CPRW Playlist: August 2018

CPRW Playlist: Here's what Brett, Dan, Emma, Jack, Omar, Richard, Robyn and myself have been listening to this August.

Top Tens: John Holt from Fair Do's Top Ten Punk Rock Influences

Capdown
There's no other band this list could possibly start with. It used to be that Capdown were seemingly in Manchester every 3rd week, and, to this day, they remain my most seen band. They were stalwarts of the the UK ska-core scene and, at the time, that scene was huge. They played upbeat, political ska-core tunes, and 18 year old me ate that shit right up. If I'm being honest, the first band I ever played in was a ska-core band and I owe a lot to the genre. I can still remember sitting down to learn the drums to "Kained But Able", which set me on the path to playing double time. So thanks, Capdown!

Good Riddance
The first proper CD I ever bought was "Ballads From The Revolution" by Good Riddance. "Fertile Fields" as the opening track was like opening the door to Narnia for me. Moody audio clip breaks straight into double time! The tune doesn't let up in its tempo, and that started a love affair with double time tunes that still hasn't ended. Now, Good Riddance aren't a solidly double time band, but to find them so early on in my journey of musical discovery was a great boon for me. They showed me that songs could communicate a serious subject matter, and be angry, whilst still keeping stuff catchy and melodic. Russ Rankin on vocals seemed to sway between love songs and social injustice, but it kept me entertained for my formative years and seriously influenced my outlook, politics, and playing. I still can't help but sing all the words when they're on the stereo.

NOFX
Yes, believe it or not, I am a fan of NOFX. Commentary on recent events left aside, I absolutely battered NOFX when I was younger. Easily one of the smartest, most musically proficient bands in the punk scene at the time; their level of songwriting, playing (I heard they don't always suck live), scathing humour and social commentary are pretty much untouched to this day. They've been prolific in their output, but "So Long, And Thanks For All The Shoes" and "Pump Up The Valium" will always be their best stuff for me. Songs like "It's My Job..", "180 Degrees", "Falling In Love", "I'm Telling Tim", and "Herojuana" are all stand out tracks. They've been around since the early 80s, written an 18 minute song that's actually good, had more key changes than most people have had hot dinners, and still manage to have people talk about them now. Plus, if you have 3 or 4 musicians in room, odds are you'll get a rendition of "Linoleum" out of them, if needs be. It's punk's "Agadoo".

Thrice
Thrice were in heavy rotation before I hit my 20s, and they were very interesting indeed. When I first discovered them, I hammered "Identity Crisis". It's a good mix of up tempo punk/hardcore, and what is essentially the beginnings of today's melodic hardcore/screamo scene. The vocals are clean and full of melody, but also shouty. This introduction to a strong, clean vocal melody, alongside some shouty goodness was nice to find. Their progression through their albums saw them drop the up tempo melodic punk style, and aim towards a more metalcore style. They still had the classic octave singalong parts, but they also introduced a clear metal influence in their playing. Heavy rhythms, harmonised guitars and aforementioned shouting. "The Artist In The Ambulance" was a clear direction change, and it's apparent during listening. They were heavier, angrier, and more technical, although they never lost the ability to hammer home a good hook. We soaked up their new direction, and put it to good use.

Captain Everything
Captain Everything were an absolute gem of a find. When I was 17 I went to see Lightyear in Manchester, and Captain Everything were then opening band. Easily one of the fastest bands I have ever seen play. Their guitarist looked like rabid dog, banging his head like he wanted to lose it, in between getting to and from the microphone. At first glance, they may come across as puerile, with lyrics about wanting to marry your mate's mum, but the greatness lies within endless catchy bangers, harmonies your choir leader would be proud of, and tempos not often below 190bpm. They showed me that fast punk did exist inside the UK, and I was ecstatic to find that out at the time.

