CPRW Top Ten Albums of 2021: Part 5

RICHARD M

Has 2021 been a vintage year for punk rock? Genuinely, I can’t remember a year where there was so much anticipation over new releases; especially concerning debut albums or sophomore releases. Inevitably, some great albums have missed out on my top ten. Established acts such as The Ship Thieves (Irruption) and Rise Against (Nowhere Generation) have produced their finest work for many a year; whilst a couple of great hardcore albums from Fever Strike (Spin) and Dare (Against All Odds) have also missed out but should be investigated as they are phenomenal; as is the Hot Water Music meets Dogleg post hardcore of Stars Hollows (I Want to Live My Life) which narrowly missed my top ten. In light of that, I have to conclude that 2021 has been a brilliant year for new music and hopefully we can go into 2022 with a renewed sense of hope that we’ll soon be able to enjoy these bands and albums in live settings.

On to my top ten albums and top five EPs / singles of the year. Personally I think they are all excellent for a variety of reasons and I’d be really keen to hear what you think of my picks so please hit me up in the comments!

Albums

10. Axiom by Harker (Disconnect Disconnect Records, Fixing A Hole Records, Shield Recordings, Wiretap Records)

If debut album No Discordance was a gruff punk banger, its follow up Axiom draws further on the emo / post-hardcore influences that simmered under the surface in its predecessor, melding the sound into something that whilst familiar is also extremely unique and forward thinking. The dynamism and range of the album is astounding, covering straight up hard rock such as ‘The Beast Must Die’, to nice throwbacks to their punk rock roots on ‘Helion’, with ‘Flex Yr Head’ sounding like classic Get Up Kids style emo.

The culmination of this creativity and the album’s crowning glory is its concluding track ‘Antenna’, a six minute epic marathon of post hardcore noise. It’s a gargantuan song that epitomises the shift in Harker’s approach from that of blue collar punks to genuine innovators and ones to watch. Where they go next will be genuinely be exciting!

9. Ultrapop by The Armed ( Sargent House)

With Ultrapop, art-hardcore collective The Armed have created a huge sprawling, bombastic epic of an album that constantly surprises. Take the sheer bonkers-ness of songs such as ‘Masunaga Vapours’, that could prove inaccessible on initial listens yet quickly become addictive earworm on repeated spins; or the big hitters of ‘Bad Selection’ and ‘All Futures’ which are just incredible from the outset. Ultrapop is simply the most apt name for the album given its penchant for OTT melody coupled with Converge-esque metal flourishes. The Armed are one of the most important and creative groups operating in hardcore, demonstrating its artistic merit and value; whilst finding new boundaries to push. It’s a genuine 10/10 album and deserves to be heard by a wider audience than the traditional hardcore devotees and Kurt Ballou aficionados; even if it’s just the once to appreciate its truly bizarre amalgamation of colliding styles and inspirations.

8. Our Hell Is Right Here by Drones (Lockjaw Records)

Whilst hardcore has had a renaissance this year, the same can’t be said for skate punk which seems to have hit a bit of a lull at the moment (CPRW resident skate-punk expert Brett may take exception to this statement); thankfully Brighton’s Drones haven’t got that memo and unleashed an exceptional follow up to their 2018 debut. Our Hell Is Right Here is a pumped up, exhilarating rollercoaster of an album that’s rammed with excellent musicianship, smart lyrics and a vocal performance by Lois that is truly fantastic, adding greater depth and range to a sound that can appear at times very single paced.

In particular, attention should be paid to the stellar ‘Josephine’ (a song about alcohol dependency) that hits all the feels; whilst title track ‘Our Hell Is Right Here’ is just a straight up banger, showing they can mix it up. Drones have clearly delivered on their early promise and they are now one of the most essential British bands on the circuit.

7. Life In Your Glass World by Citizen (Run For Cover Records)

On their fourth album, Citizen have really found their stride and voice. Life In Your Glass World feels at times reminiscent of the UK’s Indie Punk movement of the 00s (think Franz Ferdinand and Bloc Party at their most punk – Bloc Party’s ‘Helicopter’ in particular feels like a great touch point for many of the songs on the album). As a result, Citizen have created an album that whilst retaining their roots feels fresh and vibrant. 

‘Death Dance Approximately’ is a great opener, one that’s funky, rhythmic and massively danceable; whilst the obvious single ‘I Want To Kill You’ is a monster of a song that characterises Will Yip’s classic style of production (in fact the whole album sounds incredible). Finally, closing trio of ‘Glass World’, ‘Winter Buds’ and ‘Edge Of The World’ is a triumph, demonstrating how to close an album effectively. To date, Citizen haven’t quite reached the heights of their peers or that which their potential would suggest; preferring to tread their own path, however Life In Your Glass World is hopefully the album that will help break them out of their cult status and into a much wider audience.

6. This Place You Know by One Step Closer (For Cover Records)

Sitting in that perfect sweet spot between traditional youthcore, melodic hardcore and emo, the Wilkes-Barre rising stars have stepped up with a rip-roaring introspective, angst ridden debut that will catapult them to the pinnacle of the hardcore scene. Blending a sound that is very reminiscent of both Bane and As Friends Rust (particularly early era AFR such as ‘Encante’ or ‘Ruffian’), it’s massively accessible and melodic whilst at the same time capable of delivering bone crunching riffs and explosive screaming vocals.

Lead single ‘Pringle Street’ is a notable high point, however where the album really stands out is in its sequencing and it has a real ebb and flow to proceedings. It’s also worth discussing the risks that the band take on ‘This Place You Know’; whilst many young bands may be content to hammer out songs of a similar style, save alienating their audience, One Step Closer have taken a mature approach to things to showcase their range and versatility. Both ‘Chrysanthemum’ and ‘Hereafter’ demonstrate they are a cut above many of their peers. Closing track ‘As The City Sleeps’ echos Bane’s ‘Swan Song’ perfectly and is every inch the hardcore epic it set out to be. This Place You Know is quite simply one of the most essential albums of the year. 

5. Fuck Art by The Dirty Nil The Dirty Nil (Dine Alone Records)

Continuing their development from scuzzy basement punks to genuine stadium loving rockers, The Dirty Nil’s third album is an absolute triumph of singalong anthems, upbeat melody and sharp, self-deprecating lyrics that are firmly delivered with a tongue wedged in frontman Luke Bentham’s cheek.

