Album Review: Crucial Moments by The Bouncing Souls

The Bouncing Souls are not only an important part of the modern punk rock scene throughout the world but also a very important band to me personally. I can't think of many bands that have empowered me more than The Bouncing Souls with their songs about being yourself, going for what you believe in and making memories with your friends. This year marks thirty years of The Bouncing Souls and to go along with a massive tour the band have released a six song EP named Crucial Moments on Rise Records.

The EP begins with the title track, Crucial Moments. Taking the more mature sound that the Souls have grown into since 2006's The Gold Record, the track talks about continuing to make special memories with your friends – and these guys have made countless together over the past thirty years. This song is basically a thank you for the life that being in The Bouncing Souls has given these New Jersey heroes. Up next is the minute and a half 1989 that harks back to the band’s early years. The track is fast and frantic as lead singer Greg Attonito yells out a song talking about the crazy times that occurred in the early years of the band. The final verse of "love you stay true, with you make our own rules, believers achievers day dreamers, looking for something" is basically a re-working of the band’s ethos throughout their entire career.

The Bouncing Souls have never been against writing super sweet love songs and that's exactly what Favorite Everything is. Upbeat, melodic and catchy as hell, it won't be long before you're singing along with Greg and the boys. This is a song that will get even the most hardened of punk rockers singing along in the pit. This is something that the Souls have managed to do a lot during the past thirty years and I'm happy to see that this tradition is continuing on Crucial Moments. The fourth track on the EP is Here's To Us. This song is about celebrating the bonds of friendship and staying true to yourself – staples of the Souls songwriting playbook. Played at a mid-tempo pace, Here's To Us is a big anthem. The harmonies that end the song are some of the best in the band’s careers, with Greg's vocal layered over Brian and Pete's harmonies sounding incredible.

The penultimate track on the EP is named 4th Avenue Sunrise. Picking the pace back up, this song shows a more hardcore Bouncing Souls. Brian Kienlen's bass playing is a big highlight on the track. He has to be one of the most underrated bass players in the scene, you can always hear a bass line and automatically know it's a Brain Kienlen one. The song is about finding light at the end of a dark period, using the imagery of watching the sunrise over a New Jersey beach. The final song, Home, is about having your own special place that becomes your safe zone where all of the troubles in your world can't get to you. As you might expect from the band, the chorus is absolutely huge and, like Favorite Everything, you'll be singing along with the band as loudly and passionately as you possibly can. The Bouncing Souls don't just write songs, they write anthems.

I do love The Bouncing Souls and Crucial Moments is a superb addition to their pretty much untouchable discography. I don't know why you've read this review, you already know that The Bouncing Souls are legends! Here's to many, many more years of great songs and special memories.

Stream Crucial Moments here: Crucial Moments

Like The Bouncing Souls here: https://www.facebook.com/bouncingsouls/

This review was written by Colin Clark.

Album Review: Royal Danger by The Kujo Kings

This past month I seem to be slowly stumbling upon more bands from the Australian ska punk scene. Recently I reviewed The Donald Trumpets’ excellent EP Waterboarding At Guantanamo Bay and now I've discovered The Kujo Kings who are from Melbourne. In March, the seven piece released their debut album Royal Danger. Featuring thirteen songs of energetic and fun ska punk, I felt like this one was going to take a while to review as I imagined I'd spend a lot of time dancing around my living room!

Royal Danger begins with Party In The A.M. Starting things out with a big horn filled introduction gives the beginning of the album a grand feel. Soon enough the tempo is upped and within the first minute of the song The Kujo Kings will have you skanking away. It's a fun song about the benefits of day time partying when you should probably be out earning some money. The second song is named Bass Fish and sees The Kujo Kings lead singer Wes takes on the roll of a sea bass, but not just any old sea bass. The singing one that's on those lovely plaques that adorn the walls of classy people’s homes all over the world. It's silly but incredibly entertaining. It's not the full on skankfest that the opening track was but that's because it's supposed to be quite a sad song. That said there are plenty of moments that will have you throwing your knees up. Birthday Suit was first released as a single back in September 2018. I'm sure you have worked out from the song’s title that it's about wearing your birthday suit (being completely naked). Again this song is kind of ridiculous but it's such a good time. I can already imagine this song live, being played with some massive smiles and most likely some folk stripping off!

