Album Review: Redeemon by Redeemon

The age old argument of how many tracks makes an album or it’s too long to be an EP is sure to rear its debatably ugly head in December when folk start compiling their end of year lists and have to work out which the self-titled debut from Redeemon is. It’s only five tracks but it is almost thirty minutes long. I’d argue that it’s an album but I’m sure someone will tell me I’m wrong. What we won’t disagree on is that it’s a really bloody good collection of songs from the band.

If you’re unaware of Redeemon, they are the new band forming out of the ashes of former UK skacore favourites Beat The Red Light. Featuring members of BTRL, Smokey Bastard, Junction Of Tiger Street and Voodoo Glow Skulls (recording only), the band are set to finally release their debut on Pookout Records in the Spring. Because Pook is a mega babe, he sent me an early copy for review. Such a babe, have you seen the man’s hair, it’s glorious… anyway, reviewing the skacore time.

We open things up with Operation Burnout. The track starts out with some slow drums before the brass and some guitar begin to build the song up. It also sounds as if there is some violin involved in this introduction. The feeling of anticipation grows massively and by the time we get to a saxophone screech and Pook’s vocals come in, you’re ready to get on this rollercoaster ride. BTRL were known for the heavier vocal growls but they’re not here. Instead we get the more melodic side of Pook. The song switches between theatrical alternative and upbeat ska in a way that you can only imagine these guys attempting. This is followed up by Pressure Switch. After another epic opening – a theme with all Redeemon songs – Pressure Switch shows off the heavier side of Redeemon. Pook’s deathly growls sound as good as ever and the guitars in the first third of the song totally shred. Soon the song switches back to the more melodic style that we heard in the opener. The song switches styles effortlessly and it never feels forced and manages to flow nicely. This is a real testament to the time the band spent crafting these songs. Even towards the song’s final minute, when the band get really quiet and atmospheric, it sounds perfectly placed and the build back up is just wonderful.

Redeemon originally released Anaphylactic as a single to give people a tease of what to expect from the band in the future. It feels like ages ago that it came out and I’m glad to see it make an appearance here. It was the perfect choice for a single as it encapsulates everything Redeemon do so well. Starting with some big brass and some shredding guitars, duelling with one another before coming together as one, until the tempo switches and we get this upbeat horn line that will get even the biggest metalheads having a skank. That horn line is one of my favourites I’ve heard in a long time and it fills the song with some great energy. The penultimate song on the album is titled Finest Mistakes. The band’s metal influences come out in full on this one. It’s one to really get your moshing boots on for and I wish I had a head of hair like Pook to have a proper headbang with. Once again, the guitars and brass sync up perfectly in ways that you don’t often hear. The creativity on display is something you’ve just got to hear to believe. Last but certainly not least is Escapade. I always say that the last track on an album needs to feel epic. I did wonder how Redeemon would pull this off as every other track already has an epic sound. Is it possible to go bigger than epic? Redeemon somehow managed to accomplish this by bringing in an acoustic guitar to start the song. This softer, more vulnerable side of the band came as quite the shock. It’s not long before the band plug back in and some electric guitars and brass begin to accompany the acoustic guitar and the song continues its long build. Pook’s vocals come in and I can’t help but think of Seal’s Kiss From A Rose. It’s a big hook and has plenty of emotion behind it. We reach the halfway point of the song and it’s time for Redeemon to get all Redeemon again with some fast paced upstrokes. This is a song that really showcases what incredible musicians everyone in Redeemon is and it is a very fitting way to finish things off.

You will not listen to a more creative, experimental (in a good way), musically proficient release this year. When I make that claim I’m talking about all genres of music as well; not just punk and ska. This album has been a long time coming but my goodess it’s been worth the wait.

Preorder Redeemon from Pookout Records here (and check out their distro for all your ska punk needs).

You can listen to Anaphylactic on Bandcamp here in the meantime and like Redeemon on Facebook here.

This review was written by Colin Clark.

Gig Review: Random Hand at Islington Academy, London 28/1/22

I think that the three year gap between seeing Random Hand in January 2019 and January 2022 is the longest time I’ve ever gone without seeing them. Even when they had their break, it seemed a shorter time than that. I guess that’s what a global pandemic will do. I believe the original plan for this gig was for it to be in the summer of 2020 but this had to be postponed for the reasons mentioned in the previous sentence. Since the original gig was announced, there had been date changes, venue changes and line-up changes but it was finally here and I couldn’t wait.

Unfortunately we arrived at The Islington Academy a little late due to work and the early start so only managed to catch the last three songs from Babar Luck And The East End Trinity. You could feel the positive vibes that Babar and his crew always bring though, so I was pleased we were able to catch a bit of their set.

Up next were Riskee & The Ridicule. I believe the last time I saw them was also supporting Random Hand. Since then they have added Maz, the former saxophone player in Ghouls to their ranks to play bass guitar. Looking around the crowd, it very much seemed as if a good chunk of people had come out specifically to see Riskee and they must have been delighted with the show the band put on. The band started with (a) Kaboom! and didn’t slow down from then on. There was a lot of hype around the band before the world stopped and even with the break it appears that their momentum keeps on rolling. The band played a tight set and even with some issues with the sound – I think there was a problem with a drum mic – the band soldiered on and played an entertaining set.

Following Riskee were the penultimate act of the night, The Filaments. Last seen in London, headlining the opening night of Till The Fest in October, I was just as excited to see them again. I wasn’t the only one because as soon as the band began their set Islington went off. On this occasion, the band were playing as a seven piece with a three part brass section which is not something I’ve seen The Filaments do for years. Having that many people on the stage added to the energy that The Filaments omit. Musically, the band flick effortlessly between ferocious hardcore punk and barroom singalongs with ease and have the crowd in the palm of their hands throughout the set. Tearing through their set with minimal time between songs meant that they manage to squeeze plenty of tracks into the set but I was still wanting more when they finished. Half hour sets aren’t long enough for The Filaments! They have too many classic songs that I want to hear. They seem to have already announced a fair amount of gigs this year so hopefully it won’t be too long before seeing them again.

The night was flying by, it was soon time for Random Hand and there was a feeling of anticipation filling the venue. The band would be playing their third album, Seething Is Believing, from start to finish during the set to celebrate its tenth (or eleventh because of postponements) anniversary which, as luck would have it, is my favourite album the band have released. Though I have to say it’s a close run thing as they only release brilliant albums. To nobody’s surprise the crowd went for it as soon as the band began set/album opener Tales Of Intervention and it only got rowdier as the set progressed. I feel like there’s always a bit of a risk with album shows that a couple of the deeper cuts on the album might fall flat on the more casual fan but this was not the case on this occasion. Listening to the album live really made me appreciate the track ordering on the album. How many bands have songs of the calibre of Not A Number, Three From Six, Floating Ghosts and Bones following each other – amazing work. Like I mentioned in the introduction, it had been three years since I last saw Random Hand but this felt a reunion with an old friend where you just fall back into friendship like you’ve never been apart and it felt wonderful. Robin remains one of the best frontmen in punk rock, an extremely watchable performer and very funny whilst interacting with the crowd between songs. There are also a few moments where he takes the time to give thanks to the other bands and the venue, and you can see how genuinely happy the band are to be able to be doing gigs again. After completing Seething Is Believing, the band dipped into their discography to play an encore including classics such as Scum Triumphant, Play Some Ska, Anthropology and Anger Management to ensure the crowd went home even happier. What an absolutely blinding set and I can’t wait to see them again at Manchester Punk Festival in April… Is it April yet?

