Album Review: The Coming Collapse by Foxhall Stacks (by Omar Ramlugon)

Supergroups are a funny thing. It’s easy to forget that quite a lot of household names such as Broken Social Scene, Cream and Led Zeppelin are in fact supergroups, seeing as their output has sort of swallowed up the music that came from their previous outfits. And then there’s the supergroups that, unfortunately, just make you long for the member’s original bands to reform all the more – Prophets of Rage, I’m looking in your direction.

And then there’s the third category, wherein the members manage to create something which is exciting and new which also touches on their respective backgrounds in a respectful, smile-inducing manner. I think it’s safe to say that Foxhall Stacks slots right into this niche.

The foursome is comprised of Government Issue’s Pete Moffatt on drums, ex-Velocity Girl and High Back Chairs guitarist Jim Spellman on lead guitar, Jawbox guitarist Bill Barbot on vocals and guitar, and Brian Baker of Bad Religion, Dag Nasty and Minor Threat fame on bass. This might seem like a strange move given Baker’s legendary lead guitar talents but it’s worth remembering that he was also the bassist in Minor Threat.

That’s a whole lot of DC hardcore talent to pack into one band, and with that in mind you’d be completely right to expect The Coming Collapse to be a gnarled, mailed-fist blow to the jaw sort of record, especially given the political and social climate that surrounded the band. But right from the off, the band manage to completely rock out while – dare I say it – clearly having a huge amount of fun, which is absolutely infectious. Baker and Moffatt’s watertight rhythm section always play to support the song, and the end product is all the better for it.

There’s edge and muscly overdriven guitars, but delivered with more hooks than a pirate amputee hospital. Opener ‘The Reckoning’ manages to deliver a superbly declamatory lyric while completely taking place in your head with its vocal harmonies; “In an unwavering voice / Willing to make a choice for the first time / I want to scream at the bluebloods sitting pretty / In the canyons of the city”. Lyrically these songs aren’t the recondite sketches displayed on your average Jawbox record, while still remaining sharp and skirting cliché.

The following ‘Turntable Exiles’ and ‘Law of Averages’ manage to raise the game from what’s an already strong start, piling chugging harmonic guitars on top of Barbot’s smooth, inviting vocal timbre. Really, this whole record is a reminder that, on top of his usual guitar fencing with J Robbins, Bill Barbot is an excellent and underrated singer, and he is more than capably supported by some oozin’ aahs from the rest of the band throughout. ‘Turntable Exiles’ winds down to a close with a gentle piano that functions as a warm accompaniment rather than a vanity add-on, while ‘Law of Averages’ even includes a left turn into an acoustic driven bridge before roaring back into life with a beautifully composed guitar solo that is just the right length.

The overriding impression that one gets from The Coming Collapse is of these hardcore veterans relaxing and letting the pop melodies that they had perhaps subverted or otherwise transmuted in their younger bands come to the fore, while adding in ear-catching twists and chord changes that serve to draw the listener in further. This is the kind of album that is equally rewarding to the casual listener as it is to in-depth headphone analysis, which reveals clever little twists and hooks all the way through; there’s even some slide guitar on tracks like ‘Failure’ and the late-album standout ‘Top Of The Pops’.

This is a great record, bridging the gap between its members’ pasts and the present in style with verve, wit and well-honed songs. The whole band is in fine form from start to finish, and it will not fail to put a smile on your face. Highly recommended.

Stream and download The Coming Collapse here: https://foxhallstacks.bandcamp.com/album/the-coming-collapse

Like Foxhall Stacks here: https://www.facebook.com/foxhallstacks/

This review was written by Omar Ramlugon

Album Review: Community Backwash by Flangipanis

Australian skate punks Flangipanis were one of my favourite discoveries of 2018. Their album Always The Bridesmaid even made it into my top ten albums of the year. Playing fast and catchy skate punk with a big theme of partying and having fun, I was pleasantly surprised when I saw that the four piece had released a new EP named Community Backwash. Big things were expected.

