Album Review: Perfect by Mannequin Pussy (by Theo Martin-Herbert)

Sometimes it pays to be fearless and put out everything you can be in one release, a gamble that pays off with aplomb on Perfect from Mannequin Pussy.

It's been a long time since I've heard an EP that shows this much range, kept completely consistent and cohesive in quality and execution. Opening with the amazing grunge ballad 'Control', the group deftly work their way through a stunning variety of sounds and emotions, touching on the intense and fuzzed up 'Pigs Is Pigs' to the ambient pop of 'Darling' – hitting all they can in between.

The sheer variety on display lends itself to the sounds as well, with some raucous fuzz driven tones from the guitars showcasing the gritty production on display, something that I think helps keep the slower tracks edge. This strange consistency is definitely one of the most impressive things on display here, something to keep the listener hooked and pumped throughout. I'm so excited to hear what they do next based off of this, so if you need something fuzzed up and angry but with enough introspective moments to keep your head together, this is definitely a release worth checking out. You could say it's perfect.

Stream and download Perfect on Bandcamp here.

Like Mannequin Pussy on Facebook here.

This review was written by Theo Martin-Herbert.

Gig Review: Burnt Tapes at Old Blue Last, London 13/11/21

I was thinking the other day, something nice that has come from the all the bands not being able to play gigs for so long is that they’re all now back doing comeback shows. Every gig has felt like a big reunion with everyone in great spirits. It was now time for London’s Burnt Tapes to make their long awaited return to the stage with the help of Be Sharp Promotions. The whole gig felt like it would be a great big friends fest and that feeling was amplified with the addition of Triple Sundae and Katie MF.

The gig would be taking place at the Old Blue Last in Shoreditch, a venue I hadn’t been to in years. Leaving Liverpool Street Station we were really taken aback by just how many people there were everywhere. You don’t get this many people in New Cross. After getting some food in Spitalfields market, we made our way to the venue and once we were inside there was a nice feeling of familiarity to be surrounded by all the pals from the New Cross scene rather than all those pesky Shoreditch trendy types.

The always absolutely delightful Katie MF would be opening the night. Katie was playing solo acoustic this evening and amazingly, despite seeing her play a lot over the past couple of years, this was my first time seeing her without the band. Something I believe Katie is very good at is tailoring her songs for the type of gig she’s playing. On this occasion, she played more of an upbeat and rowdy set of songs than she would perhaps would at a folkier type of gig. The set mostly consisted of unrecorded songs that are getting me super hyped about her next release, whenever it may be. Something I’ve noticed in her songwriting is that her songs are getting more uplifiting. Her previous release Everything Trouble Meant was an EP full of sad break up songs but the direction she’s going now seems to suggest there is a bright light at the end of the tunnel where everything will be fine. It’s a message I love. She finished a glorious set with a song that Emma thinks is titled Set It Alight which got such a fantastic reaction from the Old Blue Last crowd. The best way to start the night.

Next to take to the stage were Triple Sundae. Before the supports for the gig were even announced I think most people would have assumed that Triple Sundae would be playing. The two bands have been playing together in the same London DIY scene since their beginnings and have become great friends over the years. It was only right that Triple Sundae played this gig. The band themselves had already played their triumphant comeback show a month earlier at Till The Fest but this didn’t dampen anyone’s excitement to see them take to the stage. I said after the Till The Fest show that it was perhaps my favourite time ever seeing them. I take that back. This was my favourite time seeing Triple Sundae. Since coming back, there seems to be a new found enthusiasm within Hassan, Zandro, Mike and Andy and they have really smashed their sets. The smiles on each member of the band’s faces was just lovely to see and they were putting everything they had into the performance. I can’t think of many bands that get the kind of reaction from their fans as Triple Sundae do. It really is a case of everyone in the room is in it together. So many times during the set Hassan just stepped away from the microphone and let the crowd take the lead vocals. It’s something you love to see. Something I always enjoy when I see Triple Sundae play is how they make a point to shout out everyone in the room who has helped and supported them over the years. The love that comes from the crowd is always reciprocated right back by the band. It’s how it should be. Another stunning set by Triple Sundae

