Album Review: Crepuscolo Dorato Della Bruschetta… by Snuff (by Chris Bishton)

Snuff are back. Crepuscolo Dorato Della Bruschetta Borsetta Calzetta Cacchetta Trombetta Lambretta Giallo Ossido, Ooooooh Così Magnifico! (yes, seriously) is the latest from the UK punk powerhouse and, given all the difficulties that have come with writing, rehearsing and recording over the last couple of years, it comes relatively quickly following 2019's Fat Wreck released There's A Lot Of It About.

If you don't know the band, which I doubt but I guess it's possible, they've been almost constant mainstays in the UK punk scene for over 30 years. There's been inevitable line-up changes, side projects and mini-breaks over that time and the band stripped back to a three-piece to write this new album, but Duncan Redmonds remains perpetual, meaning not only do you know what to expect, you also know you're going to get a banger.

With 10 tracks, it's not the longest and only one of these tracks lasts more than three minutes, but what you get is a snappy 25 minutes or so of that instantly familiar Snuff sound. There's harmonies, singalongs and very distinct vocals galore. The expected horns, trombones and organ are all in there as well. Listen to it from start to finish and I think most will also agree having just 10 tracks is to the record's benefit – there's very little need for any skips here.

 
The first track is Looks Alright From Here. The opening few seconds start with the guitars, followed by drums and then cymbals before Duncan's frantic and unmistakable vocals kick in. It's the way all good Snuff albums start. Vintage stuff.

Green Grass Chippings is next. I think it had been pre-released as an online single, but I hadn't actually caught it before. It's one of my favourites on the album – absurdly catchy vocals – but not quite as the brilliant One Of Those Days which follows and is the best song on the album. Fish 'N' Chips then reminds me further of their very indisputable sound. You can't hear this and wonder 'who are this band?' and 'where are they from?' – patently Snuff and obviously British.

 
Snuff being Snuff also can't resist a cover and there's a classic here with their take on Curtis Mayfield's Hard Times. The band themselves refer to their sound as "Motown Punk" and this is as good a cover as they've done. In fact, when you listen to the whole album on repeat you'll hear Motown references and sounds all over the place.

Barba Gelata then starts with the sound of a British ice cream van before a three minute instrumental. It's the only song that feels a bit out of place, but I'm sure that's more me than most.

 
Lemon Curd gets me back on track before being followed by Stolen From View and Small F; all solid tracks before it finishes with Bing Bing – a Snuff catchphrase and a feel good song, the mid-pace of which winds the album down nicely.

 
This Snuff release probably won't rank as many people's favourite, but why should it? A band with this much back catalogue can't put out better and better records indefinitely and it's right that everyone should have their own personal best. But, it's fast, harmonic, raucous and distinctly Snuff and I love it for that.

The album is available on the band's own 10 Past 12 Records and Austria's SBÄM Records.

You can stream and download the album on Bandcamp and like Snuff on Facebook.

This review was written by Chris Bishton.

Gig Review: Slam Dunk Festival 2021, South, Hatfield House 5/9/21

Slam Dunk 2021 actually happened and I have to say immediately it was one of the most fun days I’ve had in years. My attendance, since this edition of the festival was first announced back in 2019, was most likely not going to happen. It originally clashed with another festival I had tickets for (Bristol Booze Cruise), then a lot of the bands I was most keen to see had to drop out and with the ones that did remain, I was super sceptical about them coming over. Booze Cruise, along with every other event, got cancelled or postponed because of that bloody worldwide pandemic so that clash went away. As the festival’s new date began to get closer, I began to get more of an itch to attend the festival but I continued to hold out on getting a ticket until the last possible moment. That moment being when I knew that some of the overseas bands that were booked were in the country but that they were also allowed out of the airport. I was also waiting to hear back from Slam Dunk about a press pass but sadly that didn’t happen (hey, Slam Dunk, next year yeah?).