The seven track EP begins with the song Scully. Starting in an expectedly crass manner, where lead singer Jodie tells Mulder of Mulder & Scully X-Files fame to fellate her penis, the track is about wanting to team up with Scully to save the world. It's all a bit of silly nonsense but my gosh it's fun. They're not changing the world with their content but, listening to the musicianship displayed by the band, you have to take them seriously – there's some serious shredding going on throughout the song. Up next is the first of three songs on the EP that are less than one minute long. Titled In The Bin, it's a punchy song with a bouncy melody that really made me smile. In The Bin is about having a really bad day and wanting to forget it ever happened, something we can all relate to. Following this is the fifteen second long Paper Bag. Played at a blistering speed, it's a bit of an ode to the versatility of the paper bag and all the things it can be used for when you've had a bad day. What an interesting and original topic for a song. Piss In Your Beer more than doubles the previous song’s length but uses much fewer words. Through the thirty-four second track, Jodie repeatedly tells the listener that she is going to "piss in your beer." Again, it's all a bit silly but it's so much fun.

The Ballad Of Chad And Becky sees Flangipanis go down a hardcore route. The intensity and anger is really upped on the track and it certainly took me by surprise. It's nice to hear the band experiment with a different style and really pull it off. Jodie's vocals ooze with venom, particularly in the chorus. I loved the band shouting out backing vocals for the chorus, adding another element of intensity to the song. It's relentless and really gets you pumped up. The penultimate song is titled Getting By. The track starts with a massive contrast to the hardcore sound of The Ballad Of Chad And Becky – with some sugary sweet "oooohs" that you might expect from a pop track. Of course, this is Flangipanis and soon enough the band jump into their energetic skate punk sound. The track goes along at a quick pace and, at times, is kind of hard to keep up with – for me this adds to the incredible energy in the song. This is probably my favourite song on Community Backwash. It's about struggling through life, surviving and getting by the best way that you can. Community Backwash is completed by Favourite Songs. There's a real throwback 90s skate punk sound to the track that I enjoyed, perhaps showing off some of Flangipanis’ influences. It's more melodic than the punchy, bouncy style that I would expect from Flangipanis and the song is packed with backing harmonies, as was the style back in the day. The song is a song about friendship, going to gigs and singing along to your favourite songs. It's a really nice and uplifting way to finish the EP.

Flangipanis are on their way to becoming my favourite Australian band. They have this infectious energy to all of their songs that just can't be ignored. They can be silly but I love that. Not all songs have to be about important issues and changing the world, they can be about having a great time. For me, that's just as important. This is a great EP for a bit of escapism that is always needed in your life. I hope the band can find their way to the UK some time soon.

Stream and download Community Backwash here: https://flangipanis.bandcamp.com/album/community-backwash

Like Flangipanis here: https://www.facebook.com/flangipanis/

This review was written by Colin Clark.

Album Review: Together Alone by Lone Wolf (by Emma Prew)

Lone Wolf are a four-piece from Rotterdam in the Netherlands. Formed by ex-members of Accelerators, The Apers and The Bat Bites in 2017, Lone Wolf play catchy, melodic punk rock with underlying elements of garage and indie rock. Just a year ago the band released their debut self-titled album and on the 5th of October this year Lone Wolf released its follow-up.

I discovered Lone Wolf when I spotted the wolf artwork of their first album in All Ages Records in Camden some time either late last year or early this year. Wolves are one of my favourite animals so I was immediately drawn to it and, although I wasn’t brave enough to literally buy the album based on the artwork, I did go home at look up the band. I really liked what I heard and have been looking forward to checking out the band’s second album. Titled Together Alone, the 12-track album is out now on Stardumb Records (as well as being available on CD in Japan thanks to Waterslide Records). Here’s what I thought of it…