Anyone lucky enough to see the Nil rocking out on stage will know they owe as much to Bowie and Hendrix as they do NOFX and Blink-182 due to their musical talent; however at no point does the album deteriorate into guitar noodling nonsense (although I have no doubt Luke could nail a Satriani style guitar led prog rock masterpiece). Instead, each song is a mini-story (‘Done With Drugs’ about exciting the party scene or ‘Doom Boy’ about dating a metal loving fella). They often come across like a juvenile delinquent Weezer and, let’s face it, that’s something the world needs more of at the moment!

4. How Flowers Grow by Scowl (Flatspot Records)

Clocking in at an impressive 10 songs in 16 minutes, How Flowers Grow is a frantic, angry and essential assault on the senses. Led by the sneering and righteously pissed off Kat Moss, Scowl produce some of scuzziest, nastiest hardcore around. It’s the kind of album you’d imagine festering in a gutter of its own filth… and it’s all the better for it. Equal parts Black Flag meets No Reply meets Striking Distance, it’s a brilliantly aggressive album rammed with social commentary from a feminist slant. With content concerning abuse, struggling to be heard and standing your ground, it’s an album that takes the traditional tropes of hardcore into a personal and reflective space; and lyrically it is probably one of the strongest releases of the year. 

Production wise, despite the gritty aesthetic, it sounds incredible and the vocals really shine. ‘Bloodhound’ promises to be an absolute beast of a song in a live setting (the introduction alone is enough to build anticipation of the chaos that is likely to ensue); whilst the most surprising song on the album ‘Seeds To Sow’ is more Link 80 than the Dead Kennedys and it comes out of nowhere with Kat’s singing voice really shining. This is just enough to tease how vital Scowl could become to the scene in terms of their writing and creativity! All in all an incredible album from a band that might just be your new favourites… catch them in the UK in the new year with hardcore giants Comeback Kid and Brian McTernan’s Be Well, in what promises to be one of the tours of the year.

3. Glow On by Turnstile (Roadrunner Records)

If Time And Space showed hardcore could bridge crossover to the punk and rock audiences, Glow On is Turnstile reaching for the mainstream with a truly incredible pop album. Sure it’s still got the crunching riffs and grooves but it’s brilliantly packaged with a sheen of pop gloss, catchy melodies and more hooks than the crew of a pirate ship. ‘Holiday’, ‘Mystery’ and ‘Blackout’ are the clear standout tracks but the creativeness of ‘Underwater Boi’ and ‘Alien Love Call’ shows the potential the scene has when it looks outside of its rigid confines. 

Given the success of predecessor Time And Space, and the fact that was a slow burn of an album, it’s clear expectation for Turnstile’s follow up to be special was through the roof and clearly they have stepped up to the plate and hit a massive home run. It’s inevitable that this album will be one of the must see tours over coming months and likely still be on active rotation into the festival season where you can expect it will really shine! 

2. I Won’t Care How You Remember Me by Tigers Jaw (Hopeless Records)

Since taking forward the Tigers Jaw name, Ben Walsh and Brianna Collins have taken huge strides; the kind of emo-pop masterpiece that previous album Spin hinted at has been fully realised with IWCHYRM. An album driven by heartbreak and relationship collapse, set to fantastic melody and told through a collection of immense ear worms. Each song has the potential to be a favourite at one time or another; however ‘Commit’ with its 80s Madonna vibe really stands out, showcasing Brianna’s vocal range and allowing Ben’s guitar playing to take centre stage. 

Other stand outs include the opening ‘I Won’t Care How You Remember Me’ which really ties all the threads and connections together on the album and closer ‘Anniversary’ which provides a satisfying conclusion and leaves the listener wanting more. As with all Will Yip albums, it sounds amazing and I’d go out on a limb and say it’s the best work he’s done to date. IWCHYRM is a huge album and one that should launch Tigers Jaw to a much larger audience when they can finally get it in front of people, where you can really see these songs resonating.

1. Between The Richness by Fiddlehead (Run For Cover Records)

As you’ve probably guessed, I’m a huge fan of the latest creative renaissance hardcore is undergoing… Drug Church, Turnstile, La Dispute, Touché Amore and Citizen have really helped push the envelope whilst staying true to the principles of hardcore and maintaining their integrity. This increased creativity coupled with the experience of notable leading lights of the scene (in this case Have Heart’s Pat Flynn) has created an environment where strong narrative driven, introspective albums can truly flourish. Between The Richness is a monumental, cathartic release of emotion; even more so than its predecessor and songs like ‘Heart To Heart’, ‘Million Times’, ‘Down University’ and ‘The Years’ will enthral and captivate as much as they will excite.

One thing that is abundantly clear with Between The Richness is that, like Springtime and Blind, it’s a mature album that only gives up its secrets on repeated listens. It’s not inaccessible by any means but the depth and detail in each song come to the fore with repeated listens. Much like The Armed’s Ultrapop, it’s the addictiveness of the album that really takes hold and gets under your skin with its personal and reflective lyrics coupled with the desire the album creates in wanting to belt out these same lyrics in a room full of strangers. It’s clearly going to be one of those albums people fall heavily in love with – personally I already have! 

EPs / Singles

5. II by Loud Love

Belgium emo-core / hardcore crossover troupe’s second release is as essential as their first. Brimming with pop and fizz, Loud Love have again produced an collection of classic sounding Silverstein / Grade style emotionally driven hardcore songs. ‘VoxPopuli’, ‘Quichote’ and ‘Last Party’ really stick in the head and, whilst their self-titled debut showcased a full on assault, this follow up is much more layered and confident. Absolutely ones to watch!

4. Tawney by Drug Church

Continuing their evolution into a hardcore Pixies, Drug Church’s 4 track stop gap ahead of next year’s Hygeine is a brilliant representation of their development. Far more nuanced than previous releases, both ‘Bliss Out’ and ‘Tawny’ are exceptional songs. Throw in a brilliant cover of Arcwelders ‘Remember To Forget’ and you can see why they are now one of the most vital bands in rock music!

3. In The Ground by Timeshares

Few bands unite us here at CPRW quite like those lovelies in Timeshares. Their final EP in a series of releases is arguably their best (and considering how great both Out There and On Life Support are, this is some achievement). In The Ground has a really mature heartland rock feel to it. Equally melancholic and anthemic, it’s Timeshares doing what they do best – hitting all the feels!

2. Bear Away / Custody split

Split releases are the best! Whether it’s established acts taking new acts under their wing (such as Hot Water Music showing their chops alongside the established Leatherface) or mutual appreciation between peers (Signals Midwest / Worship This!) so many of my favourite releases are splits. At just one track each you can’t help but feel short changed with this one; however the caveat is that both songs are INCREDIBLE.

