Gig Review: Tripsun "Chemstrains Release Show" at Sebright Arms, London 24/9/22

Saturday the 24th of September marked the beginning of a brand new era for London DIY punks Tripsun. Last month the band released their first new music in three years in the form of the single Chemstrains and announced that they would now be going under the name Tripsun and not Triple Sundae. To celebrate the release, the band organised a stunning five band bill at the Sebright Arms in East London.

This was our first time at the Sebright Arms. I always get a bit anxious about going to a new place but it was nice to walk into the pub and immediately see friends. The actual venue part of the Sebright Arms in down in its basement. What I really liked about the venue was that there was a lower floor down the front for the pit but at the back of the room and around the sides there were raised areas which made it easier for people to see if they didn’t fancy getting bumped into down the front. More venues should have this feature.

The band asked to open the show was London’s Languish. I knew nothing about the band before they began their set. I soon found out that they were a genre mixing four-piece that blend hardcore, dreamy emo and indie punk in a way that I don’t hear too often. I have to admit I wasn’t too sure about them when they started the set, the first song seemed very effect peddle heavy and I’m not usually a big fan of that, but as the set progressed I got into it more and more. Languish are a band I expect to see on more and more London gig line-ups in the near future.

 

Next were pop punks Buds. I first got to see Buds back in March at Fishstock, in Bristol, and absolutely loved them. I believe that this was the first time Tripsun saw them as well and I know they were very impressed so it was cool to see Tripsun ask Buds to join this line-up. If you’re new to Buds then they play energetic pop punk music with plenty of sad themes. They are without a doubt one of the best new live bands I’ve seen this year, incredibly tight and really captivating on the stage. The whole set was a real treat from start to finish with Grit, Building Blocks and Bigger Fish being particular highlights for me. Something I really like about seeing Buds play is that they don’t just get on the stage and play the songs, they put everything they have into the performance and put on a real show. The band seem to be constantly playing shows everywhere at the moment, make sure to catch them when they come through your town. Buds are back in London on October the 18th at the New Cross Inn.

 

Skiv were on next. Tripsun and Skiv have been good friends for the longest time so it felt very appropriate that they were playing the show. This was my first time seeing them since they had their album release show earlier in the year and I was looking forward to seeing the boys again. I’ve said it before and I’ll say it again, the addition of Leo Harvey on bass guitar was a masterstroke by the band. I’m not sure that there’s a better bass player in the DIY scene at the moment and he seriously stole the show with his rocking out during the set. Perhaps unsurprisingly, Skiv stuck with songs from their debut album No Context Bangers during the set and it was great to hear the newer songs live again. Skivilicious has been a staple of the band’s set for a few years now and the band were joined by Tripsun’s Hassan for the song, which was a nice touch. As well as being an incredibly talented guitarist and punk singer, Hassan is also a very good rapper and you should all check out his hip hop project, Lounar. Skiv’s set seemed to fly by and was a lot of fun. 2022 does seem to be the year that the band have taken things to the next level and it’s great to see.

The main support slot went to Grey Market. Grey Market are a four-piece post-punk/hardcore/screamo act fronted by NXI regular Theo. I hadn’t listened to the band prior to seeing the set as I really wanted to go in blind on my first time seeing them. Theo always struck me as a born front person and lives for that interaction between a crowd and a band. I was expecting something big from the band but they blew away all expectations almost immediately. Whether performing spoken word, reading from a book or screaming with a ferocious intensity, you couldn’t keep your eyes off of the stage. I’m not going to lie and say that Grey Market are going to be on regular rotation on my stereo, it’s a lot heavier than anything I usually listen to, but my word they are a very good band. If you’re into the heavier side of punk rock music then I definitely recommend checking Grey Matter out as they’re a great band. Side note: As mentioned Theo read from a few books during the set, I’m interested to know whether he reads the same part each gig or if he’s working his way through the book(s) with each gig that they play?

Now it was time for the reason we were all there that evening, Tripsun. I’ve seen Hassan, Mike, Zandro and Andy a lot over the years but have somehow never managed to see them play a headline set. Setting up in front of a sold out crowd full of friends they had made over the years, starting with Everything’s Cool was a master stroke – with the big sing-along at the start of the song really encouraging the crowd to get involved. Not that we needed much encouraging as there were big sing-alongs, fists-in-the-air and plenty of dancing throughout the set. Tripsun are one of those special bands that can connect with a crowd so organically, this really shows just what a good band they are. The band played new single Chemstrains early and it was amazing to see so many people singing the words right back at the band. Hassan and Zandro’s vocals on the song are next level and I love it. As well as playing favourites from Peace Of Mind and Glow, the band also played a brand new song from their upcoming (eventually) debut full length and some really old school songs as well. Something I always enjoy when I see Tripsun play live is how many people Hassan shouts out during the set, you can tell that they always really appreciate the support they’ve been given over the years. Towards the end of the set the band went rogue and played Chemstrains again! What maniacs! This encouraged an even bigger sing-along for the song. Have you checked it out? It really is a banger – you’ll love it. The set was then finished with Indecisive before an encore of Unseen where Theo, as always, joined them on stage to sing. Tripsun absolutely smashed this set, it was definitely up there with one of my favourite times I’ve seen them play – and they’ve set a very high standard over the years!

I’ll finish the review in the exact same way that Zandro finished the set – “Triple Sundae is dead, Tripsun forever!”

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

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.

Column: Slam Dunk Festival 2022 Preview

Slam Dunk Festival 2022 has really come around quickly, hasn’t it? This probably is because 2021’s edition of the festival only took place in September due to easing of Covid-19 restrictions. It was a great day out and I have many fond memories and now I’m looking forward to spending another day in Hatfield (hopefully in the sunshine) with lots of my friends and watching lots of fantastic bands. Slam Dunk always put on an absolutely stacked line up with heavy hitters from most points of the alternative music umbrella.

