Top Tens: Dan from Vegan Punks’ top ten femxle fronted punk bands

Hey, I’m Dan! I’m one half of the team behind the food blog, Vegan Punks. I don’t get to write about music much. We spend most of our time creating and writing recipes, but you’ll find loads of awesome punk music featured on our Instagram stories. If you’re into Thai food (shameless plug), we spent some of lockdown writing the ultimate guide on cooking vegan Thai food, with virtual cooking classes coming soon!

I love CPRW and regularly check-in to make sure I’m not missing out on some incredible new album that’s passed me by. So I jumped at the opportunity to contribute an article when Colin got in touch (thanks Colin and Emma!).

Hopefully you find something you enjoy in this list. I struggled to decide on a topic, but we’ve been listening to a lot of femxle fronted punk recently. It’s great that the scene is diversifying more and more and I can’t wait until we can all go out and check out some of these bands live again. 

Against Me!

One of my favourite bands full stop. Laura is one of the best front people in the punk scene and has been for quite some time, in my opinion. Against Me! deliver everything that I want from punk music: catchy hooks, melodic vocals, a good dose of anger and a strong political message.

I’ve no doubt I’m mostly preaching to the choir here, but if Against Me! have passed you by, check them out – I can’t even call out a specific album to recommend, it’s all gold. 

Days N Daze

I have a real soft spot for folk-punk and Days N Daze are top tier. The combination of Jesse’s and Whitney’s voices is perfect – not just the mix of low and high ranges, but the way both vocalists are able to drift between a clean and rough sound.

I’m also a sucker for nihilistic lyrics and they deliver that in spades.

Folk-punk may be a bit of an acquired taste, but Days N Daze have been building a good following over the last few years, enough to earn them a deal on Fat Wreck. Check out “Show Me The Blueprints”, their first Fat Wreck release, which came out in May. It’s a shoe-in for my top 10 of 2020 list come the end of the year. 

Bad Cop/Bad Cop

Since their debut “Not Sorry” in 2015, Bad Cop/Bad Cop have released three incredible albums. In a traditionally male dominated genre, it’s rare to find an entirely female band – Bad Cop/Bad Cop are proof that we’ve been missing out.

What’s better than two-part harmonies? Three-part harmonies, obviously. Bad Cop/Bad Cop know exactly how to deliver them, nicely wrapped up in an infectious punk-rock package.

Check out “Not Sorry” and just carry on from there! 

Ramona

Ramona’s debut release, “Deals, Deals, Deals!”, evaded my discovery when it first came out. Fortunately, I stumbled across it in probably two or three different “top 10 albums of 2019” lists on CPRW. I’m really glad I did because it’s an entire album of really well written pop-punk music.

I really love bands with multiple vocalists, and Abby’s and Diego’s voices go so well together. I’m awaiting their next release with great anticipation.

Check out the aforementioned “Deals, Deals, Deals!” to see what they’re all about. 

Nervus

“Everything Dies” is such a beautiful album. You know those albums from “smaller” bands where you can’t work out why there’s not more hype? It’s one of those, for me.

Nervus’s follow up, “Tough Crowd”, didn’t let me down either and shows some really good progression. Em is such a talented songwriter, musician and vocalist.

I can’t recommend checking out “Everything Dies” enough. 

Attic Salt

I really, really like Attic Salt’s self-titled debut. I think I could listen to track two, “Passenger”, on repeat for a long time before even getting close to being bored of it.

Attic Salt are unashamed pop-punk with the kind of dual vocals other bands will be jealous of. I just love the blend of Alyssa’s and Andy’s vocals, as they switch the lead responsibilities and provide harmonies for each other.

I was worried for a while that I’d missed the party here and they weren’t still a band. However, they recently announced that a new album is due out soon.

Go check out their self-titled debut from 2017.

The Distillers

Brody was the first female vocalist I remember discovering when I started getting into punk as a teenager. Her raspy vocals are still some of the best I’ve heard.

