Album Review: Split by Two Houses and New Junk City (by Emma Prew)

You probably know that we love a split release here at CPRW. It’s often a great opportunity to check out one new band while also supporting one you already know and sometimes they cover each other’s songs too which is always pretty cool to hear. That’s exactly the case with this four track split on Rad Girlfriend Records featuring Two Houses – a band that’s new to me – and New Junk City – a band I know and love. They each have one, I assume, brand new song as well as a cover of one of the other band’s tracks.

Two Houses take the first half of the split. If, like me, you are unfamiliar with the band, they describe themselves as a reliable rock ’n’ roll band and are a trio from Chicago. Southbound And Down opens with a jangly guitar riff before the volume and distortion levels are ramped up when the vocals come in. There’s a rawness to the song and the vocals that reminds me of Tim Barry of Avail. It’s a fairly fast paced and short song, at only just over 2 minutes in length, but Two Houses still manage to fit in a guitar solo in the middle of the track. Up next is Snot A Problem which is a cover of the opening song on New Junk City’s 2014 self-titled album. The original is fast paced and quite an angry sounding song – which is understandable given the lyrics (‘You come in the door at 3am, You’re drunk as fuck and screaming at me again.’). Two Houses slow their version down somewhat and, rather than obvious anger, they simply seem resentful and bitter. It’s dark and almost grungey sounding and the band also add some fine harmonised vocals that drive the story of the song home all the more.

New Junk City are a four-piece punk rock band from Atlanta. I had the pleasure of seeing them live at Hamburg’s Booze Cruise Festival last summer and their set was one of my highlights of the whole weekend. Sticky is the name of their original song on the split and it wastes no time in getting going. Upbeat from the outset, the track immediately gets my head nodding. There’s a catchy riff threaded throughout the song but it’s the vocals and lyrics that really stand out to me. I’ve always thought vocalist John has an incredibly distinct voice, it’s got a sort of Americana or Bluesy twang it that works so well with the band’s fast paced and melodic punk rock – I love it. The Two Houses’ song that New Junk City cover is The Fear from their 2016 album I Feel So Good I Can’t Stand Myself. Having not listened to Two Houses prior to this split, I did quickly check out the original so that I could properly compare the two. The obvious immediate difference between the two is that New Junk City have included an audio clip at the beginning of their version but, after that, it is perhaps slightly more upbeat than the original with some slightly fuzzy guitars bringing a warmth to the track. It’s a super catchy tune and the layered vocals towards the end – which are more distinct than on the original – are brilliant. This is probably my favourite of the four songs.

I perhaps wouldn’t have thought to check out a slightly grungey rock ’n’ roll band such as Two Houses before but I’m glad that I have now thanks to this split. Both Two Houses and New Junk City have contributed great stuff here and I would recommend checking out both of their back catalogues out – starting with this split.

Stream and download the split on Bandcamp.

Like Two Houses on Facebook here and like New Junk City on Facebook here.

This review was written by Emma Prew.

Album Review: Bad Luck by Answering Machine (by Emma Prew)

Answering Machine are a five-piece powerpop meets rock ’n’ roll punk band based in Brooklyn, New York. Formed in 2016 by Samantha (vocals) and JD (guitar and vocals) – who are also school teachers – alongside Jackson (guitar), Craig (bass) and Louis (drums), Answering Machine have a couple of EPs under their belts and have just released their debut full-length. The album, titled Bad Luck, was released on 17th April on the ever excellent Wiretap Records. We were actually lucky enough to receive an advanced copy of the album but, unfortunately, COVID-19 got in the way and has delayed publication of this review until after the album’s release. This just means that you can actually go away yourself and listen to Bad Luck right now, however! Or you can read my review first…

Bad Luck kicks off with Riverdale and immediately sets the tone for what to expect from a full-length Answering Machine release. There are jangly guitars a’plenty and blissful dual vocals from JD and Samantha which are perfectly layered over one another, then topped off with some subtle backing ooohs. I had instant Tom Petty vibes when listening to this song which was not something I necessarily expected from a punk band but, on closer inspection of the album’s press release, Petty is in fact noted as an influence. ‘I’ve got one last regret, Tonight I pay my debt, Whatever it takes, To survive.’ The album’s title track and lead single, which was released last year, is up next – Bad Luck. Here we have big melodic guitars from the outset playing an oh-so-catchy riff. It’s not all about the guitars though, as the rhythm section really hold the track together. And, of course, there’s Samantha’s incredible voice. Bad Luck is the perfect mid-tempo pop song, complete with a catchy chorus. A particular highlight of the song is the bass breakdown in the bridge which is accompanied by some more of those lovely ooohs.