Random Hand once again show why they are one of the most highly respected bands to emerge from the UK’s DIY punk scene ever. I’ve lost count of the amount of times I’ve seen them over the years – it’s easily in double figures now – and they never, ever disappoint. Being able to see them once again after so long was a cathartic experience. Legends.

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

Gig Review: Popes Of Chillitown at The Bread Shed, Manchester 11/12/21

Manchester is one of our favourite places to go to punk rock gigs. It’s a wonderful city with such a great scene. Unfortunately, due to reasons that we all know about and are bored of talking about now, we hadn’t been since April 2019. When Anarchistic Undertones announced a show at The Bread Shed featuring Popes Of Chillitown, Call Me Malcolm, Just Say Nay, Plot 32 and Wadeye, Emma and I jumped at the chance to return to Manchester.

Sadly in between the time of the gig being announced and the day of the show, Just Say Nay announced that they were splitting up and wouldn’t be playing any more shows. This meant that Broken 3 Ways were a late addition to the line-up. We had spent a couple of hours hanging out across the road in the lovely Sandbar before the gig started and entered The Bread Shed just after Broken 3 Ways had started their set. The six piece immediately captured my attention with their two frontmen each wielding trumpets. I mentioned to a friend that I didn’t think I’d ever seen a ska band whose entire brass section was made up of trumpets. It made a great sound! The dual vocalists also added a huge amount of energy to the band’s stage show, which I really enjoyed. I wasn’t super familiar with Broken 3 Ways before the gig but after their set they can consider me a new fan.

Leeds ska punks Plot 32 are a band I’ve been keen to see for a few years now. I thought I was going to finally get the chance at MPF 2020 but we all know what happened there. The six piece (usually seven, but one member is currently on maternity leave) took to the stage in their finest Christmas wears and proceeded to have a party. Kicking off the set with the awesome Favourite Things and then going into See You Next Tuesday (the song that put Plot 32 on my radar) was a great way to start things off. I felt like it really showcased what Plot 32 are all about. It’s fun ska punk music that doesn’t take itself too seriously, whilst also managing to speak about some important social problems. The best way to learn is by having fun and fun is something Plot 32 are experts at. I always love seeing a band who look like they are having the best time on stage as it often spills into the crowd. The band’s drummer Liz in particular looked like they were having the time of their lives, smiling with joy throughout the entire set. Midway through the set, the band played a fun cover of Shaking Stevens classic Merry Christmas Everyone which went down a treat. Plot 32 may be one of my new favourite live bands and I can’t wait to see them again at MPF 2022 next year.

Next were Manchester favourites Wadeye. This was the band’s first show back since all that stuff happened and it seemed as if they were very keen to dust off the cobwebs. The five piece were the only band on the line-up without a horn section. This helped add to the varied styles of ska that were showcased throughout the night. Wadeye’s own political brand of ska felt all the more apt given everything that’s been happening in the UK in recent years and I’m always super keen to hear bands speak out for what they believe in. The more we talk about the issues that are happening, not just in the UK but throughout the world, the more we can educate each other and try and make positive changes. In the absence of brass, Wadeye use bass guitar to add the bounce to their songs alongside some ska upstrokes. The band’s lead vocalist basically raps a lot of the lyrics which adds to the energy and urgency of the set. I was amused by the claims that they were exhausted after a couple of songs, something I’m pretty sure that every band has said during their first set back.

The final two acts were ones I also had the pleasure of seeing (along with Faintest Idea) at the Underworld in Camden the night before. As always they were both on top form and I was looking forward to seeing them again. The penultimate act was the politest band in punk rock, Call Me Malcolm. These guys have been earning themselves a dedicated Northern following since playing Manchester Punk Festival in 2019 and it was clear that a lot of people were excited to see them. One such person excited to see them was Warrington Ska Punk’s Chris who insisted Emma and I join him right down the front for the set. To be honest, I’m a bit stuck for new things to write about Call Me Malcolm. Once again they blew me away with their set. They are always very, very good and prove why they seem to gain more and more fans wherever they play. I’ve gotten so used to seeing the band play at the New Cross Inn, it was nice to see them play at a couple of different venues and to a different crowd – who of course still got super excited to sing and dance along with the band. The half hour set was mostly comprised of tracks from the latest album, Me, Myself And Something Else, but they did also play Restore Factory Settings and All My Nameless Friends. There was also an extra special Christmas treat in the form of the song All I Want For Christmas Is A Pony With A Jetpack. I need to update my super cool spreadsheet but I’m pretty sure Call Me Malcolm should be up there with the bands I’ve now seen the most times. This was my fourth time in 2021 alone.

 

The headline act for the evening were the irrepressible Popes Of Chillitown. This would be my first time seeing them live (apart from the night before) since Slam Dunk Festival in September where they opened one of the stages. The Popes are another band I’ve seen a lot of times over the years and this set at The Bread Shed may well have been the best I’ve seen them. Anyone who has seen the six piece before will know about the amount of energy that the band bring to the stage each and every time they perform. This makes them one of the top live acts in the UK – and I don’t just mean in the punk and ska scene. The band are so in sync with each other. I do wonder how much work goes into their stage show or if it’s just a thing that has developed as they have played together more and more. The Popes have had a few line-up changes over the years and I have to say that I think this current form of the band is the strongest yet. All are clearly incredible musicians but each member is also incredibly watchable. You can’t spend too much time watching one member as you’ll miss something someone else has done on stage. The set was comprised with a mix of songs from To The Moon and Work Hard, Play Hard, See You In The Graveyard but they did also treat The Bread Shed to a new song that I assume is from something they hope to release in 2022. The Popes are excellent at working a crowd into a wild frenzy and this happened once again. The hour long set absolutely flew by and even when they reached the climax everyone in the Bread Shed seemed desperate for more, so after a little convincing the band returned to the stage for a well deserved encore. A incredible set from Popes Of Chillitown once again.

This gig has turned out to be my final one of 2021. Big thanks to Tree and the rest of the AU crew for putting on such a big line-up and making us feel so welcome. If you’re based in Manchester or the North West of England make sure you get following Anarchistic Undertones as I’m sure they have plenty more exciting gigs happening in the area in 2022. What a great night was had by all.

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

Gig Review: Till The Fest Day One 8/10/21

As rewarding as being a DIY punk gig promoter can be it can often be thankless, frustrating and hit you very heavily financially. Speaking to many friends who have promoted gigs over the years, they have often become jaded and disillusioned and leave promoting gigs to the other people. To reach twenty years in the game is an incredible achievement and that’s something the legend that is Ollie Ward of Till The Wheels recently achieved. To celebrate the big milestone, Ollie decided to put on a three day festival in New Cross named Till The Fest.

