CPRW Playlist: September 2018

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

Gig Review: Goodbye Blue Monday at New Cross Inn 23/9/18

Paul at Be Sharp Promotions keeps booking all my favourite bands. This means on Sunday 23rd of September we found ourselves back at the New Cross Inn for an intimate night of punk rock fun. Glasgow's finest misery punks Goodbye Blue Monday were in South London, popping by on their way back from a short tour of Belgium. With support from London favourites Triple Sundae as well as two new acts for us The Half Strikes and Batwings, it promised to be a great night.

Opening up the night were The Half Strikes. This was my first time seeing or even hearing The Half Strikes but I did notice that My Third Leg's guitarist Will was playing bass for the band so it was obvious they had pedigree. Playing fast pop punk, which also contained some metal riffage, they were a fun band to watch. Never taking themselves too seriously but showing off some considerably skill, this was a really impressive set. I enjoyed that Will, along with guitarists Aaron and Matt, all provided vocals for the songs including some great harmonies. The highlight of the set for me was their cover of Jimmy Eat World's Bleed American. A band to check out again for sure.

Up next was one of the more interesting sets of the year. Batwings had formerly been a band but is currently just one man named James (though he was joined by a female vocalist to provide some sweet harmonies). Watching someone play his guitar along to a backing drum track took a little getting used to but James had enough charisma to pull it off, playing a passionate and intense style of punk rock that quickly won the New Cross Inn crowd over. He briefly switched styles to play a fun kind of cockney cabaret track about loving to drink wine which put smiles on plenty of faces. This was an interesting and great set. I'm now hoping to see a full band Batwings set in the future.

The main support for the evening came from London's Triple Sundae. In the summer, lead singer and guitarist Hassan injured his arm so this would be his first show back on guitar and the band were promising some new songs. This had me excited for sure. They've only just released a new EP earlier this year so to already have a bunch of new songs ready for recording, to me, shows some real intent from the band. The new songs were so, so good as well! They felt a bit crunchier than some of the band's earlier tracks and Hassan's vocals seemed to have a bit more bite. I wonder if these tracks were written in frustration when Hassan couldn't play guitar. Triple Sundae get better every single time I see them, Hassan is one of the best vocalists in the scene and is flanked brilliant by back-up vocalist and drummer Zandro. This band are going places, get on the hype train now!

Finally it was time for Goodbye Blue Monday and my gosh I was looking forward to this. I was lucky enough to catch them for the first time earlier this year at Manchester Punk Festival and knew what a great live band they were. Since then they've released the frankly epic Misery Punk Ruined My Life EP and I've also been spending a lot of time with their previous effort The Sickness, The Shame so I was more than ready for a big sing-along. To most of the crowd's surprise, Goodbye Blue Monday opened with what Paul Be Sharp has named "the best punk rock song of 2018" – Misery Punk Ruined My Life. What a great way start their set. For the next half an hour or so they ploughed through their entire discography, with oldest song Omega Point getting a run through as well as treating us to some brand new songs which have me excited for what's likely to be another incredible release. If you're yet to see Goodbye Blue Monday live then you're in for a treat when you do. They take their melodic pop punk tracks and really amp up the intensity when they are played live. Each song deserves a massive sing-along which I tried my very best to do. I just don't have the stamina to keep up with Graham's fast paced delivery though! Highlights of their set for me were Take Your Pills, The Sickness, The Shame and Love Is A Noose For Two. A song I perhaps sang a little too enthusiastically considering I was stood behind the woman that I love. At least I didn't jump on stage to sing it, I guess. Goodbye Blue Monday are one of the UK's finest new bands and I can't wait to see where they go next.

This was such an enjoyable night of punk rock fun. Sadly the attendance wasn't great but it was full of the loveliest people and everyone had a magnificent time – bands, fans, pals and punters alike. Go out of your way to catch all of these bands.

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

Top Tens: Ed Hall of All Silk Mastering House and Ville's Top Ten Records

Converge – Axe To Fall
Kurt Ballou, of course. Don't think I've ever met anyone without a K.B. appreciation but it'd probably be the same as meeting someone who doesn't like dogs...