Obviously, we’re most excited for the punk and ska stuff that’s happening at The Dickies stage. With no Punk In Drublic stage this year and Rancid and The Mighty Mighty Bosstones both pulling out early doors, the Slam Dunk organisers have really put together a mega line up. However, one complaint that Slam Dunk and many other festivals quite rightly get is the lack of diversity on the line ups. So, instead of doing my standard picks for the festival, I’m going to focus in on the acts that have members who don’t identify as men or have people of colour in them. It’s great to see these bands being included on the line up and it’s really a great step in the right direction of having a more inclusive line up at the festival.

As December Falls
Nottingham’s As December Falls are an alternative rock four piece. The band released their first EP in 2016 and have since released two further full lengths. If you’re unaware of their sound (like I was) then the easiest comparison is probably Paramore. Their songs are packed with plenty of hooks and lead singer Bethany Curtis has a really impressive vocal. I imagine this young band are already turning a lot of heads in their scene and look to get bigger and bigger with a set at 2000 Trees also scheduled for 2022. As December Falls play on the Key Club Stage.

Hot Milk
Hot Milk are a dual fronted emo power-pop band from Manchester. Starting with just a bottle of wine and an acoustic guitar, Hot Milk have developed a huge sound and are seemingly unafraid to explore different sounds in their music. The two different vocalists complement each other well and the breakdowns in their songs look set to start some mega pits. Catch Hot Milk on the Rock Scene Stage.

The Interrupters
California’s The Interrupters have played a big part in bringing ska punk back to the forefront of the punk scene in recent years. Following the release of their album Fight The Good Fight, the band really blew up and deservedly so. After Rancid decided to drop off Slam Dunk this year, I don’t think the organisers could’ve got a more like for like replacement. Singing songs of friendship, family and unity, The Interrupters are one of the can’t miss bands of the entire weekend. The Interrupters are playing the Dickies Stage.

KennyHoopla
Ohio’s KennyHoopla combines indie punk with elements of hip hop, pop punk and new wave. Despite their young age, Kenny has been making big waves in the scene and has already earned big tour support slots with the likes of Yungblud and Machine Gun Kelly. It seems like Kenny is on the way to some very big things and it won’t be many more years until they are placed much higher up the bill. Jump on the KennyHoopla train at the Rock Scene Stage.

Magnolia Park
Magnolia Park only formed in 2019 so the fact that they have found their way onto the Slam Dunk line up already is a testament to how highly thought of the Orlando, Florida, based band are. The pop punk band have a massive sound and write songs fit for big arenas. I particularly like their message of inclusivity and their desire to have a pop punk genre where people of all backgrounds are represented on and off the stage. Magnolia Park could become a very important band in the pop punk scene in the years to come. Magnolia Park are on the Key Club Stage.

Meet Me @ The Altar
Meet Me @ The Altar are one of the most exciting new bands in pop punk. Taking elements of 2000s pop punk and giving it a fresh sound, MMATA are going to earn thousands of new fans at Slam Dunk Festival. They’ve been hotly tipped for a couple of years now and have recently signed to Fueled By Ramen, the home of bands such as Fall Out Boy, Panic At The Disco, Paramore and All Time Low – that’s some really impressive company. The three piece look set to be the next massive success story for the label. I’m looking forward to seeing Meet Me @ The Altar at Rock Scene Stage.

Nova Twins
It’s amazing to see two black women headlining the Key Club Stage at Slam Dunk. And it’s very much deserved. Amy Love and Georgia South bring together heavy basslines, dashes of electronics and a grimey punk attitude to create their own self described sound of Urban Punk. A very unique band in the alternative scene that will command your attention. Catch them headlining the Key Club Stage.

Pinkshift
I was so pleased when I saw Pinkshift announced for Slam Dunk 2022. The three piece have been one of my favourite discoveries of the past couple of years and I’m pleased to see everyone else becoming a fan of the band as well. Combining the heaviness of 90s grunge along with the irrepressible hooks of 2000s pop punk, Pinkshift have enough crossover appeal for fans of the crunchier and softer sides of pop punk. Do not miss Pinkshift! They play the Key Club Stage.

The Summer Set
The Summer Set are a long running pop rock band from Arizona, USA. Their original run was between 2007 and 2017 but in 2021 the four piece announced they would be reforming. I assume that means that Slam Dunk Festival is their first time back in the UK since they reformed so that’s got to be so exciting for fans of the band. The Summer Set are playing the Rock Sound Stage.

Yours Truly
Yours Truly are flying over all the way from Australia for Slam Dunk Festival. The pop punk act have been making big waves in their homeland with their debut album, Self Care, peaking at number 19 in the album charts. An incredible achievement. Now the four piece are gearing up for their next release and have already released a couple of new singles this year from their forthcoming EP. Yours Truly play the Rock Sound Stage.

This column was written by Colin Clark.

Gig Review: SKIV and The Overjoyed at New Cross Inn, London 15/7/22

I don’t think there are many better ways to spend a Sunday than at the New Cross Inn for an all dayer. It’s especially nice when you get a line-up that’s just an absolute mates fest. This was the case on Sunday the 15th of May when SKIV threw a party to celebrate the launch of their debut full length, No Context Bangers. They put together a stacked six band line up which also featured The Overjoyed (who they were on a UK tour with), Triple Sundae, Shackleford, Girls Like Us and Not The Face.