The day of the festival arrived and I had to set out early. I live in Bedfordshire, not far from Hatfield House where Slam Dunk takes place at all. But because of having to get all sorts of connecting trains at different points, my journey was far more complicated than it should have been. Why is it that trains only go up and down and not across around these parts? I also wanted to make sure to get to the festival site with enough time to get through the ticket area with plenty of time to get to the Punk In Drublic stage for the opening band. As the build up for the festival grew there had been a lot of drama on the festival social media posts about tickets not being sent out and kids getting stressed and confused about the COVID-19 protocols that would allow you access to the festival site. I expected getting in to take longer than usual. This couldn’t have been further from the truth. After meeting up with my friends we strolled up to the gate and basically walked straight through. To be completely honest, I was a bit concerned that the chap who checked my COVID passport barely looked at it at all – I hope the rest of the people working the gate were more thorough!

To start the day we made our way to the Punk In Drublic stage which was returning to Slam Dunk for the second year. I have memories of the first Punk In Drublic stage at Slam Dunk being opened by California’s The Bombpops and them playing to a huge crowd. Unfortunately the crowd that greeted Sweden’s The Baboon Show wasn’t quite so big but that didn’t stop the rock ’n’ roll foursome putting on a big show to start the day. They played a blend of heavy rock and punk that I think would have sounded great in an indoor setting but perhaps didn’t translate as well on a sunny, outdoor stage. It was a spirited performance though with the band clearly masters at working a crowd. I assume that the band were new to the majority of people in attendance and I’m certain that they came away as new fans of The Baboon Show. They’ll be back next year for a tour with the legendary Descendents.

Next we made the journey over to the Key Club stage for the Popes Of Chillitown. Regular readers of CPRW will know of our love of the Popes. We’ve been watching them live for years and it was amazing to see them get the chance to play at a festival like Slam Dunk. As they only had a thirty minute set it meant that the band could only squeeze in about five songs. This didn’t stop them from putting on one hell of a show for the massive crowd that had gathered to see them. These guys have spent years on the road in the UK and have clearly earned a massive fan base along the way. I always think that the band are at their very best when they’re on stage and, despite the early start, they brought all of the energy to Slam Dunk. During their opening song they had the crowd dancing enthusiastically. Popes frontman Matt/‘Tarzan’ was at his frantic best, jumping all over the stage along with getting down to the crowd and singing with them. Seeing these guys playing this festival and absolutely smashing it shows why the festival should take more chances on the so-called smaller stage and allow them to showcase what a talented place the UK DIY scene is. Congrats to the Popes on this exceptional performance.

After Popes we made the trek back to the Punk In Drublic stage where Buster Shuffle had already begun their set. The South London based ska band were a late addition to Slam Dunk, replacing Texan folk punks Days N Daze who sadly had to drop out at the last minute due to issues with travel. Buster Shuffle felt like a perfect addition given the warm sunny day. Their upbeat ska/two tone was made for sunny days in a field and I had a lovely time watching them. Despite some issues with their piano early on, the band powered through to deliver a slick set. I’m not overly familiar with the band but it’s the type of music where you can have a great time regardless and it seemed that Buster Shuffle managed to get the sizable crowd moving throughout their time on stage.

Following on from Buster Shuffle were a pair of UK punk rock legends. First was Snuff. Snuff seem to have been one of the most active bands on the touring scene since gig restrictions have been lifted so were well practiced for their set. This was my first time seeing them since Dan from Spoilers had the joined the band on bass and they had a three piece brass section especially for the occasion which was nice as well. Snuff very much fit the bill of a no nonsense punk rock band, storming through their set with minimal banter between songs but when they do stop for a chat it’s always very entertaining. Personally, I prefer Snuff when they play their more cockney sing-along songs, songs like Arsehole and Whatever Happened To The Likely Lads went down a treat along with a really fun cover of The Merrymen’s Feeling Hot Hot Hot. All punk bands should be covering Calypso music on hot and sunny days. Snuff were a lot of fun as always.

UK skacore heroes Capdown were next to take the stage and you could feel the anticipation and excitement throughout the crowd. Capdown are arguably the most influential bands of their era so this extremely rare chance to see them play live was one you couldn’t miss. It’s been a few years since Capdown played any type of show but as soon as they took to the Punk In Drublic stage it was like they had never been away. Lead singer and saxophonist Jake Sims-Fielding was a ball of energy, bouncing around the stage whilst screaming out the lyrics to the opening tracks. What struck me quickly was how good the sound was for the band. I’ve often found outdoor gigs to not have the best sound but that could not be said on this stage. Capdown sounded massive. As you would have expected, the band stormed through all the favourites, each track getting a bigger reaction than the last. Personally I loved hearing Cousin Cleotis, Pound For The Sound, An A-Political Stand Of Reasons and, of course, Ska Wars. There’s always a real concern that this could be the last Capdown show whenever they play but if this was the last (I really hope it wasn’t) then it was a hell of a way to end it.

