Album Review: Axiom by Harker (by Chris Bishton)

I've been looking forward to this one. It seems an age since Brighton's 'Emogazers', Harker, released their debut No Discordance. Actually, it's only been three years. But it seems longer as the sophomore, Axiom, has been delayed due to obvious difficulties getting into the studio to record it last year. But now it's here. Firing not just against the apathy brought on by repetitive lockdowns and stay home orders, but also demanding action on a whole range of social, economic and environmental needs. It's very powerful and it's been very much worth the wait.

The first track is The Beast Must Die. Already released online a few months earlier as a showcase to the album, it's easy to see why. It totally embodies the band and frames the rest of the LP. Thirty odd seconds of feedback before the fuzzy guitars start, which then eventually combine with Mark's vocals to create a sound that is somehow new, but also familiar. Does that makes sense? Probably not, but that's the overriding takeaway for me on this new album.

There are echoes of bands from my youth. This is great for me because I spent the 90s listening to far more to Sonic Youth, Swervedriver (look them up if you don't know them by the way – one of the very best 'gazer' bands from back then) and, dare I say it, the Manics, than I ever did NOFX or No Use For A Name. That's not to say these bands aren't great. They are. It's just when I was a teen I was more often than not on the emo end of the spectrum. But despite these comparisons, Harker are, nevertheless, contemporary. There's more of an urgency to this, making it sit more comfortably with possible similarities with The Gaslight Anthem and a fiercer, punk sound.

It's based on the idea of ‘mono-consciousness’ – seeking a heightened sense of meaning and avoiding a closed mindset, but with the subjects of the song showing a lack of empathy, leading to the aforementioned apathy. It's this idea that the mono-consciousness is a beast inside of us that needs hunting out before it takes control. As an opening track, it's a real statement. Different to the debut album, but recognisable, and most importantly, fantastically powerful.

Sign of Crows is next. Instantly recognisable as Harker. Catchy and tuneful, bouncing along, before it slows and dips, before rising again. This is where Mark's ardent voice reminds me a lot of James Dean Bradfield – soulful and authoritative.

Adulthood is the other track that was released online in advance of the full album. Consequently familiar, it already seems to be an associated favourite. It starts slowly enough, forges ahead with mid-tempo singalong vibes, before once again receding against a somewhat introspective feel.

The fourth song, Hellion, is probably my favourite. An instant start, fast and harmonic, it pauses for breath and then crashes on and feeds back. Rowdy and mischievous in every sense indeed. This will be the song that people will be singing along to in a packed and sweaty venue once we start up again.

Moriah is heavier, grittier and rockier. A bit of a harder listen for me, a little bit unexpected. A shorter song, but its foundations quickly grow on me.

Flex Yr Head is an older track released online post No Discordance and it gets a deserved spot on the album here. It's a Harker favourite of mine and it's great to have it placed amongst these other songs. It fits well, bridging the old and the new.

Daisychain is another of those songs that starts slowly and builds, but without reaching a crescendo. There's no huge upsurge in this song, which keeps me focused as I listen intently.

The penultimate track is No Sun. Jaunty with a recognisable Harker feel, it's very infectious before the album draws to a close with Antenna. At six and a half minutes long, you need to strap yourself in for this last track, rising and dipping throughout. Screeching vocals, endless guitars and feedback leads to a subtle mid song ballad, before building again to bring the album to an intense conclusion.

It's a cliché to say that second albums often show the band has matured, so I'll try and resist. However, it is different to the first album with a more considered sound. It's certainly not smashed out and not quite as poppy as the first. Those elements are still there so older fans should still love this, but there's parts that actually feel quite sombre; although I'm not sure that was the intent – it's still tremendously catchy and sonorous, pitched perfectly.

Axiom is available on a number of labels in the UK, Europe, the US and Japan – Disconnect Disconnect Records, Shield Recordings, Wiretap Records and Fixing A Hole Records. No matter where you are in the world, I strongly recommend you pick it up.

Pre-order Axiom on Bandcamp here.

Like Harker on Facebook here.

This review was written by Chris Bishton.

Album Review: Second Landing by Giant Eagles (by Chris Bishton)

There's something about European punk at the moment. So many great bands. So many great records. (Check out the release CPRW put out recently, Adventures in Europe, showcasing 21 bands from different countries throughout Europe if you don't believe me). But, sadly, so many often overlooked.

Maybe it's because all the European festivals have been called off along with countless shows and tours? Maybe it's because it's increasing difficult and expensive for bands to tour even pre-COVID? Maybe it's just because the scene has a lot of great bands at the moment and it's just a very crowded place to get heard? I don't know. What I do know though is that Giant Eagles and their new album Second Landing, seriously needs your attention.