Opening the show were Brighton punx Not The Face. Not The Face are a new band on the scene but I recognised their lead singer Cat from their time in Demon Smiles. It’s great to see Cat in a new band as they have a fantastic vocal. It was great to see Not The Face on stage. They didn’t take things too seriously and were just having a great time together. This sense of fun was a great way to start what was, in essence, a celebration and Not The Face were a great pick to start things off. The band themselves play a straight forward punk rock sound reminiscent of 90s Fat Wreck but also threw in some ska upstrokes for good measure. I expect Not The Face will be a band I see many more times over the next few years.

Next to the stage were Girls Like Us. Unfortunately, due to some technical problems, the band ended up starting their set half an hour later than planned. That coupled with the half hour allotted for set changeovers meant there was an hour long wait between Not The Face and Girls Like Us. This did unfortunately take away some of the momentum of the gig and, even when the band did eventually get going, the sound didn’t seem quite as good as it usually does at NXI. Something I didn’t expect to see was SKIV’s Conor on guitar for the band. I’m not sure if they are a member of the band or they were filling in for someone but it’s always nice to see Conor on stage. Girls Like Us play 90s style grunge inspired riot grrrl punk and, despite the technical difficulties they had, you’ve got to admire the energy and passion they put into their set. Much like Not The Face before them, it was great to see the band having a lot of fun on stage and I’m definitely keen to check them out again – hopefully with better sound next time!

Shackleford are a band I’ve wanted to see live for absolutely ages and the wait was finally over as they were next to take to the stage. The Nuneaton based four piece play perfect melodic pop punk with stunning vocals and hooks for days. They’re one of those bands that I’ve always thought that if they were based in somewhere like London or Manchester they would be a much bigger band in the UK’s DIY scene. The lead vocals from Dave and Ross sounded spot on and any sound problems that hampered Girls Like Us seemed to have been sorted out. Playing a set full of songs from 2021’s excellent Shackleford: III album, I was hooked on the band and when they finished I felt extremely frustrated that this was my very first time seeing them. It felt like some seriously wasted time. Shackleford shot through their set in an attempt to try and make up some of the lost time and it felt like it was over far too soon for my liking. I hope to see them come back down to London again soon. If you’ve not listened to Shackleford yet, then I suggest you crack on with that.

Next on the day were CPRW favourites Triple Sundae. This would be their first appearance together on the NXI stage since January 2020 and there were a lot of people excited to see it. To give a very brief history lesson, Triple Sundae did a tour in Greece and the UK with The Overjoyed way back in 2015 and the bands have remained good friends ever since. It was great to see members of The Overjoyed go right down to the front of the stage to watch Triple Sundae. We’ve seen every Triple Sundae set since gigs started again and they’ve killed it every single time. This was obviously no different. Playing through all the favourites from Glow and Peace Of Mind and getting some special sing-alongs, they also treated us to one of their new songs. The big highlights were that they went old school and played Avoiding Everything Is Not Your Only Option and Unseen. For Unseen they were joined on stage by Conor to play guitar. As soon as the song started, lead singer Hassan jumped down into the crowd to start the pit up as well as singing. Of course, as is tradition, Grey Market’s Theo took the microphone to sing on the song as well. Seeing six people on stage performing this was quite the moment. Triple Sundae are still really, really good and I never get bored of seeing them perform.

The penultimate act of the night were The Overjoyed who had travelled all the way from Athens to tour the UK. You may know this story but the first time Emma and I really got introduced to the New Cross Inn punk scene was when The Overjoyed headlined a show back in 2017. Since then, the venue and people there have become big parts in our lives and I always link The Overjoyed to that moment. Since that gig, The Overjoyed have released the excellent Aced Out album which has been on regular rotation at CPRW towers ever since. It was amazing to finally hear so many of those songs live. The passion and energy which the band played with was mesmerising and they managed to take the mood of the crowd, which was already pretty high, to a whole other level. I said in my review of the Tree House Fire gig from the couple of nights before how THF always feel like a NXI band despite being from far away (Wales). The same can definitely be said about The Overjoyed. This felt like a homecoming for the band as a lot of people were so excited to see them back. Tone from The Burnt Tapes was down at the front of the crowd and I’d never seen him so excited. He was running around like a child who’d just had a whole load of sugar and that enthusiasm was infectious. The Overjoyed played an incredible set that I think the whole room were sad to see finish. Hopefully they’ll be back soon.

Finally, it was time for SKIV to officially launch their debut album, No Context Bangers, into the world. I’ve seen SKIV a lot of times over the last few years and have always said what a talented group of musicians the band are, but on the album, and with this performance, they’ve really taken things to a whole new level. Since Conor moved to guitar and Leo Harvey (formerly of Just Say Nay) took over bass duties something has seriously clicked and I can see this version of SKIV doing some exciting things. There was so much love and enthusiasm in the room for the band and it didn’t take long for a succession of stage dives and crowd surfs to begin when they started the set. The set, which I guess is what the band had hoped for, was one big party full of fantastic vibes. I was lucky enough to get the album a few weeks early so was reasonably familiar with the new songs – hearing them live gave them a whole new dimension. Something that really impressed me with the album (reviewing coming soon-ish) was the variation in sound, this really helps in the band’s live show. The different styles prevent any staleness in the set and keeps you on your toes. Jordan’s voice (which is one of my favourites in the scene) was on top form and the fact that Conor is taking lead vocals on more songs pleases me greatly. If you don’t know Conor’s other band, Cereal Box Heroes, then I seriously suggest you check them out. This was the best set I’ve ever seen SKIV play and, like I said, they seem to have taken things to a whole new level. There was a new maturity about them, they were slicker, they sounded amazing and it capped off a great day. If you’ve not checked out No Context Bangers yet then make sure you head to the INiiT Records Bandcamp page now.