“The Young Crazed Peeling” by The Distillers and Tsunami Bomb’s “Take The Reins” are two songs that stand out as influencing my music taste back then. The difference with The Distillers, as a band, is that they had real consistency when it came to putting out great music.

It’s difficult for me to choose between “Sing Sing Death House” or “Coral Fang”, so if you missed The Distillers the first time round, just pick one and give it a go. 

The Bombpops

A good number of the bands on this list definitely fall into the pop-punk category… that’s not changing now, because The Bombpops are unapologetically poppy. They are bringing something different to the table though, with co-frontwomen, Jen and Poli.

They know how to write really catchy songs and there’s a great dynamic between Jen and Poli. This comes across particularly well on stage – they were definitely a highlight at the Punk in Drublic stage at Slam Dunk last year.

While I do like the latest release, if you’re going to check them out, I’d recommend starting with 2017’s “Fear of Missing Out”. 

Millie Manders and the Shutup

Millie is an outrageously good performer. If you saw her at Manchester Punk Festival last year, you’ll know that not even having a foot in a cast stopped Millie from delivering one of the best performances of the weekend.

There’s a definite ska-punk revival happening right now in the UK, one which I think would’ve been unstoppable if live performances were still happening this year. With so many great new British ska-punk bands entering the fold, alongside established names and reformations of legendary bands – Millie Manders and the Shutup are holding their own amongst them all.

Just go check out the entire back catalogue before their debut album drops. 

The Interrupters

The Interrupters feel like they exploded onto the scene out of nowhere, getting huge gigs, tours and festival slots without seeming to go through that grind that bands usually go through. It makes me feel a bit like they’re manufactured, or maybe I just missed their grind? They definitely have a huge supporter in Tim Armstrong, that’s for sure.

Either way, their brand of incredibly polished, catchy ska-punk is addictive. If clean, good fun ska sounds are up your street, you’ve probably already heard of them… but, if not, give them a go. Aimee has a background as a solo pop artist, but her vocals sometimes remind me of Brody Dalle’s.

Their self-titled debut from 2014 is the perfect place to start!

Special shout out to Problem Daughter, The Lippies and RVIVR who narrowly missed out on my top 10.

Check out the Vegan Punks blog here and like them on Facebook here.

Album Review: 30 Days, 10 Songs by August Radio Project (by Lee Morton)

Although we are all feeling the loss of live music, one of the few positives to come out of the whole COVID-19 pandemic and subsequent lock-down is the way artists have evolved to stay relevant and keep in touch with their fans. For some the lack of touring has given time to develop ideas and/or finish albums but for those new artists looking to take their crucial first steps what do you do?

Well, for August Radio Project, you set yourself an almighty challenge and then document the whole process via Instagram stories, Facebook/Instagram weekly live sessions and even a podcast. This colossal undertaking was to create 10 songs from scratch in 30 days, from writing, recording and releasing. That’s one song, created from scratch, every 3 days. I’m exhausted just thinking about it.

August Radio Project is the new solo venture from Benedict Gould, who some of you may be familiar with as singer/guitarist with London based “punks with horns” Ghouls, who sadly called it a day last October. Initial thoughts that this would simply be an extension to that quickly dissipated as this is very much Benedict’s baby and, as such, explores his love of Country/Americana inspired music.

Opening track “Mumma, It’s Over” is an up-tempo, jangly song, which reminded me of music from a spaghetti western, although sped up. As one of the more in your face songs here, it’s a great introduction – hooky and so instantly memorable that by the time the chorus comes around a second time you’re singing along. The alternating heavy verses against the quieter chorus give this a real balance as well as impact.

Probably the most Ghouls-like sounding, in fact I was almost waiting for the brass/horns to kick in, “To The Beach” follows and is especially relevant in the current climate and something we can all identify with, that is the need for a holiday. Stripped back, as all the songs are here, it’s a simple little ditty that is best served with sand between the toes and a nice cold drink.