Belvedere
"Twas Hell, Said Former Child" was pretty a pretty influential album for me. Every instrument and part really stood out at the time. Someone was playing the style I loved, and not half-arsing it! The songs are some of the catchiest ever written in that particular small subgenre of punk. Cellophane Coffin is everything to love about Belvedere smashed into 60 ticks. Shouty, fast, singy, heavy, and bouncy - it sort of became Fair Do's' modus operandi. Their drummer, Graham Churchill, really showed me how to step outside of the double time punk box. He's technical, whilst staying fit for purpose, and there's some absolutely blistering fills in his playing. 10/10 Whacker of the pans.

Death By Stereo
I can clearly remember the moment I first heard Death By Stereo. I was 17, knocking about in my mates living room, and he'd found an Indecision Records sampler on Kazaa, or some other such ruination of the music industry. The song was "Looking Out For #1" from their first album, "If Looks Could Kill, I'd Watch You Die" and if you care to listen to it, you will note the truly slapping drum fill to start proceedings. I had never heard anything that sounded like them before. The drums immediately grabbed me, the guitars quickly followed. At the time, it was a perfect mix of punk tempos, and melodies, with the heavier, and more intricate rhythm section of metal. Again, shouted talk of social injustice, and government failings had 17 year old me gritting my teeth, and the tunes had me banging my head, and trying to figure out how to play them. I had discovered good Crossover/Melodic Hardcore/ Whatever you want to call it, and i had shit the bed. I couldn't get enough and quickly ate up their second album, just as their third came out. Their first album will always be my personal favourite, as it showed me that you can throw a huge mix of stylistic ingredients into a pot, and come out with a vicious and powerful cake. Their drummer on their first album, Jarrod Alexander, gave me the biggest musical kick up the arse I think I've ever had. "Just throw in a samba. It's not gonna hurt anyone."

Fireapple Red
Fireapple Red will always have a special place in my mind. After finding brief glimpses of the style I loved, without actually knowing what it was, Fireapple Red entered my field of vision. They were huge beacon of hope for me, as they were tangible and accessible, and pretty fucking good too. They were from the UK, and an old band I played in actually got the chance to play with them! (An outdoor gig in a park in Blackburn. The Cheeky Girls also played. I shit you not.) I had heard their first release and it was stupidly good listening. People in our part of the world making the music we wanted to see more of. They were, fast, angry, melodic and technical (I'm sure you're sensing a theme here). Hugely political and talking about issues we could relate to, they pedalled their own brand of melodic hardcore. I remember seeing a review that read "Like the lovechild of NOFX and Metallica" which was total bollocks, because they were much better than that amalgamation could ever be. It's that never ending question: what do you call tunes that are too metal for the punx, and too punk for the metal heads? The lovechild of NOFX and Metallica, apparently.

Strung Out
The first time I ever heard Strung Out was on an old Fat Wreck Chords sampler, and the song was "The Exhumation of Virginia Madison." It's a fairly pacey number and the melodies stick with you forever. That's what Strung Out are good at. They write punk tunes that you whistle for a month on end, whilst still being fast, and metal edged. "Suburban Teenage Wasteland Blues" and "Twisted By Design" are 2 albums that I discovered in my late teens and I don't think I will ever tire of them. At the time, their sound was hugely defined, and clearly separate from their fellow label mates. Jordan Burns is another drummer that really spoke to me when I was young. His pace, style and huge library of fills seemingly shat on anyone near them at the time, and seeing them live always ended up in a "stare at the drummer all night" affair. A lot of people called them a metal band at the time, but what the fuck do people know? That was something that made them stand out for me, too. That "metal stick in the punk mud" place that they seemed to fill really pleased me. "You want to like it, but your punk points quota for this month is dangerously low."

Propagandhi
My love for Propagandhi is undying, and I will say terrible things on the internet about anyone who cares to besmirch their good name. From discovering their early stuff, up to now, they have been an influence not only on my playing, but also on my personal perspectives. They have become the ever changing band and I love them all the more for it. "How To Clean Everything" is about as snotty as left-wing, speedy ska punk-rock gets. "Less Talk, More Rock" followed in much the same vein, but with "Anchorless" on there. (Don't ask me.) Then, one of, if not the greatest collection of songs ever written and played by mere mortals is bestowed upon us. "Today's Empires, Tomorrow's Ashes" is a piece of fucking history, and it soundtracked most of my adult life. It is that good. It never leaves the rotation.