It was now time for Burnt Tapes and the room was absolutely buzzing. This was their first London headline show since their album launch show for Never Better back in 2019. After setting up their gear, they then left the stage and some traditional Greek music began to blare over the Old Blue Last speakers. It really gave the set a big-time feeling and really added to the level excitement throughout the room. The band soon returned to the stage and kicked off their set with Getitgotitgood and Drift Champ ’16. From then on, the next forty five minutes was filled with big sing-alongs, crowd surfs and stage dives – and I couldn’t have asked for anything more. The set was full of songs from Never Better and their 2020 release Grower as well as a couple of special covers. With each song the reaction seemed to get better and better. I fully expected them to finish their set with Yuzi but they decided to include it early in the set. I got extra excited when they played Dirt Roads, as I’ve been asking them to play it for months and was it great to finally see them play it again. The two pronged vocal assault from Phil and Pan throughout the set sounded as good as ever and Tone and Jordan’s rhythm section proves once again that they are one of the best in the scene. After Dirt Roads, the band slowed things down with Lost In Transit. Midway through the song Phil decided to put down his guitar and jumped into the crowd to be surfed around the room before getting put safely back down on the stage. The Burnt Tapes have played a few Menzingers cover sets in the past and treated the Old Blue Last to renditions of I Don’t Wanna Be An Asshole Anymore (where Zandro of Triple Sundae sang lead vocals) and After The Party. Both went down an absolute storm. After the covers, the band finished the set off with Things Get Weird where Tone joined the crowd on the floor to start the song and then Don’t Make Me Play Bocelli. What an epic ending to not just an incredible set but a wonderful night.

I think that when I look back at this gig in the weeks, months and years to come, it will be one of my favourites ever. With everything that’s gone on over the past eighteen months this gig seemed to mean so much to so many people. The level of love in the room was something truly special to be a part of. As we left the venue (and walked awkwardly through the weird hip hop clone swaying dance party that was happening downstairs) we were on a massive high, absolutely buzzing with a night of brilliant moments replaying in our minds. I couldn’t help but think about how much the Tapes, as well as Triple Sundae, would’ve smashed The Fest if things had worked out better. These two bands, as well as Katie MF, deserve all the success in the world, not just because of their brilliant music but because they are amazing people.

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

Top Tens: Damon Workman of Bypolar Records’s Top Ten Influences

These are the ten top influences, not necessarily in order, for Damon Workman – the President/Co-founder Bypolar Records.

My Parents: Not to be lame but my parents taught me more about being punk, without being punks, than anyone or any thing else. They taught me to question authority, think for myself, stand up for those who couldn’t, to be my own person, and – above all that – being kind and caring for the rest of the community was what it’s all about. My entire existence in the world of punk is based on this.

Fight Club: More the movie than the book. I’ve been told it’s a red flag for a lot of folks. For me it’s always been about reinventing oneself through the destruction of ego. Rejecting what’s holding us back in favor of what is truly important.

The art of Vincent Van Gogh: The more I learn about Van Gogh the more impact his art has on me. The colors and textures are simply amazing, and I find something new each time I see one of his paintings. A sad, troubled soul fighting his own depression and inner demons in an effort to bring something beautiful into the world.

Bob Mould: Since my very first listen, his guitar has been the “ideal” in my mind. It is perfect. I listen in awe to everything he’s done, from the poor quality recordings of the SST years up to present. He’s simply amazing

The Minutemen: These guys inspired my love for all things MathRock. In my mind they are responsible for just a ton of bands I came to love later like Jawbox, NoMeansNo, and, even, At The Drive In.

Alkaline Trio: They get a lot of flak from some, but you’d be hard pressed to find better writing of dark themed catchy pop songs.

Bad Religion: The fact that they’re still slugging it out after 40 years I think says a lot. I listened in high school and over the years my love for them grew. I’ve seen them more than any other band, and still keep buying tickets.