Ollie originally announced Till The Fest whilst the UK was in the midst of a lockdown and, if I’m 100% honest with you, I was very sceptical on whether or not the weekend would be allowed to go ahead. As time went on and restrictions gradually began to ease, my confidence in the festival actually happening began to grow. I quickly bought weekend tickets and even began to get very excited. As the months went on, more and more amazing bands continued to get added to the line-up and it soon became a three day, three venue, over 50 bands behemoth of an event.

Till The Fest would be taking place at the New Cross Inn, The Amersham Arms and Matchstick Piehouse. There would also be a record fair happening upstairs in the New Cross House pub and a five aside tournament happening at Fordham Park. There was absolutely loads going on! It was also a wonderful opportunity to have a punk rock family reunion, with friends from all over the UK making the pilgrimage to South East London. As the weekend grew closer, I was just as excited to see people I hadn’t seen for nearly two years as I was to see some of my favourite bands. It was due to be an emotional weekend.

We arrived in New Cross, dropped our bags off at our Air BnB, freshened up and made our way to Matchstick Piehouse. This was our first time going to Matchstick Piehouse and Emma and I were very grateful to bump in to our pal Tommy of BaldHead And The Dreads to help show us the way. We arrived at the Piehouse and immediately bumped into loads of friends and it was a bloody lovely feeling. Music hadn’t even begun yet and we were already having a magical time.

After saying lots of hellos to lots of people, we needed to get some food before the bands began. We met up with CPRW member Lara and her husband Nicky, who had travelled from South Wales for Till The Fest, and took them to our favourite falafel spot, Beirut. Unfortunately I got us lost on the way there, shout out to Tommy for helping out again, so we sadly missed SKIV. I’m sure they put on a 10/10 show to open up the festival at The Amersham Arms.

Thankfully we did get to New Cross Inn in plenty of time to see the band tasked with opening the festival there, our lovely friends Goodbye Blue Monday. Despite it not even being 7pm, a very decent sized crowd had turned out for the Scottish boys and were treated to another superb GBM set. Graham noted that they would be opening with a brand new song for their first show back since the lockdown. This new song, along with the couple of others, sound amazing and has me even more excited for their debut album, whenever they’re able to get it recorded and released out in to the world. Of course there was also big sing-alongs for favourites such as Misery-Punk Ruined My Life, Love Is A Noose For Two, Trigger Alert, Take Your Pills and Exile (which was my first time seeing it live since it was released). Seeing Goodbye Blue Monday always fills me with the warm, fuzzy feeling and leaves me with a sore throat. What a band. What a time.

We didn’t get a chance to hang around NXI and have a proper chat with the GBM boys as another of our lovely friends, Katie MF was taking to the stage at Amersham as soon as they finished. After a power walk for the five minute journey between the venues, we made it with a couple of minutes to spare. This was somehow our very first time in the Amersham Arms and I was immediately impressed with it as a venue. There was a nice wide stage, with no pesky pillar blocking the view of the stage. In fact, you could probably get a decent view of the stage from anywhere in the venue. Before the band started, Katie announced that the band hadn’t been in a room together since March 2020 so hadn’t practiced their set. If Katie hadn’t have said that I don’t anyone would’ve noticed as they played a cracking set. Playing the more uptempo tracks in the band’s catalogue, really tailoring for the punk crowd, for me it was another set of sing-alongs. I’ve said many times over the years that Katie has this magnetic quality on stage that cannot be ignored. Backed by one of the best rhythm sections in punk rock, this was another superb performance. Just like GBM before them, Katie MF have a load of high quality songs that are yet to be recorded and I can’t wait for them to get released.

Unfortunately we had to leave Katie’s set one song early as Just Say Nay were starting back at NXI. I always say that it’s a sign of a good festival to have clashes but, for me at least, this was a stinger. We arrived back at very full looking NXI to see Just Say Nay already well into their set. Sadly during lockdown trombone playing goblin king Mikey T decided to leave the band, so on this occasion they were only playing as a seven piece. Yes, seven members is the fewest amount of people I’ve ever seen on stage when I’ve watched Just Say Nay perform. This did allow lead singer Jak to move around the stage more freely and he did a magnificent job in getting the crowd amped up. Not that Just Say Nay need to do much to get a NXI crowd warmed up as they are much loved at the venue. We arrived back at the venue as the band were playing Tempted from their debut EP Shit Out Of Luck before moving on to crowd favourite, With A Twist Of Lemon. With A Twist Of Lemon has a great ending that gets the entire crowd chanting along with the band. It always goes down well but on this occasion it went down so well that the crowd did their own extra verse of the song. They probably would’ve done another one if the band hadn’t have moved on to the next song, Pass Me A Cloud. The band finished with Low Blow which earned another huge sing-along. Just Say Nay are one of the best live bands in the country – make sure you see them as soon as you have the chance!

We hung around at New Cross for the next band, The JB Conspiracy. We’d recently been able to see JB in Bristol for Fishstock but that didn’t dampen any excitement for seeing them again. I said in my review of Fishstock that JB get better each and every time I see them live and this trend continued once again. Playing a mix of old favourites and new ones from 2021’s Beginnings, this was the band’s second London gig since Beginnings’ release and it was clear that the crowd had spent plenty of time with it. It’s always tricky for a band releasing new music so long after they released two absolute beloved albums. Will people care about the new stuff or do they just want the classics? It really says a lot about just how good Beginnings is as songs like The Long Road To Zurich (one of my favourite songs of 2021) and Guiding Lights got just as good receptions as The Escape or This Machine did. It’s always nice to see a band on stage, who’ve been doing this for so many years, still clearly having the time of their lives. Between songs there was always a big smile on lead singer Lank’s face. I was sad that the band only had a forty minute set because I would have happily watched, sung and danced along with the band for much longer. Every time I see JB they prove that they are one of the very best ska punk bands that the UK has ever produced.

 

The choice of the night’s headliner through up another tricky decision on who to see. It was between The Bar Stool Preachers and The Filaments. Both are phenomenal live acts so I shouldn’t complain about having to pick between two fantastic bands. We decided to go with The Filaments at Amersham Arms. The choice was made because BSP were the last band we saw before lockdown started and we hadn’t seen The Filaments for years. Plus I always love seeing Pook bounce around on stage and he was playing in The Filaments. We made the walk back to Amersham with our new friend and NXI legend Fred The Punk. If you’ve not made friends with him yet, this is something I recommend you do. He’s a lovely man who really understands what this whole punk community thing is about. Amersham was already pretty full when we reached the venue but we managed to find a good spot from the side of the stage. The Filaments were a little late to take to the stage, I didn’t mind this though as it gave us time to have a little chat with pals. When the band did get on the stage they quickly began to tear the roof off the venue. The set was mostly comprised of the band’s more ferocious songs which got the mosh pit going hard. Unfortunately there was one person in the pit who was going too hard and ended up causing a fight. This lead to the band stopping a song midway through and jumping in to the crowd to sort it out. I believe that the instigator of the fight was then removed from the venue. It’s a shame that after almost two years of not having nice things like Till The Fest there was an idiot who didn’t know how to behave but big love and respect to the band and venue for making sure everyone was safe and the show could continue. I feel like this incident could’ve put a lot of bands off their stride but not The Filaments who stormed through the rest of their set. The highlight for me was a rare run out of Trevor, a song I’ve not seen the band play for years and it remains my favourite Filaments song. This was a great way to finish off night one of Till The Fest.

