some raw emotion which I loved. This is a hook filled song that really welcomes you into the album. Adderall You Can Eat opens with a bass line and some vocals that are quite striking. When the whole band comes in, they feel quite muted compared to the vocals. I guess this is to really allow you listen to the track’s lyrics as Creekwood Adjacent sing about using medication to help with your mental health issues and block out the voices in your head.

The third song is named Oblivia. Starting with an obnoxious “one, two, fuck you!” the song is a venom filled song covering the aftermath of a relationship. The rawness of the vocals displays plenty of hurt and emotion but it in no way feels like an ‘emo’ song. White Guy Named Jerome is a song title that really stood out. The song sees Creekwood Adjacent change up their sound slightly. The track begins with some heavier, more shredding like guitars that you might expect in a metal song. When the vocals come in, we’re greeted by the more familiar Creekwood Adjacent sound but the metal style remains in the background. The two styles blend very well together and give the song a unique quality.

The second half of the album starts with Pissing In The Wind. Pissing In The Wind is a simple, catchy punk rock song about how, no matter how hard you try, it feels like you’re always fighting an uphill struggle. A big chunk of the song is the line “pissing in the wind” that’s beautifully harmonised with some “whoa-ohs”. This will certainly be a crowd pleaser. Track six is the crassly titled Shut Your Mouth Before I Fuck It. It’s a bit too aggressive for my liking but it shows the frustration that the band lives with. The song talks about all the nay-sayers in your life and getting away from them. Despite the aggressive song title, the song actually has a positive feeling to it.

The penultimate song is that aforementioned cover song. The Pixies classic Where Is My Mind seems to be a popular song to cover – I saw London ska punks King Punch cover it last year. Unsurprisingly, Creekwood Adjacent deliver a more punky version than the original. The vocals are rawer and the tempo is raised from what we’re used to hearing and the “whoa-ohs” are tailored for a punk rock band. The final track on the album is titled Only On The Weekends. I’m interested to know why the band picked the album’s shortest song to finish the album as usually the final song on the album is reserved for something big. I like Only On The Weekends as a song but did expect something else to finish the album. It’s a fast and straight forward punk song, where the band’s singer laments the mistakes that were made on a weekend and questions was it all their fault?

Creekwood Adjacent show promise on this debut release. It’s a bit raw and rough around the edges but the band clearly know how to write catchy songs and that will only help them as they grow and progress as a band.

Stream and download Self​-​Titled on Bandcamp here.

Like Creekwood Adjacent on Facebook here.

This review was written by Colin Clark.

Album Review: Fires Forming by The Jukebox Romantics

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

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

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

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

Stream and download Fires Forming on Bandcamp here.

Like The Jukebox Romantics on Facebook here.

This review was written by Colin Clark.

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.

Album Review: Don't Panic by Neckscars (by Chris Bishton)

Neckscars are one of those bands that I can't quite place how I first heard them. Formed in 2018 and from New York, I haven't seen them live or read anything much about them, but what I did know was I've been really looking forward to this album after hearing a few songs online in recent months.

Don't Panic is their debut full length, recorded last year in two parts thanks to COVID, but released this summer on Sell The Heart Records in the US and Engineer Records in the UK. If you like your gravelly voiced, hook-laden, melodic punk in the vein of Hot Water Music, Dillinger Four, Gameday Regulars et al (three of the four members of Neckscars were in the latter), this is going to be right up your street. 

The album opens up with the first track In Front Of Me. Straight into feedback, smashing drums and then melodic guitars, I know within seconds that I love it. It's animated with those harmonic, sing-a-long vocals that are just simply my favourite type, which is then continued into the second song Born Sick.

The energy is then taken up yet another notch with Jarring, the song released online as a single earlier in the year. The guitars swell and the melodies form to create one of the album's standout tracks.

Unfinished starts a little slower, it is introspective  and compels me to really listen to the narrative. As I do this, the song quickens and fast guitars sync with ringing vocals. I truly love it.