The fourth track is titled Strange. This song takes you on a series of highs and lows. Whether it's a slowed down reggae feel or some up-tempo, brass fuelled ska, Strange has you constantly guessing what's next. The track is about being comfortable in your own skin and not worrying about people thinking that you're different. Diggin' sees The Kujo Kings add a bit of an 80s pop and sci-fi sound to their ska style. It seems like a really odd combination but my gosh it works. I assume Diggin' is about life in a game like Minecraft where you start from scratch building your world and continue to grow. It's very clear by this point of the album, The Kujo Kings aren't a band that takes themselves too seriously and they have this ability to write quite varied and very silly songs. Zombie Bride begins with a sweet bass line that immediately gets you quite chilled out before a wonderful brass line puts a big smile on your face. It's a slower reggae pop track about falling in love with a zombie. I can't imagine there are any other reggae songs about this but if there are please link them in the comments. Even though the song is again a bit of nonsense, it actually allows the band to show off what fine musicians they are as well as letting Wes show off a great vocal.

At The Market brings the tempo back up with an insane brass introduction that will have you exhausted before the vocals even begin. Thankfully, for me, things do slow down after that fast paced intro with a mid-tempo track about going to the Asian food markets and meeting all kind of different characters along with trying many different dishes. The Kujo Kings really don't stick to the traditional song topics! The long instrumental midway through the song was a big highlight for the whole album. Flappy Bird is a song about how no matter what amazing things you achieve in your life, the thing you're most proud of is your top score on a mobile phone game. I'm not sure if this is just The Kujo Kings being silly or a bit of a dig at society who seem to put too much time and energy into silly games. Either way it had me smiling throughout. I really enjoyed how the list of achievements gets greater and greater throughout the song, really building the scene up. It starts in a bouncy fashion and continues in the vein throughout – there won't be a single person who will keep their feet still listening to this one. My first thoughts when I heard the ninth song, Dragon Cool, is that Wes is back in character, this time playing the leader of a dragon club. However, as I read deeper into the lyrics it's all a metaphor for smoking weed and how people should just accept it. Lyrically the song does some great work creating an image in your head of what the music video might be like.

The tenth track on Royal Danger is named Wifi Today. There's a moodier tone surrounding this song. The brass is as bouncy as ever but it also feels as if there is a general darker feel to the track. It's about how reliant we have come of the Internet nowadays and the rage that people go through when it goes out. It's on this track that I really came to appreciate just how good The Kujo Kings horn section is, giving the best in the world a run for their money. Clean Underwear, Fresh Tupperware comes next. The song is about the struggles of living by yourself and wishing you were back at home with your folks. This is probably one of the most relatable songs for most people on the album. Lyrically it's full of humour but there is also a sadder subtext that could really hit home. The penultimate song on Royal Danger is The Lonely Pilot. The track starts slowly before picking up the tempo in the second half of the song. It's about looking out for your friend who has had a hard time because of other people and being there for them. The final track on the album is titled Get Out Your Cash. It starts out with a heavy bass line before the brass comes in giving the song a bit of a swing style that will have plenty of people having a dance. The bouncing bass takes the lead throughout the verses as Wes sings about committing a bank job. It's quite a laid back song given the subject matter, you might expect a high energy and adrenaline filled number but not from The Kujo Kings. Instead the album finishes with a big barroom sing-along of "get out your cash" repeatedly. A surprising but, of course, fun way to finish the album.

I loved this album. Fun is a word I used a lot during the review but there isn't really a better word to describe it. Royal Danger is a bit throwback to the days where ska punk bands didn't take themselves as seriously but it still has a fresh sound to it. If you're a fan of bands such as Reel Big Fish or the Mad Caddies, you will love The Kujo Kings.

Stream and download The Royal Danger here:https://thekujokings.bandcamp.com/

Like The Kujo Kings here: http://www.facebook.com/thekujokings

This review was written by Colin Clark.

Column: Leatherface's Records, Ranked From Top To Bottom (by Omar Ramlugon)

Generally spoken of in reverent, laudatory terms, Leatherface are one of those ‘cult’ bands that somehow managed to fly under the radar and yet have had an absolutely earth-shattering impact on punk rock of all stripes. At turns ferocious, wistful and declamatory yet always searingly dynamic and melodic, they laid down a savagely introspective sound which has been endlessly imitated but never with quite the same unique blend of face-ripping guitar with singer/guitarist Frankie Stubbs’ sandblasted vocals. And I should know; I hasten to add that my own band is so heavily indebted to them that if we were described as ripping them off, I’d take it as a huge compliment because we were described in the same sentence as them.