This album steadily blew my lid off - it took a lot of digestion to appreciate how detailed and involved this record is. I used to stick it on computer speakers, car speakers, van speakers, ear buds – everything – and that depth, saturation, impact and solidity held-like-glue; every-single-time. What you think you're hearing is not what you're hearing, you get the main upfront parts, except it's sitting on a foundation on a foundation on a foundation – inception vibes.
 The guitars have this dimension, character, aura – pretty mind altering getting into the deep waters of this record (so many whaa, hmm, aah moments) – seamless changes of themes, hidden parts, space, distance, layering; the pallet of production and music technique is entirely varied and breaks the conventions of the genre. Not just to throw it all in there but to do it that well with real transcendent, emotional impact.

Algernon Cadwallader – Parrot Flies
This album came to me at a time where I was way deep in punk/hardcore/metal and trying to upkeep 100+ days of touring a year, so was pining for an ear break. Some friends told me the stories of this crazy noodly genre that wasn't exactly a genre, that didn't really blow up, that maybe 2–3 bands were doing well. It was very niche and hip but the story went that a bunch of 'hardcore kids' got bored and started coming up with these noodly gritty melodic lines that didn't fit into pop punk at all, always with a screechy vocalist who couldn't really sing too well but had decent scratchy pipes. It really is it's own thing; it's not pop, indie or punk but it's sorta-kinda all those things at once without being them at all. The guitar playing was irresistible, just these juicy odd melodic noodles sounding like they were hanging by a thread all the while being catchy as anything. The production on even the best bands of this wave is pretty bad (although it wouldn't be the same if it wasn't) yet this particular album is very well done in its own right, not over-produced in any way, great decision making – appropriate to the core. I'm not sure if it was recorded to tape but I'd be pretty surprised if it wasn't, so nicely sizzled – either way, the engineer managed to fit all this drive, melody and awkward vocals into all the right ranges and it still sounds so juicy, airy, layered and separated. The character of the production is so specific to the genre, it's very cool that this tiny movement happened. For sure a masterclass on guitar phrasing and genre appropriate production but at the heart of it just a nice, exciting listen.

Big D & The Kids Table – Good Luck
It's 2005, you've got a usb operated mp3 player and enough room for 200 songs... Limewire is hot shit and you've only gotta wait an hour to get one album at a time. WYD – Get into ska-punk bands, of course. Actually, my buddy sent me some of their highlight songs on MSN messenger, which started it all off... I loved what McWane sang about especially on the title song of the album. It was straight to the point, heartfelt and accessible to a teenager finding their way in the world. The journey wouldn't have been the same without this one, very dear.


Dillinger Escape Plan – Calculating Infinity

A handful of shrooms from a stranger at Hevy Fest 2012 led to seeing these guys live for the first time, having never done the Dillinger dive before. All I felt was pure awe, Billy Rymer being an absolute genie. It was pretty late into their run at that point. By today's standards it's a pretty bad sounding record (piccolo snare and boss sounding distortions) except for the fact it was recorded to tape, in the 90s. The drums are human, no disguising. I love the combination of raw, direct human playing and raw production. There was no hiding behind anything on this record. The purity is rare at that level and then so many bands have spent 3 decades trying to catch up.

Within The Ruins – Creature
I have no idea how a burned copy of this CD made it into the car but it did, around a time I'd devoted a portion of my life to working every hour under the sun at a call centre. The drive was an hour and a half there, same back, and I was leaving at 6am, getting home late. It's a lot of digestion time, a lot of time in traffic with nothing but the company of CDs (and Rayyan EATD, he slept a lot) and this one just kept making its way back in. I was working through a big library of metal/djent style tunes at the time but this one was the anchor of the lot. I guess the grooves are linear, catchy, don't require all your mental capacity, the movements are varied enough to keep your attention and the playing is silly, I guess that's what made it so digestible on long drives.

At The Drive In – Relationship of Command
The precursor to all aforementioned records, before I knew what hardcore was, before I knew why I liked juicy saturated guitars or fucked up vocalists. In fact, I guess I didn't love this record for many years after I heard the band. They did 'One Armed Scissor' on Jools Holland and it was just bat shit, Robbie Williams was there, too, acting the goat – mad scenes. It was a good place to start at 13/14 years old – anything that breaks open the head, challenges convention, has undeniable character. This band was for me before the journey really began. Omar was a very striking and inspirational character actually, clearly introverted and focused on his creative endeavours. You don't know it at the time, but people like him who dared to be himself, it's very powerful to take in that kind of example at a young age and he just hasn't stopped since – I consider him a master producer for sure.