Night one of Till The Fest had been a massive success and all around us there were big smiles everywhere. There were positive vibes all around and there was much excitement for what was to come for the rest of the weekend.

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

Album Review: Hands Off! by Jet8 and The Shifty Grifts

I first became aware of Czech skacore band Jet8 in 2019 when they made the trip to South London for Level Up Festival. I instantly became a fan of the band following their high energy performance. After that performance I made the extra effort to keep up with what the band were up to. In 2020 they released the incredible Chasing The High album. Now, in 2021, they’re back again with a new split EP with a band I wasn’t previously aware of named The Shifty Grifts – who are also a skacore band from Prague. I’ve said countless times on CPRW how much of a fan I am of split releases, they are such a great way to discover new bands. The split EP is titled Hands Off! and features two new Jet8 songs, two new The Shifty Grifts songs and a collaboration between the two bands.

Jet8 kick the EP off with their song Sixty Pounds. As I’ve come to expect from the band, the track starts with pounding drums, a shredding guitar and a big horn line. This creates so much energy from the outset. It’s not long before Martin’s powerful vocals come in which brings the intensity to the song. The song is about fighting to live your own life the way you want to despite the powers that be trying to hold you down. The breakdown that then leads to the big finale is classic Jet8. Their second song is titled Rise Up. This is another song about being your own person and fighting for what you believe in. Jet8 do these songs so well and this is another fantastic example of that. The track starts off in a very horn heavy manor which really caught my attention and then saxophonist Daniela takes a turn on lead vocals. This was a nice surprise and added a fantastic extra element to the band’s sound. Jet8 are fantastic at writing ferocious choruses that will have a crowd shouting them back at the band with real passion.

The first of The Shifty Grifts songs is titled Kill The Rich. This was my first time listening to the band and I was instantly in love with them. The band are more than happy to jump between melodic punk rock to bouncy ska and even a bit of reggae on the song, showing they have no borders when it comes to their songwriting. Kill The Rich starts with some real intensity before switching to some upbeat ska that will get everyone skanking and then jumping to a more high octane chorus. This is one of those songs that has so much going on and will leave you breathless. The theme of the song follows what Jet8 were also singing about – standing up for yourself and not getting downtrodden by folk who believe they are better than you. Next is The Hunger, The Rent, The Hate. This sees The Shifty Grifts showcase some crack rocksteady in their sound. Once again, the song looks at being downtrodden by “the man”. In this particular case, they sing about how the hardest workers are the ones on less pay and are struggling to make ends meet just so the people with the most money can make more of it. This is a song I really relate to a lot.

The final song, Keeping Me Sane, sees both bands team up. This is such a cool way to finish the split and I wish more bands would do the same. This is an upbeat ska song that gives thanks to the music that helps you find your way through life. There’s a really upbeat and positive feeling to the whole song and it had me smiling throughout. I’m a sucker for easter eggs in songs and there are plenty sprinkled throughout the lyrics that I loved picking out. I really want to hear this song live at some point, with both bands performing it.

Hands Off! is a superb EP. Easily one of my favourites of the year. It shows off two brilliant bands from Prague and it has me wondering what the rest of the Czech scene is like. There has been a lot of talk about the ska scene “returning” in recent months and these are two bands you definitely shouldn’t be sleeping on.

Stream and download Hands Off! on Bandcamp here.

Like Jet8 on Facebook here. And like The Shifty Grifts here.

This review was written by Colin Clark.

Column: In Defence Of UK Ska

First things first, I guess that I need to explain the title of this column. I’m fairly certain that everyone reading this will know about the excellent book In Defence Of Ska by Aaron Carnes. In the book Aaron sets out to stand up for ska and explain that the genre is actually really good despite it often being seen as uncool by music folk in all areas of the industry. If you haven’t read the book yet I thoroughly recommend it. The book also has an accompanying podcast where Aaron is joined by Adam Davis of Link 80 and Omnigone and a special guest each episode which is well worth a listen.

This column isn’t about defending the good name of ska and trying to convince you that it’s cool. It’s about the idea that it’s ‘back’. I’m disputing this because, for me and a loyal, dedicated and fan base in the UK, it never went away!

For a very brief history of ska punk, the genre blew up in the mid to late 90s in America with bands like Reel Big Fish, The Mighty Mighty Bosstones, Less Than Jake, Goldfinger, No Doubt, Mustard Plug and loads more exploding into the punk scene. Like all waves that reach a high and then drop, on the way down somebody somewhere decided that ska punk wasn’t cool anymore and the genre returned to the underground. There were of course loads of bands still playing ska punk in the States but their audience was nothing like it was when ska hit its high. In recent years, ska punk has been back on the rise. The Interrupters have become one of the biggest names in punk rock, even appearing on big American talk show Jimmy Kimmel. California based Bad Time Records has been consistently putting out album of the year contenders from the likes of Kill Lincoln, Omnigone, Catbite, We Are The Union and Joystick, among others. Skatune Network, the YouTube channel of We Are The Union trombone player Jeremy Hunter, where they take popular songs and cover them in a ska style gets shared endlessly. In early 2021 DIY prince Jeff Rosenstock re-released his 2020 album No Dream as a ska album titled Ska Dream. That release irked me. Not because it was a bad album and not because I saw it as someone jumping on to the ska bandwagon. Jeff is a former member of the legendary Arrogant Sons Of Bitches and has always expressed a love of ska. It was because a lot of people in the UK seemed to be proclaiming that ska was back. It wasn’t back. It was still alive and had retained its passionate fan base for years and years.

My first introduction to the UK’s DIY ska punk scene was through [Spunge]. I’ve said so many times that it’s now boring, but the Cheltenham based four (five at the time) piece were my gateway band into ska and punk rock music. I discovered them around 2002, which was around the time that their third album The Story So Far was released. This introduced me to loads of UK bands who, throughout the late 90s and early 2000s, toured relentlessly to packed crowds every night of the week. Along with [Spunge], there were bands such as Capdown, Lightyear, King Prawn, Farse, No Comply, Adequate 7, Whitmore, Ye Wiles, Jesse James, Howards Alias and The Filaments. How’s that for a walk down memory lane? You had labels such as Household Name, Golf Records, Moon Ska Europe and Deck Cheese putting out incredible albums on a regular basis.

 

These bands then influenced the next generation of UK ska bands. As we moved towards the mid 2000s to 2010 bands such as Sonic Boom Six, Random Hand, Mouthwash, Grown At Home and The JB Conspiracy were popping up and carrying on the scene that the bands before them had built.