From that release, their growth in song writing and playing, has travelled in a hugely different direction from their humble beginnings, but I cannot fault them for it. I love each one. They have their own style that many attempt to imitate, but never quite succeed. If you fancy some Propagandhi style stuff, you listen to Propagandhi. Each album has it's own charm, but they are never without their intelligent, funny, scathing, tear-jerking, and terrifying lyrical contents. Shouts to Propagandhi for consistently moving forward, challenging the status quo, and giving us the music the beautiful music they have, so far.

John Holt plays drums in Fair Do's. Check them out here. Fair Do's recently released their debut album Leopards through Lockjaw Records. You should definitely check it out here.

Album Review: This Place Matters by The Capital (by Emma Prew)

The Capital are a band that seemingly came out of nowhere for me and yet absolutely blew me away. Back in July we saw them at a New Cross Inn all-dayer headlined by Red City Radio. Playing their first show in London, the five-piece from Preston wowed not just me but the whole NXI crowd and earned themselves plenty of new fans with their slick and passionate rock ‘n’ roll infused punk rock. Since seeing the band live, I’ve listened to their latest EP, This Place Matters, quite a lot and so I think it’s time I gave it a review!

Kicking off the EP is a song titled Trouble. After a short fade in we are soon hit by pounding drums and huge sounding melodic guitars. When the vocals come in, you can be sure that the guitars aren’t the only things that’s huge on this track – frontman Seamus Mcloughlin’s voice is incredible. It’s not the sort of voice that I’m all that used to hearing in punk rock to be honest as it is perhaps more akin to that of a stadium rock band. Although one punk band that I was definitely reminded of – and Colin and I both thought this when we saw The Capital live – is Crazy Arm (who happen to be one of my all-time favourite UK punk bands). When the chorus hits it is powerful and anthemic – ‘There’s a fire here, We’re in trouble, Something’s happened to us, There’s a feeling in our hearts, We’re in trouble.’ One thing for sure is that I really want to sing along! Trouble fades out and we’re thrown straight into the next song, Harbour In A Storm. The stop-start guitars at the beginning of the song bring the punk rock influence into play but it’s not too long before the power is amped up again and the song is transformed into a rock anthem. There’s some great slightly slower and quieter moments in the run up to the chorus where all the focus is on Seamus’s flawless vocals before the rest of the band joins in for some whoa-ohs. Another fade out after the lines ‘You’re the only one.’ bring track number two to a close. The first two tracks on This Place Matters were relatively mid-tempo and so when the third song, Rise Above It All, starts in a fast a furious fashion I was a little surprised. Pleasantly surprised, mind you. Here The Capital show that they are every bit as capable as playing fierce punk rock as, say, Hot Water Music. It is brilliant to have this change of pace and the track is certainly well placed at the middle point of the EP. There are, of course, plenty of moments that are begging for a singalong but perhaps the chorus of Rise Above It All will evoke one or two shout/scream-alongs as well. ‘I’ve been waiting, I’ve been waiting, To rise above it all, Like anyone, Just give me something, To rise above it all.’ Awesome stuff.

The penultimate track of the EP is also its title track, This Place Matters. I’m going to go right out there and say that if you’re only going to listen to one song by The Capital (but don’t just listen to one song), then make sure that it is this one. Perhaps I’m saying this because I know how well this song was received live but, on recording also, it is superb. This Place Matters is about how important music venues and pubs are and how much they matter. When we saw The Capital live, This Place Matters was dedicated to our beloved New Cross Inn but it is applicable to any independent venue throughout the UK. Without those venues, we wouldn’t have this music scene, we wouldn’t have The Capital, I wouldn’t be reviewing this EP, this blog wouldn’t exist. Support live music. Also the song is so uplifting. Only Human is the closing song of This Place Matters and it wonderfully combines everything that is great about The Capital – and then some. Here Seamus’s voice brings to mind Eddie Vedder of Pearl Jam – and it doesn’t get much more stadium rock than that – but at the same time it feels very down to earth. I often mention in my reviews how relatable the lyrics are for listeners – something that is perhaps more prevalent in punk rock than, say, pop music – and you can’t get more relatable than a song about being human. The chorus is also rather catchy, features some sweet harmonies – ‘The tide is turning, The tide is turning, Turning around, I’m not letting go.’ – and is followed up by a guitar solo. What more could you want?