Mike Park: He is quite simply the man. I feel like I need to write a long diatribe about all the ways he makes life better but I’m going to leave it at “he’s the man”. Just an exceptional and inspiring human being.

The Replacements: They and Bob Mould are two of the biggest musical influences on me. Westerberg is one of the best writers of all time, drunk or sober. They always delivered the best damn songs album after album right up until the final track on All Shook Down.

The Las Vegas punk scene: I’m not sure if I should name names here or not because I wouldn’t want to leave anybody out – but the scene in Vegas is like no other. When I first moved there I felt immediately welcomed by the community and like I was a part of it from my very first show. They are fiercely loyal and supportive, and show after show you see the same faces coming to give a boost to whoever is playing. Quality bands, quality people, and the reason I will always consider Vegas my home no matter where I may live. Inspiring enough that I carry the goal of building and creating something similar whatever city I move to next. Cannot say enough positive things about the desert dwellers there, making great music and just being amazing individuals.

Like Bypolar Records on Facebook here and check out their released on Bandcamp here.

Album Review: Empty Plinths by Grand Collapse (by Lara Roberts)

This third instalment from Grand Collapse takes its name from the emotive scenes witnessed with the tearing down of the Colston statue in Bristol. Empty Plinths leaves you with hardly any time to catch a breath between songs – this itself reflecting many of the themes explored in the album, including race and class divide, as well as animal and human rights. There is a hint of the melodic guitar from previous albums, though with a more thrashy, metal sound to it, which can clearly be heard on Without Let or Hindrance and Empty Plinths.

With the opening song, Waves, we are taken on an emotional journey of the suffering of the refugee. The sadness and struggle with every twist and turn of a journey to an “elusive haven”, only to be sneered at by “megalomaniacs and jingoists” upon arrival. Waves reads as a short story, with no happy ending.

More intense images are summoned with the horror of Amygdala. A brutal, first-person description of the suffering caused by the impact of a nuclear bomb. “Feel the burning from the fallout, faces melting in the street, out of breath from the chase”. Glenn’s galloping drums serve as a backdrop to the harrowing images generated, with Jon’s thrashy guitar licks creating the impression of a collapsing street. The brutal imagery brought with these lyrics is as intense as the music, forcing us to not only listen, but to also dwell in the pain, sadness and confusion.

The pace of Claret Thirst reflects the subject of the song – an animal running for their life, grass, flowers, trees a blur as they try in vain to escape the advancing gunman on their tail. But this song is also about anger. Anger at those who kill these creatures for fun, anger that these killers use terms like “preservation” and “safety of breeds” to placate the public when questioned about their reasoning behind their actions. They are being called out as the bloodthirsty savages they are. Spare me the bullshit. It’s impossible to not feel the emotion and frustration in the delivery of the song.

Empty Plinths is as unapologetic as it is angry, aggressive and honest, with a fitting tribute to Icons Of Filth as a hidden bonus at the end of the record. Most of this album was written during 2020, with many of the social tensions experienced during that year being projected through the writing. You can feel the anger, you can hear it. And with such honest and descriptive lyrics, you can almost see it.

A brilliant third album from a much loved band who show no interest in slowing down.

Stream and download Empty Plinths on Bandcamp here.

Like Grand Collapse on Facebook here.

This review was written by Lara Roberts.

Gig Review: Andy B And The World "The First One Album Launch" at New Cross Inn, 6/11/21

You all must know about Andy B And The World by now, right? The project started by former Fandangle and New Riot bass player Andy Baker, where he travelled the world meeting up with musicians to put together a huge album featuring over 170 different people? If you don’t know it yet then I highly suggest checking out Andy’s YouTube page and learning all about the project and then reading our review of their 2021 debut album The First One here.

For obvious reasons that I’m bored of explaining, the launch party for the album was delayed until November the 6th, put on by our friends Be Sharp Promotions at the New Cross Inn. The day soon came around and I was excited. Not just to hear some amazing songs but to see how Andy B And The World would work in a live setting. But before that we had four awesome support acts to watch.