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

Album Review: feels by Trophy Jump

Trophy Jump are a band we’ve been keeping a keen eye on since discovering their album Depression Club in 2018. Since then, we’ve really enjoyed the band’s progression with each subsequent release. In February the band released their second album, feels, on JeboTon (Croatia), Horn & Hoof Records (UK), We’re Trying Records (US) and Nasty Cut Records (EU). I listened to it immediately but then life got in the way and that’s delayed my review/love letter to the band until now! Let’s get on with it.

Feels begins with It’s Not A Race!!! This track serves as an introduction for the album. Beginning with some phone feedback before we get some electronic music along with Antun Aleksa’s recognisable vocals. During the forty-eight seconds, Antun sings about taking your time with whatever you’re doing in life. This then leads into the first proper song on feels – Business Trip. Starting with some building guitars and a simple drum beat, Antun’s vocals soar during this opening section. The song is about quitting your job that you hate and going out and experiencing life. Something I’m sure that most of us wish we had the courage to do. Maybe this song will give you the encouragement to do so. When I first listened to the third song, Neon Light, there was a very familiar voice coming through my speakers. The track features the brilliant Phil of our friends Burnt Tapes on guest vocals. Starting out in a sombre fashion, the song has an element of Alkaline Trio to it in sound as well as the way they tell a story. It’s one of those times where you can get a sense of what the music video would look like just from the lyrics. The track is about the come down you often get after a good night out and that horrible feeling of depression that can come from that. Phil’s vocals add some real emotion to the song. I hope that when they play Bristol Booze together in May Phil joins the band on stage to provide vocals.

Leather Couch is a song that Trophy Jump originally released as a single back in 2019. I’m very glad that they decided to put it on the album as, at the time, I stated that I think it’s the best song they had written to date. I’ve listened to the song so much, whenever that opening guitar riff comes in I get excited. It’s a familiar feeling when I hear the opening of Gainesville Rock City by Less Than Jake. I get pumped. I’m a big fan of gang vocals and harmonies and Leather Couch is chock full of them. This works especially well as the song is about friendship, those beautiful times of doing nothing and having the best time in the process. This feels like a show closer. Next is I Don’t Wanna Live In A Fitness Ad. After a short audio clip featuring a phone call between two chaps talking about going for a run, the song kicks in. There’s a paunchiness to things that changes things up a bit. The song is a fun one about not wanting to exercise and enjoying the things that are bad for you. Probably not something I would recommend but, also, life is too short so sometimes you have to go nuts. The highlight for me is the chorus and the gang vocals which I imagine getting a great reaction. The sixth song is titled Brkn Values. Trophy Jump really bring the pace down here with an introduction that will get your head banging. This is Trophy Jump at perhaps their moodiest and I feel like they have perhaps taken inspiration from UK legends Apologies, I Have None with the atmospheric sound they have going on. Brkn Values takes digs at musicians who sell out, lose the passion for their music and keep recycling the same old stuff to cash in on their fans. I’m sure everyone reading this will have experienced frustration at how the mainstream ignores a band we love and feel like should be huge for a safe and risk-free choice who sold their souls many moons ago.

Interdimensional Cable 420 acts as a short interlude that leads into the eighth song FOMO. FOMO brings the mood back up with a fast and upbeat song about not knowing how to be by yourself and always wanting to be out doing things with friends. Fear Of Missing Out is a real thing that people can experience and I’m glad to see Trophy Jump write a song about it. Once again there are plenty of moments to sing-along with the band, this gives the track a cathartic feeling, especially to anyone who does suffer with FOMO. Hugs And Drugs was the first single released in the build up to the album’s release and it was the very best choice. I think this is the best Trophy Jump song to date. The chorus is absolutely huge here as the band belt out “well I guess that it kinda sucks, that the only love we ever had, was hugs on drugs.” The track is about using drugs, or I guess alcohol, as a way to get over your shyness and how friendships can feel empty because of this. This is not something I can really relate to as I’ve always been sober but I’m sure I know plenty of people who will. I look forward to the day I can be surrounded by friends, arms locked and shouting this back at the band. It seems like that will be special. The penultimate track is Beer Pressure. Once again, this is a hard one for me to relate to as I don’t drink but it’s about the pressure to continue consuming alcohol to keep up with your friends even if you’re not sure that you want to. I really enjoyed the switches in melody and how the band effortlessly switches between pop and skate punk throughout the track. Finally we have Sharing Is Scary. This is an epic acoustic track to close things off. I enjoyed the stripped back approach to the song, it makes it feel more intimate and there is an element of campfire punk rock about it, particularly in the final moments. The track is about exactly what the title suggests, sharing your feelings with anyone and the fear that that brings. Something every human struggles with at some point but it’s important and healthy to talk about your feelings and I’d encourage everyone to take the brave steps to do it.

Trophy Jump always take things to another level with every release and they’ve continued to do that on feels. If you’re a fan of melodic pop punk with raspy and gruff vocals and great lyricism then definitely do not sleep on Trophy Jump! They will be in the UK in the middle of June. Get out to a show and support them.

Stream and download feels on Bandcamp. Like Trophy Jump on Facebook.

This review was written by Colin Clark.

Album Review: Sham Laws by Slow Science

When Slow Science were announced for Manchester Punk Festival it came as quite the surprise. The four-piece split up in 2014 and I hadn’t ever heard of any rumblings of a reunion. I was pleased to see them returning, as I only ever got into them after catching them at their final show at Urban Bar in Whitechapel. To go along with their MPF appearance they had another surprise. A brand spanking new two track EP titled Sham Laws! This pleased me greatly and I couldn’t wait to check it out.