The concluding track of the first half is then Not Enough JPMs. It's a return to the faster combative pace of a couple of the earlier songs, rounding off side one in great style.

Side two offers up much of the same. A couple of tracks with slightly less rapacious guitars than others, but all with the recognisable gruff harmonies that are begging to be played and seen live. Loaded is probably the standout track on this side for me.

The album concludes with First Time, Long Time which features a guest appearance from Jon Snodgrass – another banger – formerly of Drag The River and now serial collaborator on most things gold.

There's lots of familiar punk themes throughout – unsteady self doubt and anxiety. A well trodden orgcore road perhaps, but it just seems to fit so well with this brand of catchy, fist-in-the-air punk.

With 10 songs in 30 minutes, the album also hits the sweet spot for optimum enjoyment of a punk record. There's no duds on here and so the formula means the album retains your whole focus from start to finish.

I've no doubt this will be on my best of the year list, although it has to be said this album won't get the recognition it deserves. People will say they've heard this thing many times before. That maybe the case, but I say "so what?", there's a reason for that and that's because music like this makes my heart beat and soar that little bit higher and faster than usual. Always have and always will. It's why why I love bands like Neckscars and their brand of punk so much.

Stream and download Don’t Panic on Bandcamp here.

Like Neckscars on Facebook here.

This review was written by Chris Bishton.

Album Review: Sick Day by Rest Easy

It seems like a while since I’ve banged on about a great Canadian band. On this occasion it’s Rest Easy who are a four piece who reside in Vancouver and feature members of Daggermouth and Shook Ones. In February, the band released their debut EP titled Sick Day on Mutant League Records. It is four songs of high octane punk rock with gravelly voiced vocals and massive, intense sing-alongs. The first time I heard them I was hooked and looked forward to giving the band a proper listen.

Sick Day begins with Get Busy Dyin’. The track ensures the EP gets off to a ferocious start. After a quick build, the vocals explode out of the speakers. It took approximately nine seconds to go from calm to fully pumped up and I loved that. This is the type of song that will have kids going crazy in a pit. After that frantic beginning, Rest Easy switch to a more melodic approach that makes you feel like the song will build to a big finale but instead leads nicely into the second song Headaches. The track again starts quickly, it hits you like a brick to the face but in the best possible way. (That’s a terrible metaphor, I don’t think there is a good way for a brick to hit you in the face). Much like Get Busy Dyin’, the song feels like it’s in two parts, that big start before then slowing down for a more melodic finish. This finish demands a massive sing-along from a live crowd – it’s just wonderful.

Bad Idea is the title of the third song on Sick Day. Unlike the first two songs, Bad Idea starts in a more melodic way which eases the listener into a song in a much gentler fashion. I think that because of this slower start the track feels so much more emotional than the previous two tracks. This adds a great extra string to the Rest Easy bow. I really enjoyed how the band use multiple vocalists throughout the track, cleverly switching between trading lines, harmonies and big gang vocals – there is so much going on throughout. The final track is the EP’s title track Sick Days. This was the first Rest Easy song I heard and I absolutely fell head over heels for it. On that first listen, the lyric “it’s okay not to be okay” really caught my attention. I’m always drawn to a track that talks about mental health like this, it’s important to be reminded of things like this. Sick Day takes you on a series of highs and lows with some brilliant changes in tempo and melody that keep you guessing throughout. It is such a big way to finish this brilliant debut from Rest Easy.

Obviously, given the members other bands, Rest Easy is a band of real pedigree. I was hooked the first time I listened to Sick Day. I’m happy that I was able to listen to the EP before I discovered the band’s history as I got to hear it without any preconceived expectations and was blown away. I’m sure fans of Daggermouth and Shook Ones will love this release. I’m already desperate for them to make their way to the UK for some shows as soon as possible.

Stream and download Sick Day on Bandcamp here.

Like Rest Easy on Facebook here.

This review was written by Colin Clark.