The Mars Volta – Frances The Mute
When the first song kicks in after the ambience/intro-stuff it's absolute drive – jungle/drum n bass/samba beats, wah-pedal-dry-palm-muted-quick-choppy-lead-lines, the first 3 or 4 movements are aaace listens. I had never heard anything like it at the time so it beat a lot of its contemporary sub-genres to the punch. I used to stick it on while going to sleep and go through all the movements, broadening cerebral horizons and informing themes that I'd come to love years later in a lot of different forms. Although Bedlam In Goliath is the better album (Pridgen throwing down with no respect) this was one of those records of personal growth with some absolutely murderous parts.

City and Colour – Bring Me Your Love
The night drive go-to! A super nostalgic album right there, a sweet example of ambience and dimension. The songs are brilliant, the pipes on Mr. Green. Such nectar, friends! If this album was recorded in a different way, I have no idea how the songs would transcend. Bear in mind it was recorded in a church hall, on steel string acoustics from the 1910s, 30s and 40s with a major label budget. There's a lot of depth to it, history in the sound sources but the mood is so relaxing, a nice introspective listen. It's a part of the pallet to reach for when I can't deal with the sensory overload.

TTNG – Animals
Gotta admit, a friend showed me some of these guys on a Blue Peter looking live set and I didn't get it at all. I thought it was pretty awful at the time, haha. I couldn't pinpoint when this band resurfaced in my immediate reality but their burned disc worked its way into the van (like so many others) and became a daily listen in the hefty touring days, it was hard to appreciate anything finer about this record in van speakers, other than the guitar work. Like, it's been a constant mesmerisation of how they constructed the layers of these songs to make coherent start to end tracks with bass, drums, choruses, verses, the guitar work is... involved. It's hard to imagine how they make coherent songs exactly – which is a whole other level of TTNG's game, the fact they do make accessible songs with hooks, movement, melody, drive. Heck knows fren’. Another one the masses are still playing catch up with.

Blakfish – Champions & See You In Another City (how do you pick)
The logical conclusion of all the above records. The band that did it all – melodic mega noodles, horrible screaming and shouting vocals, big choruses that hit, no missin’, ugly stink face breakdowns, brilliant juicy production and the vocal work is grand. I can't find the weak link amongst them – they dialled it in! It really flows, a seamless effort. An inspiration to any DIY band coming up – they just went for it, did it, suffered the consequences of the lifestyle, survived on the strength of their songs and character. Did it with class and quality tunes.


That was difficult!! Can I have a short list :')?

The top 10 top 10 shortlist:

10. Propagandhi – Supporting Caste
9. Turnover – Peripheral Vision
8. Captain Everything – Buena Vista Club (Can't be a UK audio engineer without some saucy Pete Miles appreciation)
7. Beat The Red Light -–EP
6. The Ghost Of A Thousand – This Is Where The Fight Begins
5. Belvedere – Fast Forward Eats The Tape
4. Snowing – Fuck Your Emotional Bullshit
3. Folly – Insanity Later
2. Botch – We Are The Romans
1. Fellsilent – The Hidden Words

~

Ed has just opened up his own studio named All Silk Mastering House which specialises in Mastering, Mixing and Audio Engineering. If you've just recorded some music you should definitely check All Silk Mastering House out.

Ed also sings and plays guitar in Ville (formerly Edgarville).

Album Review: Befriend Your Sins by Bourbon Brawlers (by Emma Prew)

Bourbon Brawlers are a 7-piece folk punk band from Denver, Colorado, who describe themselves as ‘whiskey swilling musicians out to have a good time’. Sounds fun, huh? In June this year they released new album titled Befriend Your Sins and, being a fan of all things folk punk, I was keen to have a listen.

Befriend Your Sins kicks off with a song called Revolution. The track opens with a generous helping of mandolin, before slowly the other instruments also come – and there’s quite a variety of instruments in Bourbon Brawlers’ ensemble, including harmonica, washboard, banjo and upright bass alongside guitar, drums and the aforementioned mandolin. I’m reminded of British anarcho-folk band Matilda’s Scoundrels, particularly with the theme of rebellion and revolution, on this opening track – ‘Are you ready for the revolution?’ . But something the Scoundrels don’t have is harmonica and its wailing on Revolution really stands out as the song progresses at a steady pace. Up next is Never which begins with some reasonably fast paced acoustic guitar strumming. This leads into a distinct call and response section between the lead vocalist and the rest of the band ‘Have you ever? Have you ever?’ Followed by some more bluesy harmonica, Never develops into a feel good song about drinking with your friends and having a good time. I can imagine it being played live in a rowdy bar where everyone is singing – or perhaps drunkenly shouting – along to the words.

