Gig Review: Toodles & The Hectic Pity at Shacklewell Arms, London 23/3/22

When indie punk sweethearts Toodles & The Hectic Pity announced a UK tour with their friends Live, Do Nothing at the beginning of 2022, we quickly snapped up our (free) tickets for the London show. Since stumbling upon them a four or five years ago, Toodles have become big favourites in the CPRW camp so anytime they’ve come to London we’ve made the effort to go and see them. The gig would be taking place at a venue named the Shacklewell Arms which is in East London.

When we arrived at the venue – which we hadn’t been to before – I immediately felt comfortable. It was a really welcoming place that I wish I lived closer to. My thoughts throughout the entire night were what a lovely place Shacklewell Arms is. If you live nearby, make sure you support the venue!

First up was Hassan of Triple Sundae playing a rare acoustic set. Hassan was a late but very welcome addition to the line up as the original act had to drop out. Since gigs started happening again I’m pretty sure I’ve seen Hassan perform more than anyone else whether it’s with the rest of Triple Sundae or performing hip hop as Lounar. I’ve been saying for a long time that Hassan has one of the best voices in punk rock and hearing him perform acoustically really showcases that. Hassan played through many Triple Sundae classics as well as a couple of brand new songs and a Lounar track that was originally written for Triple Sundae. It was lovely to see Hassan perform like this and a great way to kick off the night.

We first saw Live, Do Nothing in September 2021 at Fishstock in Bristol. I believe that was the first time that they played with the newest incarnation of the band – with what seemed like a full orchestra. At the time, I assumed that this was something special they had done for Fishstock but it turns out this is the band now! I really enjoyed the Live, Do Nothing set. It was clear that they’ve been working hard on getting tighter as a band and it really showed. This set was full of pure joy from start to finish. The band seemed so happy to be on the stage together playing their music and that feeling spilled out into the crowd. With so many different instruments on the stage, including a cello, flute and keytar, I was super impressed with how seamless the set went and how there wasn’t any awkwardness between songs as members switched instruments around. If you haven’t ever listened to Live, Do Nothing I really suggest that you do as it’s clear that they’re on the rise and will be one of the most talked about UK bands in the next year or so.

The evening’s last act was, of course, Toodles & The Hectic Pity and we were excited. Like Live, Do Nothing, we had been fortunate enough to see Toodles at Fishstock back in September and they played a killer set. Now they were finishing a UK tour and were on top form. Also, kudos to Toodles and Live, Do Nothing for managing to get through a whole tour without having to cancel anything due to the covid. The Shacklewell arms began to fill up a little bit more in time for the band to start. I don’t know if it was folk who had turned up especially for the band or if it was people in the pub popping in to the venue room to see what was happening but, either way, they were in for a treat. The band played through songs from both of their EPs, Call In Sick and Ghosts, Guilt & Grandparents, as well as a handful of new ones and they all sounded great. Callum on vocals and guitar, Max on bass and Dom on drums and melodica are all superb musicians – and together on stage they’re like an undeniable force. I challenge anyone to go see them live and to not thoroughly enjoy themselves. For a three piece, they have a great stage presence and their music screams out to be sung along with. I’ve seen the band a number of times now and I have to say that I don’t think Callum’s vocals have ever sounded better. It’s always an absolute pleasure to see Toodles & The Hectic Pity and I’m looking forward to seeing them again at the MPF warm-up show in a few weeks time.

This review was written by Colin Clark.

Album Review: Feel The Void by Hot Water Music (by Omar Ramlugon)

It’s not overstating things to say that the last couple of years have been pretty dreadful for almost everyone. A worldwide pandemic killed literally millions of people, while we were locked inside our houses and often not even able to bid farewell to our loved ones as they passed. Having only just started to move somewhere past that, a failing state decided to threaten us all with the threat of nuclear annihilation. It has felt like there’s simply nowhere to turn at times; Hot Water Music’s Chuck Ragan is no stranger to this, admitting in a recent interview ‘[...] man, it's been a really tough couple years. There's been multiple deaths in the family ... from losing family members to our dog, there was just a lot going on.’