Album Review: Irruption by Ship Thieves (by Omar Ramlugon)

The Ship Thieves have had quite the metamorphosis over time; beginning as an alt-country/rock side project, switching to a full band with some Georgia Satellites-esque Southern twang, before finally heading straight into a full punk rock charge with their 2016 release No Anchor. Comprised of Hot Water Music’s Chris Wollard, ex-Quit guitarist Addison Burns, former Samiam bassist Chad Darby and Enablers’ drummer Bobby Brown, it was arguably the moment that a lot of people had been waiting for. While the previous releases were great in their own right, it’s pretty much an ineluctable fact that Chris Wollard is a punk rock songwriting dynamo, with his smoky, gnarled vocal delivery serving as the foundation for the rest of the band to tear into another batch of simply excellent songs. With this in mind, it’s safe to say that Irruption picks up where No Anchor began, bursting at the seams with crunching guitars, gruff but harmonised vocals and interlocking melodic hooks that remind of Sugar or later period Leatherface.

Openers ‘The Embers Of Enlightenment’ and ‘Race To Oblivion’ practically jump off the record player, with the forceful rhythm section providing the foundation for Wollard’s slippery, arresting lead guitar that always strikes the balance between raw emotion and precision. It’s an often abused trope that punk rockers can’t play their instruments, but Ship Thieves are just one of thousands of examples to consign that misconception to the scrapheap; the band exhibit tight, controlled power throughout while never seeming mechanical.‘Ghost Town’ features a wistful searching chorus that kicks right in the heart while the pummelling ‘Tangled Net’ might even be the album’s highlight, with an extended lyrical coda that has Wollard howling “in isolation” over and over again. Given that huge swathes of us have spent nearly a year locked in our homes at the time of writing, the song bites particularly hard.

‘Hercules Stomp’ puts Addison Burns on the microphone, and his higher pitched but yearning vocal delivery completely fits the track’s gleaming hooks. It seems that this album has more and more of Burns trading vocals with Wollard as well as providing excellent backing, and it’s a brilliant addition to the Ship Thieves’ palate. It’s interesting to note how Wollard functioned as the higher, slightly less raspy singer in Hot Water Music, and with Irruption, Burns takes on this role with aplomb. ‘Access Denied’ reminds of Cherry Knowle-era Leatherface, with wiry single-note hooks dotted in amongst slabs of twisting riffs.‘(I Don’t Wanna) Face The Dog’ is one of the most gutsy, aggressive songs on the album, with Wollard and Burns’ call-and-response vocal lines bolstered by a furious Government Issue-esque descending riff, while ‘He Lost His Head’ and its minor key riffing gives way to an absolutely ripping guitar solo that blows back your hair. ‘Lurking Strain’ closes out the record with a sense of uncertainty and desperation, which couldn’t have been more fitting given the climate in which it was released. Burns and Wollard take it in turns to sing, with the former in especially good form, delivering a performance that will send shivers down your spine. Lots of bands would be hard pressed to have one song of this quality on a record, but the Ship Thieves have spoiled us with an entire album’s worth.

When No Anchor arrived in 2016, I remember reading an interview with Wollard shortly after where he noted that Ship Thieves were already working on the next album. Although it’s been a long five years, I’m happy to say definitively that Irruption is an even better record than its predecessor; it adds new elements to the Ship Thieves’ heady brew while keeping their signature mix of melody and sonic heft. It’s a powerful, hard-charging, yet tender and earnest record that is delivered with complete conviction. Who wouldn’t want more music from a band that just keep moving from strength to strength like the seasoned punk legends they are? Miss this at your peril.

Available wherever you stream or download music.

Like Ship Thieves on Facebook here.

This review was written by Omar Ramlugon.

Video Premiere: Poisoned Lungs by One Million Motors

Today I'm extremely excited to present an exclusive premiere of the new single from Newcastle's One Million Motors. Poisoned Lungs is released everywhere on Friday 12th of May but you can check out the lyric video below.