Finland’s Custody offer up Running In Circles; it’s an anthemic gruff punk banger with the type of epic guitar driven conclusion you can only dream of; whilst Scarborough’s Bear Away deliver another exceptional slab of heartfelt singalong punk rock that they’ve built a following on. This is everything great about split singles, distilled into two genuinely proper A-side releases; and anyway what’s wrong with leaving people wanting more!

1. Perfect by Mannequin Pussy

If the jump from Romantic to Patience was big; this is a leap of Evil Knievel proportions by the Philadelphia troupe. Opening track ‘Control’ is a gorgeous ballad; as is ‘To Lose You’ which may just be the best song they have written to date – Marisa’s vocals really shine and carry the song which is just a spine-tingling triumph.

Showing they haven’t lost any of their vitriol, ‘Perfect’ is a ranging, angry banger; yet contains far more light and shade than they would have previously displayed through such songs. It’s also great to see Bear taking centre stage on ‘Pigs Is Pigs’ and again this adds further layers to their arsenal. They’ve retained their level of social commentary whilst expanding their sound into something incredibly marketable… Their next full length may just be a boundary pushing, career defining masterpiece.

Final Words

Looking forward then to 2022. A new Drug Church album is already on the horizon, with its lead singles showing even more development in their sound, whilst my heroes Hot Water Music will be dropping their 9th studio album. However on the back of their work over 2021, the must-have release of 2022 is looking like German emo-punks Shoreline’s Growth – every song they have teased us with this year has been incredible and I’d urge everyone to get on board with them now as it has the potential to be a game changer of an album!

Finally, this year I’d like to throw some thanks and shout outs to labels and distros. End Hits Records have again outdone themselves. The quality of the products they produce are outstanding, and they are always creative and sympathetic; especially with the represses and their work with the Shelter albums (When 20 Summers Pass and The Purpose the Passion) in particular stands out. Also huge thanks to Nuclear Family and Land Of Treason for keeping me supplied with good old fashioned hardcore albums; you guys rock! Finally to the team (and wider family) at CPRW towers – it’s been a pleasure talking all things punk rock with you all this year and can’t wait to hear about your new favourites throughout 2022!

LARA

It’s been another strange year in the “new normal” – I’ve almost resigned myself to accepting that this is just how shit’s going to go down from now on. Life isn’t going to get any better, only worse. More types of Covid, but no more travel, no more new experiences (except for new Covid). Always showing my vaccination status before necking a pint. Feeling frustrated with people who argue about having to get vaccinated or show said status to neck a pint. 

On a personal level, it’s been a year of ups and downs – this is the year that I kept it punk, got a mortgage and bought a house in my favourite area of Swansea (contrary to popular belief, there are some nice areas here), but it’s also the year that I lost the one person who really understood me and always had my back – my dad passed away. His cat came home to live with me and she’s amazing, but I don’t eat meat, and cat food smells really bad. So yeah, swings and roundabouts.

 

So, with so much going on, it’s been good to sit down and reflect back on the year when compiling this list. Life is full of ups and downs, but music is a constant I think we can all appreciate, and always helps make things a little easier.

Here are my top ten albums from this year.

10. As The Love Continues by Mogwai (Rock Action Records)

Despite having 9 other studio albums, this is the first of Mogwai’s I’ve ever owned – or listened to. I was way too cool (obviously), and listening to Blink-182 and Less Than Jake in the late 90s/early 00s, to even entertain the idea of listening to Mogwai. Come on, it’s boring stoner music, right? At least that’s what I thought (to be fair, all of the people I knew who listened to them did smoke a lot of pot). I wasn’t about to wear a blim-hole riddled Soulfly shirt and sit under a ramp in the skate park looking in amazement at the size of my hands – I was too busy wearing a knock-off Green Day Dookie hoodie and falling off skateboards when trying to ollie.

Like the rest of their discography, this beautiful album is atmospheric and moving – the musical arrangement of this album is stunning. There aren’t any lyrics until you get to track 4, Ritchie Sacramento, but when they do make an appearance they aren’t intrusive, and don’t take over the track or the flow of the album. They add to the music rather than pushing their way to the front, like tall people at gigs always seem to do. This album doesn’t need any more lyrics, the music speaks enough and provides plenty of emotional charge. This album is a fantastic example of how music tastes change over time, and why we shouldn’t shut out a band just because they weren’t to our tastes when we were younger.

9. Waste My Heart by The Raging Nathans (Brassneck Records, Dead Broke Rekerds, Rad Girlfriend Records)

Raging Nathans haven’t let the quality slip, even after releasing their third full length just last year. Catchy melodies, strong vocals, creative lyrics, solid drumming – the album grips you from the get go with opening track Waste My Heart, reminiscent of the 90s skate-punk sound we all hold so dear. While I Could Never Fall In Love With You leans more on the ‘pop’ side, it still has that incessant skate-punk style of drumming with just enough palm-muting to pass as a 50s-style pop punk song. New Direction is a straight-up punk rock song with a top-tier chorus and first-rate harmonies. Another solid instalment from the mid-west four.

8. Empty Plinths by Grand Collapse (TNSRecords)

Empty Plinths is as unapologetic as it is angry, aggressive, and honest, with a fitting tribute to Icons Of Filth as a hidden bonus at the end of the record. Most of this album was written during 2020, with many of the social tensions experienced during that year being projected through the writing. It leaves you with hardly any time to catch a breath between songs – this itself reflecting many of the themes explored in the album, such as race and class divide, as well as animal and human rights. There is a hint of the melodic guitar from previous albums, though with a more thrashy, metal sound to it, which can clearly be heard on Without Let or Hindrance and Empty Plinths. An unforgiving, merciless album from the lovely lads at Grand Collapse.

7. Radical by Every Time I Die (Epitaph Records)

This is the first time I’ve really listened to ETID. They’re one of those bands that I always heard about, but never got round to listening to. It was actually my boss who kept on at me to listen to them, and when Radical was released, he borrowed me his copy on vinyl. I had an idea of what it would be like… But I wasn’t expecting to like the album as much as I did.

It’s urgent, brutal, and ferocious from the get go. While it absolutely is heavy as fuck, there’s also enough melody throughout the album to keep you engaged, with the album weaving hardcore, metalcore, and punk together into the 16-track long Radical pot. Songs like Thing With Feathers and White Void are prime examples of melody-strong, palate-cleansing songs showing just how good this band are at songwriting. 