I’ve realised as I’ve written this that there might be a few folk who are unaware of Slow Science’s sound. I think the best way of describing them is as anthemic, melodic pop punk with dual vocals and beautiful harmonies. There’s also a healthy dose of gang vocals. All the good stuff.

The first track is named Cold Smoke. Now, whenever I usually see that a song is five and a half minutes long I groan. That’s a long length for a song, especially for someone with my attention span. I absolutely loved this song though. It’s a real lesson in making songs long but also keeping them interesting. There’s loads going on but it doesn’t feel congested. It’s also not super repetitive. Cold Smoke starts out in a punchy fashion with Jon taking the lead before the track switches to a more melodic style and Stacey takes over. I love this. The pair switch multiple times throughout the song and combine on the huge chorus. The gang vocals accompanied by some delicious harmonies during the final moments of the song are an absolute thing of beauty that needs to be heard to be believed.

What We Are is the second track on Sham Laws. What a journey this song is! Once again there is a lot going on but once again it all works perfectly. It starts with a dreamy fuzzy guitar riff that all your emo heroes of the past would be jealous of before Jon’s vocals come in as well as some gang harmonies trading lines. A great way to start the song. The chorus has a familiarity to it that sends me back twenty years but doesn’t feel like something they’ve rehashed. What We Are also has plenty of moments where the band can show off their musicianship with some slick solos scattered throughout the song. The ending of the track also shows off a different side of Slow Science as they strip things back and have some huge gang vocals to get things finished, as the band yell “turn to what we are, not what you became” repetitively and the song fades out.

This is one of those times where the level of musicianship and songwriting is so high, I really struggle to review and eloquently describe just how brilliant it is. Basically, don’t take my word for it, go check it out for yourself and you will be as awestruck as I am by it. New material suggests that Slow Science’s appearance at MPF wasn’t a one-time thing and I hope they find their way back down to London pronto.

Stream and download Sham Laws on Bandcamp here.

Like Slow Science on Facebook here.

This review was written by Colin Clark.

Album Review: Total Disarray by Quaker Wedding (by Marcus Pond)

Total Disarray is the sophomore LP from Quaker Wedding, a three-piece outfit from New York City. If you scroll back in the CPRW archives far enough, you’ll see that I ranked their debut record, In Transit, as my 3rd favorite album of 2020, so when Marco (who runs Salinas Records and is the frontman for Quaker Wedding) sent me the link to the new songs, I was beyond stoked to check them out. Of course, even though I totally meant to write it up ahead of time, I waited until the vinyl came in the mail, because spinning it in my living room is always a better experience than with my headphones on a laptop.

Although Quaker Wedding released “Russian Hill” as a 7” single last year (by the way “Running List”, also made the tracklist), “Vintage Dress” is the song that was given the music video treatment and leads off the record. It sets the lyrical tone for the album, with palm muted verses leading to a crashing chorus about a dissolved relationship. Looking at the lyric sheet, it reads like a diary, and lines like “when you left it / you left me to be the one / to throw your dress out in the trash” had me speechless when I first heard them.

Like their debut, the album art on Total Disarray hints at the band’s relationship with location (faded photos of mostly desolate cityscapes with images of maps around the edges), and they hash out that relationship out in songs like “Woodbridge” and “A New York Minute”. The former is a burst of anger-fueled energy about all the things you hate about where you live driving you crazy, while the latter is a bittersweet number about knowing “how it feels to be a ghost / to haunt the place I love / without the people I miss most”.

The sequencing on Total Disarray is perfect, as they hit the listener with the best three-song leadoff I’ve heard from any album this year (I know it’s early, I’m just setting the bar here), and after slowing it down with tracks like the wistful “Staten Island Ferry” and the darker, moody “In And Of Itself”, they close with the one-two punch of the aforementioned “Russian Hill” and “Hurricane”.

The comparisons I’ve seen online to Jawbreaker are apt, as “Russian Hill” sounds like a bop that could’ve been from the 24 Hour Revenge Therapy sessions and is one of the brighter tunes on Total Disarray. Conversely, “In And Of Itself” has a (at least to my ears) Dear You kind of vibe. More than anything, both bands play heavy punk songs with impeccable lyrics, and if that’s what you’re into, Quaker Wedding has 10 fresh tracks that you should really dig.

Songs to check out: “Vintage Dress”, “Woodbridge”, “Running List”, “Russian Hill”.

Stream and download Total Disarray on Bandcamp.

This review was written by Marcus Pond.

Gig Review: Whitmore – 20th Anniversary Of Smoke The Roach at New Cross Inn, London 30/4/22

If you are of a certain age and you grew up loving UK punk rock music then I have no doubt that you have fond memories of the P-Rock TV channel. The channel, which only ran for about six months, played music videos from bands such as Rancid, The Distillers, The Vandals, Allister and Home Grown, as well as UK acts such as 4ft Fingers, King Prawn, Farse and [Spunge]. One UK act that is potentially most associated with the channel is Whitmore, because of the video for their song Alison. In 2022, the album which featured Alison, Smoke The Roach, turned twenty years old and Whitmore figured it would be a good time to celebrate this. A few shows were booked, including one at the New Cross Inn put on by Be Sharp Promotions. Of course, I had to pop along to the party.