Pre-save Poisoned Lungs on Spotify here: http://smarturl.it/ajrf24
Bandcamp: https://onemillionmotors.bandcamp.com/
Facebook: http://facebook.com/onemillionmotors
Instagram: https://www.instagram.com/onemillionmotors/
Twitter: https://twitter.com/ommisreal

 

 

Album Review: Bone IDL by Bone IDL

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

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

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

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

Stream and download Bone IDL on Bandcamp here.

Like Bone IDL on Facebook here.

This review was written by Colin Clark.

Album Review: Split by Ship Thieves and Reconciler

I’m always a fan of a good split, so when I saw that A-F Records were releasing a split single from Ship Thieves and Reconciler my interest was very high. I’ve been following Reconciler for a couple of years now but this was the first new music I’d known of from Ship Thieves in a little while and I was very keen to check out both songs.

Ship Thieves start the split with their song Nothing Now. For those unaware, Ship Thieves are the project of Hot Water Music’s Chris Wollard. As soon as the song begins and Wollard’s booming voice comes in there is a great feeling of familiarity. The song begins with a pounding drumbeat and some guitar effects that soon transition towards a more standard riff that you would perhaps expect from Wollard. When his vocals come in it’s a powerful moment that ensures the song has fully hooked its claws into you. I really enjoyed how urgent the song feels, in no small part to that drumbeat I mentioned earlier. I’m assuming that this song will be used for a full Ship Thieves release later in the year. If that’s the case, I am very excited to hear some more because this is great.

Reconciler’s track is named Push To Break. I’ve been following Reconciler since discovering their album Set Us Free in 2019 and I immediately became a fan. Push To Break is another great track from the Atlanta-based three-piece. The guitar riff that welcomes you into the song really pumps you with energy and the shift in key before the vocals come in really gets you ready to have a good sing. Those opening few lines come at you at quite the pace, again adding so much urgency, but when the chorus kicks in it’s a real fists in the air moment. Joseph Lazzari’s vocals sound brilliant throughout, whether it’s during the urgent verses or those big choruses. If you’re new to Reconciler then this is a great introduction to the band.

I’m assuming that both bands have new music coming out this year and this split is a great teaser for those. Dip your toes in now and before diving straight in later in the year.

Stream and download the split on Bandcamp here.

Like Ship Thieves on Facebook here and Reconciler here.

This review was written by Colin Clark.

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!

Album Review: Against The Gun by Celebration Summer

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

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

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

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

Stream and download Against The Gun on Bandcamp here.

Like Celebration Summer on Facebook here.

This review was written by Colin Clark.

Album Review: Revistor by Debunker

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

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

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

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

Stream and download Revistor on Bandcamp here.

Like Debunker on Facebook here.

This review was written by Colin Clark.

Album Review: Skeleton Coast by The Lawrence Arms (by Marcus Pond)

I first became aware of The Lawrence Arms after buying the 2002 Warped Tour sampler. It was a double disc affair and a great memento of my first and only Warped Tour experience, but I’ll admit that there wasn’t much about the song “Navigating the Windward Passage” that stuck out to me, other than that the singer’s voice (Brendan Kelly) seemed too raspy and grating for me to really enjoy. I didn’t skip it every time, though, but I mostly forgot about them outside of that tune, and didn’t really give them another listen until they released Oh! Calcutta! in 2006.

At the time, I was enrolled in a Christian university that I didn’t like, in a small town that I left as often as I could, and was struggling to endure the seemingly year-long winter weather that few southern California kids would’ve put up with. It was in this condition that Oh! Calcutta! (hailed by many as the Arms’ best work to date) wormed its way into my ears and my heart, and I worked backwards into their catalogue, also falling in love with Apathy and Exhaustion. The self-loathing and melancholy mixed with punk rock anger, delivered by different and at times dueling vocalists really resonated with me.