Irish Yoga is the name of the third track of the album and its title alone has convinced me that I will like it – even though I’m not really sure what Irish yoga is! This is a short and fun little song with a great banjo melody that carries the song along at fairly fast pace. Bourbon Brawlers are definitely at their best when playing a bit faster. Much like the previous track, Irish Yoga is a feel-good tune – the epitome of having a good time. The bass line at the beginning of the next song, Light It Up, will get you grooving in no time. It’s not long before the other instruments join in for a fairly lengthy instrumental intro. Once again, the harmonica stand out here – this album has so much harmonica and I love it. That said, the washboard is more distinguisable on this song than previous ones – a greatly underused instrument if you ask me. Light It Up is a song with a distinct storytelling feel with the tale here being about a particular bad character. ‘You were never true, You never spoke the truth, You were never true, ’Til you got that bullet in your gun, Now every night you want to light it up.’ U.N.P.C. switches things up a bit with the vocals starting before any instruments this time. This is a rousing speedy little number that will try its damned hardest to get you singing along with ‘If you don’t like any of that then hey, Fuck you!’ After just over a minute you’d be forgiven for thinking the song had finished as it seems to fade out… But then there’s a yell of ‘Pick it up, pick it up!’ that signals that the song is back. It doesn’t actually turn ska though – now that would have been a surprise! – the hint at it was refreshing anyway.

The Legend Of Shorts McGraw kicks off with a plodding bass that gives a different sort of feel to previous tracks on Befriend Your Sins, perhaps more bluesy than folky. Of course, there are plenty of other instruments in the Bourbon Brawlers ensemble and these add plenty of melodic layers on top of the bass. This is the Legend of Short McGraw so it is only right that there is a big sense of storytelling to this song – something this band excels at. The song is about a friend of the band rather than someone from a long time ago – ‘It’s the legend of Short McGraw, He’s been kicked out of every bar.’ I think it’s meant in a lovable kind of way! As we draw towards the end of the album, we get to some of the longer tracks. The penultimate track, Weight Of The World, has quite a stripped back and gradual opening – for Bourbon Brawlers at least. Here a palm-muted acoustic guitar offers up the first melody. Shortly the pace picks up for a song about feeling like there’s too much pressure on you and struggling to deal with all that life throws at you. There is a lot of shouting of ‘I’ve got the weight of the world on me.’ that seems like both a release for the vocalist and an empowering statement for listeners who might feel the same way. Backseat brings Befriend Your Sins to a close in almost epic style. From the opening line of ‘Everybody’s got a demon in the backseat.’ this song takes listeners on a journey with plenty of ups and down. Backseat is about how it doesn’t matter what demons you might be hiding, everyone is the same – and the track has some rowdy gang-style vocals as if to reinforce this. This is the longest song on the album, at just over 5 minutes long, with a lengthy slowed down last two minutes that almost feels like a live jam session. The song speeds up and becomes frantic and erratic before slowing down again. Well they couldn’t have put that in the middle of the album, could they? I was tired just listening to it!

You can stream and download Befriend Your Sins on Bandcamp and like Bourbon Brawlers on Facebook.

This review was written by Emma Prew.

Album Review: I'm Very Sad by Throw

Throw are another of those brilliant Bandcamp discoveries. The three piece from Portland, Oregon, recently released a brand new album titled I'm Very Sad. When I was clicking through Bandcamp on the hunt for my new favourite band, I was drawn to Throw because of the Fugazi-ish artwork that has been produced for I'm Very Sad.

I'm Very Sad begins with the song Atlas; Bummed. This is a loud and fast punk rock jam that quickly gets you invested into the album. I really enjoyed how the majority of the song is sung by two vocalists. This gives it a sing along quality that pulls you into the song and the tempo in which the song is played leaves you breathless in the best possible way. The song talks about realising that things are getting hard but not doing anything to try and make things better. The next track is named Jake Never Owned A Bird. On this song there is a hint of Skiba about the vocals that really adds a lot to the Throw sound. The track is about someone you care about leaving for years and then expecting to just waltz back into your life like everything is fine. My first thought was that this song is about this happening in a relationship but could also be about a friend or a parent. The third track is named Crawlspace and is about trying to live someone else's life and eventually getting caught out. It tells the story of spying on your neighbours and getting so caught up in their better lives that you end up sneaking into their house. Kind of creepy stuff. I really enjoyed the narrative style of the song, it plays out like a music video.