At this point the big wave of ska in the USA had well and truly ended but the popularity of the likes of Less Than Jake, Goldfinger and Reel Big Fish remained. Whenever those bands would tour the UK they would play to thousands of people every night. In 2007, Less Than Jake had a six night residency at the Astoria in London where they played all six of their albums to packed crowds. The UK still loved ska punk.

Around this time TNSRecords in Manchester were releasing music from the likes of Faintest Idea, Rising Strike, Beat The Red Light, Harijan, John Player Specials, Stand Out Riot and Sense Of Urgency. The ska punk scene was absolutely thriving in the North of England. Down South bands such as ClayPigeon, The Skints, Anti-Vigilante, Tyrannosaurus Alan, New Town Kings, Imperial Leisure and The JunK were always on at The Camden Underworld and drawing impressive crowds. Let’s also not forget Dirty Revolution from Wales and The Hostiles from Glasgow as well. There were small ska scenes all over the UK and it was still a great time.

Big alternative festivals such as Boomtown and Rebellion would regularly book these bands for their summer events, allowing them to reach an even bigger audience. Proving that people still loved ska punk music.

Massive ska punk all dayers would become a regular event. The Camden Underworld would regularly host a Christmas party packed with ska punk bands and in Bristol a venue named the Fleece would run an event named Skank Fest which would regularly host gigs that ran from midday until midnight with ten or so bands.

There does come a time in scene cycles where the crowds begin to change. The older members of the crowds begin to settle down and find themselves with responsibilities that mean that they can’t get to as many gigs as they used to. This cycle obviously applies to the people in bands as well, responsibilities and life get in the way and playing shows all over the country begins to take a back seat. This did mean that the amount of shows began to dwindle but this gave opportunity for the next wave of bands to come along…

Yes, here is the bit about our best friends in Be Sharp Promotions. After putting on ska shows around Kent and South London since 2009, in 2012 they found a home at the New Cross Inn. Since then the pub/venue has become synonymous with ska punk. Bands such as Call Me Malcolm, Popes Of Chillitown, Tree House Fire, Captain Accident & The Disasters, The Bar Stool Preachers, King Punch, Just Say Nay, Millie Manders And The Shut Up and The Pisdicables have all made names for themselves at Be Sharp shows. Word has spread far and wide about the great things that Be Sharp and NXI are doing for the ska scene and legends such as Random Hand, Lightyear, King Prawn and The JB Conspiracy have regularly taken to the stage to sold out crowds. They’ve also managed to attract international acts such as Big D & The Kids Table, Jaya The Cat, The Toasters, Dave Hillyard & The Rocksteady Seven and, the big one, GOLDFINGER!

In my opinion NXI really became the home of ska punk when Mike and Paul Smith of Be Sharp teamed up with Chris Fishlock of Fishlock Promotions (based in Bristol) and Jason Berden of El Topo Bookings (from Belgium) to create Level Up Festival. These promoters all met at a Bristol Skank Fest (which I was also at) and the idea for Level Up was conceived. Level Up is a three day festival that takes place at NXI every July. Since starting in 2017 the weekend has become a staple in ska punk fan’s diaries with people travelling from all over the UK and further afield to attend the festival. Despite only having three editions so far (bloody pandemics), Level Up has not only been the setting of so many fantastic moments and memories but has also helped strengthen the ska punk community. It’s a beautiful weekend and, in the words of Craig “C-Rage” Darran, it’s “ska punk Christmas.”

So, in conclusion, ska punk never went away in the UK and continues to go from strength to strength. More and more bands are coming out and releasing fantastic albums. The scene remains as supportive as ever, you will often see members of different bands deputising in other bands or just joining for guest spots. Ska punk shows remain big sellers. At multi-genre festivals the ska bands always get massive receptions. Thinking of Call Me Malcolm’s amazing Gorilla set and Manchester Punk Festival still puts a smile on my face.

The ties between the UK and American ska scene remains strong as well. Call Me Malcolm released their latest album Me Myself And Something Else with the help of Wiretap Records. Pook, formerly of Beat The Red Light and current member of Redeemon and The Filaments, recently started his own label/distro named Pookout Records to help UK ska fans get hold of new American bands’ releases without having to pay a fortune in shipping. Pookout Records regularly sells out of their Bad Time Records releases very quickly and they are also working on releasing music from some exciting new UK bands. Paul of Be Sharp recently started his own booking company with fellow NXI promoter Eddie name ACA Booking and have linked up with Bad Time to help those bands come to the UK to play gigs. This is a great opportunity for the bond to grow even stronger and hopefully open doors for UK bands to go to the USA and showcase just how good our scene is.

To conclude the conclusion, ska didn’t die in the UK and I doubt it ever will.

This column was written by Colin Clark.

All photographs taken by Emma Prew at various ska punk shows over the past five years.

Album Review: I Can't Take It Anymore by Joystick!

In a year of many disappointments, an undoubted bright spot has been the massive resurgence in the ska punk scene in the USA. You will know by now that California’s Bad Time Records (co-released with Stomp Records in Canada) have been at the forefront this surge in popularity for the genre by releasing banger after banger. Perhaps my favourite of their 2021 releases so far has been I Can’t Take It Anymore by the New Orleans based eight piece Joystick! The band have been around for over a decade now, releasing their first album back in 2010. I Can’t Take It Anymore is their fourth and it has really pushed the band into a bigger spotlight than ever before.

Before I go into my unnecessarily detailed review here is, the patron saint of the UK ska punk scene, Paul Smith’s review:

“Retcon is my favourite skacore song. Rinse & Repeat is my favourite overcoming addiction song. Parallelograms is my favourite ska punk song.”

“PS 12 other good songs too.”

Thanks for your help, Paul.

The fifteen track album begins with Retcon. This opener really sets the thematic tone for the entire album. It’s about lead singer Paul ‘Duck’ Tucker’s recovery from addiction. Retcon specifically talks about looking to the future, trying to remember that you “won’t be defined by your history.” This is a high energy beginning to the album that flits between fun ska and high octane punk rock. Following on is Detonate which is another high octane song which sees Joystick move into skacore territory. Detonate blasts (sorry) through its first half with Duck spitting out some quick fire lyrics. This song will certainly get some wild circle pits going when it’s played live. The band gives Duck a bit of a break with the addition of the horn section and a change in melody which sees them almost fall into a chant-like moment. Damage Boost sees Duck using Joystick’s platform to offer help to anyone who has been through what they’ve been through. During the track, Duck lets the listener know that they’ve been through the same things that they have and assures them they’re not alone. I really love how Joystick have used their platform here.