The Capital are definitely a band that I’ll be keeping an eye on and I’d be very keen to see them live again, whenever they venture back down south.

This Place Matters is available digitally on Spotify and iTunes etc., as well as on CD from Bad Horror Records, and you can (and should) like The Capital on Facebook here.

This review was written by Emma Prew.

Album Review: Desire And The Need To Live by Crushed Veneer (by Emma Prew)

Crushed Veneer are a four-piece from London who I stumbled across on Bandcamp a little while ago. I really liked their sound of their most recent four track EP, Desire And The Need To Live, which was released in May this year. I promptly added the EP to my review list and then… well, life (mostly my job) got in the way and I haven’t been able to make time for reviewing. Since adding Crushed Veneer to my review list however, they’ve been added to a great line-up at a New Cross Inn show in September, alongside Uniforms, Break Ups and Modern Shakes. This has spurred me to finally give Desire And The Need To Live the review that it deserves.

First up on Desire And The Need To Live is Kind Of Blue. This is a track that wastes no time in getting going with the guitars cranked up and drums being sufficiently pounded from the start. Pure punk rock. When the vocals come in the guitars are toned down a bit while a distinct indie-style riff stands out. It feels upbeat although that is perhaps a contrast with the lyrics of the song. Kind Of Blue is about facing up to sad or negative feelings and trying to find something that makes you feel happy again. There are also some first hints of a singalongable or gang vocal-style chorus that bodes well for the rest of the EP (and for seeing the band live). ‘I don’t know why, I never feel alive, A soul on fire, Another compromise, Everything you do, I try to do it too, “Kind of Blue”, Reminds me of you.’  Sew Me Up is the second song on the EP and it takes a slightly different direction musically to Kind Of Blue with an almost country-tinged folk punk sound. Sort of Chuck Ragan but with not so gruff vocals. This, of course, is absolutely fine by me and on my first listen of Desire And The Need To Live I definitely had this track marked as my favourite. The rumbling drum beat, plodding bass line and slightly distorted guitars have me nodding along in no time but it’s the vocals and the lyrics that have me fully invested. Sew Me Up is rather short and sweet as after just 30 seconds we have reached the first chorus and the singalong feeling that was hinted at in the previous song feels even more present here – at least, I want to singalong anyway. ‘Cut me down, sew me up, I have never had enough, I want it all, I want it now, And I don’t care how.’

With the third song, Wild Nights, we go back to a more straight up melodic punk rock sound. There’s a great sense of storytelling throughout the lyrics of this song which reminds me of the likes of The Gaslight Anthem or The Menzingers – no surprises then that both bands are listed as influences on Crushed Veneer’s Facebook page – but that’s not to say that the song actually sounds exactly like either of those bands. Although not played at a super fast pace, there is a certain urgency to Wild Nights as a tale of regret and bitterness unravels. ‘My skeletons they keep me up, I used to crave your every touch, The nights were wild and full of lust, We’d drink our weight then sleep it off, My skeletons they keep me up, I used to crave your every touch, But now I lie awake alone, And watch you fade away, you’re gone.’ I guess this song is the reason there’s a skeleton on the EP artwork as well as on some of the band’s merch. Or maybe they just like skeletons. Me too. Bringing the EP to a close is its title track, Desire And The Need To Live. This final song opens with a clean and distinct unaccompanied guitar line that immediately has my attention (not least because I can’t stop thinking that it sounds like the opening of classic Funeral For A Friend song Juneau – just me?). It’s not long however before the rest of the band, including the vocals, come in. I mentioned earlier that Sew Me Up felt short and sweet, well this song isn’t exactly short in length but there’s a great succinctness to each line of the song that gets the message across without too much fuss. Desire And The Need To Live is about finding purpose as well as enjoyment in your life and, as the last chorus is sung by multiple voices, there is a definite sense of not being alone with such feelings. ‘Last call, last drink, last night, Trying to find someone to fight, Less love, less lust, less life, Raise a glass, we’re still alive.’