Drinking Wine With My Dad is about exactly what you think it is about. There seems to be more urgency in the delivery of the vocals on the track. Musically it feels a bit harder than the previous songs with the drum skins taking a real pounding, adding a great amount of power to the track. The fifth song is named Wisconsin (May For Effort). It starts out slow (for Throw's standards, at least) with some guitar and vocals that lead you into the song before launching into a blisteringly fast pop punk track. This song is one of the big highlights on a phenomenal album. It's one of those super fast songs that I just want to shout along with but struggle oh so much because of the super fast tempo. The song is about horrible Wisconsin winters that are really difficult to get through - physically and mentally. It doesn't sound like an appealing place to live. After the four second long Trees, comes the seventh song Steamroller. Steamroller is another big highlight on I'm Very Sad. It is about breaking up with someone and all the dirty laundry that can sometimes get aired. The trade off in vocals are just wonderful. I'm not sure if the two vocalists are playing the role of the same person or they are arguing with each other through song. Either way it works brilliantly and adds extra energy into the track.

The high energy and big sing-alongs continues on song number eight, Pass The Prozac. The dual vocals are again on display beginning with the deeper, Skiba-like, more melodic style before gradually blending to the snottier and more intense vocals. Both styles complement each other extremely well and add so much to the overall Throw sound. The track is about the after affects of taking anti-depressants and how they can numb your feelings towards things. SeaShip is more of a laid back song (again, for Throw) about missing out on an opportunity to date the girl that you like. Stylistically the song feels more like an indie pop punk track than the more raucous nature of the rest of the album. It's again though a really really good song that I loved from start to finish. From the opening sing-along to the jangly guitars and the brilliantly catchy chorus, SeaShip is superb. After what is perhaps the best sing-along intro on I'm Very Sad, the tempo is upped once again on the ninth song Smoke 'Em. This melodic number hooks you in so well and is one of the more emotional songs on the album. It's about knowing that you don't have much time left on this earth and wanting to go out in your own way. It's well cheery. This is a song that I imagine is just brilliant live and must get such a great reaction.

Penultimate song Skin Hotel begins with an exhilarating drum explosion that gives the album a final boost as we race to its finale. I feel like the song is about being on such hard times that you have to sell your body. (I'm so sorry if that's completely wrong). It's a really sad song about being in such desperate times you have to go to desperate measures to try to survive. Despite this, musically it's quite upbeat and even chucks in a joyous "woo!" at the end of the track. I'm Very Sad finishes with the song Spaceship. Spaceship sees Throw slip into more of an 80s So Cal punk sound. Think of early NOFX, Pennywise and Bad Religion (who have a riff borrowed in the song). The song tells a story of a journey through space and the politics in the 80s. Listening to the track, there are so many little references to the decade so brilliantly written in. Throw have kindly supplied the lyrics on Bandcamp – go check them out and see which references you can spot. Spaceship is the final proper track on I'm Very Sad but the album is actually completed by a reprise of the song Trees. This version is a lengthy eleven seconds long and finishes the album of with a bit of a giggle.

I fell in love with I'm Very Sad on my very first listen. It's such a good album from start to finish, no song felt like filler and all could be my favourite on the album depending on my mood. Throw have this unique sound that they've brilliantly coined as "stress punk." I wish them all the success in the world with this album and hope it does well enough for them to find their way other to the UK soon as I imagine these songs are even better live.

Stream and download I'm Very Sad here: https://throwpdx.bandcamp.com/album/i-m-very-upset

Like Throw here: http://www.facebook.com/throwpdx

This review was written by Colin Clark.

Gig Review: Call Me Malcolm at New Cross Inn 20/9/18

September is turning into a bit of a gig marathon for Emma and myself. Twenty days into the month and we found ourselves on our way to our fifth gig in September. We were on our way back to the New Cross Inn for a night of brilliant ska punk presented by Be Sharp Promotions and headlined by Call Me Malcolm along with Millie Manders and The Shut Up, Tree House Fire, Just Say Nay and Matt of Popes Of Chillitown. Of course, all of this fun was put on by Be Sharp Promotions. Due to the slightly early start time we unfortunately missed Matt Popes but judging from his performance at Level Up back in July I'm sure it was a lot of fun.