The fourth song, Rinse And Repeat, is one of my favourite ska punk songs of the year. It’s one that grabs your ear from the first listen with its upbeat nature and super positive chorus. On the song, Duck sings about being new and improved, and although there are hard days they know they are in a much better place. I often mention catharsis when reviewing albums and this song can easily be placed into the box of cathartic bangers. (Side note: cathartic bangers is such a great idea for a playlist). Gggghost is the first song on the album that really puts a big focus on Joystick’s brass section. Josh Bourgeois (trombone), Justin Mcdowell (tenor sax), Garrett Corripio (trumpet) and Andrew Heaton (trombone) open the song in a dramatic fashion. I really enjoy the contrasting style of the song. Duck’s vocals are raspy and intense but the horns give the track a lighter, sunnier feel. They are also used to tremendous effect in the breakdown, giving the song a huge feel. Gggghost is about shutting out the ghosts from your past and moving on with your life. Parallelograms was an immediate stand out when I first listened to I Can’t Take It Anymore. It’s an upbeat ska punk song that is packed full of undeniable energy, beginning with some more excellent horns that quickly put a smile on my face before Duck comes in with some quickly delivered vocals. The song tells a story about someone who is seemingly living a double life. One life paints a picture of a happy go lucky soul without a care in the world and the other is one of someone battling a drug addiction. The life spent battling addiction is kept secret from their other life and sadly ends fatally. The song follows that long standing ska punk tradition of sounding super happy but when you look deeper into the song it’s actually really sad. Duck’s lyrics on this track are superb.

No Sleep After Brooklyn is an instrumental track that throws us back to the early days of ska. This really allows Joystick to show off just what a talented bunch of musicians they are. They can play highly energetic ska punk songs just as well as they can play an homage to some more traditional ska. The eighth song, 7675, sees the band joined by fellow New Orleans musician Zach Quinn of Pears and Bandaid Brigade. As you might imagine in a song featuring the lead singer from Pears, the track is a fast one. What a contrast this is from the previous track, really showcasing the band’s ability to mix up styles. After the relaxing chill out vibe of the previous song we’re now back in the chaos. I don’t think the album really needed such an injection of energy at this moment but I found myself lost in it anyway. My highlight of the song is how Duck and Zach interchange vocals seemingly along with exchanging harmonies on occasion as well. Carrot And Stick begins with a really summery reggae feel to it. It’s one you can have a gentle sway to whilst crooning with Duck. We reach the halfway point of the song and the band crank things up to give the song a big finale. This song could have so easily been the album’s closer with such an epic ending but we’ve still got six songs left to go!

Unscene is a fast hardcore track that addresses that one idiot that appears in every scene. We’ve all seen the guy who is super macho and, rather than coming out to enjoy the music and the community, just looks to drink and get into fights. This person is not a part of the scene or community and just ruins things for everyone else. I love that Joystick address this on the album. This macho behaviour is one that needs to be eradicated from the punk and ska scene – the sooner, the better. Semicolon is another instrumental song. It’s a largely piano based song that really serves as an extended introduction to the next song, Past Tense. The horns at the start of the song, after that long introduction, immediately make the song feel massive and give me high expectations for what is to come. It’s a slower song than anything so far on I Can’t Take It Anymore and perhaps the most emotional as well. I think the song is about trying to fix past relationships that have been damaged by your addictions. This is a song that will garner huge sing-alongs when Joystick get to play it live. Much like Carrot And Stick, Past Tense also feels like it could be the album closer but we still have three songs to go!!

Track thirteen is titled Shots. It’s just twenty-nine seconds long and absolutely flies by in a ferocious manner. Shots is about being given more chances after you’ve messed up and being thankful for those opportunities. This is posi-hardcore at its absolute finest and is an important reminder that you shouldn’t shut people out who are going through difficult times and need your support. The penultimate song is Worm Food. Worm Food is perhaps the most unique sounding track on the album. It’s begins seriously stripped back with an acoustic guitar and some whispering getting things going. There are some teases of the full band coming in but for the most part we stay with the acoustic sound as Duck sings about thinking too much about death. This is one of the most cheerful songs about death that I’ve ever heard for sure and maybe one of the most enjoyable. The fifteenth and final song is the album’s title track, I Can’t Take It Anymore. What an amazing and positive way to finish the album. And not just to finish an album, as I suspect that this will now become the traditional set closer for the band’s live sets. This is probably the poppiest song on the album but that’s a great thing. For me the best pop music is super positive and puts a smile on my face and that’s exactly what this song does. It’s about conquering your demons and working on self improvement. This is another song that could easily find a home in the cathartic bangers playlist I decided I should make earlier. The song is written for huge sing-alongs and I personally can imagine this being absolutely epic played in the New Cross Inn in front of a big crowd. That’s got to be a thing that happens as soon as it’s possible. This is the perfect way to end an incredible album.

I Can’t Take It Anymore is not just a brilliant album, it’s also a really brave and important album due to its themes and content. Not only will people enjoy dancing and singing along with it, I imagine that it will also offer help and support to people. Bravo Joystick!

Stream and download I Can’t Take It Anymore on Bandcamp here.

Like Joystick! on Facebook here.

This review was written by Colin Clark.

Album Review: Sgt. Scagnetti vs Hans Gruber And The Die Hards Split

I do love a split. I especially like them when one you get to discover a band that you never knew before. This was the case on the new split release by Sgt. Scagnetti and Hans Gruber And The Die Hards. I’ve been aware of Hans Gruber And The Die Hards for a few years now but I’ve never heard of Sgt. Scagnetti. I was keen to check them out. The split is only three songs long, one from the Sgt. Scagnetti and two from Hans Gruber.

 

Sgt. Scag (as they are often known) were actually an active band in the North East of America in the late nineties. They were known for their fun and unpredictable live shows. Like many bands from the era, they split in the earlier 2000s but have played a couple of reunion shows in recent years as well as releasing some new singles. Their appearance on this split is a great way to introduce themselves to the new era of ska punk fans. Sgt. Scag’s song on the split is titled Cultination. This is a great introduction to the band for anyone, like me, who is listening to them for the first time. It begins with quite a lengthy brass-fuelled introduction before lead singer Steve’s soulful vocals come in. The opening verse has a great call and response section between Steve and the rest of the band that really hooked me in. This is all played at a nice, mid-tempo pace before the band speed things up for the chorus. So much goes on in this song with changes in tempo and melody but the band seamlessly blend it together so it never feels stop/start. As the song finishes there are some great gang vocals and harmonies and ensure the song ends with a bang. The track is about the Internet influencing children to become mindless robots and how that’s a bad thing.

The first of Hans Gruber And The Die Hards’ songs is titled You’re Being Watched. The Texan outfit are one of the more unique and creative bands to come out of the USA ska scene. The track is about the paranoid feeling of being watched and trying to convince people that you’re not going crazy. The song starts with a very traditional ska punk style. The saxophone playing gets the song off to a fun start before the vocals come in and the song goes off in a completely different style. Vocally you would probably find more similar bands in the crust punk world, with some venomous singing going on. There is a slight change again for what I guess is the chorus, where a vocal that sounds like MC Bat Commander from The Aquabats come in. So much is going on and I love it. Hans Gruber’s second track is named Medical Advice. The track is largely instrumental except with occasional lines being shouted over the top. The lyrics touch upon the medical advice that has been given to the world during the past year such as staying at home, wearing masks and avoiding seeing vulnerable loved ones. There are some moments of anger and moments of sarcasm in these lines, they create quite an interesting dynamic and often make you think. This is such a skankable song and has a really catchy tune that will quickly earn a place in your head.