First up was Filthy Militia. Before the gig I was trying to remember the last time I saw Filthy Militia live and I worked out it was actually Halloween 2019, so this was well overdue. The five piece took to the stage and started with Little Sister, the final song from their debut EP Innocent Until Proven Filthy. The rest of the set was then comprised of songs from their upcoming new EP, Coping Mechanism, which is due to be released in the early part of 2022 on Pookout Records. I was seriously impressed with these songs and felt that they really showed a great amount of progress from the band. Mixing ska, punk, reggae and even a bit of dub together so seamlessly, it was really great to see. There was a moment in the set where the band’s frontman, guitarist and all around friendly giant announced that this was the cheesy part of the opening band’s set where they encourage the crowd to participate in a sing along. We expected some easy “whoa-ohs” or some “la-las” but no, Frosty taught us an entire chorus to sing along to. Filthy Militia were the perfect start for the night and I’m looking forward to seeing them again at the end of the month, back at NXI for Frosty’s birthday gig.

Next up were NXI favourites Lead Shot Hazard, who were back at the Inn for the first time since September 2019. I would guess that this is the longest they’ve not played the venue since they formed. That was also the last time I saw the band which, again, is too long. Something I’ve noticed a lot with all the bands I’ve seen since gigs have come back is just how happy every band looks to have had the opportunity to play live again. The joy on the bands’ faces is such a lovely thing to see. The six piece had been down in Hastings the evening before supporting Call Me Malcolm and 3dBs Down at The Pig so it was no surprise by how tight they were. I’m always super impressed with how good Lead Shot Hazard’s horn section is whenever I see them. They add so much to the band’s live show whether they are blasting out some killer horn riffs or dancing on the stage or – at times – in the crowd. The band know how to have a lot of fun, this is showcased no more than when they play a cover of New Found Glory’s My Friends Over You. During the song it had me thinking, gosh I’m getting old. The ska bands I grew up with covered 80s songs. These days the current crop of ska bands are covering songs that I loved when they were first released 15–20 years ago. The band finished with my favourite song off of their latest album Fires To Find Our Friends, Between Hell And High Water. The chorus of “we light fires to find our friends” felt even more apt after not being able to see so many of my favourite people for so long.

Following Lead Shot Hazard were Roshambo. Roshambo are a new skacore band with a load of familiar faces in the band. The six piece feature members of The Junk, Faintest Idea, Ducking Punches, The JB Conspiracy, Blag and Where’s Babylon? – this is a skacore super group. With the group of people that was gathered on the stage there’s no surprise that Roshambo were incredibly tight, you would’ve never known that this was only the band’s second ever show. Lead by the incredible dual vocals of Jake and Tom, energy filled the room as soon as they started their set. I love bands that have two lead singers especially when they work as in-sync as these two gentlemen. The two voices come together wonderfully. So far, Roshambo have only released two singles to the world but somehow each song of the set felt like a familiar friend and kept me transfixed to the stage. They had the whole room invested in the performance which is so impressive given the newness of the band. It’s been a while since I’ve seen a new ska band who have caught me like Roshambo did in this set and I’m already desperate to see them some more. Hopefully their commitments with their other bands won’t prevent them from playing a lot more in the future. If you’re not on the Roshambo train yet, it’s time to get on board.

The penultimate band of the evening was Cartoon Violence, a much more established band in the UK ska scene. This was my first time seeing the Welsh two-tone act and I didn’t really know what to expect. What I encountered was a super energetic band that wrote brilliant ska pop songs. It didn’t take long for the band to get New Cross moving and having a great big knees up. The band tore through their set, trying to squeeze as many songs as possible into their time slot. This resulted in a fast and free flowing set that barely gave the audience a chance to stop. The band’s lead singer and keyboard player in particular stood out to me. He was (in the kindest possible way) a maniac behind the keys. I have no idea how he managed to play his keyboard properly whilst singing and dancing frantically. The gentleman is a seriously talented individual. I don’t know much about the band’s music to really talk about what they played but it certainly put a big smile on my face throughout the set and was a wonderful choice to finish warming the crowd up for Andy B And The World.