We did however make it in time for Just Say Nay. The (on this occasion) eight piece are fast becoming one of my favourite bands in the UK ska punk scene thanks to their high energy performances and infectious nature. Beginning their set with the songs Mud Pie and Mr Plank Goes To Town, Just Say Nay gradually begin to get the early crowd moving along to their set. Of course, as the set progresses, more and more people begin to have a dance. Whether it's a full on skank or just swaying from side to side, it's impossible to not enjoy and be completely captivated by JSN. Frontman Jak's voice is as always on fine form and he is a very watchable performer. I need to see JSN on a bigger stage to see him have the room to really cut loose. Along with favourites such as Jiggy Bean and Bouncer, the band performed a new song that's set to be recorded for the band's upcoming debut album. They were planning on playing two new songs but unfortunately due to time restraints, their set had to be cut short so they finished the set with the always great fun Low Blow. Always truly wonderful to see Just Say Nay live.

Up next were Tree House Fire. I was really looking forward to seeing Tree House Fire full band again after being blown away by their (almost) acoustic set at Level Up Festival. The Welsh five piece have recently released a brand new EP titled Fool's Gold and I was looking forward to hearing some songs off of it for the very first time. I've always felt that Tree House Fire are at their very best live and of course this was no exception. From the opening track Push, Tree House Fire had the crowd moving along to their reggae sound. Playing old classics such as Dutty Girl and Mr Aggressor alongside newer tracks such as Fools Gold seemed to really please the New Cross crowd. It's really nice that a band can come from so far away and it feel like they're playing a hometown show. That's definitely the feeling at a Tree House Fire New Cross Inn show. Finishing up with Rock To The Rhythm, Tree House Fire showcased why they are so highly thought of in the UK's ska and reggae scene. If you haven't checked out Fool's Gold yet then you should as it's a fantastic EP.

The penultimate band of the night were Millie Manders and The Shut Up who were celebrating the release of their brand new EP, Shut Up. At this point of the evening sadly the night was running quite behind so Millie and the boys had to rush through their set. This didn't stop an excellent performance. Millie is one of the most charismatic performers in the scene and sings as well as all these pop stars that the radio forces down our throats. She is an exceptionally talented individual and along with her band, is well on the way to becoming a big name in the UK music world. Unfortunately The Shut Up's usual drummer was out of action with a hip injury so Jack from Popes Of Chillitown was drafted in to play the show. Not that you would have known, as the band played a brilliant set. Starting out with a track named Brave from the new EP before going into an older number named Bacchus, which is a really fun drinking song, did a great job in getting the crowd warmed up. From then on they had more and more of the crowd dancing along to many of the songs from previous EP Obsession Transgression including Teddy, in which Millie joined us in the crowd and had a bit of a sit down whilst singing the track. Interestingly they finished the set with the other three songs from the new EP. I thought this was a brave move that really paid off. The final song, One That Got Away, really stood out and is a track I'm looking forward to seeing live again. MMATSU are becoming a force to be reckoned with. Great songs, great live, great band.

What an amazing year Call Me Malcolm are having. They've released the best ska punk album in years and have been playing shows all over the country including Rebellion Festival and a show stealing performance at Level Up Festival. So you have to assume a headline show at the New Cross Inn was going to be yet another special moment and of course it was. We made our way down to the front ready to sing and dance the rest of our night away. It seemed that the rest of the New Cross Inn crowd were intent on doing the same. As soon as Malcolm opened with The Gentleman And The Onion, the room was in full voice. Even with stand in horn players, Lloyd from Easydread and Eve from Lead Shot Hazard, the band were on top form as they blasted through track after track from the amazing I Was Broken When You Got Here. After a few songs they brought out a very special guest in the form Bruce the Bunny who joined the crowd for some dancing. For the faced paced skate punk track Jacob Bruce initiated a big circle pit with the crowd gleefully bashing into each other. Next up was the more laid back Restore Factory Settings. Restore Factory Settings is such a great track to sing along to with a room full of your best friends. Then the crowd completely lost it with the next track Does My Offbeat Look Big On This. A real highlight for old school Malcolm fans. There was a fantastic moment of crowd participation when frontman Lucias got everyone to do an American sports hands in moment – I've never seen that at a gig before. Of course they finished with the banger All My Nameless Friends. This song is not just an ode to the New Cross ska punk scene but a track about how there are always people there to help you when you need it. This track finishes with a huge finale with some fantastic sing-along "whoa-oh's" (my throat is still sore from belting them out as loud as I could) that bring the crowd together in unison. It's probably been said to death already but the line "all my nameless best friends will be there" sums up the New Cross scene perfectly and it's always a pleasure to see such high quality bands in my favourite venue with so many of my favourite people.