Much slower and deeper on introspection, “Fly” is all about those big life decisions, those sink or swim moments where you grab life to try and make a change for the better. I feel that this style of song really suits Benedict’s voice and could possibly be the direction his music takes him in the future.

The next song, “Your Bucket List” has an interesting story behind its creation. “Story” being very apt here as Benedict uses the titles of books he had lying around at home to help create the lyrics. An unusual method that sounds haphazard but somehow is skilfully brought together into a cohesive whole.

One of my favourites from this collection is up next in “Estonia”. One of the first trips abroad I took with my now wife was to Tallinn in Estonia, so it will also hold a soft spot in my heart. It’s another track, like “To The Beach” that reminisces about simpler times and has a homely campfire singalong vibe to it.

At the halfway point now and you’d think signs of a mental/creative fatigue would be setting in but “The Shuffle” shows no sign of that. A playful song that compares life with card games and gambling, it breezes along on jaunty guitar strokes that capture a jazzy mood set against smoke filled gambling dens.

Track seven, “Jigsaw”, explores relationships and makes great use of reverb/echo in the vocals which marry well with the topic as it feels like his words are sometimes being lost in communication. The riff sounds slightly distorted as well, adding to the outer body experience.

Things turn a little spiritual in next track, “Inside Of Me”. Working on the basis that everything is part of the same energy in the universe and that we are all “one”. To be honest I struggled with this song, despite a number of listens. There are some nice touches with the harmony and tone of some of the vocals but I felt like it wasn’t sure what direction it wanted to go in. At points you were waiting for it to really kick in but it never did.

Another song I couldn’t quite get on-board with was penultimate track “Play The Blues”. It refers to a quote that “if you can play the blues, you can do anything”, but unfortunately blues is a style that I don’t feel really suits Benedict’s voice. Stylistically it works, there is definitely a bluesy aura to the music and pacing of it but I need my blues filled with regrets and whiskey, which this doesn’t quite reach. Hats off though for challenging yourself and stepping outside your comfort zone.

The final song on what was a monumental undertaking, “I’m Listening”, is another that tackles relationships and how we communicate. It’s underpinned by African style marimba, a percussion instrument similar to a glockenspiel, which along with some chanting gives the track a worldly tribal, almost spiritual feel to it. There is also a bit of an Ed Sheeran sound in parts, perhaps because of the way the song is looped, which whilst I’m not a fan there’s no denying that he knows how to write a catchy tune.

Over the ten tracks here there’s a wide range of styles and influences, which is interesting to hear but can come across slightly disjointed at times. This is not meant as a criticism, more an observation and appreciation of the challenge that was taken on. Perhaps, once live music can take place again and these tracks are performed in front of an audience, the songs will take on a new form as Benedict’s performing style overcomes the substance of the tracks. With the plethora of solo artists treading similar ground it will be exciting to see how August Radio Project develops but one thing’s for certain, he doesn’t shy away from a challenge so don’t expect this to be the last we hear from him.

Stream and download 30 Days, 10 Songs on Bandcamp here.

Like August Radio Project on Facebook here.

This review was written by Lee Morton.

CPRW Playlist: August 2020

CPRW Playlist: Here's what Brett, Chris, Dan, Dan#2, Emma, Lee, Marcus, Omar, Richard, Robyn and myself have been listening to in August.

Album Review: Blood Orange Moon by Frankie Stubbs (by Chris Bishton)

Disclaimer: When I asked Colin if he wanted me to write something on Frankie Stubb's Blood Orange Moon EP, I knew full well it was really just an excuse for me to gush about how much of a Godlike genius he is. So you've been warned... if you don't think he (and Leatherface) should be worshiped at an altar, you should probably stop reading this now. 