I’ve bought my own copy of the record now.

6. Mid-Century Modern by Talk Show Host (Disconnect Disconnect Records, Wiretap Records)

The first full-length from the Toronto pop-punk trio, released in the UK by the very excellent Disconnect Disconnect. The range of the pop-punk sub-genre is pretty wide – I’d definitely stick this in as pop-punk, but it’s a bit different from the others on the list. Excellent songwriting, catchy as fuck melodies, great choruses, gang vocals, layered arrangements. I bought this record before listening to it, because I really liked the album title and artwork. You shouldn’t judge a book by its cover, but it turns out that you can definitely do that with albums.

5. On The Brink by Mark Murphy And The Meds (Brassneck Records, Bloated Kat Records, Horn & Hoof Records, All In Vinyl, Cat’s Claw Records)

Riffs aplenty from Mark Murphy And The Meds – fast, fun pop punk riffs with the added extra kick of rock ’n’ roll licks. Think Teen Idols or Green Day, with a bit of The Wildhearts thrown in for good measure. This album is wildly catchy, and you’ll find yourself singing along before the opening track Stuck Inside has finished playing (it’s a potential for my Song Of The Year). I’ve had this album on repeat since it was released. Mark Murphy And The Meds – it’s good for what ails ya.

4. Mikey Erg by Mikey Erg (Brassneck Records, Rad Girlfriend Records)

Starting off with Can’t Be Too Careless, the album keeps pumping out that classic 90s garage pop punk sound, with catchy melodies over distorted guitars. From the more straight up punk rock Spin The Black Circle reminiscent of Graham Coxon’s album The Golden D, to the more pop-punk Hey Marissa and Rumblestrip, this album has a bit of everything over the course of the 10 songs.

For Green Day fans, there’s a nice surprise with a great cover of Going To Pasalacqua, and as the album closes we are treated to Give Up. The heavier guitars, distortion, and noise on the closing track reminds me of the last songs on early Weezer albums (long, drawn-out, noisy outros are my favourite type of outros). A solid album from the pop punk veteran.

3. Alone In A Dome by The Copyrights (Fat Wreck Chords)

Another worldie of an album from the Illinois pop-punk four. Straight in there with crisp, catchy guitars and melodies, and soaring choruses you can’t help but get reeled in by. The album hits the ground running with Part Of The Landscape (as if we expected anything less) and pretty much continues straight through to the finish line hitting first-rate markers including Pretender, No Such Thing As Grownups, and Enemies. The album doesn’t slow down, with banger after banger of fast-paced pop-punk rock. Can this band do any wrong? 

2. Nice One by Catbite (Bad Time Records)

Ever since I started to really get into music I’ve had a soft spot for ska punk, and this album has been a refreshing take on the sub-genre. With more of a focus on two-tone rather than just upstrokes and trumpets over punk riffs, it stands out against the rest in the ska punk game, certainly at the moment. It can be hard sometimes to get ska punk to be taken seriously – it’s not the genre’s fault, trumpets and upstrokes just sound so silly sometimes – but nothing is overdone on this album. There’s a perfect balance of punk, two-tone, and engaging vocals reminiscent of The Selector, early No Doubt, DHC, and other greats of the genre from back in the day. As I’ve gotten older, I’ve listened less and less to ska as I’ve dived more in to punk, emo, and (gasp) indie. But if more ska bands take note from Catbite, I’ll be heading back down the black and white brick road, and won’t cover up my ska tattoo anymore.

1. Emphatically No. by Cheekface (New Professor Music)

Easily my new favourite band. I was convinced that this was Stephen Malkmus in disguise; the new, improved Pavement for the modern age. A fabulous reflection on modern life, easy going but catchy music jangling behind clever, tongue-in-cheek writing that you can easily relate to (“sometimes I wonder if a single good thing exists on Earth … And then I eat Cinnamon Toast Crunch”). The nonchalant, sarcastic delivery of the lyrics is what caught my attention when I first heard their 2019 album, Therapy Island, and I’m very happy to confirm that Emphatically No. keeps this up. Everyone should listen to this band.

Honourable mentions (EPs)

Our Boring Lives by Dog Eared

Dog Eared know that you don’t need to fix what isn’t broken – they put the ‘power’ in power-pop, playing fast, fun, pop-punk with influences from the greats like Green Day and Blink-182. Hailing from Dundee, I love that you can hear the Scottish accent busting through the bouncy melodies and harmonies. This catchy as fuck EP will have you singing along in no time.

Sick Day by Rest Easy

This 8-minute punch in the face is the debut EP from the Canadian four-piece. It’s fast, furious, and is packed full of melodic hardcore bangers and high-energy vocals. You don’t have time to come up for air from the second this EP begins, but with just four songs, you won’t be ready to resurface when it’s over.

Believe In Forgets by Homeground

The second EP from the French punk rockers, on KROD Records. More of that lovely melodic beard punk, and a mix of lyrics from positivity in Mountains, to reflections on the pandemic in Circles, and (what I think is) a tongue-in-cheek poke at the French habit of protesting everything, with the very catchy tune Constant Protest (“here we come with this French song, to protest like everyone complains about the weather”). I could be well off the mark there, though. Constant Protest was the first song I heard of theirs, it was on a playlist from KROD Records, and I went to listen to the whole EP straight after. 

Bone Idl by Bone Idl

Technically this was right at the end of last year, so probably wouldn’t have had much of a chance to make it onto last years’ lists, but it was also released on Brassneck Records in September of this year, so I’m counting it. High energy, melodic punk rock from Wales, with something a bit different. It’s beard punk, but not as you know it. Released on Brassneck so you knows it’s a good one innit butt.

The Lockdowns by The Lockdowns

This fun EP instantly screams Screeching Weasel with the opening track Dirty Mouth, whereas

Duck Tape and Super Glue is reminiscent of early Green Day mixed with Teenage Bottlerocket. Skeletons (probably my favourite track on this EP) gives off massive Alkaline Trio vibes, both musically and lyrically (again, with a touch of Teenage Bottlerocket). The EP finishes with a pop-punk belter Monsters.

I hope everyone has had as good a year as they could have, and that we’re all looking forward to Christmas and hopefully a more positive year in 2022.

A massive thank you to everyone who reads this list, and to everyone who reads and contributes album reviews and articles to the blog. I also want to thank Colin and Emma for not only wanting to involve me in CPRW, but also for being fantastic friends, excellent music libraries, and all-round great people. I can’t stress enough what a wonderful community Colin has built up with CPRW.