My questions about how Andy B And The World would work in a live setting were about to be answered. Basically, Andy had put together a band for the night, all of whom I assume took part in the album in some way, and then they also had some special guest singers lined up to sing the songs that they sang on on the album. I don’t know why it didn’t occur to me before they started the set, but the band would be playing The First One from start to finish. This meant that they started the set with the awesome Black & Blue. I believe this was also the first song that Andy B released to the world from this project. The gig immediately became a party with so much joyous dancing and singing along immediately. Andy took the lead vocal duties for the first couple of songs as unfortunately the person who was scheduled to sing the songs couldn’t make the gig due to illness. Bass player Sam also took some vocals duties to help Andy out as his voice was sore due to all the practising and talking to so many friends at the gig. Among the guest vocalists who were in attendance were Al from [Spunge], Andy’s former Fandangle and New Riot band mate Tommy, Aaron from Make It Better Later, Dick Narnia and Sash from Cartoon Violence. I did worry if the constant guests joining the stage would ruin the flow of the set but it worked really well. It seemed extremely well thought out. Which is not surprising given that Andy B organised an album with a million people on – he’s a logistics genius! There were some breaks from The First One. First being the band covering Frank Turner’s Recovery just because Andy really likes singing the song and the second being a song from the next Andy B album where they were joined by Jake and Tom of Roshambo for a track that sounds amazing. Something I really enjoyed about The First One is the variety of sounds on the album. I guess that’s what will happen when you have that many different people working on a project. This variety worked so well in a live setting as well. The set had something for everyone and left everyone feeling with such a warm and joyful feeling. I don’t know how often Andy B And The World will be able to play gigs but if you get the chance to see them I seriously suggest that you take it. It’s a big and ambitious project that’s come together amazingly. I can’t wait for The Second One.

This review was written by Colin Clark.

Top Tens: Luke Seymoup's Top Ten Influences

I’m absolutely thrilled to be here on Colin’s Punk Rock World today! And, I’m equally thrilled to have the chance to nerd out about all the influences that have helped make the Seymoup Expanded Universe what it is today! As a musician, I’ve always been a bit of a misfit in terms of genre. I’ve always considered myself a punk musician but others haven’t always been so kind (haha). Punk music is my first and longest passion, but there were definitely a lot of different artists and styles along the way that have contributed to the way my music sounds. I’m glad to have the chance to put on paper (or screen, as it were) all the inspirations that have made me the musician I am. Narrowing down to a list of ten is always hard (there are so many artists that only just missed the cut) but, right now, these seemed like the most important to include. I just hope Brian Fallon, Mike Skinner and Kacey Musgraves can forgive me for the snub!

Alkaline Trio
Anyone who has spoken to me for any length of time since I was about 15 years old probably knows how obsessed I am with this band. Alkaline Trio is the shining example of a band that knows what they do well and sticking to it. They’ve introduced some different elements over the years (like going a bit New Wave on “Agony & Irony”) but the core mix of sweet vocal melodies with dark lyrics is always there. There are so many Alkaline Trio songs that I wish I could have written. Having played in bands with only one guitarist for decades, Skiba’s style certainly influenced how I write and play lead parts (my song ‘MulderScully’ is proof of that). I get a kick out of seeing local bands play live and finding that Skiba influence in the guitar parts. You can always tell.

The Lemonheads
I first heard The Lemonheads on a compilation I bought in high school called “All That Punk.” They’ve always had an affiliation with the punk scene but calling them a punk band is a bit of a stretch. Regardless of genre, the song on there (“Confetti”) had me instantly hooked. Evan Dando’s deep, smooth vocals over loud ringing open chords was addictive and it made me dig into whatever else I could find from them. If Skiba influenced my lead guitar playing, Evan Dando made me love layers and layers of big rhythm guitars that leave your ears ringing. Such an incredible songwriter who knows when to be funny and when to be serious and you never, ever question his sincerity.