Just from the title alone, it’s clear that Feel The Void was very much informed by these turbulent times in which we continue to find ourselves. The album spits and crackles with all the furious energy that you’d expect from these Gainesville stalwarts, but it’s tempered with a deep warmth and humanity from life experience that comes from the majority of the band being well into their 40s by this point. Chuck Ragan and Chris Wollard have always been adept with their lyrics and vocals as they are with their guitars, never going for the obvious and instead adopting a wry, spare approach that always serves the music. Indeed, it’s a duo so well known in punk circles that the addition of The Flatliners’ Chris Cresswell may have raised a few eyebrows. Wollard even noted that Cresswell becoming their third guitarist/vocalist was uncharted territory for the band; ‘[...] I had no clue how to do it with three. I didn’t have a plan. I don’t think any of us did, other than plug in and figure it out.’

And figure it out they did. With Brian McTernan at the helm producing, Feel The Void is easily Hot Water Music’s best record for a long while. Whether it’s the shot in the arm from Cresswell, having McTernan back in the fold, or just finding strength in each other and channelling difficult days into their music, they sound revitalised. The album confidently moves through different moods and feelings we’ve all had these last few years, whether it’s the pulse-pounding rage and anxiety of ‘Killing Time’, the laughing in the face of pain exemplified by ‘Collect Your Things And Run’, which manages to make a brilliant hook out of the rhyme “Count to 4, 5, 6, I feel like shit”, or the heart-breaking, grief stricken ‘Habitual’.

The mix is marvellously uncluttered, even with three guitarists, allowing them all to find their place while Jason Black and George Rebelo’s killer rhythm section is as fantastically in the pocket as ever. Vocally, everyone is sounding on top of their game, with Ragan’s stentorian roar, Wollard’s smoky but slightly more tuneful rasp, and Cresswell’s more polished delivery shining, whether they’re backing each other up or leading the charge. The tag team approach taken on the title track is particularly thrilling. Cresswell does lead a song of his own – the killer ‘Turn The Dial’ – and it’s testament to his ability as a musician that he isn’t overshadowed by the four punk lifers around him. Elsewhere, the gnarly rush of ‘Scratch On’ is followed by the almost ballad-like ‘Ride On’, and the album closes itself out with the tuneful, defiant ‘Lock Up’, which features one of the best and most apropos chorus lyrics for these times; “Damn the world that rakes me over the coals/Every day I owe”.

This is a really special record. While there are plenty of cuts that will instantly win you over, there’s still more that don’t grab you at first flush but will slowly work their hooks into you with each listen. It’s Hot Water Music’s best record since The New What Next, easily surpassing Light It Up and pipping Exister to the post. It’s fraught with pain, uncertainty and frustration, but underpinning it all is a sense of the strength garnered from allowing yourself to be vulnerable, so as to confront your darkest impulses with the help of your loved ones, even if that pain comes from letting a loved one go. If that sounds like it would appeal to you, then don’t hesitate to pick this up. We could all do with some reassurance these days, and if Hot Water Music are still making records this good, that has to count for something.

Stream and download Feel The Void on Bandcamp here, as well the the other usual music outlets.

Like Hot Water Music on Facebook here.

This review was written by Omar Ramlugon.

CPRW Playlist: March 2022

CPRW Playlist: Here's what Brett, Chris, Dan#2, Emma, Ilse, Lara, Marcus, Omar, Rich, Richard, Robyn, Theo and myself have been listening to in March.

Album Review: Groundhog Days by Clueless (by Ilse R. Smit)

Generally speaking, contributors get to pick which release we want to review – a pretty sweet deal. However, sometimes the release picks you and that can be the best thing. It really means a lot when an artist/band trusts you with their new material before it gets released, such an honour! I had the pleasure to receive and review the new Clueless record, Groundhog Days. Clueless is a Dutch power pop band from Enschede that has been around since 1999 with its members currently scattered across the Netherlands, Belgium and Germany. Their new album has been in the making for a couple of years now and will finally emerge and not see its own shadow on April 1st (or whatever the tradition is). I hereby invite you to unleash your inner groundhog and burrow through this record with me.