Together Alone kicks off with Can’t Stop You Anyway. It’s pleasantly mid-tempo with melodic guitars and from drums from the outset – a good example of the Lone Wolf sound if this is your first time hearing them. A major draw of the song is the exchanging of vocals between guitarist Merel and bassist Ox, along with a damn catchy and repetitive chorus – ‘But we can’t stop you anyway, we can’t stop you anyway.’ The song is about not being able to deter someone from something because they won’t listen to your point of view – and you’ll simply be ‘fighting fire with fire’. Runaway is next up. Things are a bit slower here but some big sounding opening riffage – not too dissimilar to The Menzingers – immediately grabs your attention. The pace slows further when vocals come in and Merel proceeds to sing of running away, with a special someone, to escape from everything else. Runaway is a carefree and fun tune, particularly when the pace picks up a little for another super catchy chorus. I think they key is in its seeming simplicity. Runaway may have seemed carefree but the next song certainly isn’t. There’s venom in Ox’s vocals and an air of anger in Something To Destroy. It’s a relatively upbeat song, musically, about wanting to release negative and angry feelings – and what better release than in the form of punk rock. The rhythm section, in particular, shines through with heavy drums and a chunky bass line throughout. There’s also some of those classic punk rock whoa-oh-whoa-ohs – what’s not to like?

Heartbeat is the fourth song on Together Alone. It has a melodic indie style and feels almost dreamlike – perhaps due to its nostalgic subject matter. Heartbeat is a song about missing someone but also growing up and, in some ways, moving on. There’s a sense of nostalgia for summer’s gone by and the people you spent those summers with. ‘Summer’s come, summer’s passed, It’s been weeks now since you left, I’m still here all alone, Still have the pictures on my phone.’ There’s a great contrast between the end of Heartbeat the next track. Don’t Know How opens slowly with muted, distorted vocals and just some simple strums of a guitar. Of course, the pace and volume soon picks up when the rest of the band comes in and the vocals gradually become cleaner in sound. There’s a distinct sense of negative feelings in this song, but I find it’s these sort of songs that I connect with the most – it’s just so honest and down to earth. ‘I don’t know how to make this right, I’m better off on my own’. The mixture of palm-muted guitars in the verses and more super melodic and catchy guitar work in the chorus, plus Merel and Ox singing at the same time, is just great. The sixth song comes in the form of Tearing Me Apart, a head-nodder of a tune that bobs along at a decent not-too-fast rate. The song is about having so much to do but oh so little time and feeling like you’re wasting the time you do have – I know the feeling. Featuring a nice, big guitar solo before a bridge section of ‘It’s tearing me apart’ that builds and builds and is begging to be sung along to, Tearing Me Apart seems like it would be particularly great played live.

The album’s title track, Together Alone, aptly comes as what would be the first track Side B of the record. Lone Wolf waste no time in getting going with this one. It’s upbeat, one of the faster songs on the album, and punchy from the very start – a real highlight of the album in my opinion. This is another song where the rhythm section really stands out. With similar themes to Runaway, Together Alone is sort of about getting away or, well actually, going back to your hometown. There’s a lot of songs in punk rock about wanting to get out of your hometown so it’s nice to hear a song that expresses fondness for ones home instead. Waiting On The Other Side has a, by comparison, slightly slower pace but it is certainly no less melodic. This is a song about finding yourself in a familiar situation over and over again even though you know you need to step away from that situation – or a person (‘I don’t want to be your friend no longer anymore’). It feels like saying goodbye to someone, as well as perhaps a part of yourself. I’ve used the word catchy a lot already in this review but the fast paced chorus here is one of the most infectious of the album – ‘Yeah I’ll be waiting, Yeah I’ll be waiting, I’ll be waiting on the other side.’ It’s just a great example of Lone Wolf doing what they do best and I definitely think this song could be their next single. With a slightly slower pace and a somewhat lengthier intro, Into The Unknown sets itself up for big things. It was the lyrics that really connected with me on this song rather than the [catchy] melodies. The song is about wondering where time has gone and if you’re doing the right things in life to be happy – would you be happier if you quit your job and did something else or would it be silly to quit your job at this point in your life? There’s a theme of dealing with anxiety which will be relatable for many listeners, myself included. ‘Should I worry more? Or do I worry far too much? I hear demons in my head, I can’t make it stop.’ After a melodic interlude in the middle of the song there’s a somewhat dark, emotional section about how sometimes you ‘should reach out into the unknown’ because it might turn out for the best. Such brilliant songwriting.