Bruce Springsteen
I have memories of listening to the oldies station in the car when I was a kid and having my mum change channels when Bruce came on because she didn’t like his voice. Maybe falling in love with his music was a bit of rebellion for me? Bruce Springsteen was definitely an odd musician for me to become obsessed with at the peak of the emo-pop era. I was a saxophone player as well and the shrieking solos that Clarence Clemons delivered across Bruce’s discography get my blood pumping to this day. What can I possibly add about Bruce’s lyrics that everyone doesn’t already know? His songs have been so important to me for so long and, when I was first forming my band, I was pitching the idea of it to potential members as a “Punk Rock version of the E Street Band.” I think we still live up to that concept in some way.

The Distillers
I’m sure I’ve told the story in an interview before, but I discovered The Distillers by finding a printed lyric sheet for ‘Dismantle Me’ someone left behind in a classroom in high school. I was hooked on the imagery in the lyrics immediately: vultures pounding their wings; wanting to bury someone; the humidity of Swanston Street on a hot day. I had to hear the song as soon as I could. What I discovered was a howling voice from Brody Dalle and wild energy to the band that I would strive to replicate in my own music for years. Maybe Brody’s voice was my inspiration for the volume I usually sing (and speak) at.

Misfits/Samhain/Danzig

Glenn Danzig is a person who feels like he was conceived as a character in some kind of abstract gothic novel yet, somehow, he’s a real person who exists. I love that he has a vision and aesthetic for exactly what kind of music/comics/movies/whatever he wants to make and he’s stuck to it for nearly half a century. I’m not a metalhead by any stretch of the imagination, but those first three Danzig solo albums feel like some of the heaviest music ever made. Danzig doesn’t need screaming or down-tuned guitars to make his music heavy. Blues riffs in standard tuning and his demonic Elvis impression get the job done. Any record he appears on is something I need to own (yes, even Danzig Sings Elvis). His discography has classics upon classics upon classics and, if you haven’t already, you need to spend a little bit of time appreciated every era of Danzig’s career (especially Samhain who rarely get talked about).

Wu-Tang Clan
When I got my driver’s licence, I think “Enter The Wu-Tang” was the only album in my car for about 6 months straight. Consequently, I think I’ve heard that album more times in my life than I’ve heard any other. Still, even now, listening to it feels as fresh to me as when I first heard it and I constantly discover new samples, lyrics and ideas in it that I’ve never noticed before. It’s a gift that keeps on giving. The Wu-Tang Clan appeals to me because each member has their own distinct personality with their own vocal style, lyrical idiosyncrasies, and personality. They’re a cohesive unit where each member operates at the top of their game to create something that’s truly special and truly unique. The songs introduce all different kinds of concepts in their song structures and composition. No two tracks are alike on Enter The Wu-Tang or any other album. There are so many different styles across their group and solo discographies that, even if you don’t think you’ll like them all, there’s certainly something that will appeal to you. Wu-Tang Forever.

Against Me!
I have a vivid memory of playing a basement show in 2007 and having my band absolutely butcher a cover of “Baby, I’m An Anarchist.” I’m glad it happened in an age before smart phones because I wouldn’t want to let Laura down like that now. I’m a sucker for a huge chorus and Laura Jane Grace writes them like no one else can. Every Against Me! record is different from the last and they’re all classics in their own way (I won’t rest until White Crosses gets the recognition it deserves!). The one thing that ties them all together is the huge choruses that make you want to scream every word like it’s the last thing you’ll ever do. When I’m stuck for a chorus, I often find myself asking “what would Laura do?” This band is also responsible for my obsession with exclamation marks and made me insist my old band Miyazaki! never have our name spelled without one.