The opener of the album is You Do The Talking. I love the energy, it sets you up for what is yet to come perfectly. I also love the little “whoo!” in the synth-heavy intro, those are so fun. Not unlike most of the other tracks on the record, you can’t get around the uplifting and lively sound of Clueless. The lyrics on the other hand are a lot darker and more vulnerable sounding, not wanting to be left alone with your thoughts, but made easily digestible by the easy-on-the-ears instrumentals and Tim ‘Voice of an angel’ van Doorn’s vocals. This guy can make a desperate plea to keep him company sound sweet and endearing. The lyric “My brain is my biggest enemy” hits HARD though! I especially like how the delivery of that lyric in the last verse contrasts with the pleasant sound of the rest of the song, perhaps signifying that the “battle for sanity” is not looking so good for him at that point.

The opener is followed by the track There’s A Schnitzel In My Pocket and I can’t write about/listen to this lyric without it making me laugh. This song sounds a tad heavier (also less synthy) and makes me think of confronting yourself with maybe not so healthy coping mechanisms, dealing with the fact that you’re getting older, making poor decisions under influence of poor mental health and/or substance abuse, suffering the consequences and not learning from your mistakes. The underlying weight of the lyrics do come through a little stronger compared to the first song, but is still (as the title suggests) very upbeat and fun to listen to.

Track three is called Something Loud. The synth is back, the intro could have been from a The Rocket song. All these songs have so many layers to them, you’ll keep noticing different things as you listen to them. The backing vocals/harmonies really stand out to me in this one. If I had the voice, I’d love to belt out the bridge (which feels more like an alternative chorus). I think the song tackles the feeling of a mismatch between your skills and expertise, the skills and abilities that are useful to assist someone in your life who needs help, and feeling useless for not being sure what you can do for them. However, I also think that this song can provide some comfort to anyone who listens to it, so there you have it!

We shift gears as we reach Bathroom Breaks, and we transition from the personal to the political and kick it up a notch while we’re at it. Speth’s drumming really stands out here, giving the track a skate-punk edge we haven’t heard thus far. Speaking of things we haven’t heard up until this point: the delivery of the second verse is razor sharp, as could be expected when Hans Roofthooft (F.O.D. and solo work) is generous enough to provide guest-vocals. Van Doorn’s and Roofhooft’s voices really complement each other, which manages to give the message of the song more gravitas. We see and know history is repeating itself. But rather than just observing the normalisation of harmful ideologies, what’s the plan?

The Answer Is Zero is the first song that nested itself in my brain as I first started listening to the album. The chorus is incredibly catchy and I love a gaming-reference (that I get). I’d say it’s a great feel-good/cheer-up track! It’s a well crafted reminder to not overthink as much as we do, and to try to come to terms with the fact that we make mistakes. There’s no point in (mentally) re-living a situation time and time again, and Clueless wants you to know it’s okay to just move on. Isn’t that lovely?

Doubting yourself? Imposter syndrome got you down? Put on Scapegoat and your worries will melt away instantly! I imagine this song being the embodiment of the sentiment expressed in Something Loud (comforting and supporting someone through art rather than helping with everyday tasks), although I’m fairly certain that doesn’t add up chronologically when looking at the writing process.

Ode To The Sun V2 manages to be both kind of sad and uplifting. The lyrics are clearly very heartfelt, coming from a place of grief and having started processing loss. Coming to terms with the anger-phase and its repercussions. That, even though it won’t be easy, there is beauty to be found in pain as well – a paper-thin silver lining if you will.

Time for the title track! It opens with a fragment of a certain Bill Murray-venture (no, it’s not Ghostbusters) and also happens to be the first song to be written for this release (coincidence? I think not!). The lead guitar really drives the intro forward, contrasting wonderfully with the harmonies in the intro. My favourite lyric is “You wonder what tomorrow brings, When it is you that does the grocery shopping”. It’s very easy to feel stuck, like you’re not moving forward, especially when you’re coping with grief or depression, and that’s very understandable! But eventually you are the one who’s in charge of what’s gonna happen next. The lyric seems kinda funny at first, because of how specific it is, but I think it’s a great metaphor!