City Lights features yet more infectious riffs, particularly the bass line which stands out alongside Merel’s vocals in the first verse. The song is about trying to clear your head outside and away from everything and everybody – viewing the city lights. I’m imagining a scene in my head with the narrator sitting on a hilltop on the outskirts of a city, just looking down at all the lights. It’s always nice to invent the music video for a song in your own head! City Lights’ bridge is just the best and ends the song on a more positive note – ‘I know that the sun will shine again, Someday.’ Another line that would be awesome to sing along to in a live setting. The penultimate song comes in the form of Everything Stays The Same. With an upbeat tempo and overlaid guitar riffs, we seem set to speed our way to the album’s end. Everything Stays The Same is about how you can sometimes be oblivious to what’s in front of you. Merel sings of having a difference of opinion or feeling differently to someone else – one person has moved on and the other hasn’t. ‘I know that it’s already too late, All you ever wanted was everything to change, I know that it’s already too late, All I ever wanted was everything to stay the same.’ Complete with a sweet guitar solo that showcases a more technical side to Lone Wolf’s sound, the track feels quite apt for this point on the album as it brings us into the closing track. Together Alone closes with Without You and an extended intro seems to suggest that the band mean to end things in style. The dual vocals that we loved so much earlier on in the album are apparent from the outset here alongside palm muted guitars. This allows the focus to be completely on vocals which feel firm and decisive, really holding your attention and making you believe every word (‘Without you I’d be much better off.’ – not actually directed at the listener, of course). As the song, and the album, draws to a close there’s more repetition to really drive the message home. This band sure does like repetition but it certainly works and is one of the things I love about Lone Wolf. It worked for the Ramones, it works for Lone Wolf.

Lone Wolf have done it again and delivered a brilliant album packed with infectiously catchy and melodic tunes with highly relatable subject matter. You’ll be humming and singing along to this album in no time at all. I mentioned The Menzingers early on in this review and I know the comparison has been made before but it’s worth noting that I instantly enjoyed Together Alone more than The Menzingers’ latest album! So, what are you waiting for? Check out Together Alone by Lone Wolf now!

You can purchase Together Alone through Stardumb Records here and like Lone Wolf on Facebook here.

This review was written by Emma Prew.

CPRW Playlist: October 2019

CPRW Playlist: Here's what Brett, Dan, Emma, Lee, Omar, Richard, Robyn, myself and our special guest Mike Smith from Triple Sundae have been listening to this October.

Top Tens: Colin's Top Ten UK & European Bands Playing The Fest 18

The Fest in Gainesville is a mecca where punks from all over the world turn up in the Floridian town to celebrate this wonderful scene. Bands from all over the world also play the festival. Here's ten of the top bands from the UK and Europe that are embarking on Gainesville to play and enjoy the festivities.

Good Friend (Saturday at High Dive 16.10–16.40)
Heart-on-your-sleeve punk rockers Good Friend are no strangers to playing Fest. The trio play loud, sing-a-long punk rock that is crying out to be shouted back at the band – a sound that is very popular at the festival. Their last offering, Ride The Storm, was released in 2016 by Red Scare and still receives regular plays at CPRW towers. Good Friend are a band for a good time.

Arms & Hearts (Saturday at Civic Media Centre 20.10–20.40)
Someone making their first appearance at the Fest is Arms & Hearts. The Manchester based folk singer has been working hard, travelling around the UK and Europe spreading. Whether it's a quiet folk show or a rousing punk rock night, Arms & Hearts will capture the audience's attention and their hearts.