Desire And The Need To Live can be streamed and downloaded on Bandcamp now.

You should also like Crushed Veneer on Facebook and check out this event for details of that gig with Uniforms, Break Ups and Modern Shakes at the New Cross Inn, London, on Friday 7th September.

This review was written by Emma Prew.

Future Classic: In Desolation by Off With Their Heads

Recently, whilst sat in a burrito place before a gig, I was scrolling endlessly through my phone looking at things but not really taking anything in until something caught my eye. Somebody in a punk rock vinyl group was selling a bunch of Off With Their Heads records including In Desolation. I've been trying to get hold of that album for ages so I quickly messaged the guy and got a real bargain. As soon as it arrived it went straight onto the turntable and I quickly remembered just how great this album it is. I decided to put it forward as a "future classic." Let me tell you why.

First a little bit of history. Off With Their Heads are an American punk rock band that originated in Minnesota in 2002. Playing a particularly harsh and gruff form of punk rock, Off With Their Heads are lead by one of the greatest lyricists of his generation – Ryan Young. Over the years the band have had a rotating cast of members due to the band’s busy schedule and the members’ own commitments. Young has stated in the past that this has kept the band feeling fresh over the years. The band first found their way onto my radar after they released a music video for the track Fuck This, I'm Out from their 2008 album From The Bottom that was originally released on No Idea Records. I later found out that they had released a handful of EPs and singles through the Gainesville based label and this soon caught the attention of the mighty Epitaph Records. In early 2010 Off With Their Heads signed with Epitaph and that summer they released In Desolation.

For me, In Desolation is the album that really put Off With Their Heads on the punk rock map globally. What really helped was how much cleaner the production felt. On their earlier releases there was a rawness that I loved but perhaps made it a little less accessible for all fans of the punk rock genre. In Desolation managed to sound much clearer, so you can easily work out and relate to what Young is singing about, without taking away from the sound that drew people into Off With Their Heads in the first place. Young's gruff and often harsh vocals are not harmed in the production of In Desolation and arguably sound better than ever. I think it's fair to say that Young isn't the greatest singer in the world but this really is part of the charm of Off With Their Heads. It makes them into an everyman type band that you could be the lead singer for and it makes for a great live show with a whole room shouting along to every single lyric.

I've already mentioned that I think that Young is probably the greatest lyricist of his generation. He has the great ability of being able to write this incredibly relatable lyrics. They almost exclusively tackle dark and depressing topics but somehow manage to make you feel better when you're singing along with them. Make no mistake, In Desolation is an album you have to sing along to at the top of your voice with your fist planted firmly in the sky. It has that fantastic cathartic feeling that the very best music has. In Desolation is a healing album. On the album, topics tackled include trying to escape from your depression, being abused or bullied in the past and getting revenge, anxiety attacks, grieving, bad family relationships and admitting that you're not okay. Something for everyone. Clear The Air is one of the stand out tracks on the album and, for me, it's perhaps the best song lyrically I've ever heard. There are so many lines that hit home so much. It breaks your heart and really does make you feel better. If you don't know the song then I really implore you to go and read the lyrics here. Alongside Clear The Air, more standout songs are Drive, Their Own Medicine, Spare Time, All I Can Do and the piano led My Episodes but in truth every song is a banger. Off With Their Heads are without a doubt up there with the best bands of their generation and I would predict few have touched their fans in a way that Off With Their Heads did on In Desolation and continued to do on their next album, 2013's Home – also a banger!

Like Off With Their Heads here:  https://www.facebook.com/owth42069/

This future classic was written by Colin Clark.