I turned up early and caught up with Be Sharp’s Paul and Martin of Slagerij, one of the support bands for the evening. It was a bit disappointing to see the room looking a bit sparse for a band that is remembered so fondly but it was interesting to see the folk who did turn up. It looked to be mostly a bunch of folk in their mid to late thirties who have perhaps been allowed a night off from their partners for the gig. There were, however, also some young people in attendance. They were the opening act, Keep Summer Safe. The three-piece are a fairly new band but I recognised lead singer and guitarist Gian from filling in for Fastfade a few years ago. I felt like they were a great choice to open the show with their fun and energetic style of pop punk that fits perfectly between old school bands such as Blink and New Found Glory and newer bands like The Story So Far and Neck Deep. From the outset, the band made it clear they were about having fun and it was super nice to see. The between song banter was entertaining and at one point their bass player even left the stage to go to the bar for a drink! I get the feeling that I’ll be seeing Keep Summer Safe a lot at New Cross in the coming months and years.

Slagerij were next to take to the stage and had been supporting Whitmore at all of their Smoke The Roach shows. They had only been at the New Cross Inn a few months previously, supporting [Spunge] on their Room For Abuse tour. I had been impressed with the three-piece back then but this time I enjoyed them even more. This might be as I was a bit more familiar. It might be because the venue wasn’t as busy as the previous time. There’s a very good chance it was partly because I hadn’t just done my first three day festival in two years before the gig. As I watched the band bounce around the stage with relentless energy, I tried to think of some of the newer bands in ska that play this style and the only one I could think of that is remotely close were our friends Baldhead And The Dreads. Despite only being a three-piece, I was very impressed with the way they commanded the stage, using every square inch of it during their set. As they played through their set, Slagerij got more and more people dancing and got some great crowd participation during their penultimate track, Can’t Stop A Nation. This was a lot of fun and I hope it’s not long until they find themselves back in London again.

As we waited for Whitmore to take to the stage, Paul and I spent some time talking to Des and Jarv from [Spunge] who had travelled to South London for the gig. My mind is blown that not only do two members of the band that I have stated many times are my gateway band know who I am, but that they took the time to talk to me and thank me for the work I do with CPRW. It was really overwhelming but much appreciated. They also told me to write that Whitmore are shit….

I couldn’t do that though as Whitmore played a brilliant set. This was a Smoke The Roach set but when they didn’t open with Alison I soon realised that they wouldn’t be playing the album in order. I think this was a great idea as it gives you the surprise factor you don’t get if you play the album from start to finish. Much like Slagerij before them, Whitmore commanded the stage like the seasoned professionals that they are. Led by the one and only Robb Blake, who is still heavily involved in the ska scene putting on great shows at his pub in Salisbury, Whitmore worked the crowd into a frenzy. Even though there can’t have been more than sixty people at the New Cross Inn, each and every person in the crowd showed so much enthusiasm for the band. Everyone danced, sang and remembered what it was like to be twenty years younger during their set. I’ll always prefer to be in a crowd of sixty really enthusiastic people rather than one with four hundred people, most of whom aren’t that bothered. One of my thoughts during the set was how I really didn’t appreciate Whitmore nearly as much as I should have during their heyday. I was expecting to enjoy Whitmore’s set but they exceeded all expectations. I had forgotten how many bangers are on Smoke The Roach. Obviously there’s Alison but songs such as Scones, On The Ceiling, 29 Times, Hydrant and Tell You Twice still sound as good as they did twenty years ago. Hopefully Whitmore don’t leave it too long before playing more shows because they are still so good and I’d certainly love to see them again!

Here on CPRW our main focus is to always champion new and exciting bands but I always think it’s important to spend some time every now and then looking at the bands that came before and show respect. Whitmore came along at a time when I was taking my first footsteps into the world of underground UK punk and it was awesome to see them play such a good show. I’m still waiting for the day when some legend of a promoter gets all the old favourites back together for a nostalgic all-dayer to end all all-dayers. It would be magic.

This review was written by Colin Clark. Photos also by Colin.

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

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

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

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

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

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

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

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

Stream and download On The Brink on Bandcamp.

Like Mark Murphy And The Meds on Facebook.

This review was written by Colin Clark.

Album Review: Groundhog Days by Clueless (by Ilse R. Smit)

Generally speaking, contributors get to pick which release we want to review – a pretty sweet deal. However, sometimes the release picks you and that can be the best thing. It really means a lot when an artist/band trusts you with their new material before it gets released, such an honour! I had the pleasure to receive and review the new Clueless record, Groundhog Days. Clueless is a Dutch power pop band from Enschede that has been around since 1999 with its members currently scattered across the Netherlands, Belgium and Germany. Their new album has been in the making for a couple of years now and will finally emerge and not see its own shadow on April 1st (or whatever the tradition is). I hereby invite you to unleash your inner groundhog and burrow through this record with me.

The opener of the album is You Do The Talking. I love the energy, it sets you up for what is yet to come perfectly. I also love the little “whoo!” in the synth-heavy intro, those are so fun. Not unlike most of the other tracks on the record, you can’t get around the uplifting and lively sound of Clueless. The lyrics on the other hand are a lot darker and more vulnerable sounding, not wanting to be left alone with your thoughts, but made easily digestible by the easy-on-the-ears instrumentals and Tim ‘Voice of an angel’ van Doorn’s vocals. This guy can make a desperate plea to keep him company sound sweet and endearing. The lyric “My brain is my biggest enemy” hits HARD though! I especially like how the delivery of that lyric in the last verse contrasts with the pleasant sound of the rest of the song, perhaps signifying that the “battle for sanity” is not looking so good for him at that point.

The opener is followed by the track There’s A Schnitzel In My Pocket and I can’t write about/listen to this lyric without it making me laugh. This song sounds a tad heavier (also less synthy) and makes me think of confronting yourself with maybe not so healthy coping mechanisms, dealing with the fact that you’re getting older, making poor decisions under influence of poor mental health and/or substance abuse, suffering the consequences and not learning from your mistakes. The underlying weight of the lyrics do come through a little stronger compared to the first song, but is still (as the title suggests) very upbeat and fun to listen to.