Without even hearing the third song, Bubblegum, its title suggests pop and… well, that’s exactly what we get. The Ramones influence is clear here, not least with the repetitive lyrics – JD sings ‘Give me, give me, give me, give me bubblegum’ while Samantha echoes ‘Give me, give me…’. It’s simple yet effective and sure is a lot of fun. Chugging guitars, a bouncy bass line and firm drums help Answering Machine deliver an infectious pop song that doesn’t fail to put a smile on your face. Hollywood Smog is the title of the fourth song. This song has a slower pace and muted instrumentation to start with, which allow us to focus on Samantha’s voice – ‘My head is filled up, Filled up with Hollywood smog.’ As the song progresses, the softer vocals from Samantha remain but the instruments pack a punch – what a wonderful contrast this is. Next up is This Year. The pace is upped here for an energetic pop punk song. From the excellent opening lyrics – ‘Spent the first day of this year, Shivering on my bathroom floor, I don’t want to do this anymore. Spent the last day of this year, Doing shots of whiskey with my friends, I’m not good at learning.’ – through to an instrumental breakdown towards the end of the song, this is a banger. It’s also one that I’m sure we can all relate to. This Year is about wanting to change your ways and learn from your mistakes, but repeating the same things you did last year. One of the real highlights of the album for sure.

The latest single, Cherry Coke, opens up the second half of the album. The song is as sugary sweet as its title suggests with more of those wonderful jangly guitars bringing an easy-going, summertime feel to the track. JD has said that Cherry Coke “[Is] for all the old folks who want to settle down but still have some fun. This one’s inspired by a love of Buddy Holly, 60s pop music, and The Ramones.” and you can definitely hear that in the song. I mean that both musically and with lines like ‘Yesterday is another day so we can sort it out.’ Marie takes a slightly different turn musically, at least to start with. Fuzzy stop-start guitars and a drum roll kick off the song which sound immense – in the best way. Soon enough, the vocals come to the forefront alongside a firm bass line. As reflected in the line ‘You’ve got seven ways to tell your story, Seven faces like your own.’, the song does feel like a story and is a joy to follow. Marie also features another short instrumental breakdown towards the end of the song, showing off the fine musicianship of each band member.

Track number eight, Wet Blanket, has quite a hard-hitting opening. This feeling is retained, although somewhat more subtly, when the vocals come in with lines like ‘I’ve got these violent fantasies, Sometimes they get ahold of me‘. Think of a punchy almost bluesy bass line and big rock ’n’ rolling guitars and you’ll be somewhere along the lines of Wet Blanket. There are also more of those lovely backing vocal harmonies that we love so much – JD and Samantha do a wonderful job of backing each other up throughout the album when one or the other takes the lead. The penultimate track of Bad Luck is called Water Signs. This song has a slower pace to begin with but when the vocals come in they drive the song forward and are accompanied by a super catchy, danceable guitar and bass parts – just try not nodding your head or tapping your toes along to this one, you won’t be able to sit still. The melody reminds me of something but I can’t quite put my finger on it. (Let me know if you can figure out what it is!) The final song on the album is Someplace. I was very surprised to hear harmonica and (I think) acoustic guitar for this last song. It was completely unexpected but I instantly loved it so much – honestly, this might be my favourite song on the album. Someplace has an entirely different sound and feel to everything else on the album but works really well as a closing track. I particularly enjoyed how JD and Samantha each had their own verses, while coming together for the chorus – ‘Always searching for someplace…’. A beautiful ending to one of the best powerpop albums you’ll hear this year.

Answering Machine have provided something for everyone on Bad Luck, whether you’re a rock ’n’ roller or a cheery pop fan, they have you covered. They even included harmonica if, like me, that’s something you think doesn’t feature enough in punk rock. We all need something to brighten up our days at the moment – well, most of the time really, but right now especially – and I think that this album is perfect for that. So put on those sunglasses*, kick back and enjoy half an hour of pop songs – you deserve it.

*You can wear sunglasses in your house or in your garden – no need to go further afield. STAY HOME.

You can stream and download Bad Luck on Bandcamp here and like Answering Machine on Facebook here.

This review was written by Emma Prew.