 

I grew up listening to and watching Frankie and Leatherface. Even though they were from Sunderland, way up north and a city that seemed a millions miles from me in London, they gigged so much. It felt like they were playing the capital all the time.

I remember seeing them all over town, often with their cohorts Snuff. From small pubs in Finsbury Park to big clubs like the Astoria (RIP). I saw them at The Venue – literally next door to CPRW's favourite the New Cross Inn – and I remember the day I first bought a copy of Mush, THE defining Leatherface album, from Reckless Records. I wanted a copy so bad that I bought it even though they'd lost the sleeve. I paid £1.99, rather than £4.29. I played it to death. I still do.

So, now here we are *cough* some years later and it's been far too long since Frankie put out a record. Apart from his previous 7 inch, My Heart Is Home, a couple of years ago, it's almost 20 years since his self-titled 10 inch. Admittedly, Leatherface got back together around the time his first solo record came out and they then proceeded to put out several albums over the following years, but he was then on hiatus after they split for a second time, working a regular shift work job.

Yet, despite this, mention the name Frankie Stubbs to people in today's scene and he still seems to be as well known and popular as ever. Everyone seems to be familiar with those raspy vocals, very often alongside such beautiful lyrics. Could he be labeled the earliest adopter of "gruff punk"? I'd argue so.

Therefore, it's no surprise the new EP has been so popular. The record, released on Little Rocket in the UK and Rad Girlfriend in the US, sold out its first pressing and a second pressing is already on the way.

It's a collection of four acoustic songs – three new and a fourth that's a reworked version of Leatherface's Shipyards. All four are exquisite. The first track is I Liked Being a European. Just from the title I knew I was going to love this. Soft, just Frankie's voice and guitar, with backing from his old Leatherface mate Graeme Philliskirk on guitar. It's acoustic, so is obviously delicate, but it's still raw and unmistakably Frankie.

The middle two tracks are the aforementioned Shipyards and the title track, Blood Orange Moon. These are just Frankie on his own. Shipyards was always one of Leatherface's gentler, stripped back songs, but with this new version it's just him and the guitar, not even the piano is there anymore and it's stunning. Blood Orange Moon itself is a little faster (but not much) and is similarly graceful. The last track is Jimmy Jesus. Graeme provides backing guitar again on this and it's just another wonderful, signature sounding song.

A few years ago Frankie played Pouzza in Canada. He's also played Punk Rock Bowling in Las Vegas. This year he was meant to play Hamburg's Booze Cruise and was considerably high up on the bill – another measure of the high regard he's still held in – and I was particularly gutted to be missing that festival. I also listened to an interview with him recently where he revealed he still has at least an album's worth of material that he'd worked on with Dickie Hammond, but at the moment, and for obvious reasons, he's not ready to think about releasing that.

Given all this, I hope it means there's still more to come from Frankie N.W. Stubbs. I hope he knows how many will still buy his records and come to his shows. I hope he knows how many still love him. And I hope I get to see him play again.

Stream and download Blood Orange Moon on Bandcamp here.

This review was written by Chris Bishton.

Album Review: In Transit by Quaker Wedding (by Marcus Pond)

I came across Quaker Wedding while scrolling through Bandcamp obsessively, as I am wont to do. Their debut 7” had the single “Jilted Lover” and a b-side called “Where You Used To Live”, and right from the get-go, I was hooked. Since quarantine/lockdown/social distancing/shelter in place/whatever you want to call it, my time spent in my car has been cut drastically, but I found that those two songs were just long enough to get me to the “far” end of my small town, and after getting back in my car, I’d play those two songs again.

Since COVID-19 was delaying shipping, I was stoked when Marco from Salinas Records emailed me in May to say that the 7” it was finally being sent. When I told him how obsessed I had been with the songs (and that I was looking forward to reviewing the full length for CPRW), he was kind enough to send me an advanced download, and it did not disappoint. Since the record “officially” dropped on June 19th (just in time for another great bandcamp Friday, where they sent their shares of sales to the NAACP Legal Defense Fund), it’s now available to all to enjoy.