Stubbs’ and his frequent right-hand man Dickie Hammond’s guitar playing is exquisite, weaving arpeggiated guitar filigrees in amongst barrages of power and barre chords; Stubbs himself is a lyricist easily on par with Leonard Cohen or Tom Waits, but delivers his vocals in a throaty roar reminiscent of Motorhead’s Lemmy, or even the aforementioned Waits if he had grown up in Sunderland. They are in a class of their own and completely dodge the macho knuckle dragging that dogs a lot of punk rock through virtue of Stubbs’ deft pen and their melodic sensibilities.

They have been namechecked by too many bands to count, among them Hot Water Music and J. Robbins[1], and inspired two separate tribute albums – 2004’s The Bastards Can’t Dance, comprised solely of Japanese punk bands, and 2008’s Rubber Factory Records Presents A Tribute To Leatherface. Indeed, Chuck Ragan himself has cited their LP Mush as one of his top five albums of all time[2] and in an interview with the AV Club recalls in reverent tones the first time he heard 1989’s Cherry Knowle[3]. They are one of the greatest punk bands of all time and, in my humble opinion, the best punk band Britain has ever produced.

So with this heaped praise in mind, how on earth do we go about ranking each of their eight albums? It wasn’t easy, but after much rumination, I think I have come up with something of a list; it must be noted that there isn’t a single album here that isn’t a bracing listen. It’s all a matter of degrees. Let us begin, fellow peasants in paradise…

8. The Last (1994, Domino Recording Company)
Closer to an EP than a full album, The Last fittingly represented a period right before the band took quite a long break, before reuniting five years later under tragic circumstances. There’s some good stuff here, such as the almost Police-like riff of ‘Little White God’ and the reckless abandon of ‘Patrick Kills Me’ and ‘Daylight Comes’. The piano grounding ‘Shipyards’ is a very interesting curio; however, it’s a little short and the bizarre Louis Armstrong-aping ‘Ba Ba Ba Ba Boo’ at the end is bewildering to say the least.

7. Cherry Knowle (1989, Meantime Records)
Young and full of rage, this is Leatherface still finding their feet. However, it’s also completely infuriating that they were this damn good this early on. There’s already the crunching melodies that would define later releases on cuts like ‘Cabbage Case’, ‘Colorado Joe/Leningrad Vlad’ and ‘Alright Jack’ while the political track ‘This Land’ is like a hot brand to the skin in this day and age, skewering the idiocy of white nationalism right through its craven heart. Not all of it is instantly memorable but it’s still a powerful listen.

6. Dog Disco (2004, BYO Records)
Shorn down to a three piece and with a thick, almost grunge-like guitar tone which stands in stark contrast to the exploding-Marshall midrange bite of their earlier LPs, Dog Disco finds Leatherface older, slower-paced and reflective. ‘Diddly Squat’ and’ Small Yellow Chair’ allude heavily to fatherhood while ‘Plastic Surgery’ is practically a ballad, albeit grounded in Stubbs’ weathered croak. The uptempo ‘Eggbound’ is almost pop-punk in its delivery. It certainly makes for a refreshing change up of their classic sound and, while it may not be Leatherface’s finest hour, it’s certainly one of their most interesting.

5. Fill Your Boots (1990, Roughneck Records)
Edging closer to the eventual blueprint of the Leatherface that we know and love, Fill Your Boots introduces even more interesting flourishes and left turns that popped up from time to time on Cherry Knowle – the turn-on-a-dime tempo shifts of ‘Here Comes The Judge’ and the slow drop-out before coming back in with a vengeance on ‘Razorblades And Aspirin’ to name but two. Pounding tracks like ‘New York State’, ‘The Bastards Can’t Dance’ and ‘Peasant In Paradise’ come forceful as a brick to the face, while ‘All I Wanted’ is about as close to a pop song as the Sunderland foursome get. Hammond and Stubbs weave in and out of each other like a very angry fencing match. The only mis-steps are covers of Elvis Presley’s ‘In The Ghetto’, which wouldn’t be that bad had they not already done so on Cherry Knowle, and ‘Candle In The Wind’ – however, the ten tracks preceding more than make up for these.