Chloe Hawes (Saturday at Civic Media Centre 20.50–21.20)
Formerly from Essex and now based in Manchester, Chloe Hawes plays a mixture of folk, Americana and rock music. I'm yet to see Chloe live but whenever I've listened to her I've been captivated by her voice. It's mesmerising as she weaves her way through stories about life in your twenties. If you're in need of slowing things down a bit at Fest then Chloe is a must see.

Hell & Back (Sunday at Loosey's 15.50–16.20)
I first became aware of Stuttgart’s Hell & Back when they played an astonishing covers set at Booze Cruise Festival in Hamburg. After that I went and checked out their own material and loved it. Combining a gruff/orgcore style with a melodic skate punk sound, Hell & Back are the perfect band for a small, sweaty bar where the crowd is right in the band’s face.

Eat Defeat (Sunday at Loosey's 19.10–19.40)
I was over the moon when I heard that Eat Defeat were announced for Fest. The foursome have been CPRW favourites since the beginning and it's just lovely to see the band’s hard work paying off, with more and more big opportunities earning them more and more fans along the way. Eat Defeat play uplifting pop punk music with the overreaching message being that despite how bad things may seem at the moment, they will get better.

Question The Mark (Sunday at Loosey's 20.50–21.20)
Welsh punk rockers Question The Mark return to The Fest with their gruff punk rock sounds. I've always loved the band’s unique vocals, something that really helps them stand out among their peers. It's everyman music that everyone can sing along with, which is something that I always enjoy. Question The Mark are one of the UK punk scenes best kept secrets – check them out and see why.

Captain Asshole (Sunday at Loosey's 21.40–22.10)
No new band have got me more excited than Munich's Captain Asshole. Their debut album, What An Awful Life, is going to place very highly on my 2019 end of year list. They were the band I was most looking forward to seeing at Booze Cruise in June and they did not disappoint. Playing pop punk with loads of gang vocals and harmonies, Captain Asshole do this great thing of making you feel involved in their set. I love Captain Asshole and I highly suspect that you will too.

Forever Unclean (Sunday at Loosey's 23.20–23.50)
I always find it so satisfying when you find a band at the start of their career and get to see them progress on to great things. I was fortunate to discover Denmark's Forever Unclean when they released their debut EP Shreds in 2015 and it's been wonderful seeing people get on board with this great band ever since. Indie, poppy, skatey, punk stuff from one of Europe's very best bands.

The Run Up (Sunday at Loosey's 00.10–00.40)
2019 has been a massive year for Bristol's The Run Up. Following a really successful tour of Europe, with Bong Mountain and Laureate, they released their stunning second album In Motion. Having the privilege of watching these guys progress over the past couple of years has been an absolute pleasure. Playing songs about trying to figure out life and making the best of bad situations, The Run Up always deliver live.

Überyou (Sunday at Loosey's 01.00–01.30)
Switzerland's Überyou are one of the best bands I've seen live – ever. The five piece connect with a crowd like no band I've ever seen before. You get the sense that the band and the crowd are all in this together and it's not just a cliché. Their 2019 album Night Shifts has become a firm favourite at CPRW towers and if you were to peak into our window (although that would be weird) you will often see Emma and I screaming along to every word on the album. Überyou are closing Fest, I can't think of a better band to do so.

This top ten was written by Colin Clark.

Album Review: Tiny Stills / Odd Robot Split

I love a split release. You already know this if you're a regular CPRW reader. Having the chance to check out more than one band on a single release is just a wonderful thing for all involved. The latest one I've checked out is a four track from LA based Tiny Stills and Odd Robot from Fullerton. I've been a fan of Odd Robot for a little while now but this was my first encounter of Tiny Stills. On the split they have performed one original each as well as a cover of the other band’s song.