Top Tens: Paul Smith's Top Ten Be Sharp Shows at The New Cross Inn

2 years ago I started working full time for New Cross Inn after putting on Be Sharp shows at NXI every couple of months since 2012. Katy, the previous event manager, decided to move on and suggested I apply for her job. I wasn't convinced, as it was my hobby and I only did it to have fun and help out my mates with tour dates, and I didn't want to end up hating promoting.

Needless to say, it's been a pretty good couple of years and I don't completely hate the music industry (yet).

It was pretty hard to limit the best gigs to only 10, but here they are:

24th August 2016
Authority Zero w/ DropThis, Triple Sundae, Cereal Box Heroes, Fat Randall

Authority Zero are one of the best live bands on the planet and tear it up everytime they play NXI. 4 completely different punk bands supported, but it worked so well. DropThis brought the heavy (at their last ever show, RIP), Triple Sundae brought the melodic, CBH brought the pop and Fat Randall brought the skate. Sick show.

4th February 2017
Popes Of Chillitown w/ King Punch, Call Me Malcolm, The Pisdicables and tons more

My old mate Dave and myself share a birthday, support Spurs and love ska punk. So we put a ska punk gig on for our birthday. This was a very self-indulgent gig that we booked together for ourselves. We're not that popular, so it was quite the surprise that 250 people turned up to have an absolute time. Classic all dayer with all our pals' bands and all of the friends. Shout out to C-RAGE for the poster in Tottenham colours too. Sick show.

28th April 2017
Chewing On Tinfoil & Popes Of Chillitown w/ Unknown Era, Millie Manders, The Boom

This was just one of those gigs where everything came together. Popes always kill it at NXI, so I was able to book a couple of out of towners (for once). Unknown Era from Nottingham and The Boom from Derby were both incredible, and got a wonderful reception on their New Cross debuts.
About a month before the gig, Chewy got in touch asking if I had something they could jump on as they were in town supporting Choking Victim the night before. After deciding it'd be a good idea to stick them on at 11pm as an afterparty band, it just exploded. Chewing On Tinfoil & Popes Of Chillitown. Crikey. Sick show.

21st July–23rd July 2017
Level Up Fest #1
The Filaments, King Prawn, Big D And The Kids Table, The JB Conspiracy and tons more

If you visit this website, you're probably aware of Level Up so I'll spare you the details. A ska punk weekender where Be Sharp, Fishlock Promo and El Topo Bookings join forces to put on the ultimate party. I first saw the 3 headliners when I was a nipper, across various shows in 2001. 16 years later, I'm involved with putting them all on the same festival. Still stunned we pulled it off. Sick show(s).

4th August 2017
Pears w/ Great Cynics, Darko, OAHTN, CBH, Eat Dirt

That time Be Sharp, Umlaut Records and Kick The Crutches went up against Rebellion and the Pennywise / Teenage Bottlerocket gig across town and won. Everything was against us, but the place was packed and Pears played one of the best sets I've seen at NXI or anywhere. Also, it was the first time Eat Dirt announced themselves to the scene with a blistering 15 minute set at doors. Now I can't get rid of them. Sick show.

25th April 2018
The Bennies w/ King Punch, Just Say Nay, Paul The Kid

For a couple of years I've been trying to book The Bennies. I knew it was a good idea, as did Summers, who is their European tour manager. Eventually the stars aligned and we had an absolute rager of a Thursday night party. I lost count of the amount of times people told me it was about time they got to NXI. Sick show.

25th May 2018
Goldfinger w/ The Bottom Line

The gig of dreams. After spending most of the early 2000s watching Goldfinger play sold out shows at The Astoria and Brixton Academy, some kind of miracle occured and I booked them for a pub in South East London. It sold out in a day and was Be Sharp's finest hour. The sickest show.