Next we made our way to the main stage to see Creeper. I don’t think I’ve seen Creeper since they headlined the opening day of the very first Manchester Punk Festival back in 2015. At the time they had only released their debut EP. Very few would have predicted the absolute behemoth of a band they have become since then. Their most recent EP, American Noir, debuted in the UK charts at number 13 which is absolutely insane for an independent punk rock band. It was now 3 o’clock in the afternoon and the sun was beaming down relentlessly. It was a little strange seeing a band who have such a spooky aesthetic playing in the bright sunshine rather than a dimly lit club but it didn’t stop Creeper from putting on a big set. Frontman Will Ghould is a wonderful performer and even from my vantage point, towards the back of the biggest crowd I’d been in at the point of the day, I couldn’t take my eyes off of him. During their nine song set, they played a great mixture of old and new songs. I was pleasantly surprised that they played VCR off of the debut EP alongside the newer stuff. Another highlight was when Hannah came out from behind the keyboards to perform a brilliant duet of Misery with Will. Creeper really showed why they are so highly thought of within the UK alternative scene.

Up next on the agenda was the Key Club stage for the super special surprise guests. Except they weren’t a surprise for us as the Leeds leg of Slam Dunk had happened the day before and it was already revealed the day before as UK pop rock heartthrobs McFly. I’d seen a lot of people had been disappointed that it hadn’t been Neck Deep as the secret guests but I was actually quite happy to see McFly playing and it seemed like a lot of people in Hatfield felt the same. I feel like McFly were a gateway band for a lot of people as they entered the world of guitar-based music. I went along as I figured when else would I ever get the opportunity to see them – I certainly wouldn’t buy a ticket for their own gig. Though to be honest I’m not sure I can really count this as seeing them. By the time I arrived at the stage, the crowd was so full it wasn’t really possible to get a good vantage point and all I could see was the one person running to the front of the stage and playing McFly songs. Could’ve been anyone. The kids at the front that I could see however seemed like they really enjoyed themselves and that was nice.

Following straight on from McFly were A. A are almost twenty five year veterans of the UK rock scene but somehow this was my first ever time seeing them. Obviously they’re best known for their big hits Nothing and Starbucks but they have a big catalogue of fantastic rock tunes to work from. Despite being one of the hottest days ever recorded (maybe an exaggeration), frontman Jason Perry took to the stage dressed like he was about to hit the slopes. I’ve been told on previous tours he dressed as a Deliveroo rider, complete with the bag – I guess the man enjoys dressing up. I absolutely loved A’s set. From start to finish it was an incredible amount of fun and it was great to see how many passionate fans the band still has after all these years. From making playful jibes towards McFly, to releasing a small confetti cannon and encouraging the crowd to do a walking circle pit, Jason had the crowd in the palm of his hands throughout. The aforementioned Starbucks and Nothing (which closed the set) got the biggest reactions from the crowd but my personal favourite track was Old Folks. A were potentially my highlight of the entire day and the next time they play a venue local to me I will be making every effort to go and see them again.

On my preview of Slam Dunk Festival I published a few weeks ago I mentioned that I’d like to see both Anti-Flag and [Spunge]. Unfortunately for me they clashed. What a bummer. I decided I would see [Spunge]. To be honest, I absolutely love Anti-Flag but [Spunge] are the band that started this whole punk and ska adventure I find myself in so there was no big dilemma really. Plus, on a really sunny day like it was, it’s only right to go and dance to some ska. I was very pleased to see that I wasn’t alone in my thought process as [Spunge] also drew a massive crowd. Before the set Paul Smith of Be Sharp Promotions and I speculated on if it would be best of set or if they would play a load of songs from Room For Abuse in preparation for the upcoming tour. It turned out to be a best of set and the band just played banger after banger. It’s always amazing to see [Spunge] bring so much joy to so many people and, from the opening moments of Ego to the final beats of Kicking Pigeons, the crowd were having the time of their lives. Along with all the old favourites, the band squeezed in a performance of their newest song Just Sayings. Over the last couple of years [Spunge] have been drip feeding us a few new singles so I wonder if that means a brand new album is on the way? I really hope so. I can’t wait to see them on their Room For Abuse Tour in October.