Track three is called Something Loud. The synth is back, the intro could have been from a The Rocket song. All these songs have so many layers to them, you’ll keep noticing different things as you listen to them. The backing vocals/harmonies really stand out to me in this one. If I had the voice, I’d love to belt out the bridge (which feels more like an alternative chorus). I think the song tackles the feeling of a mismatch between your skills and expertise, the skills and abilities that are useful to assist someone in your life who needs help, and feeling useless for not being sure what you can do for them. However, I also think that this song can provide some comfort to anyone who listens to it, so there you have it!

We shift gears as we reach Bathroom Breaks, and we transition from the personal to the political and kick it up a notch while we’re at it. Speth’s drumming really stands out here, giving the track a skate-punk edge we haven’t heard thus far. Speaking of things we haven’t heard up until this point: the delivery of the second verse is razor sharp, as could be expected when Hans Roofthooft (F.O.D. and solo work) is generous enough to provide guest-vocals. Van Doorn’s and Roofhooft’s voices really complement each other, which manages to give the message of the song more gravitas. We see and know history is repeating itself. But rather than just observing the normalisation of harmful ideologies, what’s the plan?

The Answer Is Zero is the first song that nested itself in my brain as I first started listening to the album. The chorus is incredibly catchy and I love a gaming-reference (that I get). I’d say it’s a great feel-good/cheer-up track! It’s a well crafted reminder to not overthink as much as we do, and to try to come to terms with the fact that we make mistakes. There’s no point in (mentally) re-living a situation time and time again, and Clueless wants you to know it’s okay to just move on. Isn’t that lovely?

Doubting yourself? Imposter syndrome got you down? Put on Scapegoat and your worries will melt away instantly! I imagine this song being the embodiment of the sentiment expressed in Something Loud (comforting and supporting someone through art rather than helping with everyday tasks), although I’m fairly certain that doesn’t add up chronologically when looking at the writing process.

Ode To The Sun V2 manages to be both kind of sad and uplifting. The lyrics are clearly very heartfelt, coming from a place of grief and having started processing loss. Coming to terms with the anger-phase and its repercussions. That, even though it won’t be easy, there is beauty to be found in pain as well – a paper-thin silver lining if you will.

Time for the title track! It opens with a fragment of a certain Bill Murray-venture (no, it’s not Ghostbusters) and also happens to be the first song to be written for this release (coincidence? I think not!). The lead guitar really drives the intro forward, contrasting wonderfully with the harmonies in the intro. My favourite lyric is “You wonder what tomorrow brings, When it is you that does the grocery shopping”. It’s very easy to feel stuck, like you’re not moving forward, especially when you’re coping with grief or depression, and that’s very understandable! But eventually you are the one who’s in charge of what’s gonna happen next. The lyric seems kinda funny at first, because of how specific it is, but I think it’s a great metaphor!

If you somehow dozed off at this point, Timmy D & The Art Of Postponing is sure to be an attention-grabber. Short but sweet, and mostly FAST! There’s a lot happening there, which makes it an interesting (very repeatable) listen. And it’s relatable as hell. This is the soundtrack to not being able to get yourself to work when you have bunch of stuff *internal screaming*. Those familiar with Van Doorn’s other band(s), St. Plaster, will probably notice some hints of I Can Stop Anytime I Want – The Capitalist in there (he’s not being subtle, but I’m not mad about it).

If the intro of Too Far South gave you the impression that it was gonna be a slow song, you’ll soon find out that you are dead wrong. Its upbeat sound might not be a unique selling point, given the rest of the album, but this time the lyrics actually match the vibe! It’s all about daring to dream and give it a go! I love it when a lyricist is not afraid to paint an unflattering picture of themselves but my favourite lyric from the song goes to “One foot in the grave? Well the other’s gonna dance”. It makes a lot of sense to put this song on the second half of the album, a lovely change of pace lyrically.

Numb Skull (This One’s For You, Stephen Miller) was the first single to be released from the album and it’s a banger, a great choice! A proper punk rock track, giving the finger to all the Stephen Millers out there. All the pieces work perfectly together, always highlighting something without drowning out the vocals or guitars. It sounds edgy and smooth at the same time, which is my sweet spot. If that wasn’t enough, Clueless is joined by Perry Leenhouts (The Travoltas) in the second verse. Not unlike Roofthooft, Leenhouts has a very distinct voice and that really adds another layer to the track. Leenhouts also produced Clueless’s first album, and we love a full circle moment.

Ricochet is an interesting song because although it definitely belongs on the record, it’s unlike anything we’ve heard so far. Calming, like being at the beach, watching small waves roll onto the sand. The acoustic guitar plays a prominent role in this song, but in my opinion the real MVP are the pizzicato-style violin samples (a technique that uses string picking rather than the bow). That really makes it sound more whimsical and dreamy, it’s a very interesting instrumental technique that I don’t hear on a lot of punk rock records!

Favourite lyric: “Full color isn’t always right. The grey makes me able to sleep at night”
This lyric stood out to me because I feel like we tend to focus on our peaks, and while that is understandable, it would be way too intense and probably quite unfulfilling if our life would consist of highlights only. We may not always appreciate the grey days, but we sure need them to appreciate those full colour moments, or to just prevent ourselves from burning the F out.

The subject matter of Feed Me Distractions, given the context of the rest of the album, is fairly self explanatory in my opinion. I love the contrast between the verses (more frantic and faster) and the chorus, and the seamless transitions between them.