Album Review: The Deadbeat Bang Of Heartbreak City by Beach Slang (by Chris Bishton)

If you'd told me in 2014, after the release of the Cheap Thrills / Who Would Ever EPs, and then their debut LP, Philly punks Beach Slang would be releasing their third album in the second week of 2020, I'd have already marked it down as a potential record of the year. Fast forward five years, two full albums, an acoustic album and multiple line-up changes later, the excitement of hearing those early releases seems a long time ago, to the extent that I very nearly didn't pre-order this new record.

Their second album was released very quickly after their first and, for me, always lacked that raw kick of the earlier stuff. Then, over the the last few years, the band seem to have increasingly become the James Alex Experience – the lead singer and one remaining and original member. Indeed, the artwork on the front cover of this new record is just a picture of him, complete with the familiar knees bent, head thrown back pose wearing his trademark tux and bow tie combo. It's a very cool picture, but leaves you in no doubt this is very much James's record.

Also, whenever I saw them live more recently, they were good, but I missed the days of JP, Ruben and latterly Ed being in the band. Their sound had shifted from the early punk that first attracted me, to a more rock n roll, emo-tinged tone – something I like, but I don't always love. And they also seemed to take a step back from the punk scene itself, choosing to tour as a support band to the likes of Jimmy Eat World and The Goo Goo Dolls.

Yet, despite all of these reasons for me not to get this new record, eventually I just thought, 'hey it's Beach Slang. I've got to order this!'

The album starts with All The Kids In LA. The classical intro quickly gives way to the feedback and crashing guitar and drums I love the band for with the start of the record's second, and one of the stand out tracks, Let It Ride. It's familiar Beach Slang – husky vocals with poetic lyrics coupled with the hooks and fast guitar. It's a strong start to the album.

The third song is Bam Rang Rang and is the song that was released online last year before the whole album. It didn't grab me then and it doesn't now, but if you like the song Atom Bomb from their second album this is pretty much a carbon copy.

James has never made any secret of his influences and love of bands such as Jawbreaker, Hüsker Dü and particularly The Replacements. It's impossible to read an interview with him without him mentioning his love of all things Mats-based at some point. Their last single was a double A-sided cover of Bob Mould and Paul Westerberg and, indeed, like his heroes, the band even broke up whilst on stage a few years ago. On the fourth track, Tommy in the 80s, they've gone one step further than trying to sound like The Replacements by getting Tommy Stinson to actually play bass on it as well (the song isn't about Stinson, rather Tommy Keene, another of James's heroes who passed away a couple of years ago). It sounds exactly how imagine James wants it to sound like – The Replacements power-popped up to the max and I kind of love him and the song for that.

At this point in the record we then find two new acoustic tracks next to each other. Don't get me wrong, I love striped down, acoustic punk, but we had a whole album of it from Quiet Slang recently and I don't want to hear this on a new, full band album now. Nobody Say Nothing and Nowhere Bus are both beautiful songs that merge into each other, but they feel out of place here and I'm left unsure as to why they've been included on this record.

Stiff, Born To Raise Hell and Sticky Thumbs all follow – all solid tracks, but none that instantly grab me.

The penultimate track is Kicking Over Bottles, which is probably my favourite on the album. We're back to the fast, power guitars but with the addition of horns that I'm sure will prove to be a popular live track.

It concludes with Bar No One, another beautiful acoustic track that's seven minutes long. But whilst I've no problem concluding an album with a track like this, I now can't help wondering why four of the 11 tracks on this album are now acoustic songs.

There's no doubt The Deadbeat Bang Of Heartbreak City is an album that's been crafted by a passionate musician. James wears his heart on his sleeve to the extent that his soft, often flowery trope-laden language has come in for some stick, which is really not cool. But it does mean the familiar James Alex lyrics and themes referencing young angst, love, knock backs, starry dreams and self doubt all come through. It also means that I'm sure the Hard Luck Kids will love this album, but it is far more reminiscent of A Loud Bash Of Teenage Feelings than their early stuff. So if you see those early EPs and The Things We Do album as their high water mark, and you're looking for any repeat of that sound, this record will not be for you.

But, it's catchy enough in parts and so if you're into The Replacements power-pop sound you should give it a chance. I doubt James Alex's catalogue of work is going to be remembered like Paul Westerberg's, but that shouldn't be a reason not to take this album for what it is – enjoyable, nostalgic, rock and roll, power-pop.

Stream and download The Deadbeat Bang Of Heartbreak City here.

Like Beach Slang here.

This review was written by Chris Bishton.