4. Horsebox (2000, BYO Records)
Another of the records without Dickie Hammond, this actually doesn’t prove to be a great detriment as Stubbs and newcomer (at the time) Leighton Evans’ guitar work on Horsebox is absolutely heart-pounding. Not as reflective as Dog Disco, this record has almost folk-like chord progressions in places, albeit played on a Gordon Smith and rammed through a Marshall set to stun. Some of the tracks jump right out of the speakers and bury themselves in your heart instantly, like ‘Sour Grapes’, ‘Watching You Sleep’ and ‘Lorrydriver’s Son’. Others work their way in more slowly, as is the case with ‘Box Jellyfish’. But to be honest, the entire album is worth it for the incredible ‘Choice’, a song that is impossible to find footage of the band playing live. Its twisting, gut-wrenching riff and Stubbs’ oblique but somehow heartbreaking lyrics are a perfect compliment to each other, but then the whole song opens up in its last minute into a beautiful, soaring, distorted roar of melody that you wish would ring on forever. Sadly it doesn’t, but that’s what the repeat button is for.

3. The Stormy Petrel (2010, Big Ugly Fish Recordings)
The last album they ever produced, and with the Stubbs/Hammond duo finally back together, this is somehow reflected in the elegiac quality of much of the music on The Stormy Petrel. In spite of Stubbs and Hammond being in their fifties when this was made, much of what is on here burns as brightly as anything from their youth – and puts to shame a lot of punks half their age. If anything, Stubbs’ advanced years on this record puts even more gravitas and weathered experience behind every word out of his ragged throat. Tracks like ‘Never Say Goodbye’ and ‘Broken’ could stir the hardest of hearts while at the same time fully rocking out. ‘My World’s End’ and the punishing ‘Disgrace’ clock the listener in the jaw; Stubbs’ uniquely English phrasing is in full flight here, referencing Roger McGough in one moment and then Channel 5 and Häagen-Dazs in the next. ‘Isn’t Life Just Sweet’ is one of the darkest songs in Leatherface’s catalogue, with its brooding arpeggios and lyrics alluding to one dearly departed; “I can’t kill you / But I forgive you. And I believe you.” The Stormy Petrel is, in short, rather excellent and all the sadder given that it ended up being Leatherface’s last album.

2. Minx (1993, Roughneck Records)
Perhaps the most underrated album in Leatherface’s catalogue, Minx deserves to be held up as a band on an absolute winning streak and was a victim of unfortunate timing given the album that preceded it. Recorded by Stubbs in his own home studio[4], Minx’s perhaps slightly raw production does little to blunt the quite unbelievable harmonically charged guitar and vocal hooks that make it worm its way into the ear as much the heart.

The opening salvo of ‘Wallflower’, ‘Books’ and ‘Fat, Earthy, Flirt’ could blow back your hair, but these slash-and-burn songs occupy the same space as two of the best songs Stubbs ever penned; ‘Heaven Sent’ and ‘Don’t Work’, a one-two punch that is basically worth the price of admission alone. The almost-five-minute-long former is somehow tragic but retains a clenched-fist determination; heart-swollen but furious guitars offset Stubbs’ barks of “A natural disaster a bit of a bastard / A mutual feeling of levelling the blame and how / The truth hurts and lies do the same.” ‘Don’t Work’ induces a gritted teeth head bang like all great punk but there is more beautifully rough lyricism in show; “Don’t waste your time / It’s heart that’s hard / It’s the head that’s fucking soft”. Stubbs’ trick is to somehow commingle the absurd with the poignant rather than recite past specific grievances in dull rote repetition and therein lies his genius. There’s only one slightly below par song here and that’s ‘A Sad Day Indeed’ – the rest is gold.