Favourite lyric: “Words are redundant but loudness is golden”. Perfectly describes the sentiment of the song. The distraction itself doesn’t matter, as long as it works and takes your mind off of whatever is consuming you. But in itself it also works on a different level as it makes me think of how we as a society seemingly prioritise the medium over the content in a general sense. Real deep stuff.

With this last song, Perspective’s The Keyword, I was very curious about the lyrics. Because on the first couple of listens (without having the lyrics in front of me), there were some instances where I was thinking: “wait, what are they trying to say here?”. As the title suggests, several perspectives are represented in the lyrics and catching that makes it a lot easier to interpret them. Not gonna lie, I’m having a pretty hard time writing about it because I have a complicated relationship with the subject. Like, I don’t know what the right way to deal with people that support racist traditions/beliefs is. Sometimes I feel like people try to humanise them a little too much. Like me just now, why did I not just call them “racists”? What good does it do to keep empathising with people that (indirectly) cause harm? While at the same time, I also believe that a significant portion of those people are just a product of their environment that up until recently never had anything or anyone challenge the way they (sub)consciously see the world, and lash out because they feel threatened by that.

I understand wanting to shut out any opinions that strongly contradict your own, while at the same time I don’t want “the other side” to do the same thing and bubble up as well. But I also don’t think it’s reasonable to expect people to “just have a conversation” with whoever defends racist (or any other -ist or -phobic) viewpoints or actions all the time, especially when they’re on the receiving end of those actions.

However, to get back to the song, I guess at the end of the day I do think it’s important to challenge yourself every now and then. To not (always) instantly dismiss people and to be aware that they indeed can change. What a way to close Groundhog Days.

This album, what a ride! If you made it this far, props to you, you’re a real one. Don’t let the length of this review scare you off! It’s not nearly as heavy as I make it look, it’s such an easy and fun listen. Those 39 minutes fly by! Daniël, Florian, Tim and Willem, you’ve all done an amazing job making a heartfelt, upbeat album that shows range, yet it has a very recognisable and incredible sound. Since the band won’t be performing live any day soon, come hang out with Tim van Doorn on April 1st at this Facebook-live event!

You can stream and download Groundhog Days on Bandcamp and most, if not all other streaming platforms. Like Tim van Doorn on Facebook here.

This review was written by Ilse R. Smit.

Album Review: The Puget Sound by The Drolls (by Chris Bishton)

That Puget Sound is the debut album, released in January on Snappy Little Numbers, from Seattle's The Drolls. The band consist of Denny and Josh, ex-members of much loved 90s pop punks Sicko, teamed with Julie D from Chincilla and, more recently, Guest Directors.

With two thirds of a band that I adored when I was younger, The Drolls have been pretty high on my bands to keep an eye on radar. I've been anticipating this release ever since they first formed a few years ago and put out a single in 2019. Ean, the other member of Sicko, had also relatively recently formed a new band – The Subjunctives – and put out a debut album with a pretty familiar sound and I was hoping The Drolls had also continued this trend. Although Sicko were never on Lookout Records, they easily could have been (they put out a split with Lookout alumni The Mr T Experience), and to my mind if you've loved it before you can never truly grow bored of that sort of pop punk.

The album kicks off with Getting Old. I love this! It sounds like Sicko – fast and catchy – but whereas I used to relate to songs about my wisdom teeth hurting, I now find myself smiling to a song about dragging myself out the door and feeling out of place. That's not to say this song is downbeat or depressing in anyway, by the way, it is not! It's super energetic and a lot of fun.

Nobody Move is the second track and it's more jaunty and distinct from both the opener and the sound of their previous band, signalling that not everything on this album is carbon copied. There's still a liveliness to it, but it's the first sign that their sound can be a little different. Whilst it should be noted that at their heart they have Sicko's pop punk DNA, The Drolls are a band that are a little more 'refined'. There's an element of The Replacements/Big Star/Lemonheads/Sugar all in here. An indie guitar sound seems to have found its way into Denny and Josh's playing as they've gotten older.

The rest of the tracks on the album jump and dash around, picking up on this power pop punk vibe as well as songs that are more rooted in the Sicko vein. Sad Little King, Worse Things and Mythology, for example, are more fixed on the power side. Whereas, listen to a song like Bad Ear and you'd be forgiven for thinking it could have come from them at the end of the 90s. Alternate Timeline is the only song that I'm a bit nonplussed about as it's a bit slow, but it comes at the end of the first side of the record so, if you're listening to it on vinyl, it feels like the right place for it.

The second half of the album starts with Downstream, which brings us back up to speed and then it's Rehashed: Rehashed – a 'reworking' of the Sicko song, Rehashed, that sits perfectly in the second half of the album. It's a little slower, which allows you more time to take in the vocals, and the line "you've heard this song before 'cause I'm not gonna care about it anymore" sums up how impeccable their sense of humour seems to be. A song about bands sounding the same from a record put out almost 30 years ago now has me really grinning.

The album finishes with In Big Country, a cover by the band Big Country. It's a great way to end and I can't help think it's another nod to their past as their previous band's debut also ended with a cover (Closer To Fine by the Indigo Girls, which to this day remains one of my most favourite covers).

If you like The Drolls, you're never not going to compare them to Sicko. I think that's fine as, after all, the band themselves make no effort to hideaway from their past. Thankfully, it doesn't differ too much, but it differs enough to sound fresh and relevant. As the band state, "Two of us used to be in another band together. Now we're in this band." and that it's an album with "some energetic power pop songs about ageing, wasting time, the environment, political BS and one really fun cover song" …Pretty much what I want from a pop punk album.

Stream and download The Puget Sound on Bandcamp here.

Like The Drolls on Facebook here.

This review was written by Chris Bishton.