Tiny Stills are a four piece that formed in 2012. Playing a combination of indie rock and power pop music about sad times, this split is their first release since 2018's Laughing In The Void. Their first song on the split is titled Everything Is Going Great. The song starts out with lead singer Kailynn West's sugary sweet vocal along with a subtle electric guitar before the song jump starts and the whole band come in. At this moment, West's vocals become full of attitude. This repeats between the verse and chorus throughout the song, really taking you on a series of ups and downs. The song is about finding it hard to be honest with yourself and admitting that you're not doing as well as you think you are. Tiny Stills cover Odd Robot's song Schadenfreude. I absolutely loved what Tiny Stills have done with this song. The Odd Robot version is a very melodic pop punk track, this Tiny Stills version however has much more of a bubblegum pop feel that really put a smile on my face. The punchy melody of the song draws you in and makes it vey accessible very quickly.

Odd Robot's original song is named I Am A Cortisol Factory. On this song, Odd Robot seem to explore a more indie rock sound and I'm slightly reminded of The Strokes at times. The guitars have that higher pitched jangly tone that I always associate with the indie genre and the vocals sound slightly like they've been through an auto-tune device. This gives the band a bit of a unique and interesting sound that I don't often find listening to punk music and I really enjoyed the song because of that. It's a different route for Odd Robot to go down but it's a great song that will encourage people to check out their other material. For the split, Odd Robot covered Tiny Stills’ song 15-17 months which originally appeared on their 2014 album Falling Is Like Flying. The original version of the track has a bit of a punchy, stabby melody and is pretty stripped back musically. Odd Robot give the song a fuller sound and much more melody – as you might expect from Odd Robot. I love how they've managed to take a pretty distinctive song and make it their own without changing that much. Fantastic stuff!

This was everything I could possibly want from a split EP. Each half of the split had me wanting to check out more of the bands’ material and it showcases some fantastic songwriting and musical ability. Check out Tiny Stills, check out Odd Robot!

Stream and download Tiny Stills / Odd Robot Split here: https://tinystills.bandcamp.com/album/tiny-stills-odd-robot-split

Like Tiny Stills here: https://www.facebook.com/tinystills/

Like Odd Robot here: https://www.facebook.com/OddRobotBand/

This review was written by Colin Clark.

Album Review: Broken Stories by Nelson Savage

New Edinburgh based band Nelson Savage have had a very busy 2019. Back in April, they released their debut self-titled EP which was bloody excellent. Not wanting to slow down, just five months later the five piece released a second EP named Broken Ghosts. I was extremely impressed with this productivity but was anxious to see whether or not this new release would match up to their first. There's only one way to find out!

Broken Stories begins with the song Twisted. The track begins quickly with a rapid drum roll, some upbeat guitars and some dreamy "ooohs" that make you feel involved in the song from the start. When we hit the first verse and the question "how did we become so twisted?" is asked, I was very keen to see where the song would take us. Twisted is a melody-driven pop punk song with some shoegazey qualities. The track has these great moments of urgency that add plenty of emotion to the song and kept me hooked throughout. The second of the three songs on Broken Stories is the more powerful Holes. Holes immediately bursts into life with a crunching start – it's really quite startling. Musically it's again very up tempo with the vocals doing most of the work with the melody. When Holes reaches its middle section however, it begins to slow things down a bit allowing the band to build towards the big finale complete with some superb backing harmonies. The final song is titled Is It Halloween Yet? I loved the interesting high pitched guitar picking that opens the song – it's different and a great way of attracting the listener’s attention. This is perhaps the catchiest of the three songs on Broken Stories with the chorus quickly implanting itself in your mind. It might just be because of the theme of the song but I kind of feel as if the track has somewhat of a horror punk tone. I'm sure there's an Alkaline Trio influence here.

This is another strong release from Nelson Savage. The band seem set to make a big impression on the Scottish punk rock scene for the remainder of the year and going into the next. Hopefully they'll make the same impression on the fine folk south of the border as well.

Stream and download Broken Stories here: https://nelsonsavage.bandcamp.com/album/broken-ghosts

Like Nelson Savage here: http://www.facebook.com/nelsonsavagetheband

This review was written by Colin Clark.