If you somehow dozed off at this point, Timmy D & The Art Of Postponing is sure to be an attention-grabber. Short but sweet, and mostly FAST! There’s a lot happening there, which makes it an interesting (very repeatable) listen. And it’s relatable as hell. This is the soundtrack to not being able to get yourself to work when you have bunch of stuff *internal screaming*. Those familiar with Van Doorn’s other band(s), St. Plaster, will probably notice some hints of I Can Stop Anytime I Want – The Capitalist in there (he’s not being subtle, but I’m not mad about it).

If the intro of Too Far South gave you the impression that it was gonna be a slow song, you’ll soon find out that you are dead wrong. Its upbeat sound might not be a unique selling point, given the rest of the album, but this time the lyrics actually match the vibe! It’s all about daring to dream and give it a go! I love it when a lyricist is not afraid to paint an unflattering picture of themselves but my favourite lyric from the song goes to “One foot in the grave? Well the other’s gonna dance”. It makes a lot of sense to put this song on the second half of the album, a lovely change of pace lyrically.

Numb Skull (This One’s For You, Stephen Miller) was the first single to be released from the album and it’s a banger, a great choice! A proper punk rock track, giving the finger to all the Stephen Millers out there. All the pieces work perfectly together, always highlighting something without drowning out the vocals or guitars. It sounds edgy and smooth at the same time, which is my sweet spot. If that wasn’t enough, Clueless is joined by Perry Leenhouts (The Travoltas) in the second verse. Not unlike Roofthooft, Leenhouts has a very distinct voice and that really adds another layer to the track. Leenhouts also produced Clueless’s first album, and we love a full circle moment.

Ricochet is an interesting song because although it definitely belongs on the record, it’s unlike anything we’ve heard so far. Calming, like being at the beach, watching small waves roll onto the sand. The acoustic guitar plays a prominent role in this song, but in my opinion the real MVP are the pizzicato-style violin samples (a technique that uses string picking rather than the bow). That really makes it sound more whimsical and dreamy, it’s a very interesting instrumental technique that I don’t hear on a lot of punk rock records!

Favourite lyric: “Full color isn’t always right. The grey makes me able to sleep at night”
This lyric stood out to me because I feel like we tend to focus on our peaks, and while that is understandable, it would be way too intense and probably quite unfulfilling if our life would consist of highlights only. We may not always appreciate the grey days, but we sure need them to appreciate those full colour moments, or to just prevent ourselves from burning the F out.

The subject matter of Feed Me Distractions, given the context of the rest of the album, is fairly self explanatory in my opinion. I love the contrast between the verses (more frantic and faster) and the chorus, and the seamless transitions between them.

Favourite lyric: “Words are redundant but loudness is golden”. Perfectly describes the sentiment of the song. The distraction itself doesn’t matter, as long as it works and takes your mind off of whatever is consuming you. But in itself it also works on a different level as it makes me think of how we as a society seemingly prioritise the medium over the content in a general sense. Real deep stuff.

With this last song, Perspective’s The Keyword, I was very curious about the lyrics. Because on the first couple of listens (without having the lyrics in front of me), there were some instances where I was thinking: “wait, what are they trying to say here?”. As the title suggests, several perspectives are represented in the lyrics and catching that makes it a lot easier to interpret them. Not gonna lie, I’m having a pretty hard time writing about it because I have a complicated relationship with the subject. Like, I don’t know what the right way to deal with people that support racist traditions/beliefs is. Sometimes I feel like people try to humanise them a little too much. Like me just now, why did I not just call them “racists”? What good does it do to keep empathising with people that (indirectly) cause harm? While at the same time, I also believe that a significant portion of those people are just a product of their environment that up until recently never had anything or anyone challenge the way they (sub)consciously see the world, and lash out because they feel threatened by that.

I understand wanting to shut out any opinions that strongly contradict your own, while at the same time I don’t want “the other side” to do the same thing and bubble up as well. But I also don’t think it’s reasonable to expect people to “just have a conversation” with whoever defends racist (or any other -ist or -phobic) viewpoints or actions all the time, especially when they’re on the receiving end of those actions.