Formed from members of Apers, Windowsill, Accelerators and Lone Wolf, you'll probably be familiar with their work. As the album title suggests, this is the second from these Dutch punks, although they've been playing music together for 17 years. They are accomplished musicians, yet they've never played live. Their one and only scheduled show, a festival in Italy, was cancelled this year due to COVID. So perhaps this lack of shows and just two albums in 17 years is the reason that this particular band aren't huge? I doubt it, but I'm still baffled why Europe's punk bands still don't seem to get the recognition others, particularly in the US, sometimes do.

Anyway... the album Second Landing, broadly speaking, is 12 very catchy pop punk-type songs about subjects as diverse and random as a zombie apocalypse, wars with robots and killer snakes fitted into just over 30 minutes. There's more than an element of 80s Ramonescore to the songs (they used to call themselves Real Ramoneroonies until they changed it to Giant Eagles) and there's elements of even older style post-punk, synth-laden songs in there as well. David Bowie fans will also be able to pick out influences from the master.

The first track, Bloodlust Tonight, demonstrates this perfectly – it's not as frantic as a full on Ramomes song, which leaves room for the synth. It reminds me a lot of The Lillingtons/Teenage Bottlerocket and some Misfits, but without being a total frenzy.

This leads into the second track, Everything is Lost. If you love your woah-oh sing-a-longs, this is the track for you – they punctuate it throughout. It's mid-paced, hook-heavy, sing-a-long stuff with that synth in there as well, which is then followed by a the speedier third track, My Wish Is Your Command.

My favourite song is Evil Robot Nation. It's certainly "out there" in the sense that it's about a woman fighting a war with robots in 500 years time! But it's sooo catchy, this subject just seems to fit so well with the melody. I'm not sure everyone would classify this as a punk rock song, such is the synth so evident on this one, but I don't care... it's brilliant, however you want to classify it. The same might even be said about the tracks I Don't Love Nobody and Supreme – both very new wave, rather than full on punk.

The killer snakes track is Anacoda. Uncomplicated, repetitive and also super catchy. You'll know the lyrics and the melody back to front after your first listen. It's a lot of fun.

Out Of Love is another great track. One that's more straight forward, sing your heart out pop punk – Mr T Experience meets Screeching Weasel.

The other songs such as Lost My Heart Overseas, Southbound, the aforementioned Zombie Apocalypse and the last track, Put One In The Chamber, make up the album. All great songs that fit together to make one of my favourite albums released so far this year.

Second Landing is available from Shield Recordings in Europe and Moms Basement in the US and, if you're a one of those vinyl-type people, the artwork alone kinda makes this worth having. The Giant Eagle in a space suit is as eye catching as it is brilliant.

Lastly, Giant Eagles have been referred to quite a lot as a "supergroup" and, recently on CPRW, I mused that punk had never really given us a really great "supergroup." I now take that back. Giant Eagles... super punks.

Stream and download Second Landing on Bandcamp here.

Like Giant Eagles on Facebook here.

This review was written by Chris Bishton.

Album Review: II by Custody (by Chris Bishton)

Think of Finland and the chances are the first thing you think of isn't likely to be soaringly happy, melodic punk rock. Lapland and the Northern Lights, perhaps. Liverpool football supporters of a certain age might point to Jari Litmanen or Sami Hyypiä. But not punk, right? Step forward Custody – the melodic five-piece who've just released their second album titled II – making them easily the greatest Finns I know (sorry Liverpool fans).

They've been compared to a number of 90s bands that have a special place in my heart. Most notably Samiam and early The Get Up Kids, which I certainly see, and Leatherface, which I get less so (but there are so very few bands that could get close to Leatherface though, right?). Either way, what is certain for me is whilst I get the connection, they're by no means a weak imitation of any of these bands.

The first track on II is Silent Mutiny. It's not especially fast but it is a powerful song. A heavy drum beat and vocals build the song as they're joined by guitars and a great chorus and then an instrumental. I immediately catch myself tapping out the rhythm before I've even heard the whole song in its entirety, such is the powerful drum beat. I really love it.

Altered States then follows. This was the single that the band released online before the album. It's a real sing-a-long track with clear, distinct vocals, before She Said. This third track is one of my favourites. Fast, but not frantic, it builds then slows, twists and turns. Its chorus aching to be shouted in unison at a packed yet intimate gig.

Other stand out tracks for me are Get Rid Of It, Another Hundred Miles and Fall for Nothing – all with fabulous melodies and hulking guitars.