In Transit starts off with “Sinking Ship”, and after the sound of what might be a subway or train hissing to a stop and a few distorted power chords, the listener is treated to a gravelly howl that makes me think of Trever Keith (of Face To Face) at the end of a long tour. In both the opener and the second track, “Dark Thoughts II”, Quaker Wedding addresses themes of not being “built for this life” and wonders if they’ll “ever call this place my home”. While “Sinking Ship” rages with anger, “Dark Thoughts II” is a bit more introspective and… eh, not hopeful, but at least willing to deal with life’s problems.

The third track is the lead single, the aforementioned “Jilted Lover”, which after many, many repeat listens, is still my favorite on the album. I get a real Jawbreaker vibe from the lyrics, which are equal parts self-loathing and remorseful. The first verse shows our protagonist literally counting the days that he was with his ex (and finding out that it was half his life), and then adding “I did the math / On little scraps of paper / It seemed important / So I checked it twice.” The chorus explains his dilemma: “I act like a jilted lover / Even though I’m the one who left / I go on and on about you anytime / Anytime somebody says your name.”

While a tight ten songs that clock in at 33 minutes, In Transit touches many of the hallmarks of Midwest-punk (even mentioning in “Aching” that “I’ve become a Midwest lyric”), from the slowish punk/emo-burners “Wrecking Ball” and “Vermont”, to the more fast paced “Sleep” and “Knowing Smile” that remind me a little of Nothington.

Quaker Wedding end with the somber “On An Island”, which *checks calculator* accounts for a fifth of the runtime on the album. After starting out their record with wondering where they belong, they end by saying “We work our whole lives trying to forget / We spend our whole lives living in transit”. And isn’t that really it? There is no “happily ever after” here, the days keep coming, and some of them are rad, and some of them suck. But we keep moving – sometimes because we’re motivated to do so, and other times because, well, what other choice do we have?

All in all (and I don’t want to hype it up too much), this is my favorite record of the year so far, and it’s not particularly close. From the first listen, it just fit my ears like a glove (if you wore gloves on your ears), and I can’t wait for the vinyl to arrive so I can wear it out.

RIYL: Jawbreaker, Face To Face, Nothington, Big Nothing, Distants, feeling miserable and/or awesome.

Stream and download In Transit on Bandcamp here.

This review was written by Marcus Pond.

Album Review: Seamless by Pardon Us (by Emma Prew)

Does it seem like it was less than year ago that I reviewed Liverpudlian pop punk trio Pardon Us’s debut album, Wait? Well, that’s because it was! Releasing their second album so soon, especially given the state of the world at the moment, was certainly unexpected but news of Seamless was just the pick-me-up I needed. I’ve been a bit quiet on the review front lately, not really feeling inspired to write about music, but when bassist Alex offered to send me an advance copy of the album I was keen to come out of my writing semi-retirement.

Seamless iss released on 21st August on Everything Sucks Music. Here’s what I thought of it…

The album opens with Undertow which you may have already heard as it was released alongside the initial announcement of Seamless. The lockdown video for the song is well worth checking out as well – I particularly enjoyed Gabby’s makeshift drum kit. As for the song itself, it’s a typically bouncy, melodic pop punk tune with slower paced verses and a super catchy chorus. Undertow is about trying to stay afloat in daily life and not getting bogged down with all the crap that life general throws at you. I think the line ‘It’s been a fucked up year, And it’s enough to drag you down, But you’re still here, It helps to know you’re sticking around’ could be applied to each and everyone of us in 2020 although I imagine that wasn’t quite the intention. Still Needs Singing is up next and wastes no time in getting started. On my first listen to Seamless, this was a real stand out track. Partly because it packs a real punch musically but also because I really believe in what Morgan is singing. The song is about consistently standing up for what you believe in and continuing to talk about issues because until these matters are resolved it still needs to be talked about – whether that be racism, homophobia, transphobia, human rights or any number of other important issues. ‘If you’ve heard it all before, It’s because we’ve sung it all before, And we still sing it, Because it still needs singing.’