1. Mush (1991, Roughneck Records)
It was always going to be Mush that topped this list, as predictable as that might be to any Leatherface fans reading this. But by that same token, I will say that this is completely deserved; Mush is the album where absolutely everything came together. The fury of Fill Your Boots is now fully realised by the superb production, where the ferociously melodious guitar maelstrom find their match in absolutely battering drum work and grinding, muscular basslines. There’s so many classic songs here that it’s very hard to single out a few for particular note. ‘I Want The Moon’ is a simply glorious opener, an explosive minor-key adrenaline rush with searing guitar solos dotted through its brief length. ‘I Don’t Want To Be The One To Say It’ blazes with furious speed but power-pop like hooks. ‘Pandora’s Box’ spoils us with a powerhouse chord progression as well as one of the simplest, best choruses lines in punk; “Do as you would be done by / Do as you would be but don’t buy it!”. ‘Not Superstitious’ and its folk-like chords blast through the speakers with its life-affirming chorus cry of “All I can do / Is try my best for you / With all my indecision”, while ‘Springtime’ is as wistful and heartfelt as anything ever written but delivered with a thrilling gutsy aggression. ‘Dead Industrial Atmosphere’ is arguably the beating heart of the album, with references to the hymn ‘Jerusalem’ standing side by side with Vauxies Beer, the classic proletarian punk tropes exploded and then rebuilt with economy, class and spine-tingling riffs.

Mush is a perfect album. Miss it at your peril and then buy all the others because you will want to anyway. Leatherface are the best British punk band of all time and their catalogue speaks for itself. Buy/stream/download with confidence.

[1] https://arcticrodeorecordings.bandcamp.com/track/j-robbins-new-york-state-leatherface-cover
[2] https://www.reverendguitars.com/interviews/chuck-ragan
[3] https://www.youtube.com/watch?v=2jU3Tm_r6fo
[4] https://www.firerecords.com/leatherface/

This column was written by Omar Ramlugon.

Top Tens: Colin's Top Ten Bands To See At Slam Dunk Festival

The long running independent rock festival Slam Dunk is fast approaching. Taking place on the second May bank holiday weekend, it brings fans of rock, metal, punk and ska together to celebrate all things alternative. This year the festival is running for two days, in the South at Hatfield House Park and in the North at Temple Newsam Park in Leeds. This year will be my sixth time visiting the festival and my first visiting the new site in Hatfield. We love doing a top ten at CPRW so here's my top ten bands to see at Slam Dunk Festival 2019.

Anti-Flag
I haven't seen Anti-Flag live anywhere near enough times. For me, they are one of the most underrated live bands around. Playing powerful, political punk rock that will get you singing loud and proud, as well as making you think about the world. Anti-Flag are playing pretty early in the day but will no doubt blow out any cobwebs and get their crowd moving early.

The Bombpops
Californian pop punks The Bombpops are the band tasked with opening the special Punk In Drublic stage at Slam Dunk. The four piece, lead by the brilliant vocals of Jen Razavi and Poli Van Dam, play sugary sweet pop punk jams but perform with a tonne of attitude. Having first seen them live at the New Cross Inn a couple of years ago, I was so impressed with the way they controlled a crowd. Make sure you get to Slam Dunk early to see what is likely to become your new favourite band.

Chas Palmer-Williams
You may know Chas Palmer-Williams as the frontman for legendary UK ska punks Lightyear. When he's not throwing his body around and singing songs for what is arguably the best UK punk band ever, Chas is also a very accomplished solo performer. Whether he is playing his own solo songs or acoustic re-workings of Lightyear songs, one thing is for certain, you will have a great time watching Chas perform.

The Interrupters
No band has done more to push ska back into the mainstream in the past year than Los Angeles, California's The Interrupters. Following the release of last year’s Fight The Good Fight LP, The Interrupters have taken the punk scene around the world by storm with their catchy and danceable songs as well as a polished and fun live show. I'm really looking forward to seeing The Interrupters welcome Slam Dunk to the family.

Lagwagon
The great thing about the Punk In Drublic stage is that it is stuffed with nostalgia. As a young punk growing up wanting more than anything to go to the Warped Tour (when it was good), the Punk In Drublic stage is as close as I'm ever going to get – without inventing a time machine. When you think back to those Warped Tour days, Lagwagon were a big part of it. Boasting some of the most popular tracks of the time, expect some of the biggest sing-alongs of the festival.

Less Than Jake
Less Than Jake are Slam Dunk veterans by this point and perhaps the most well known band from the world of ska punk. Is there a better live band on planet earth? I don't think so. You'll be skanking and moshing away or singing yourself hoarse to their unlimited back catalogue of hits. There is no band in history that gets a live crowd going like these Gainesville legends and I can't wait to see them steal the show yet again.

Mad Caddies
Nobody can go and see California's Mad Caddies and not come away with a big smile on their face. Combining punk, ska, reggae and polka for almost twenty five years, the Caddies are still one of the greats. For me they're one of the most underrated bands from the Fat Wreck Chords roster, they never seem to be mentioned whenever the conversation about best Fat bands comes around. Whether you're swaying along to Drinking For 11 or getting silly with Road Rash, with the Caddies it's always a good time.