This review wa written by Colin Clark. Photos by Emma Prew.

Album Review: Mean Caesar by Mean Caesar

The wait is almost over! South London five piece Mean Caesar are just about to release their debut self titled EP - on Little Rocket Records no less! Now you might by thinking "Wait. I've never even heard of Mean Caesar!" The band have been together for about two years now, perfecting their sound before they played their first live show at the beginning of the year. Since then they've been steadily making a name for themselves in the South London punk rock scene, particularly during support slots with The Copyrights, Red City Radio and Apologies, I Have None. I was at all of those shows and Mean Caesar absolutely slayed. So now the wait is almost over for an EP I've been excited to hear for months now. I hope it lives up to the hype.

The opening song on the six track EP is named The Lane. As with any good opening song it serves as a great introduction to what you can expect from Mean Caesar - melodic but raw punk rock music that is filled with plenty of hooks that will have you singing along with the band. Lead singer Danny Lester's vocal adds a great deal of urgency that will really make you care about the song. The bridge of the track in particular stands out and will certainly get a crowd singing "slow it down" with Danny and the rest of Mean Caesar. Up next is Gone. The track opens with a bit of a bang. We get a single drum strike and then the most delicious guitar riff to welcome us into the track before we are lead through a short song about grieving for a loved one and not knowing what to do. The guitars from Oliver Ward and David Littlefair on the third song, Drowning, really caught my attention. There are some really nice little technical riffs that appear throughout the song that accompany the powerful drumming of Stu Morrison superbly. It didn't take long before I found myself wanting to sing along with Danny and it's not too long before I actually can as the song is wonderfully catchy. The song is about falling deeper into a depressed state and needing to escape the situation that you're in.

June 12th is the title of the fourth song on the EP and it has a great extended introduction that builds nicely. The entire song actually builds slowly throughout its duration until we get to a raucous section that features some great gang vocals. In the press release for the EP, Danny says the goal was to make music that was "hooky as hell, with an urgency to it." That is something they have achieved in a great fashion on June 12th. The penultimate track is Blinded Eyes. Blinded Eyes is a real stand out track on the EP, it starts out super melodic and has some warm tones before Danny's raw and gruff vocals come in. I've noticed throughout the EP that Danny's delivery really makes you feel like you're down the pub with him and he's telling you a story. That's something I really enjoy in music. Much like June 12th, the song has this great build that adds to the urgency of the song. Despite the urgency though, Blinded Eyes manages to retain that infectious melody during its big finale. This is superb songwriting. Last up is the EP's lead single, South London Summer. I assume that this is a play on a lyric from their great friends Apologies, I Have None. The song is about finding your own group of friends who you feel at home with. It's plain to see why this song was picked as lead single - it's one of the best tracks any band has released this year. It's got an instantly recognisable guitar introduction and as soon as Danny begins to croon, you're hooked and ready to shout along with him. The lyrics "I’m thankful every day that this bunch of misfits happened to cross my way / We’d prop up the Monty bar where talking endless shit can get you far" really stood out. I loved the little nod to the Montague Arms, a pub in South London that hosted many a DIY punk show during the last few year before it was sadly closed down. Just a cracking song.

I'm really starting to worry about doing my top tens at the end of the year as more and more incredible music continues to be released. Mean Caesar is definitely a contender for EP of the year. With the help of the production skills of Joe Watson, they have created these technically masterful but also powerfully raw songs that grab your attention from the outset and keep you hooked throughout. And then you listen to it again and again and continue to find nice little touches that become your new favourite parts of the song. If you don't know Mean Caesar yet then you certainly will very soon!

Pre-order Mean Caesar here: https://meancaesarlrr.bandcamp.com/

Like Mean Caesar here: https://www.facebook.com/Mean-Caesar

This review was written by Colin Clark.