Opening with a fast and fuzzy guitar riff which is soon joined by pounding drums and bass, the third track is the shortest on the album at only just over one minute in length. Understandably, Pardon Us try to pack a lot into What Doesn’t Kill Me and, in my opinion, they certainly succeed with that. It’s a frantic ball of energy of a tune with some wonderful backing harmonies that accompany Morgan’s breakneck speed lead vocals. Slowing things down a tad, To, Two, Too has a similar feel to it as Still Needs Singing as well as Inconvenient Reminder from Pardon Us’s debut album, Wait. To, Two, Too is about showing solidarity with someone who is struggling – ‘When the world doesn’t like you, You’re an anomaly in their eyes’ – and encouraging them to keep their head held high – ‘Don’t ever let them hold you down’. The song also features an almost bluesy guitar solo breakdown which isn’t exactly typical of a Pardon Us song but is a very nice touch. Once again the transition from one song to the next is very prompt but the contrast between the two songs is clear. Grace has a slower pace and somewhat of a more stripped back feel than much of Pardon Us’s catalogue. I may well be misinterpreting the song but with lines like ‘Your effortless grace, Your radiant smile, The way that you walk with, Inherent self-conviction’ makes this feel like a love song or at least an admiration piece about a particular person. Lyrics such as those paired with more of those lovely harmonies make Grace a pretty sweet song.

Safety Net is the name of the sixth song on Seamless and it opens with a distinct bass line before the guitars and drums also join the mix for a perfect pop punk melody – think classic Green Day, who are not a band that I’d generally immediately liken Pardon Us to but that is the vibe I’m getting here all the same (and it’s great, by the way). When the vocal come in, there’s a sense of bitterness as Alex sings of how the elite and middle class can often look down on those who are less well off in life but if roles were reversed – and they didn’t have a safety net to fall back on – I’m sure they’d be forced to reconsider those opinions. With the opening line of ‘No more negativity, it leaves a bitter taste, And make sure that a sickly smile stays plastered to your face’, Don’t Look Down feels like a suitable continuation of the topics covered on Safety Net. The song is about how we’re taught and expected to trust in our government and leaders as they ought to know what’s best but, of course, in reality that is far, far from the truth – ‘Don’t look down, There’s nothing wrong so don’t look down, We’re strong and stable, Safe and sound, Even as we plummet to the ground, So don’t look down’. Yes, Pardon Us play catchy pop punk music, but they’re not afraid to write intelligent political commentary and I love that.

Another example of catchy pop punk with a political message comes in the form of Laugh It Up. Here Pardon Us express their frustration over the Tories of this country who are more than happy to sit back and watch people queue up at Food Banks and not do anything to combat austerity. The chorus of ‘Laugh it up, While you still can’ over and over again is an incredibly simple one but it sure drives the message home about Tories being smug bastards. The sound clip of laughter at the end of the song is a not unwelcome additional touch. The ninth track on Seamless is In The Loop and it is another of a songs that immediately stood out to me on my first listen. With its distinct opening of simply drums and vocals before the pace picks up and the melodies come in full force, In The Loop is what I like to call a sure-fire head bop. It’s about how we – the human race (or at least that’s how I interpret it) – seem to continuously make the same mistakes over and over again and try to push the blame on someone or something else. Here & Now starts out with an almost country or folk punk style riff but soon develops into the classic Pardon Us sound with a slower paced verse and snappy chorus – one that would be very easy and enjoyable to sing along to in a live setting I might add (if you can remember what gigs were like). Here & Now is about trying to stop pondering on the past and focussing on the present. I wasn’t expecting the subtle inclusion of some keys towards the end of the song but it’s definitely a sound I can get on board with.