I really enjoyed this split. It features some old and new school style ska punk so it has something for everybody and is well worth checking out. It’s less than 8 minutes long and is a lot of fun.

Stream and download the split on Bandcamp here or here.

Like Sgt. Scagnetti on Facebook here and like Hans Gruber And The Die Hards here.

This review was written by Colin Clark.

Album Review: TNSRecords Volume 4: Cheap Cans, Broken Vans and Basement Bar Bands

The much loved and respected Manchester based DIY record label TNSRecords is just about to put out their 100th release. This is an incredible achievement and, before we delve deeper into the release, I just want to congratulate Andy and Bev for this huge accomplishment. Well done guys, it’s amazing!

When I discovered that TNS were closing in on their 100th release, I speculated to myself as to what it would be. I assumed that it would be a compilation but figured it would be a kind of TNS best of, featuring Andy and Bev’s favourite songs that the label has put out over the first 99 releases. Or perhaps it would be the current active bands on their roster covering songs from classic releases – that would be cool. Instead they decided to release a compilation featuring 33 bands that are a combination of the newer bands that TNS has released music by, as well as up and coming bands that they like and want to give some exposure too. TNS has always been about being progressive and looking forward and this is a fine example of that.

I probably should’ve mentioned by this point that the compilation is titled TNSRecords Volume 4: Cheap Cans, Broken Vans and Basement Bar Bands and it’s being released on vinyl and CD on the 19th of February. Buy it here.

Now on with the actual review. We don’t normally do compilation reviews for the simple reason that there are lots of bands – and to try and go into detail about each song will break me and also probably bore you. So, for this review, I’m going to try and give a running commentary on my thoughts of the compilation as I listen through it. I’m going to set myself a rule of only listening to each song three times to stop myself getting too detailed.

First up is Incisions and their song New Day. The Manchester based hardcore act have been carving out a big audience for themselves amongst the UK DIY scene over the past few years and their upcoming new album, Bliss, looks set to continue their momentum.

Jodie Faster play short and fast punk rock songs. The band have been together since 2016 and have already found a massive fan base for themselves. Don’t Take It Bad opens with a hyperactive guitar riff and the vocals add much ferocity to the track.

Midlands based four piece Brassick provide their song They Say. The track welcomes you in with a great melody before lead singer Nicola McCarthy’s powerful vocals take you through a hard hitting and political song that will unite a crowd.

Faintest Idea are long time friends of TNS and really HAD to be on this compilation. Stomp ’Em Down is the first single from their long awaited next album. If this single is anything to go by then it’s going to be fantastic. Mixing street punk with ska to incredible effect, Faintest Idea continue to be one of the best bands in the UK.

Fun fact: Nosebleed were the penultimate band I saw live before gigs stopped. They’ve gained a reputation for being one of the best live bands in the UK and are also pretty damn good on record too. Playing an amped up version of garage punk, the Leeds based three-piece are one of the most exciting bands in the UK at the moment and their song I Got You shows you exactly why. Fast paced, catchy and will have you getting your finest dancing shoes on.

Another of the UK’s most exciting new bands are Aerial Salad. Despite their young age, Aerial Salad seem like they’ve been around forever now and it’s been absolutely wonderful seeing them progress with each release. 2020’s Dirt Mall saw them take another giant leap forward with their grungey take on pop punk. Mainstream attention deservedly awaits Jamie, Mike and Matt.

In Evil Hour are a melodic punk rock band from Darlington, UK. The track 2050 is my favourite I’ve heard from the four piece. It begins slowly and builds and builds. The further you go into the song, the angrier it gets and it does a great job taking you along for the ride. Alice’s vocals are superb throughout, one of the best voices in UK punk rock.

DIY punk legends The Restarts provide the song Freedom From. Delivering a slice of thrashy hardcore punk rock from London. The song is unrelenting throughout and goes by like a tornado. Fast guitars, thumbing drums and snarling vocals.

Hastings’ punk act Haest are another new band quickly making a name for themselves. There seems to be an affinity between Hastings and TNS so it wasn’t surprising to find Haest on this album. The Turtle In The Handbag is a hard rocking punk song that has a bit of a throwback feel to it.

Another long time friend of TNS are Warrinton’s folk punks Roughneck Riot. The band took a short break in 2019 and were due to make their triumphant return in 2020. Unfortunately all of the tragedy of 2020 happened and they were unable to get back for any live shows but it seems they were able to get into the studio at some point to record some songs. The track, A New Day Is Dawning, is an uplifting song about better times being on the horizon.

Knife Club are a TNSRecords supergroup. There was a lot of mystery surrounding the band before they eventually revealed their members last year. Sadly they haven’t been able to play any shows yet but they did put out a phenomenal album in the form of We Are Knife Club last year. Fronted by Andy Davies (TNS/ROTPM) and Zoë Barrow (Casual Nausea), You Can Only Try Your Best is a new and unreleased song that is really empowering. This is perhaps my favourite thing from the band so far.

A lot of people have been talking about Bobby Funk in the past year and their song I’m A Cat has been proclaimed by many as the best song of 2020. Hailing from Falmouth in Cornwall, Bobby Funk play fast and straightforward punk rock that’s a lot of fun.

Harijan were one of the first bands that TNS released music by and, at the end of 2020, they finally released their debut album. Paranoid is one of my favourite tracks on the album. It’s an upbeat song that showcases lead singer Mike’s distinctive voice brilliantly. This is another song that you’ll need to get your dancing shoes ready for.

Youth Avoiders bring back the angry hardcore with their song Steel Concrete. A very apt name for such a hard song. There are no wasted moments in the song as the French band storm through the song. Steel Concrete actually comes from an album named Relentless which is the perfect way to describe this song.

Pi$$er are another super group who feature current and ex members of bands such as The Domestics, Revenge Of The Psychotronic Man, Doom, Beat The Red Light and many more. Playing d-beat hardcore with a saxophone, they are one of the more unique bands to have emerged in recent years and certainly one to look out for.

Bristol’s Martyrials offer up a synthesized take on the punk rock genre. This is clearly a band not afraid to venture outside of the box and they’ve managed to create something quite wonderful. Sonically Parachute will have you dancing away, there’s a great energy that gives the song an urgent feel and vocally there is plenty of bite.

Dundee gruff punks Uniforms have been a big favourite of mine for years now and I was very pleased to see them featured on the compilation. Searchlights comes from the EP Reasons To Breathe which was co-released by TNS and Make-That-A-Take Records in 2018. It’s an absolutely banging song from one of the UK’s best bands.

I can remember seeing Wales’ Grand Collapse at MPF 2 in 2016 and they seem to have had a relationship with TNS ever since. The four piece play blisteringly fast hardcore that will get a mosh pit moving like a hurricane or make a room full of people aggressively bang their heads in unison. Calvin’s vocals really make you pay attention to the song and the band show considerable skill with their instruments with some really technical riffs and drum lines.