12th June 2018
Pkew Pkew Pkew w/ The Burnt Tapes, Our Lives In Cinema, The Run Up

Mark from OLIC text me to ask if I'd book Pkew x3 should the opportunity arise. I said sure. As debut UK shows go, this was one of the best. Triple figures sold in advance, much to the disbelief of the band, and it was one of my favourite DIY gigs ever. The band are the sweetest guys I've ever had the pleasure of dealing with. And me and Mike had a wonderful time with them at Penge Wetherspoons, introducing them to gin palace and the 'spoons app. I miss them. Sick show.

20th–22nd June 2018
Polite Riot Fest
Teenage Bottlerocket, A Wilhelm Scream, Apologies I Have None and tons more

AKA the punk rock Level Up. Another co-pro with Umlaut Records and Kick The Crutches – and what a weekend this was. Every band killed it. TBR played NXI for the first time since their last minute word of mouth appearance in 2011 and AWS were on another level. So many amazing bands and friends all weekend. Proper wholesome fest. Sick show(s).

22nd–24th July 2018
Level Up Fest #2
Lightyear, Random Hand, David Hillyard & The Rocksteady 7, The Toasters and tons more

Level Up 2, bigger and better than ever. Random Hand's first London show in 3 years, The Rocksteady 7's first ever UK show… and Lightyear. How good were Lightyear? This weekend was full of pure joy and absolute madness and was even better than the previous year. Already looking forward to Level Up 3. Sick show(s).

Like Be Sharp Promotions here to keep up to date with all of their latest shows.

Album Review: It's Alive, Too! by The Young Rochelles

We're breaking from the norm today on CPRW. Today I'm reviewing a live album. In the whole four and a bit years history of the blog I've only reviewed two live albums. There's a couple of reasons for this. Firstly, it's extremely rare for us to be asked to review one. Secondly, live albums are basically a best of featuring songs we all know and love already. Then New York pop punks The Young Rochelles asked if we could review their new live album, It's Alive, Too! This intrigued me. I really enjoyed their last full length album, the self titled Young Rochelles, and was very interested to hear those songs live. It was also a chance to hear some tracks that aren't from that album and generally get a feel of what to expect from a Young Rochelles live show.

If you don't know who The Young Rochelles are then they are a three piece Ramones-core pop punk band from New York. In all honesty that's probably all you really need to know about the band's sound. If I say Ramones-core I'd hope you'd instantly think of bands like Screeching Weasel, The Queers, Teenage Bottlerocket and, of course, The Ramones – so you know exactly what they sound like.

In true Ramones-core tradition, It's Alive, Too features sixteen songs played in just twenty-one minutes. Much like their heroes, very little time is wasted on between song banter as the band power relentlessly through song after song. This leaves the listener very little time to catch their breath and runs the risk of the songs just feeling like they all blend into one. Thankfully there is enough variety in the Young Rochelles’ songwriting to prevent this from happening, there is a clear definition between songs so you can tell when one finishes and the next begins despite the band never pausing on the whole album.

For a live album to really work I always think that it needs to capture the spirit of the band’s show. Unfortunately the crowd seems pretty quiet on the recording and at times you could be forgiven for thinking this live recording came from a practice room rather than a proper live show. It would have been nice for the crowd noise to be picked up a bit better, it's there but you have to really listen for it. That said, I really enjoyed the energy in the performance and even though you obviously can't see the band it's very easy to imagine them performing these songs on stage. The harmonies in particular sound great on this live recording and do a really good job of showcasing the band’s ability in the area. The harmonies also help to bring the live element of the album with the forefront. I imagine seeing The Young Rochelles live makes you want to sing along with the band's harmonies and it's the same on this recording – I had a really fun time doing it in my living room.

If you're new to The Young Rochelles then It's Alive, Too! works as a great introduction to the band. It works brilliantly as a best of compilation, along with giving you a sense of what to expect of the band if you ever see them live. If you're a long time fan then this is a fun addition to what's becoming quite an impressive discography.

Stream and download It's Alive, Too! here: https://theyoungrochelles.bandcamp.com/album/its-alive-too

Like The Young Rochelles here: https://www.facebook.com/TheYoungRochelles/

This review was written by Colin Clark.