When I first heard the penultimate song on Seamless, Little Demons, I was convinced that I’d heard it before. It felt unlikely that it would have been when I last saw Pardon Us live as that was quite some time ago but it turns out that I was correct in thinking it sounded familiar as Little Demons is a cover of a Helen Chambers song. If you’re familiar with Helen Chambers, either as the vocalist for Misfortune Cookie or for her own solo material, then you’ll know she has an incredible smooth-as-silk voice. Understandably, Morgan’s gravelly tones singing Helen’s words is quite a contrast but, alongside the punk rock backing, this is a brilliant rendition. Although now I’m just thinking how great it would be to hear Helen and Morgan singing this as a sort of duet – maybe this something else we can hope for when gigs are a thing again. The album is closed with the aptly titled The Last Word. This is a slow and somewhat sombre sounding track that ends the album on a thoughtful and reflective note. ‘There comes a day, not every day, We get a sense something’s slipped away, And put aside our busy lives, to hear the song at last, We prick our ears and wait around, But the next note never sounds, And before we know, the final tone has faded to the past.’

Conclusion: It was well worth coming out of semi-retirement from writing to review Seamless as Pardon Us have delivered another top notch album. Seamless is packed with plenty of catchy melodies but, perhaps more importantly, it also contains intelligent and thoughtful lyrical content that is highly relatable and relevant to the world we live in today.

Stream and download Seamless on Bandcamp – check out that awesome vinyl pressing! And you can also like Pardon Us on Facebook.

This review was written by Emma Prew.

Album Review: First Date With Imposter Syndrome by High Visions

High Visions are a three piece pop/skate punk band from Leeds. Featuring Louis on guitar and vocals, Zyggy on bass and vocals and Alex on drums, the band recently released their third EP on the newly formed INiiT Records. Titled A First Date With Imposter Syndrome, this was my first exposure to the band and I was quickly impressed.

When I’m Dead, Just Throw Me In The Trash kicks off the EP. The first thing that struck me about the song was the brilliant contrasting vocals from Louis and Zyggy. Trading between gruff and clean vocals immediately gave the song a lot of energy that I loved. They also made me keen to see the band live and to have the opportunity to sing the track back at the band. The song is about the frustration of being stuck in a rut and not knowing where you are going in life. Up next is the song Checkpoint Charlie. This song starts in an aggressive fashion with the gruffer vocal being more dominant before we reach the chorus which is super poppy. It quickly finds a comfortable spot in your head and you’ll be singing along before the track finishes. The track is about finding yourself at a crossroad in your life and trying to work out the next move you make.

Anywhere // Anyone sees High Visions plant their flag firmly in pop punk territory. The song is packed with introspective lyrics, fantastic melodies, harmonies and a chorus that’s ridiculously catchy. It’s about being in a relationship and constantly trying to prove that you deserve to be with them. The penultimate track is named Isolated, Unstable, Disillusioned. On this track High Visions tackle the subject of mental health and more specifically questioning why are you suffering and will it ever change. The song takes you on a journey – the opening couple of verses I found completely captivating before the track transitions into a heavier section which features some great shredding and some much more intense vocals. I feel like the series of highs and lows that the song takes you on is a metaphor for what it can be like to have mental health issues. The final song on the EP is My True North. The track begins slowly with just guitar and vocals for the first two verse, before the whole band comes in and sets up a big and emotional finale. This is a powerful way to finish the EP and will leave you in no doubt of what a good band High Visions are.

A First Date With Imposter Syndrome is INiiT Records’ first physical release and really sets the benchmark extremely high for future releases. High Visions blend together skate and pop punk effortlessly and offers enough for fans of both genres to get really invested in this EP. Fantastic work.

Stream and download First Date With Imposter Syndrome on Bandcamp here.

Like High Visions on Facebook here.

This review was written by Colin Clark.