Casual Nausea are a five piece from Ipswich. Casual Nausea are one of the UK’s most interesting sounding bands. Mixing street punk with hardcore, they feature great dual vocals that work incredibly well together. The song Empty Rewards is a real ear worm of a song that really stands out amongst all of the other great songs on this album. It’s really infectious.

Sandwiching Casual Nausea in a Welsh hardcore sandwich are Pizzatramp. Pizzatramp showcase the trashier side of hardcore, playing three chord punk rock as fast as they possibly can. I Got Work In The Morning tells a tale of not being able to live the life you really want to because you have your rubbish day job the next day. Something we can all relate to!

Everyone’s favourite folk punk band Stöj Snak are up next. The Danish band have a long running history with TNS dating back to lead singer Niels’ old hardcore band, Mighty Midgets. If you’ve been living under a rock and haven’t discovered Stöj Snak yet, they play passionate and angry folk punk and can inspire alongside really tugging on your heartstrings. A firm CPRW favourite.

Manchester’s The Sewer Cats are a duo who play fuzzy, distorted punk rock. On the song Rich Cheaters, I really enjoyed how the song manages to jump between an almost poppy garage punk sound to some really angry, visceral hardcore. This is a political song that’s very fitting for the current age.

The Domestics are from Suffolk and featured is the song Don’t Tell Me What Love Is. This is a rapid-fire hardcore track that never stops for breath. The vocals on the verse are so fast it’s quite hard to make them out but I’m guessing that the song is about not conforming to what THEY tell you love is, it can be whatever you want it to be. Have a listen to the song and see what you think is going on.

Former Bootscraper member Tim Loud throws a fantastic sonic curveball into the record. The long time associate of TNS provides a country tinged rock track that showcases their brilliant ability to tell a story through a song. This is the first physical release of Anyone Else But Me as it’s only been released digitally in the past.

Skinny Milk are a duo from Brighton. Playing fuzzy punk with a shoegaze element to their sound, Skinny Milk are a new band to me and already sound like one that could make a big splash on the DIY scene as well as a more mainstream one.

Daves are a band I’ve been excited about since Sarah from Shout Louder suggested them for Do It Together Fest in January 2020. Unfortunately they were busy playing another show that weekend so we were unable to book them and I am yet to see them live. I love their fast, gruff sound. This is the type of punk that gets me singing along with my fist firmly punching the air.

If you’ve been following TNS over the last few years you’ll be very aware of Follow Your Dreams. I always feel like hardcore is one of the hardest genres under the punk umbrella to make sound original but Follow Your Dreams found a way. Using a wide array of pedals to make some fantastic guitar tones, you never know where a Follow Your Dreams song is going to take you and Kaz is a superb frontperson for the band. When you can, check them out live.

Like their fellow folk punk comrades Roughneck Riot, Matilda’s Scoundrels recently took some time off but now they are back. The Hastings bands are another with a long standing relationship with TNS and their popularity has grown massively over the past few years. They are now one of the must-see touring acts on the circuit.

Falmouth’s Rash Decision are a long running band in the DIY scene, known for their fast and thrashy hardcore punk rock songs. Their track The Martockian has a nice long intro that really builds the song up before launching into an unrelenting minute or so that is full of everything you would expect – energy, aggression, urgency, passion and ferocity.

German hard rockers Christmas are a band TNS have been championing for a while. The song Push Fast is from the TNS released album Hot Nights In Saint Vandal. It’s a heavy slab of melodic punk with vile fuelled vocals and loads of whoa-oh harmonies that really pull you into the song.

Throwing Stuff’s no-nonsense approach to punk rock has long entertained me. It was quite a surprise when they released A.C.I.Y.H.A.B. out of the blue digitally last year. Its appearance here is its first physical release and I can’t think of a better place for it to be. The song is about changing your attitude towards what you’re taught about the police and realising what they can really be like. Sadly, not all police people are good eggs.

The penultimate track comes from who I think is the newest band on the compilation but they do have a long history with TNS. Redeemon are a band birthed from the ashes of Beat The Red Light who were one of the first bands on TNS’ roster. On the track Anaphylactic, Redeemon take the skacore and metal that BTRL were so loved for an add even more influences that shouldn’t work as well as they do.

The final song is from Speed Dinosaurs. Stegasaurid is the perfect song to finish the compilation with. It’s a softer, ukulele lead song about the dinosaur Stegasaurid. It’s fun and silly and really fits the TNS sense of humour that’s been apparent over the years.

Cheap Cans, Broken Vans and Basement Bar Bands is a fantastic showcase of the amazing talent doing fantastic things in punk rock at the moment. It’s a varied collection of tracks that has something for everyone. The different and diverse styles of punk rock will allow listeners to check out new styles that wouldn’t be their usual go to – I’m a big fan. The compilation is a fitting 100th release for such an important and influential album from the UK’s DIY scene.

Like TNSRecords on Facebook here.

This review was written by Colin Clark.

Album Review: Anti-Social Summer by Dead Rejects

Dead Rejects are a skacore band based in New Jersey. They’ve been on my radar since 2016 following a split with Positive Junk but have actually been releasing on a very consistent basis since 2012. In December of 2020 they released their latest EP which was titled Anti-Social Summer. Featuring three brand new songs of venomous skacore with big choruses, Anti-Social Summer promises to be another excellent addition to the Dead Rejects discography.

The first track on the EP is Play The Fool. Starting out with a short audio clip which says “my rage knows no bounds” before jumping into the song, you are greeted with Shane Sparacello’s visceral vocals. It’s an intense start but it really grabs your attention. When we reach the chorus, the song becomes more anthemic and is likely to get a crowd unified and singing along. The song is about putting on a mask to cover how you really feel, something we all have done at times. Next is the EP’s title track Anti-Social Summer. This song is a reaction to the summer of 2020 when everyone should’ve been staying home because of COVID-19. The track talks about how it was great to stay home all day and have lots of spare time, then how it got boring and hard for your mental health but ultimately knowing it was for a greater good. I would imagine over the next year we’re going to hear a lot of songs on this subject, I would wager that this will be one of the best. The melody at the start of the song really brings you in and when the pre-chorus and chorus come in it gets intense and really pumps you up. The final track on the EP is titled Quarter-Life Crisis. After a long introduction, Dead Rejects really crank up the intensity. Shane’s vocals spit venom throughout the track as he sings about everything that seems wrong in his world. It seems that the story of the song is about having a breakdown in your life because you’re not doing as well as society might dictate. I think the song could be very cathartic for a lot of people who may well feel the same. Sometimes life is very hard and society does put a lot of undue pressure on folk. Always remember your life is different to everyone else’s is and your goals and achievements are just as important and wonderful as the person next to you.

This is another fine release by Dead Rejects. There’s a lot of buzz around the ska scene in America at the moment and I feel like Dead Rejects should be a band that get mentioned way more than they do. If you’re a fan of Suicide Machines, Leftöver Crack or The Infested then you’ll love Dead Rejects.

Stream and download Anti-Social Summer on Bandcamp here.

Like Dead Rejects on Facebook here.

This review was written by Colin Clark.