The Menzingers
Maybe the most popular punk band of the past decade, Scranton Philadelphia's The Menzingers are making their first appearance at Slam Dunk Festival this year. Headlining The Dickies stage, it's bound to be fifty minutes of non-stop sing-alongs. The Menzingers have just finished recording their sixth full length album so hopefully we can expect some songs from that as well as plenty of old favourites.

NOFX
When you think of punk rock bands, you don't get much bigger than NOFX. The Punk In Drublic stage is named after their classic album and they are rightfully headlining it. NOFX are a band that can split a crowd, it seems if you either love them or hate them. They can also be quite hit or miss live but when they hit their aren't many better. With thirty-six years of songs to choose from, they're bound to play plenty of favourites as well as giving some forgotten gems a showing.

Saves The Day
Making an extremely rare UK performance are New Jersey's Saves The Day. I've never seen them before so I'm really looking forward to finally see them. Mixing 90s emo and pop punk, Saves The Day have written many an angst filled anthem in their long and storied careers. They released their ninth LP in October last year so I guess we can expect some tracks from that as well as plenty of old school Saves The Day favourites.

This top ten was written by Colin Clark.

Album Review: Haphazard by Trophy Jump

I first became aware of Croatian pop punks Trophy Jump after hearing their December 2017 debut Depression Club. Since then, the four piece have been making a bit of name for themselves. So much so that UK DIY label Horn & Hoof Records are involved in the release of their second EP, Haphazard, along with JeBoTon (Croatia) and Punk & Disorderly Records (Canada). When I was sent the EP, I was quite intrigued to see how the band had progressed.

Haphazard begins with Comfort Zone. Quickly tackling the theme of mental health, notably trying to reach out to a friend who won't leave the house (their comfort zone). Starting out with just a bit of guitar and vocals is a great way to get the listener to really grasp the message of track as well as quickly encouraging them to learn the words. This is a mid-tempo pop punk track that's full of hooks and is extremely catchy, setting a marker for the rest of the EP. Up next is Not That Kind Of Guy. Clearly taking influence from Fat Wreck legends Lagwagon and No Use For A Name, this is a melodic skate punk song with pop hooks. The song talks about drug users, how the band believe if people want to do drugs it's up to them but it's not something they are interested in. The song really hits its height during its final section as the band repeatedly sing "I'm not that kind of guy" to close out the track.

The third song is titled Bicycle. This was the stand out track on my first listen of Haphazard. Beginning with a thick, rumbling bass line that really drives the song’s opening before lead singer Antun takes to the microphone. The song is about having your bike stolen and how the perpetrator sucks. Bicycle had me singing along almost immediately with a massive smile on my face. The penultimate song is Chicago Kid. Opening up with a punked up version of a surf rock riff before Antun seemingly does his best Ben Weasel impression with some snotty and aggressive vocals. This is where Trophy Jump really get to show off their musical ability with plenty of room for a guitar solo within the snotty pop punk style. The final track is titled Remete Hills. It's a more melodic song with softer vocals giving the whole track a retrospective feeling, jumping on the familiar pop punk bandwagon of hometowns. For Trophy Jump, this takes on a whole new meaning though as they've spent so much time far away from Croatia because they've been in the United States touring. I can imagine a music video for the track with shots from their time on tour interlaced with shots from Croatia. You can have that cliché idea for free chaps. This was a great choice for the final track as it really gets you thinking about what you love about your hometown and puts a smile on your face.

I seriously enjoyed Haphazard. Taking their influences and giving it a fresh sound shows Trophy Jump are a band that are forward thinking and I enjoyed the variety on the subject matters throughout the EP. Given the huge renaissance that pop punk has had over the past couple of years I'm sure it won't be long until Trophy Jump are discovered by a much bigger audience.

Stream and download Haphazard here: https://trophyjump.bandcamp.com/album/haphazard

Like Trophy Jump here: https://www.facebook.com/trophyjump

This review was written by Colin Clark.

Album Review: Regulars by Dead Bars

Seattle's Dead Bars released my album of the year in 2017 when they unleashed Dream Gig on the world. Those eight songs still get a regular spin on my turntable. Two short years later Dead Bar are set to release a brand new album on May 3rd. Titled Regulars, the album is being released by A-F Records alongside All In Vinyl, Eager Beaver Records and No Reason Records. After loving Dream Gig so much I had big expectations for Regulars.