The album concludes with When I Keep You Close, a slower, more considered track and a comedown from the rest of the album. It's a nice way to finish, but it also gets me reaching to spin it again.

When I first heard Custody's debut album a few years ago, I made that mental note to try and catch them live if I got the chance. With this new album, the band have taken it up a gear to the extent that I now have them marked as essential to see live.

Like everyone else, their plans for touring this year have had to be ripped up. They were due in the UK before playing Booze Cruise in Hamburg where I was planning to catch them. Of course they'll be back and they've already said they'll be in Hamburg at Booze Cruise 2021. I've no doubt I'll know this album inside out by the time we get there.

Stream and download II on Bandcamp here.

Like Custody on Facebook here.

This review was written by Chris Bishton.

Album Review: Saving The Genre, And You Know It… Split by Jagger Holly & The Windowsill

If I had a pound for every time I spoke of my love of splits then I would probably have an even bigger collection of vinyl and band t-shirts. Splits are such a great way to discover new bands. In December, Ramonescore bands Jagger Holly and The Windowsill released Saving The Genre, And You Know It... on Shield Recordings. Featuring four songs from each band, it promised to be a lot of fun.

The first half of the split features Jagger Holly. Featuring members of Johnie 3, Dee Cracks and On My Arms, Jagger Holly play melodic and catchy pop punk. This is something you would expect from a band who have previously released music on Monster Zero and Out Loud Records. Their first song on the split is titled Nobody Wants You. This is pop punk at its finest – no thrills, catchy, melodic and fun. Jagger Holly will have you singing along in no time with this song about wanting somebody more than anyone else does. Out Of Luck continues down the same musical path but picks up some more delightful harmonies along the way. Something I really enjoy about the sound of the track is how much it reminds me of one of my favourite bands ever – The McRackins. A lot of bands have combined pop punk and summer beach vibes over the years and Jagger Holly do a smashing job of it here.

Better Off (Without You) is a slightly slower almost ballad-like song. It's about trying to convince yourself that you're doing well by yourself after a break-up. The song has a slow build throughout that leads wonderfully to the final chorus which quickly takes up residence in your head and will have you singing along extra passionately. What I love about the song is the simplicity of it all. I feels like a conversation with the band’s singer being backed subtlety by the band and it works brilliantly. The final Jagger Holly track is named All The Boys. This song actually has a bit of an intro that allows you to get excited for what the song is about to go into. All The Boys is perhaps my favourite of the four Jagger Holly tracks on the split. It bridges the gap between pop punk and melodic gruff punk wonderfully. It's got a great fist-in-the-air chorus with some great harmonies and gang vocals. The song is about competing with other people for someone’s affections

The first song from The Windowsill is titled Cigarettes Kill. The Dutch punk rockers play a much more traditional Ramonescore style. Which isn't surprising given that three members of The Windowsill used to play in The Apers and the fourth is a member of Accelerators. The Windowsill certainly have some pedigree. I say Ramonescore and I assume you know what to expect – buzzing guitars, a pounding drumbeat and an urgent sounding vocal with plenty of harmonies. It's a simple formula and The Windowsill do it really well. Cigarettes Kill has a great amount of energy around it and will have you bopping along in no time at all. Don't Worry Baby is another great example of simple brilliance. There's a no thrills feel that makes the track really accessible but there's enough about the way in which everything is delivered to keep the song feeling fresh. This is very impressive songwriting. Don't Worry Baby is about being there for the person you care about when they're going through the tough times.

Lead Back To You has the best harmonies of the entire record on them. They happen in the last act of the song and has me itching to see it live. This is a break-up song, as lead singer Marien Nicotine looks back over a past relationship about how and why things fell apart. There's a sadness about the song that you don't often feel in this style of music and, do you know what, I like it. The harmonies at the song’s ending make it feel as if this should be the last song but there's still one to go – Last September. Wow, I loved how Last September starts. It's surprising and a bit startling but will welcome everyone into the song brilliantly. It's a punchy yet somehow melodic opening that will get you singing along from the outset. The chorus continues in that fashion but picks the pace up somewhat, adding some fantastic urgency to this final song.

This is a fantastic split by two brilliant pop punk bands. I was very impressed with both band’s sides of the split and both have me wanting to check out more from Jagger Holly and The Windowsill. I guess this was the idea of the split and it was quite the success.

Stream and download Saving The Genre, And You Know It… here.

Like Jagger Holly here and like The Windowsill here.

This review was written by Colin Clark.