My Chemical Romance
I love fiction and storytelling (especially comics, more on that later). My Chemical Romance always had a vision for their music that allowed them to talk about their personal struggles through the lens of a high-concept narrative, rather than in a literal way. What kind of punk band writes a whole album about someone trying to earn their way out of hell by collecting the souls of evil men? It’s unheard of outside this band, I’m sure! Oft imitated and never equalled. And yes! I’m saying punk band despite their genre-affiliations over the years. You can’t listen to Three Cheers for Sweet Revenge and tell me that’s not pure punk rock! It’s 2021, get past their look! This band is solely responsible for any time I’ve written a song or album that told a long, in-depth narrative. I’m not sorry about it and I’m sure they’re not either.

Ramones (specifically 80s & 90s Ramones)
Look, I love those first four 70s Ramones albums as much as anyone, but there’s something truly special about the way they grew and changed through the 1980s. It’s only when you listen to their whole discography that you start to realise how much they experimented with different sounds through their career. You want straight-up punk? “Too Tough To Die” has you covered. 50s/60s pop? Check out “End Of The Century.” Want them to play with synths? They did it a whole bunch of times! There are some true musical and lyrical gems that people aren’t aware of because they insist on only spinning the first disc of that 1999 Ramones anthology compilation. That signature simplicity in the chord progressions, melodies and lyrics is still there, but they have plenty of songs on those later albums that are deep and emotionally moving. Listen to “Poison Heart” or “She Talks To Rainbows” and try not to feel something. I DARE YOU! I’ve read every book there is to read about the Ramones so, if I ever get invited onto a music quiz show, they’re going to be my specialty category.

Chris Claremont's X-Men
Finally, I’m going to end with something non-musical. My two great obsessions in life are songwriting and comic books, with the X-Men being my comic of choice. I spent most of my university years (when I should have been studying) memorising every facet of X-Men continuity from the preceding 50 years. Enter Chris Claremont. Chris Claremont wrote Uncanny X-Men for 16 years, from 1975 to 1991. Not to mention countless spin-offs through the 1980s and returns to various titles after that. Anything that you probably know or like about the X-Men is his doing. In some ways, I feel like Chris Claremont partially raised me, as a result of the literal years of my life spent with his work. Claremont was always the master of creating his own universe-within-a-universe where concepts would cross from one of his titles to another, or a small seed of story planted in the 1970s would pay off in a huge way some time in the late 80s. Building a world of continuity is what I want to do with my music. I want to be as prolific as Chris Claremont and have everything I put out matter to my discography overall. There are no throwaway songs or albums. EVERY. SINGLE. THING. is important! Welcome to the Seymoup Expanded Universe. You’re living in it.

Luke Seymoup has a brand new single out on Monday 15th November, titled Serengeti, and you can pre-save the track now.

Luke says ‘It's a ballad dedicated to all the dearly departed music venues that we've lost in Melbourne over the last few years (thanks to Covid, real estate nonsense and those awful people who move in next to a venue and complain about the noise).’

Check out Luke Seymoup’s discography on Bandcamp and like them on Facebook.

Album Review: Make Arcade Great Again by Krang (by Theo Martin-Herbert)

20 minutes of catchy, political pop-punk greets you on this fantastic release by Krang, Make Arcade Great Again. It never slows down and keeps you hooked track after track.

The opening track 'Time Is Ticking' introduces the incredibly able mix of fast punk and anthemic touches that permeate the entire release. Lyrics stay in your head days after and help the band get their ideals across. Tracks like 'Melt All The Guns' hit particularly hard and stick around thanks to the sweetness of the melodies they use, never outstaying their welcome.

The production matches the proficiency in the songwriting, super crisp and punchy with some excellent full guitar tones that never lose their clarity. It's an absolute delight to take in along with the vocals that sit so well in the mix. As a bit of a tone nerd, I definitely took down some notes from this one and helped turn this into a frequent listen for me. If you're a fan of a great modern pop-punk sound with more to offer idealistically, check this one out as soon as possible. It's short, sweet and intelligent – all things worth your time.

Stream and download Make Arcade Great Again on Bandcamp here.

Like Krang on Facebook here.

This review was written by Theo Martin-Herbert.