Regulars begins with the second single Dead Bars released before the album came out, Freaks. This short song quickly reminded me why I loved Dream Gig so much. It's nothing overcomplicated – simple guitar riffs, simple drum beat and lead singer John Maiello's distinct, gravelly vocal telling a story of feeling like you don't belong and embracing that feeling. It's a cathartic song that will get a massive sing-along. Freaks is followed by the first single released to promote the album. Titled I'm A Regular, we hear a different side of Dead Bars that we've not really heard before. It's great to hear the band switch things up a bit, showing they're not one trick ponies. Interestingly it's kind of a follow up but also the same, an opposite of Freaks – if that makes any sense? It's another cathartic song, only this time it's about being different, it's about being down on yourself for being like everyone else. I think the point that Dead Bars are making is that it doesn't matter what type of person you are, you will have all kind of feelings and insecurities.

Pink Drink starts out in quite an energetic fashion with a big verse where Maiello really stretches his vocals chords. After that big first half of the song, the band really slow things down and the track gets quite sombre to finish things up. It builds but still feels pretty sad. Pink Drink is about getting away from brown liquor and replacing it with a pink drink (whatever that might be) and hoping it will help you. The fourth song is named Producto Toxico. Beginning in that same sad way, Maiello croons "sometimes I like to play guitar, sometimes it gets me very far" setting up the track’s story. It's a tale of debauchery for some time spent in Mexico on tour. The song is almost like a slow paced rock ballad or anthem with its distorted guitars, they build towards the massive chorus and some wonderful guitar solos. Dead Bars excel at the simple things but when they do decide to get a bit fancy they’re pretty good at that too.

Up next is Time Takes Away. This is one of the poppiest sounding songs on Regulars but it is also quite subtle and understated, with the volume of the vocals not really that much higher than the guitars. For the most part of the track, this is trademark Dead Bars’ brilliant simplicity but there are a couple of wonderful guitar solos that bookend the track. Rain is another track where the volume of the Maiello's vocals isn't much higher than the guitars, at times you really have to listen hard to hear them. This gives the song a sad feeling. It's about waking up in the morning, not knowing why you're not at home and wondering how your life has got to this point. My first thought on the song was that it was a little short but the more I listened the more I realised how well this length works. It doesn't overcomplicate the song and really allows the message of the song to sink in.

Lucky is about being excited about going to your favourite bar for the evening. I'm sure this is relatable for anyone reading this. Everyone has a favourite bar/pub/venue where they love to go – mine is the New Cross Inn. I think, because the song is so relatable, it will be a big favourite when Dead Bars play live and will get some big sing-alongs. The track isn't the most uptempo but it's got that brilliant anthemic quality. No Tattoos first appeared on Dead Bars’ 2016 split with Florida's The Tim Version. For Regulars, Dead Bars have given the song a bit of a spruce up in the recording – it sounds much cleaner here making it seem more accessible for new fans. Unsurprisingly the song is about not having any tattoos, the reason being that he doesn't want to remember the things that he has done. What's great about this song is that the band have managed to make quite a mundane topic feel extremely sad, I can't think of many acts that could do this so well.

The ninth song is titled I Need You. Starting off with a big flourish, Maiello sings "I need you, you don't need me" giving you an early sense of the kind of self-deprecating tone to expect from the song. Musically the track takes you on a wonderful journey of highs and lows – at times sounding massive, at times stripping it back and building towards the finale. The penultimate song is named Another Day and is one of my favourites from the album. It's a more positive and upbeat feeling song about appreciating your home and all the great things that are there. I particularly enjoyed the ending of the track where things kind of drop off making you think they are going to build towards a big finale but it never happens. This leaves you wanting so much more. It does lead in nicely to Regulars final track, the five minute epic You Never Left. I like the symmetry with the final song on Dream Gig also being much longer than any song on that album. You Never Left begins with some distorted guitars that truly make you believe that something big is on its way before we transition into the more traditional Dead Bars guitar sound that builds up the first portion of the track nicely, adding different layers as it goes. By the time the vocals come in you're itching to have a big shout-along but Maiello delivers a more refrained vocal performance. This is a track that really does allow Dead Bars to show off what superb musicians they are. You Never Left sounds epic from start to finish and is a strong finish for the album.