Since 2006, the band had released just one other record (2014’s Metropole, their first release on Epitaph) and what was essentially a “greatest hits” compilation (2018’s We Are The Champions of the World), so it wouldn’t have been a stretch to assume that the days of putting out new music under The Lawrence Arms banner had passed. But with Skeleton Coast, the boys from Chicago show that, even with all three members being in their 40s, they’ve still got it.

The singles leading up to Skeleton Coast were “Last Last Words” and “PTA” (which stands for Planes Trains and Automobiles), and are great samplers of what TLA offers. On “Last Last Words”, Chris McCaughan croons mournfully as soothing power chords soar. His lyrics, usually a bit more wistfully poetic than Kelly’s, paint the bittersweet finality of the impression that’s left behind when we leave this world; “Hang me in the halls of obscurity / Behind the velvet ropes / In a distant gallery”.

“PTA”, on the other hand, is a song fronted by Kelly, and opens up with pounding drums and a raucous verbal assault. Like “Last Last Words”, it centers on death, but is approached uh, differently, more nihilistic (“Don’t worry baby it’s nigh / The end of our time / The brush on your thigh / The feeling of toiling and loving / Only to watch it all die”) and carnal (“Dusty and lonesome and craving a glance / That starts in your heart then shoots into your pants”).

McCaughan and Kelly are the yin and yang of The Lawrence Arms, balancing each other out, both in vocal delivery and lyricism. It’s that balance that keeps this and most of their records fresh to my ears, as the songs seem perfectly sequenced to keep your attention from start to finish. Never too romantic, depressing, or angry, they find the sweet spot and lead the journey.

Kelly described the record on the “Road To The Skeleton Coast” podcast (which began earlier in the year and detailed much of Kelly’s discography with The Lawrence Arms, as well as other bands, leading up to and including Skeleton Coast) as a type of concept album about an outpost at the end of the world. Recorded in El Paso, Texas, which is on the edge of the country and essentially on the edge of nowhere, it has a bit of a post-apocalyptic vibe to it – as if releasing music during a global pandemic needed to be even more ominous.

Some of my internet music buddies seemed quick to point out that they prefer the “Chris” songs (I have a soft spot for Four One Five Two, the debut LP from McCaughan’s solo vehicle by the name of Sundowner), but something about most of the “Brendan” songs just really appeal to me this time around. “Pigeons and Spies” is probably my favorite song (and will probably end up on my own personal “best of TLA” playlist on Spotify), and has some of the best lyrics. On it, Kelly spits out a handful of oddly specific metaphors involving dinosaurs and pigeons, before proclaiming “I’m tired / And you’re tired too / I want to make big changes but I’m not in the mood”. When they get to the bridge, it’s as triumphant as the Arms are on the record, and it’s about drinking before 9:00.

“Dead Man’s Coat”, “Ghostwriter”, and “Under Paris” (all Chris songs) are also highlights on the record, which clocks in at 35 minutes. Only one of the 14 tracks goes past the three minute mark, so buckle up – the tracks are as unrelenting as the year it was released.

RIYL: anything that Brendan Kelly has done, the Red Scare Industries catalogue, LaGrecia, and Arby’s.

Stream and download Skeleton Coast on Bandcamp.

Like The Lawrence Arms on Facebook.

This review was written by Marcus Pond.

Album Review: Ways Away by Ways Away

I forget how I found out about Ways Away but I always enjoyed them when they popped up on my massive review playlist I have on shuffle when I’m at work. They always reminded me of Hot Water Music and I’m a big fan of that band so whenever Ways Away came on my ears pricked. It turns out that Ways Away are a bit of a super group and feature members of bands such as Stick To Your Guns, Wish You Were Here, Samiam, Knapsack, Racquet Club, Boysetsfire and The Hope Conspiracy. In July they released their self titled debut album and I’m finally getting round to reviewing it. It seems apt that I’m reviewing it on a day that I should’ve been flying out to The Fest in Gainesville as they sound like the perfect band to appear at the festival.