However, to get back to the song, I guess at the end of the day I do think it’s important to challenge yourself every now and then. To not (always) instantly dismiss people and to be aware that they indeed can change. What a way to close Groundhog Days.

This album, what a ride! If you made it this far, props to you, you’re a real one. Don’t let the length of this review scare you off! It’s not nearly as heavy as I make it look, it’s such an easy and fun listen. Those 39 minutes fly by! Daniël, Florian, Tim and Willem, you’ve all done an amazing job making a heartfelt, upbeat album that shows range, yet it has a very recognisable and incredible sound. Since the band won’t be performing live any day soon, come hang out with Tim van Doorn on April 1st at this Facebook-live event!

You can stream and download Groundhog Days on Bandcamp and most, if not all other streaming platforms. Like Tim van Doorn on Facebook here.

This review was written by Ilse R. Smit.

Album Review: Cuts by One Million Motors

One Million Motors are a four piece alt-punk band from Newcastle in the North of England. They’ve been working hard at their craft for a number of years now and have a handful of tours and releases under their belt. In 2021 they released one of my favourite songs of the year in the form of You’re Not Viable (You Just Don’t Know It Yet) and now they have just released a brand new EP titled Cuts. It features four brand new songs that I was very excited to hear.

The first of the four songs on Cuts is titled They’re Getting Away With This. The opening guitar feels like a siren going off before the rumbling bass line joins the party. It’s not long before the whole band gets involved and we get some explosive vocals. It’s a political song calling for us not to let the people in power get away with all their wrong doings. The song is shorter than a lot of previous One Million Motors songs and certainly packs the punch I suspect they were aiming for. Next is Distractions which again starts with a killer guitar line. This song does go over three minutes long which allows more time to build and grow. Of the four songs on Cuts, Distractions is definitely the most familiar sounding for folk who were already a fan of the band. I’d like to say that the song has some quiet parts and some louder parts but, in truth, it’s more that it’s got some loud parts and some much louder parts – I loved this. Great tune.

ACW was the first song that One Million Motors shared in the build up towards the EP’s release. At just one minute long, it felt like a perfect teaser for what was to come. Starting out with a phone ringing before we blast into a song that manages to pack a lot into its short time frame. I was a bit disappointed that it didn’t go on for longer as it finished just as I felt like it was getting going but it did leave me itching for more. Last up is Know What’s Best. From the beginning of this track I noticed a shift towards a heavier, more fancy guitar riff style for the band. This gives the band a whole new layer to their sound and helps them stand out from many of their contemporaries. It also shows off just what a talented bunch of musicians the folk in this band are. Special nod to the drumming which is first class throughout the whole EP. Despite the heavier sound, the track is packed full of hooks and moments to scream your lungs hoarse too.

Cuts is another fine release from what I think is one of the most exciting newer bands in the UK. If you don’t know One Million Motors yet then now is the time to check them out.

Stream and download Cuts on Bandcamp here.

Like One Million Motors on Facebook here.

This review was written by Colin Clark.

Album Review: Dear Darkness by Dan Andriano & The Bygones (by Lara Roberts)

I’ve been a big fan of Alkaline Trio ever since I first set ears on Fuck You Aurora all those years ago, and I always loved Andriano’s smooth voice juxtaposed against Skiba’s vocals, with them both complementing each other. I always enjoyed Andriano’s songs and craved more of them, lapping up solo projects he’s worked on.

This album starts off as I had expected and hoped, with Narcissus, Amateur Classic Narcissist providing the reassuring familiarity of Andriano’s silky vocals melting over his guitar, and Sea Level and Dear Darkness both sounding straight out of the books of Alkaline Trio. There’s plenty of Andriano’s distinctive sound from the start – beautiful, rich, and smooth, just like that first cup of coffee in the morning.

However, despite the coffee being one you could easily drink all day, you find yourself reaching for a different taste – the flavours on your tongue are getting a bit stale after a few mugs of the same brew. You’re looking for a pick me up to carry you through the rest of the work day. Wrong provides that something a little different. It starts with the familiar, deep vocals over gentle piano, before building up to more of an anthemic sound, incorporating a weird 80s metal guitar line before ending with a fade-out. Unfortunately for me, the song ends up living up to its name. The Excess suffers the same fate, with a strange jazzy start and 80s metal-esque ending.