With [Spunge]’s triumphant set complete we made our way to back to the Punk In Drublic stage for the final three acts of the day. First was Chicago’s Alkaline Trio, making their first appearance in the UK (aside from the day before) in years. I think it’s fair to say that Trio were a lot of people’s most anticipated band of the day. From the moment that the band began to play openers Private Eye and We’ve Had Enough the crowd embarked in a huge sing-along. Unfortunately the band had some issues with their bass cabinet during the opening songs so had to take a short break to fix it. During this drummer Derek Grant treated the crowd to a short drum solo. It was a nice treat seeing one of the best drummers in the world perform such a solo. From then on Trio played a storming set featuring songs from their entire back catalogue. Much like Creeper – who I saw running through the crowd, excited to see their heroes – Trio have a bit of a spooky demeanour so it was a bit strange to see them play in the bright sunshine. I did feel like it took a little bit away from the set on a whole as some of the imagery that the songs provoke are quite gloomy but that didn’t prevent the crowd from having a great time. I was a little disappointed that they didn’t play Stupid Kid or Radio but I did enjoy hearing Every Thug Needs A Lady, Mercy Me, Armageddon, Warbrain and This Could Be Love for the first time in years. We’re looking forward to them returning for a UK tour with Taking Back Sunday next year.

Two bands left and it was time to admit that I was starting to struggle. I decided to take myself away from the group to find something to eat, get a drink and have a little bit of a sit by myself before the penultimate act of the day started their set. So I did. After finding food and drink I found myself a spot to sit and replenish my energy levels. It was a much needed piece of restbite and was quite nice just to do a bit of people watching and take in the events of the day. It really did feel fantastic to be back in that environment again.

After eating, I decided I better head to the toilet before meeting back up with my group. Frank Turner And The Sleeping Souls were just starting their set and I noticed quite a few people sprinting across the site to see them. Frank Turner is one of the most beloved performers in the country but I must admit that I was surprised to see just what a great reception he got on the Punk In Drublic stage. I arrived at the stage about halfway through the set. It turns out that I timed it perfectly as the band were just starting Photosynthesis, one of the songs that introduced me to Frank Turner many years ago. Following this Frank performed his version of the NOFX classic Linoleum. This was one of the highlights for me as NOFX early this year retired the song and it always earns a big sing-along. Especially in this type of crowd. It was extra amusing as NOFX were on the side of the stage watching before their set. This was my first time seeing Frank and the band in about four years and I was reminded why I used to enjoy seeing them so much. The final four tracks completed a great performance – Try This At Home, Recovery, I Still Believe and Four Simple Words ensured that they finished with a bang and got the crowd ready for what was to come.

It was finally time for the last band of the day, the legendary NOFX. As ever, I was hoping they would play The Decline (still haven’t seen it live) but unfortunately they did not. I’ve always found NOFX a little hit or miss live so I was interested to see what it would be this time. To my delight it was a hit. Starting out with Backstage Passport before jumping into Dinosaurs Will Die was the perfect beginning, really getting the crowd amped up. It had been a long and really hot day so you could have forgiven the crowd for being a little lethargic. This definitely didn’t seem to be the case. We were hanging out towards the back of the crowd but from my vantage point it very much seemed as if the pit was going wild. Between tracks there was the customary NOFX “banter”, including asking a parent why they’ve brought their child to see them before explaining what snowballing is to them. From there they played What’s The Matter With Parents Today? A song I recently rediscovered a love for after listening to Pump Up The Valuum for our album club podcast series. There was a great moment when Frank Turner joined the band on stage to sing NOFX’s version of The Ballad Of Me And My Friends. This was my second time seeing Frank sing with NOFX while they play one of his songs after seeing them do Glory Hallelujah a few years ago. Looking back at the setlist, it seems that they didn’t play a few of their traditional big hitters such as The Separation Of Church and Skate, Bob and, of course, the retired Linoleum. I did expect them to play Linewleum but sadly they didn’t. We did get to hear I Love You More Than You Hate Me from Single Album though. Looking at setlist.fm it appears that the band played a set featuring tracks from thirteen of their albums which was nice to see. My personal highlights were Leave It Alone, Radio, Eat The Meek, Franco-Unamerican (partly due to my pal Toby’s dancing) and the finale Kill All The White Men. NOFX closed the day with a massive punk rock party that left everyone leaving feeling great.