The album starts out with Die On The Vine. Beginning with some guitar and vocals, it’s a soft opening to the album. It feels welcoming and also introduces you to what you can expect from Ways Away. It’s a mid-tempo sound with warm guitar tones and heavy drums. Lead singer Jesse Barnett’s vocals captivate from the very start of the track and will continue to do so right through the entire album. Ways Away step things up considerably on the next track, No Means, No Ends. The jump in tempo is immediately striking and it really got me excited. The entire song has an urgent feel that I love and Jesse’s vocals become more intense and powerful on the track. It’s about trying to sever ties with a friend and that proving to be difficult and ultimately frustrating. The contrasting melodies of the verse and chorus are fantastic. The verse is packed with hooks before the chorus hits you full force. Roam With A Ghost is up next and takes things to a more sombre level. The band slows things back down for a song about spending time with someone who often causes chaos and needing to step away from that person. It seems to me as if Jesse is wanting to grow up and worries that their friend is holding them back.

The fourth track is Halfway Open. I can remember first hearing the song and getting a bit of a Alkaline Trio vibe. Always keen for that! This is a haunting pop punk song packed with more hooks than a fisherman’s pocket. The chorus is one that you will quickly find yourself singing along to as passionately as you possibly can. This is one of those songs that has so many little things hidden in it that you’ll find something new to love every time you listen. Everyone I Know (The Optimist) brings us to the halfway point of the album. The track is about seeing all these people with big plans for the future having them blow up in their face and it feeling great because those people have always looked down on you. This is one of the band’s slower and softer songs. The melody really hooks you in though and you’ll find yourself tapping your toes and listening intently. As the song finishes there is an added intensity and the final lines of “but I can’t lie it feels great, I feel great” being shouted is a great touch to finish the song with.

Savannah starts the second half of the album off with the question “will I ever learn, to wait my fucking turn?” Here we find Ways Away in retrospective territory. Jesse sings about looking back on past mistakes and trying to learn from them. There are some subtle harmonies sprinkled throughout the song which adds to the emotion in the song and the higher pitched tones of the guitars add some nice atmosphere. The seventh song is Drop Line Sink. This is another atmospheric song that, after a soft start, I really expected to explode into life. Surprisingly it never did but that didn’t stop me really enjoying the track. The vocals on the track feel a bit muted in the production, this really allows Jared Shavelson’s drum to shine through. The drums feel like the driving force throughout the entire song, controlling the tempo and the mood. Up next is Gila. Gila was another stand out song when it came on during shuffle. The opening drum beat and then guitar riff really captured my imagination and the first set of vocals sound huge. It sounds as if there is an echo effect used on those opening vocals that give them a different sound to what we’ve heard so far on the album. That aforementioned guitar riff makes me think of something from an early Against Me! album whilst the vocals have a grungey quality to them which makes Gila stand out from anything else on the album.

The penultimate song is titled Collarbone. This song starts with some wailing guitars that really amp the energy back up. For me this was really needed as it gives the album a shot of adrenaline to keep the album going. There’s a forcefulness in the way that the vocals are delivered that helps add even more energy and also adds the song’s hooks. The song is about coming out of a relationship and feeling like you can escape from that person. You can really feel the emotion in Jesse’s voice and that really added to my enjoyment of the song. The album is completed with What Are We Gonna Do About Matthew? This song is about reaching out to someone who has been going through a tough time while you’ve not been around. The track feels extremely personal to Jesse but also could be extremely relatable to anyone who’s going through a similar thing. I’m sure at some point we all feel like we could have been a better friend or family member to someone who’s going through tough times. This song finishes the album on a sad note but also leaves a lasting impression that you probably won’t forget in a hurry.

Given the collection of musicians in Ways Away, there was no doubt that this was going to be a great album. Surprisingly, I haven’t noticed many people really hyping this album up as it’s a really solid album. If you’re a fan of bands that play The Fest then Ways Away will be right up your street.

Stream Ways Away on Spotify and buy physical copies of the album here.

Like Ways Away on Facebook here.

This review was written by Colin Clark.