If you’re interested in the DIY punk scene, whether that’s UK or further afield, check out the rest of CPRW. There’s podcasts, album and gig reviews, articles, and more. Don’t forget to check out the socials – @colinsprw on Instagram, and I’m @lara_robs (beware, I post cat photos too).

CPRW Top Ten Albums of 2021: Part 1

CHRIS

2021. A year like no other (apart from 2020, maybe). It's certainly the year that I've listened to the least amount of new music for a long time. The combination of the pandemic hampering bands from recording and months of delays to vinyl production mean that my new music consumption is way down. With that background, I thought I was going to struggle to find ten releases that I wanted to include in this list. Obviously, I was seriously wrong. 

Going back through what's come out this year, I've found that whilst quantity might be down, quality certainly isn't. What's more, I found it particularly pleasing that my list is a nice mix of releases from bands that have been around for decades, bands that are fairly established and bands putting out their debut albums. 

With that in mind, I think I need to give some honourable mentions… Antagonizers, Charteux, Debt Neglector, Harker, Heart & Lung, Lost Love, Needles//Pins, Pass Away and Zoanoids all put out great records this year that I've had on constant rotation. There's also a whole bunch of others, but I've resisted the temptation to name them all otherwise you'd simply be reading a long list of all the new music I've brought this year. 

Right, on with the top ten and, as clichéd as it sounds, I could have listed these records in multiple different orders and still been pretty happy with the list. Certainly, if you asked me to put the list together again next week, there's a good chance there'd be others in the line up and a 100 per cent chance the order of the top ten would be different. What I'm loving at any moment changes all the time, so lists always tend to be fluid things, but when complying a top 10, you have to be disciplined and like it or not create an order from 10–1. So here's mine as of this day, writing in early December…

10. Over The Overlords by Naked Raygun (Wax Trax! Records)

There was no way I was ever not going to have Naked Raygun on this list. Having loved the band – along with their Chicago peers Pegboy – when I was a teen, a first album in 30 years meant it was always going to represent something special to me. However, as we all know, "representing" and actually truly becoming something special don't always match up. And whilst even I'm not old enough to remember them releasing records in their pomp, like when so many bands release new stuff, let alone after a gap of 30 years, I was nervous this would tarnish those teenage memories. Of course, there was no need to worry. There's a bit of post-punk and plenty of fizzing "poppy" stuff, drawing inevitable comparisons to the Buzzcocks and it's definitely more aligned to their later stuff rather than the earlier releases, but that's no bad thing for me. A truly seminal band, I'm so glad they're back. 

9.  No Way Out But Through by Face To Face (Fat Wreck Chords)

Another band that I've loved for years, although apart from when they were on a brief hiatus in the mid-noughties, unlike Naked Raygun, Face To Face have never stopped putting out great albums. They're probably the band I consider to be the most consistent over many years. That fast, catchy, SoCal punk that defines them and that which has become so recognisable is here again throughout this album. There's nothing new sound wise, but this album doesn't in anyway feel like the band is going through the motions, and again that familiarity is no bad thing for me as I love the Face To Face sound and I just want to hear more of it.

8.  Disappear. Reappear. by Rough Dreams (59 X Records)

Whilst they've released a number of tracks online, this is the debut album from Rough Dreams. It's emo-tinged punk with a bit of grungy shoegaze in there as well. It does remind me of a similar sound that you'd get from the 90s/00s but at the same time it doesn't feel dated or stale. There's plenty to get your blood pumping with fast guitars and passionate sing-a-long choruses – this album is a banger.

7. Irruption by Ship Thieves (Chunksaah Records)

Chris Wollard is punk rock royalty and it's very hard not to like at least some of his back catalogue with the likes of Hot Water Music, The Draft et al. Ship Thieves are his one of his side projects, but this is the first release from the band for five years. You can hear the HWM and The Draft influence in here – raspy and melodic – but it also draws from Chad Darby's other band, Samiam. It's the best of the four albums the band have put out to date and none of the first three were duds, which should make you want to give it a spin. It's a Midwestern meets Gainesville punk sounding record, which is a pretty great combo.

6. The Drovers Inn by Captain Kaiser (Bearded Punk Records, White Russian Records)

Considering how much great European punk there is around at the moment, it was a bit of a surprise that Captain Kaiser's release was the only Euro record to make my list. But, as the only inclusion from Europe this year, Belgium's Captain Kaiser is a superb representative for the continent. Fast and aggressive with super catchy gang vocals, their sophomore album has elements of pop and skate punk, but above all is melodic and tuneful. I know the release of this album was delayed because of the pandemic, so I really hope the band will be able to get back on the road again soon in order to promote it whilst it's still relatively new.

5. Respect The Frequency by The Last Mile (Rad Girlfriend Records)

This band, and consequently this album, came out of nowhere for me. Tipped off about them thanks to a review by friend of CPRW Matt Speer and the blog Ear Nutrition, Canada's TLM went from not even being on my radar one minute to being on constant rotation the next. Released on the always brilliant Rad Girlfriend Records, it's melodic and angsty with loads of influences from hardcore to skate, from the Midwest to Gainesville, via way of Montreal. If you listen really, really hard enough there's even a little bit of ska punk in there, although at its core fans of Hüsker Dü and those early Lawrence Arms records need to check this out.

4. Better Than Me by Articles (Self-released)

When does an EP become an album? When it's at least seven songs long, right? That's good, because these seven songs from Gainesville's Articles are too good to miss out on being included in a best of list. The embodiment of great DIY punk and that particular city's sound, this album was released towards the end of the year and I just haven't stopped playing it. As you'd expect from a recommendation from me, it's catchy and hook filled, No Idea Records type stuff which could have finished even higher up my list had there been a few more songs on here.

3. A Portal For Spirits by Rutterkin (Euclid Place Records)

Without a doubt my favourite discovery of a band through CPRW this year. Textbook melodic punk, gruff gang vocals, and super catchy harmonic anthems – this band and this album has my jam written all over it. Hailing from Florida, they'll be regulars at The Fest for as long as they want, and with plenty of great Floridian orgcore influences in here, the album gives us twelve blistering, punchy hook-laden songs that make this a brilliant debut. 