Regulars shows some nice developments in the Dead Bars sound. They have somehow managed to maintain that everyman feel that attracted me so much to the band in the first place but have also added a bit of flash to their style as well, really displaying some real progress and something that will help them appeal to a wider audience. If you are new to Dead Bars then Regulars is a great album to introduce you to the band before you go back and check out their previous material.

Stream and download Regulars here: https://deadbars.bandcamp.com/album/regulars-2

Like Dead Bars here: https://www.facebook.com/deadbars/

This review was written by Colin Clark.

Album Review: Everything Trouble Meant by Katie MF (by Emma Prew)

One of my favourite new discoveries of last year was London-based folk punk artist Katie MF. Learning How To Lie was one of my favourite EPs of 2018 and now Katie, along with bandmates Ben (bass) and Tobias (drums), is back with a follow-up release featuring five brand new songs. Out on the 10th of May, Everything Trouble Meant is the name of the new EP and we were lucky enough to get an early listen. 

First up is the hugely emotional track Do Without. The song starts slowly with Katie’s incredible voice instantly holding your attention – who says vocalists in punk can’t sing?! For the most part the guitar, bass and drums take a backseat as we focus on the vocals and the story that Katie weaves. Do Without is about regretting not following your dreams at an earlier stage in your life but trying your best to make amends now. There’s a great sense of building towards the end of this four and half minute track when the volume gets amped up and Katie sings ‘I was five years old when I said ‘Hey Dad, I want to sing.’, But I spent my twenties sat behind a desk, because I thought that was sensible, I thought that was for the best. And maybe I’m past it now, I don’t know, I don’t know, I don’t know… but I’m going to find out.’ Leather Jacket kicks off with a drum rhythm and bassline that will instantly get your head nodding and your foot tapping – hey, maybe you’ll even have a little groove around your living room (or where ever you may be). In contrast to the heartfelt nature of the first song, here Katie packs some bitterness and fury into her vocals. Leather Jacket is a break-up song of sorts where Katie describes how 18 months of a relationship can be reduced to a few bags of your belongings returned to you by your ex – but not your favourite jacket. Musically, it’s a fun song and, lyrically, I’m sure it could be pretty relatable for many people. I’m sorry you didn’t get your jacket back Katie (spoiler alert: we learn later that she maybe does get the jacket back), but thank you for writing this catchy tune!

The third song on Everything Trouble Meant is also the EP’s lead single, Praying For Rain. We had the track on repeat at CPRW HQ before we even heard the rest of the EP because it’s brilliant. From the urgent palm-muted guitar riff that opens the song and carries on throughout, to the euphoric moment that will make you want to throw your first in the air and, err, pray for rain. Written during last year’s heatwave, the track’s title isn’t entirely metaphorical although the song is more about the heartbreak that was associated with the summer than the weather. ‘I just need a break, From this relentless summer haze, There's no air, there's no space, Just this endless fucking ache…’ When we get to the fourth song, Somewhere On A Backstreet, it’s clear that heartache and heartbreak are a bit of a theme on Everything Trouble Meant. I described The EP’s first track as being emotional but that’s nothing compared to the opening of this song. Without any instruments to accompany her, Katie softly sings ‘When it was over I took all the things that we loved, And hid them away in a box marked do not touch…’. Throughout Somewhere On A Backstreet the lyrics are sincere and the song will really pull at your heartstrings. Katie sings of knowing that a broken heart can always be mended and that things will get better but she is also honest enough to admit that, for now, she’s not okay. Which makes the title of the EP’s closing track all the more poignant – Honestly, I’m Fine. The whole of Everything Trouble Meant has been great but this song really stands out as being a bit different to what I’ve heard from Katie MF before. Sure, it’s sad and Katie sings her heartbreak once more but with its gentle acoustic guitar melodies, soft vocals and the surprising addition of some strings Honestly, I’m Fine is simply beautiful. A wonderful end to an excellent EP. You’re probably going to be hearing a lot about Katie MF this year from CPRW because we love her (the person) and them (the band) so much – and you should too!

You can stream and download Praying For Rain now over on Bandcamp. Everything Trouble Meant will be available from this Friday but you can hear it early if you come along to the release show at the Black Heart the night before (more details here)! Also be sure to like Katie MF on Facebook.

This review was written by Emma Prew.