Album Review: Great Shakes by Great Shakes

Great Shakes are a four piece punk rock band from Netherlands and Belgium. Influenced by the likes of Hot Water Music, Alkaline Trio, Social Distortion and Green Day, Great Shakes play catchy, rough around the edges punk rock. In October 2019 the band released their debut self titled LP on the ever brilliant Shield Recordings. Being a fan of Shield Recordings, I was keen to check this out.

The album begins with The Flood. Having never heard Great Shakes before hitting play, The Flood had to be a banger to start the album off well. Good news – banger. Showcasing a harder side of the band, there's a forceful feeling to the song. Urgent guitars and a well produced vocal really capture the listener’s attention and will have them wanting to hear how the album progresses. I was a little taken aback by the next song, Summertime Alone. It goes along a more Midwestern style punk sound rather than the intense skate punk showcased in The Flood. Played at a mid-tempo pace, the song cries out for some big sing-alongs throughout, including some huge "whoa-ohs". Great Shakes change things up again on the third song, Get A Little Closer. Going down more of a pop punk route, I was really hooked by the fantastic harmonies when I first listened to the song. It actually starts a little slowly for a track I have described as a pop punk song. It's not long before that fast guitar strumming comes in however and the energy of the track is upped. From then on you're in for a great journey throughout the remainder of the song.

November Star really shows off the band’s Hot Water Music influence. The vocals have some gravel added to them and the addition of some deep gang shouts really had me thinking of the Gainesville legends. November Star is one of my favourite songs on the album, it immediately had me tapping my toes to the fantastic melody as well as giving me the urge to throw my fists in the air for the gang vocals. The track is about getting over the death of somebody you care about and hoping that they are now at peace. Celebrating My Life is a fast paced Ramonescore song that put a big smile on my face. Starting out with the repeating lyric of "can't celebrate my life anymore" really gets the song stuck in your head. It's so simple but so brilliantly effective. If you're a fan of bands like The Copyrights or Dear Landlord then you will really enjoy this song. Ordinary Life brings us to the halfway mark of the album. Slowing things back down – the variation on this album is fantastic – Great Shakes deliver a more emotional performance on this track. It's a massive contrast to Celebrating My Life and really helps to keep the listener paying attention. Going back to that Midwestern feel, it's a song that not only tugs on your emotions but also gets stuck in your head.

The second half of the album begins with perhaps my favourite song on the whole album – Ego Complex. The song had me thinking of bands such as The Lawrence Arms and The Loved Ones, two of my favourites. The song contains a very impressive vocal display, the Great Shakes’ singer and the gang vocals and harmonies throughout are top notch. I'm a big fan of gang vocals and harmonies so the amount used on the track was very much welcomed. Falling Forever is a throwback to the early 2000s, with it reminding me of bands like Autopilot Off and Midtown. When these bands were around was also the time I was really getting into punk music so hearing this style had me reminiscing of past times. The track is about always feeling like things are wrong, trying to improve and not getting anywhere. The chorus on the song is a real stand out. The ninth song is titled Bitter Nights. Back to the poppier side of Great Shakes, despite the title, the song feels like it's a real burst of summer sunshine. The song is about having a bad time and doing your best to keep the negativity out of your life. I will forever find some enjoyment in bands taking a sad or downbeat topic and turning it into a song that just sounds so damn cheerful.

Confession is up next and continues the pop vibes. The song feels quite retrospective, as the singer looks at themself and talks about not speaking out when things are troubling you. It's quite an easy listen and travels along nicely without ever really hitting and big highs or lows. It's a super accessible song for any pop punk fans to get into Great Shakes. The penultimate song is named Never Gonna Die. Never Gonna Die really feels like it could be the album’s big finale with what is probably the biggest chorus on the album. The chorus shows Great Shakes acting in full defiance mode as they cry "never gonna die, never gonna die, never gonna die for you". This gives such a great feeling of empowerment and I imagine is fantastic live! The actual final song is fittingly titled Say Goodbye At The End. The track is an up-tempo and energetic way to finish the album with some great hooks and some fun sing-along moments. The song’s finale, where the whole bands shouts "say goodbye at the end", is perhaps a little cheesy but it's a lot of fun so I really don't mind. It ensures that the album finishes on the massive high and has you pumped for another listen.

Great Shakes are a brilliant new band. What I really enjoyed about the album was the sheer amount of variety on display. There's something for most fans of modern pop punk. It's hard to pigeon hole them into one group which makes them really interesting and they are definitely a band to keep an eye on.

Stream and download Great Shakes here.

Like Great Shakes on Facebook here.

This review was written by Colin Clark.