As I said way back at the start of writing this review I left buying a ticket to the festival until the very last minute. Gosh I’m glad that I did. After the last eighteen months of mostly being indoors and not seeing anyone this day was needed far more than I realised. It was a moment of forgetting all of the horrible things that have happened all over the world recently and a chance to remember what life was like before. The bands were all fantastic but to be back in a environment with friends and like minded folk who are all in good spirits was the best feeling. I had such an amazing time and I really didn’t want to go home. Massive thanks to the Slam Dunk and Punk In Drublic crews for defying the odds and somehow making this festival happen despite everything that was thrown at them. What a day!

This review was written by Colin Clark.

Album Review: The Wrath Of Throf by Snuff

When you think of legendary UK punk rock bands that are still active today, none come bigger than Snuff. The long running band, lead by the one and only Duncan Redmonds, have been going for as long as I have been alive and they have built up passionate fan bases from many different generations. Whenever the band releases some new material it’s always the cause of much excitement throughout the UK punk scene, as well as many places further afield. Recently they released The Wrath Of Throf on their own 10past12records. I was lucky enough to get an opportunity to check it out a little early.

 

The EP begins with Drink Freely From The Chalice Of Lunacy. Snuff have had many line up changes over the years but have always managed to maintain their own sound. A large part of this is down to Duncan’s unmistakable vocals. They are full of melody and heart but also have a working class feel to them that makes you think of a mate down the pub telling stories. This song is on the more serious side of Snuff, a mid-tempo punk rock song that has a great breakdown which builds brilliantly to a big ending. Nothing To See Here starts with a beeping that flat lines before the band launch into a faster song that will get a crowd nice and rowdy. Duncan’s vocals go along at an impressive pace that really helps to inject a lot of energy into the track. On my first listen, I figured this was a straightforward punk song but when you really listen there so many little layers and intricacies that I really enjoyed. The third track is titled Conductor 71. Something I’ve always enjoyed about Snuff is how brilliantly they use harmonies in their music. That really comes to the forefront for the first time on Conductor 71. This somehow gives the song some extra intensity as the band storm through the song at an impressive speed.

Poetic Nonsense kicks off the second half of The Wrath Of Throf. Starting out with some keys, the song sounds like it’s going to be one of the more chaotic tracks on the EP. It doesn’t however turn out to be that way. It’s an urgent song with the sprinkling of keys adding a playful side. I really enjoyed how the song builds throughout, keeping you invested and making you think there’s going to be quite some ending to this song. Of course there is, as Duncan bluntly shouts the final lyrics in the big finale. The penultimate song might be my favourite on the EP. Named The Bells Of Hell, it sees Snuff taking steps into the ska world to introduce us to the song. This is Snuff at their silly best and I couldn’t help but smile like an idiot and do a little jig when I first heard the song. It’s immediately catchy, so much so it will be the only thing you sing to yourself for the next week after listening to it. The inclusion of the trombone for the first time on the EP was very welcome and adds to the drunken barroom style sing-along that you will no doubt have to the song. The final song, King Of The Wild, presents another barroom sing-along moment. It’s a slower song that heavily features the keyboard and the trombone. I think Snuff are really at their best when they step away from a more conventional punk sound. The song’s highlight is the big gang vocal harmony section at the end of the song. This moment, when they’re finally allowed to play live again, will be a huge crowd pleaser and will no doubt gain such a great amount of crowd participation.

The Wrath Of Throf is another wonderful release from Snuff. To be so prolific after thirty years of being in the band is a testament to the song writing ability of Duncan Redmonds and the rest of Snuff. It’s such a shame that their tour supporting this release has been postponed until January. At least it gives you plenty of time to learn the songs before then.

Stream and download The Wrath Of Throf here.

Like Snuff on Facebook here.

This review was written by Colin Clark.