It’s at this point that you find yourself reaching for the first batch of coffee that you ground that morning. You realise that there was nothing wrong with the first cup – it was dependable, likeable, and much more enjoyable than the others. Which is good, because Andriano’s brooding voice and stunning lyrics in both The Rest Of You and Into Your Dream (The Sophie Moon) take us back to the original blend of the album, carrying us through to the end, ensuring a strong finish with no bitter aftertaste.

Stream and download Dear Darkness in all the usual places and like Dan Andriano & The Bygones on Facebook here.

This review was written by Lara Roberts.

Album Review: The Puget Sound by The Drolls (by Chris Bishton)

That Puget Sound is the debut album, released in January on Snappy Little Numbers, from Seattle's The Drolls. The band consist of Denny and Josh, ex-members of much loved 90s pop punks Sicko, teamed with Julie D from Chincilla and, more recently, Guest Directors.

With two thirds of a band that I adored when I was younger, The Drolls have been pretty high on my bands to keep an eye on radar. I've been anticipating this release ever since they first formed a few years ago and put out a single in 2019. Ean, the other member of Sicko, had also relatively recently formed a new band – The Subjunctives – and put out a debut album with a pretty familiar sound and I was hoping The Drolls had also continued this trend. Although Sicko were never on Lookout Records, they easily could have been (they put out a split with Lookout alumni The Mr T Experience), and to my mind if you've loved it before you can never truly grow bored of that sort of pop punk.

The album kicks off with Getting Old. I love this! It sounds like Sicko – fast and catchy – but whereas I used to relate to songs about my wisdom teeth hurting, I now find myself smiling to a song about dragging myself out the door and feeling out of place. That's not to say this song is downbeat or depressing in anyway, by the way, it is not! It's super energetic and a lot of fun.

Nobody Move is the second track and it's more jaunty and distinct from both the opener and the sound of their previous band, signalling that not everything on this album is carbon copied. There's still a liveliness to it, but it's the first sign that their sound can be a little different. Whilst it should be noted that at their heart they have Sicko's pop punk DNA, The Drolls are a band that are a little more 'refined'. There's an element of The Replacements/Big Star/Lemonheads/Sugar all in here. An indie guitar sound seems to have found its way into Denny and Josh's playing as they've gotten older.

The rest of the tracks on the album jump and dash around, picking up on this power pop punk vibe as well as songs that are more rooted in the Sicko vein. Sad Little King, Worse Things and Mythology, for example, are more fixed on the power side. Whereas, listen to a song like Bad Ear and you'd be forgiven for thinking it could have come from them at the end of the 90s. Alternate Timeline is the only song that I'm a bit nonplussed about as it's a bit slow, but it comes at the end of the first side of the record so, if you're listening to it on vinyl, it feels like the right place for it.

The second half of the album starts with Downstream, which brings us back up to speed and then it's Rehashed: Rehashed – a 'reworking' of the Sicko song, Rehashed, that sits perfectly in the second half of the album. It's a little slower, which allows you more time to take in the vocals, and the line "you've heard this song before 'cause I'm not gonna care about it anymore" sums up how impeccable their sense of humour seems to be. A song about bands sounding the same from a record put out almost 30 years ago now has me really grinning.

The album finishes with In Big Country, a cover by the band Big Country. It's a great way to end and I can't help think it's another nod to their past as their previous band's debut also ended with a cover (Closer To Fine by the Indigo Girls, which to this day remains one of my most favourite covers).

If you like The Drolls, you're never not going to compare them to Sicko. I think that's fine as, after all, the band themselves make no effort to hideaway from their past. Thankfully, it doesn't differ too much, but it differs enough to sound fresh and relevant. As the band state, "Two of us used to be in another band together. Now we're in this band." and that it's an album with "some energetic power pop songs about ageing, wasting time, the environment, political BS and one really fun cover song" …Pretty much what I want from a pop punk album.

Stream and download The Puget Sound on Bandcamp here.

Like The Drolls on Facebook here.

This review was written by Chris Bishton.