2. Waste My Heart by The Raging Nathans (Brassneck Records, Dead Broke Rekerds, Rad Girlfriend Records)

The Raging Nathans are as prolific as they are infectious. At a time when everyone else seems to be struggling to get together and record, the Raging Nathans have not only put out a second banger in consecutive years, but they also continue to put out seven inch singles as well. Waste My Heart picks up where last year's Oppositional Defiance left off in the sense that this is more killer melodic midwestern punk, but the sound is a little different. It's more considered, less flustered and more refined, but I still find it rowdy and catchier than last year's album. It's another step up for a band that's able to do both quality and quantity. 

1. Don't Panic by Neckscars (Engineer Records, Sell The Heart Records)

The brand of punk that Neckscars play is my very favourite and this album was always going to feature at the top end of this list. Fans of Dillinger Four should consider this album a must and for fans missing Gameday Regulars you equally need this, as a number of Neckscars were in the latter. It's straight up, gravelly voiced, fist in the air, anthemic, you name it, catchy punk. You might think there's no distinguishing between this and a considerable number of the other records on this list… perhaps… but that doesn't mean it's not great and totally worthy of the top spot.

MARCUS

How was your 2021? I can’t really complain about mine. It wasn’t easy to carve out a ton of time for scouring the internet for new releases between selling our old house and moving into a new one and starting a new job in a new school district, but even with a (thankfully) shorter commute, I still listened to a ton of music this year. Perhaps just as importantly, live music returned to the stage this year (hooray for vaccines and science!), and after not seeing a band in person since January of 2020, I broke my fast by seeing Descendents and Sincere Engineer for the first time, and The Menzingers and Bully for the second time.

Even if your year wasn’t great, there was still great music worth checking out, so let’s get to it. From the looks of the CPRW monthly Spotify playlist, I don’t know if there will be a much overlap between my list and the other writers, so hopefully you find something new and great and different here. If not, I’m sure my colleagues will have something more up your alley.

10. Needles//Pins by Needles//Pins (Dirt Cult Records, Mint Records)

I made it to 2021 without ever having heard of Needles//Pins, but after hearing the gruff-singalong chorus of “A Rather Strained Apologetic”, I knew I had to check these guys out. I dug into their catalogue a bit, and while I’m on the fence about whether I prefer this one or the also excellent Good Night, Tomorrow, the stand out tracks, uh…, stand out more in this one, and it’s a straight up banger. Definitely a group of tunes that seem to be begging to be heard live, so if they ever make it down to Texas from the Great White North, I’ll have to push my way to the front.

9. Existential Risks and Returns by Vacation (Salinas Records)

My biggest musical discovery this year was finding out how much I love so many records that Salinas Records has put out, and Existential Risks and Returns is another hidden, underrated gem. Vacation’s previous release was gloriously lo-fi, and while the production here is a little shinier, it’s far from what you would call “polished”. “Luminary Jerry” and “Liberty Tax Statue Man” are throwback rock jams that would sound like they were written in a few minutes in a garage (in the best way) if not for the well-thought out lyrics and added parts that are only detectable on repeat listenings. 

8. Stuntman by Liquid Mike (Lost Dog Records)

A lot of these tunes would fit right in on Fountains of Wayne’s debut record (and possibly other FoW records, but I’m not as familiar with those), and coming from me, that is very high praise. Poppy with just enough of an edge, it’s almost a throwback to some of the lighter alternative of the 90s that hits my ears very well. Of all the ones on my list, this album is the most fun. I can’t just listen to one song from these guys, I always end up listening to the whole album, but “Couch Potato” is a good place to start if you’re pressed for time. 

7. Mid-Century Modern by Talk Show Host (Disconnect Disconnect Records, Wiretap Records)

Sometimes, I wonder what teenage Marcus would think about current day-Marcus’ music taste, but I know that any version of myself would like Mid-Century Modern. It’s a no-skips record of catchy pop-punk that has great lyrics about a wide a variety of topics. Where they really stand out from their peers is that there’s enough variance between each song to keep it from getting stale. Tracks 2, 3, and 4 (“Blood in the Sand”, “Crisis Actors”, and “Warmest Condolences”) are the best back-to-back-to-back songs that I’ve heard this year, and while not everybody has to love pop-punk, this is done so well that it’s a shame it hasn’t gotten more attention this year. You should dig this.

6. Mikey Erg by Mikey Erg (Brassneck Records, Rad Girlfriend Records)

I’ve tried getting into some of Mikey Erg’s stuff before, but none of it really grabbed me… until this one. Mikey Erg starts off with eight un-skippable pop-punk bangers, including tunes paying homage to his favorite artists and influences (a song about Seattle punk band Sicko, along with some covers of Green Day and Pearl Jam), and I personally guarantee you that “Rumblestrip” is the best song that clocks in at less than 90 seconds that was recorded in 2021. The last two songs – an acoustic number that was recorded in a bathroom and a six minute finale (that Erg himself said is an “overly long noisy dirge track”) might not be for everyone, but even if they’re not your thing, the juice from the first eight songs alone is worth the squeeze.

5. I Won’t Care How You Remember Me by Tigers Jaw (Hopeless Records)

I’m a bit of a late comer to Tigers Jaw, so it may be my recency bias, but I think this is their best work since 2008’s Tigers Jaw (their second album). I really started getting into them when I went to see The Menzingers a few years ago in Dallas and Tigers Jaw opened for them, so this is the first “new” TJ for me. It took a while to grow on me as a full record, but I loved the urgency of “Hesitation” and “Can’t Wait Forever” right from the start, and the title track is the best album opener that I’ve heard in a long while. There are some much slower places on I Won’t Care How You Remember Me that it took a while to really appreciate (so if you weren’t into it on first listen, I’d go back and give it another spin), but, as some of the kids say these days, this whole record “is a mood”. 

4. The First Pandemic by Cluttered (Broken Frames Music)

I made the comment online that if Cluttered’s first two EPs (released at the very end of December 2019 and in June 2020) were combined into one record, it’d be one of my favorites of the year. Ask and ye shall receive! Joining Needles//Pins and Talk Show Host, Cluttered is the third Canadian band with a top ten release on my list, and they are the newest of the bunch. Singer Matty Grace’s intimate lyrics on mental health are relatable to anyone that has lived through the past few years, and the ability to deliver such personal and angst-filled lyrics in a way that makes you want to sing along happily is truly impressive. I can’t wait to see what the future brings now that they’ve got a few shows under their belts. The more songs like “Don’t Hold Your Breath” there are in the world, the better.

3. Confines of Life by Neighborhood Brats (Dirt Cult Records, Taken By Surprise Records)

Neighborhood Brats is another band that I had heard before but, for whatever reason, I kept scrolling past. I wasn’t able to make that same mistake again, because Confines of Life is the kind of record that grabs you by the collar and knocks the ice cream cone out of your hand (though I’m sure the people behind the music would never do anything like that). Equal parts fierce and catchy, it delivers 12 tunes that blend fast street punk with a sound you’d hear from the staunchest ’77 punkers, and delivers it with the political heat you’d expect to hear from today’s climate. “Transitional Housing” is my personal favorite, but don’t sleep on the instrumental “All Nazis Must Die” and the topical “Harvey Weinstein (Is a Symptom)”.

2. Bless My Psyche by Sincere Engineer (Hopeless Records)

It’s really hard not putting this one at the very top of the list, because it feels like all these songs were written just for me at just this time. Although there are a few times when the differences between this one and Rhombithian may ruffle a few feathers, the honesty in the lyrics punches you in the gut the same, and the delivery by Deanna Belos still as unique and, for lack of a better word, sincere. Bless My Psyche is here to make you feel better about wherever you’re at. Whether you’re feeling exhausted (“Out Of Reach”, “Dragged Across the Finish Line”), anti-social (“Recluse in the Making”), or just having a bad day (“Hurricane of Misery”), this record is there to give you a couch to crash on and a friend to commiserate with. It’s at least cheaper than therapy.

1. Like A Stone by Remember Sports (Big Scary Monsters, Father/Daughter Records)

This is an incredible record. When I first heard the lead single, “Pinky Ring”, it didn’t really hook me, but after listening to the whole record all the way through, I’m not sure that any one particular song was really written to “stand out”. While Remember Sports jumps around from up-tempo indie-pop to contemplative alt-country, it’s the snapshot of these incredibly well-written jams all coming from the same group is what makes it remarkable. Don’t look at this cool tree, check out this incredible forest! It’s a decent departure from (or progression of) their previous sound, so you’d be forgiven if you thought this was a completely different band, but in my opinion, it should appeal to fans of many sub-genres. My Last.FM account tells me that this was my most listened to album this year (not even counting the number of times I spun the vinyl), and for my money, it was the best record I found this year.

Album Review: I Won't Care How You Remember Me by Tigers Jaw (by Richard Mair)

This may be getting slightly revisionist a little prematurely but looking at the notable, iconic punk scenes that have really driven the genre forward from New York CBGBs in the late 70s early 80s to the skate punk explosion of California in the 90s and then Boston’s hardcore scene of the 00s we really need to add Scranton / Philly / Pennsylvania to the list. Sure the headline acts of The Wonder Years and The Menzingers get the coverage but, if I’m honest, my heart belongs firmly to perennial underdogs Tigers Jaw. Very few bands have such an emotional resonance that drive nails into my heart repeatedly but on their 6th long player they have truly struck gold... and as such “I Won’t Care How You Remember Me” has all the ingredients of being a massive crossover success, blending emo, pop, rock, punk and maybe even a little shoe gaze into one perfect album rammed with stunning hooks and earworms. This, coupled with the immense bankability of the affable, warm and humble Ben and Brianna as focal point, their charm, DIY ethic and dedication to their craft set to the spectre of the 2013 break-up that makes them the everyman heroes people can really get behind. And get behind them on “IWCHYRM” you must because it’s a magical, breezy, emotionally gut punching, heart wrenching album that captivates from start to finish.

Drawing comparisons it’s very reminiscent of Saves The Day classic “Stay What You Are”... the quintessential breakup album; Like SWYA there is a underpinning resilience and hopefulness that shines through the heartbreak. Musically, I think this is the strongest reference point for “IWCHYRM”; it’s a reworking of the early 00s emo for a new generation; it’s hugely accessible, full of massive singles, laden with singalongs and has enough emotion coursing through it that it can repeatedly stop you in your tracks time and time again... like “SWYA” it’s an album that finds the band at the top of their game with their construct of melody, pacing and creativity. The way the songs build to satisfying conclusions is very reminiscent of The Hotelier at their finest, gone are the 1:30 ditties, instead each song pleasingly rounds out and feels complete and of this current generation of emo pioneers it also reminds heavily of mid-era now defunct Captain We’re Sinking, with the fellow Scrantonites making use of a fuller band sound to create something special that stands shoulder to shoulder with the peerless “The Future is Cancelled” (especially ‘Montreal’ which you can hear echoing through the album). Finally it has all the hallmarks of The Get Up Kids “Something To Write Home About”, again in terms of its use of melody but also the way the album creates its own space (and negative space); it feels like a living and breathing construct that hides in the shadows, it’s little changes in tempo and melody done with such a beautiful craft that they enhance the experience... (take the subtle stop / starts in chorus of Hesitation or the drop into the nosier moments of the title track). There is so much detail across landscape of the album. Much of this credit must lie with the irrepressible Will Yip but the confidence the band show in him to create this signature is equally impressive... I might go out on a limb and say this is his Magnum Opus.

The opening line is the name of the album and also the title of the first song, and it’s such an important lyric that pulls all the themes and threads of the record together. As an opening song, its sombre, reflective charm is a real departure from what the band have done previously (take the frantic pop-punk of ‘The Sun’ or the post hardcore vibes of ‘Return’). For over two minutes Ben leads us solo through his reconciliation of endings, imploring the focus of his anguish to not ask why. Then the familiar Tigers Jaw album opener comes into full focus, paired with a more passionate vocal delivery. It’s just the most incredible opening track I’ve heard since maybe The Hotelier dropped ‘Introduction To The Album’ on ‘Home, Like No Place...’. It’s a crescendo of noise more akin to a building album closer than opener, but in the scheme of the album it works perfectly. It’s also a millstone that the band put around their necks having to better throughout the album. Thankfully, the journey and experience through the remaining ten tracks is well worth it!

Taking a more equitable approach to the songwriting and position within the band, Brianna Collins is very much at the forefront on almost half of the album and the second track ‘Cat’s Cradle’ picks up from her approach on ‘Spin’. It has a very stylistically familiar tone that places it alongside ‘June’, albeit much more up-tempo. It’s really easy to understand why this is one of the lead singles off the album, it’s a proper pop song; easy on the ears with a real catchy melody. Lyrically it’s about ending friendships, and interwoven deceit. Again it’s a highly relatable, angsty sentiment packaged up in clean radio friendly tune, and it’s this juxtaposition of upbeat music and downbeat lyrics that the band have truly nailed on this album. Nothing feels forced or contrived, instead it has an effortless sombre delight to it throughout.

Another lead song off the album is ‘Hesitation’ and it’s a classic Ben song. Sure it has the most obvious Twin Peaks references, but is perfectly paced, has a killer chorus and excellent guitar licks that keep the verses ticking along. ‘New Detroit’ is possibly the most sedate song on the album, offering a moment of reflection after the frantic opening trio of massive songs. It helps transition to the middle of the album with ‘Can’t Wait Forever’ being the most traditional ‘punk’ song and perhaps most reminiscent of early Tigers Jaw, particularly with the guitar tones and Brianna’s keys providing the background melody.

Both ‘Lemon Mouth’ and ‘Body Language’ pick up on the themes of loss that pull the album together. ‘Lemon Mouth’ in particular stands out as it’s perhaps the most abstract song on the album and has a more latter day Paramore feel about it. In many ways it feels unique amongst Tigers Jaws catalogue; perhaps more akin to classic synth pop bands of the early 80s or maybe even The Cure at their most abstract but accessible. It’s a real slow burner of a song, with even the vocal delivery having a slower pace to it. ‘Body Language’ by contrast feels almost indie / Brit pop in its vibe. While both excellent, they only serve to build up to what is the album’s real gem. ‘Commit’ is a monster of a classic single, and likely to have a huge appeal outside of their traditional audience. First off, Brianna’s vocal delivery is amazing and the song just helps demonstrate her versatility and range especially on what in principle sounds like a typical “Ben song”. It’s a simple pop punk banger but is crafted beautifully. Again, it’s a song dealing with a relationship on the brink; it identifies a toxicity within the relationship and certainly not an equitable one but at the same time a desire to work through the mistakes. Everything about the song works, from its emotional weight, to the summery pop tune that is almost akin to the best 80s Madonna stylings. It’s just the most perfect pop song and rounds off with some amazing guitar work (possibly the best they’ve ever committed to record).

‘Never Wanted To’ feels like a hangover from the massively underrated “Charmer” in the best way possible, it’s simple tempo and melody allowing Ben’s voice to take centre stage. It’s such a simple but haunting song that opens the final third of the album and segues nicely into ‘Heaven Apart’. Both songs share a DNA in terms of that moment of realisation that the relationship is ending. They are the truly sombre reflections the album has been working towards. The opportunity to allow oneself to fondly look back on the past, reconciling what has been lost, but also allows for the album’s pay off to come. ‘Anniversary’ is truly majestic. It’s about finally moving on from the past, taking ownership of the mistakes made. Whilst not as long as Weezer’s ‘Only in Dreams’,  it reminds me so much of that career highlight from Rivers and the boys… from the excellent guitar work that builds towards the song’s conclusion but also in that both songs have such hope attached to them. ‘Only in Dreams’ speaks of that ‘what if’ scenario of the object of affection, whereas this is about moving into the light after a toxic relationship. Both are just joyous constructs and round off their respective albums perfectly. This is Tigers Jaw swinging for the fences and hitting a real home run. On an album that is full of epic moments, it’s that payoff the band set out to achieve from the outset.

Lyrically it’s easy to get lost in the meanings and iconography of the songs (and that’s not taking into account the Twin Peaks references or other reused Orgcore lyrics). The first thing to say concerns the title (and song of the same name) which doesn’t speak of the definite. They don’t write about ‘I don’t care about how you remember me’ they talk of ‘won’t’, a subtle difference that lives in the moment and reflects pain and hurt back to the listener ; as if saying “I will remember for now but it will get easier in time...” One such little change in the wording conveys the emotion so much more and throughout the album the lyrics tug at heartstrings or deliver continuous sucker punches. Whilst I’m sure most fans of the scene’s current miserablist torchbearers Spanish Love Songs will be familiar with Tigers Jaw, if anyone reading this is in two minds I can assure them that “IWCHYRM” is the perfect launch pad into the band.

There are a myriad of recurring themes through the album that are linked to perception, the obvious one is that of mirrors and reflections and I think this is where the album really stands out. There is a personal reflection towards the break-ups being experienced. A similar theme is echoed through colours and chameleons, suggesting an acknowledgement of seeing what you want to see in others or that they have hidden their true self. Both Ben and Brianna actively consider their roles in these relationships and try to get perspective both from the other party but also from the listener, at the same time looking for that reconciliation; acknowledging their faults. As stated, the album lives in that space between definites occurring; living with the guilt of decisions that negatively impact on others, constructing favourable narratives to help rationalise these decisions. Consequently, the depth of human understanding conveyed through the lyrics is just astounding; alongside being amazingly singalong-able. The album’s closing lines in particular are crying out for an audience to sing them. And knowing how devoted the fans are, I’m very sure they will sing them back and it will no doubt feel special when they do.

Much of this review has focussed on the central figures of Ben and Brianna for obvious reasons given they have carried the Tigers Jaw flag on their own over recent years, however the inclusion of permanent members Teddy Roberts (drums) and Colin Gorman (bass) has certainly helped give the album a consistency, and their presence in making their instruments shine has given “IWCHYRM” a much more rounded sound compared to ‘Spin’. Both are clearly great additions and fully grasp what makes Tigers Jaw unique and special, and I’m sure they’ll be equally at home playing in front of the band’s notoriously rabid fans! A further point to make about the album is the omission of last year’s ‘Warn Me’. Genuinely, I was surprised to see this wasn’t on the album’s track listing given its quintessential Tigers Jaw-ness and how much of a classic lead single it is. This can’t have been an easy decision but demonstrates that the priority was releasing a much more cohesive and balanced set of songs and the track’s more positive outlook maybe put it at odds with the album. Consequently, I’d urge everyone to track it down as it’s equally as impressive as the actual album tracks!

I started this review by stating my heart belongs to Tigers Jaw and with “IWCHYRM” they have delivered an exceptional album that deserves to be heard by a far greater audience than a typical DIY driven band would generally reach. For the last decade, Ben and Brianna have consistently delivered and confounded, their reinventions subtle but discernible, with each album having its own personality and aesthetics. If ‘Spin’ was them proving they could carry the Tigers Jaw legacy without the imposing spectre of the immense character of Adam McIlwee looming over them then this is Tigers Jaw truly finding their stride and making giant steps out of the shadows of their past.

Stream and download I Won't Care How You Remember Me on Bandcamp here.

Like Tigers Jaw on Facebook here.

This review was written by Richard Mair.