Descendents

This Christmas my little brother gave me a small tattoo using a needle, a lighter, some Indian ink and the trust that his undergraduate art degree meant he was good as this DIY stuff. What was it of? A square, spectacled, odd little emblem - a caricature of Milo Aukerman, the sometimes singer of the Descendents.   

Now obviously tattoos are the norm nowadays and for the most part connote a notion of “cool” but so far none of mine could be considered such. Wrestling logos, Dickens novels and now some pop-punk dweeb feature on my naturally disgusting body, but this isn’t about tattoos. This is about a band, a documentary film and a tweet I read the night after I got my Milo.

Descendents forever. Both literally and figuratively in my case. This tweet, the square-in-both-senses drawing on my ankle and my recent viewing of Filamge: The Story of Descendents / ALL got me thinking just why I, and so many others (evidently including the awesome pop-punk group The Swellers), love this band.

 The history of the Descendents is somewhat complex and too name change heavy for a lazy writer such as myself to attempt to detail, but Filmage manages to explain it with a comprehendable flair far superior to anything I could churn out. What is more important however, is that through the various periods and changes of their disjointed career the Descendents managed to become one of the most essiential, influential and universally loved bands of the punk genre. Their pop-punk energy, high-school problems lyrics and overall champion of the adolescent persona has always just felt so natural and uncomplicated. This is a notion clearly felt by many, as Filmage features interviews from the likes of Dave Grohl, Mark Hoppus, Tim McIlgrath and Greg Graffin to name a few, highlighting the importance of the Descendents in shaping the punk rock landscape throughout their scrambled history that began in the late seventies and continues in some form today.

However, it’s not just an A-grade punk history lesson that Filmage provides. Directors Deedle Lacour and Matt Riggle manage to capture the very essence of the band through their fast paced, light hearted documentary. They portray the confusion that fuels Descendents with a firm clarity, detailing the juxtapositions of exactly why a cherished lead singer chose being a scientist over a rockstar, why the band morphed into the side-group ALL and exactly how that silly little logo came to mean so much to so many. Every grim, flatulant and embarassing story is revealed and that’s what makes it such an accurate reflection of the group. Descendents are farts, doing your homework, wanking because you can’t get laid, choosing petri dishes over platinum records and ultimately fantasising over what it must be like to NOT be a Descendent. 

So many bands, particularly in the punk genre have an overblown sense of self-importance, but not Bill, Milo and co. Descendents capture first world problems with the unexplainable aggression with which they occur. Their music has more to do with being annoyed at a girl you’ve never actually spoke to than the regime of a democratically elected president and above all captures that quintessential problem of youth; being bored.

Despite this Filmage is far from tedious. Unlike many rockumentaries it is able to provide clips from the bands discography to soundtrack the film, keeping you continously hooked and offering engaging moments where you could actually visably witness members of the audience’s face light up, as a track perhaps not heard since they left their parents basement twenty years ago rages into the spotlight.

Filmage: The Story of Descendents/ ALL is essential viewing for everyone with an interest in music. Whether, you’ve got the Milo tattoo, are simply curious about those weird album covers, or just fancy watching a music film that doesn’t centre around doom and drugs, this is entirely for you.

Descendents Forever.  

Blink 182 to headline Reading and Leeds

I’ve been going to Reading since I was 10. It’s a lame, pretentious fact that I like to wheel out every year when the line-up is announced in order to say FUCK YOU MY OPINION MATTERS MORE THAN YOURS I HATE KASABIAN WHY AREN’T METALLICA HEADLINING?!

I’ve never understood people that don’t like Blink 182. When they first came out they provided the perfect modern day Descendents vibe, and when they graduated to creating one of the most universally loved pop-punk records of all time Enema of the State everyone was smitten and everyone applauded it.

So what’s changed? The follow up album was just as hit ridden, catchy and memorable; I’d defy any teenager not to like it, regardless of your cultural preferences and catchments. 2003’s grown up self-titled record was critically acclaimed and, I recall, passed around the P.E. changing room more frequently than shower gel or Lance Wilkins’ glasses.

Since the band’s first hiatus in 2005, people (and by people I mean faceless wisecrackers on the internet) seemed to develop a hostility and unwillingness to enjoy Blink, a pattern recently repeated (more justifiably) towards Green Day. Why did this happen? Maybe people didn’t like, or rather get Tom Delonge’s desire to indulge his space-porn passion in Angels and Airwaves, failing to understand that he was doing what he wanted, because he could. Mark Hoppus’ +44 fared better, in as much as nobody gave enough of a shit to moan about it, while Travis Barker escaped any critical cynicism purely through passing between punk and hip-hop royalty, barely staying still long enough to get a tattoo finished.

Maybe this brief Blink One-Eighty-Tutoridge goes some way to explain the relative disbelief, subversive mocking and all round “ugh”ing that has greeted the announcement that the trio will be headlining Reading & Leeds 2014. The 2011 comeback record Neighbourhoods would be appreciated if people actually gave the time and shits to listen to it. I have, I love it. It’s a perfect blend of pop-punk noises and older but bolder themes that sound like all three members are fully comfortable with. If you want 40+ blokes talking about sodermising dogs join a rugby team, or see if Ian Watkins has a zoophilic brother.

Seriously, I can’t think of many other bands I’d rather be drunk at a festival seeing than Blink. You’ve only got to look at how singalong smiley, sappy people get when “Small Things” comes on in a club to see that anyone groaning “man the XX should headline” or “Mumford would provide a more contemporary experience to the current dynamics and general feel of R&L” are talking out of their NME wiping arses. I fully understand the argument that Blink have headlined before, and mainstaged on several occasions, but as a first announcement I’m more than happy for a solid, guaranteed fun headliner. Hey, Jason Derulo’s never headlined before. Plus how often do the risks pay off at festivals? Guns & Roses big return went well, The Strokes looked like they gave a shit, Red Hot Chilli’s weren’t self-indulgent, Travis above Green Day works and Razorlight  TOTALLLLY deserved that spot.

If you don’t wanna see Blink, don’t. Chances are La Roux’s comeback album will secure another headline spot on the Radio 1 tent...

The Miley Movement

So it turns out Kanye West’s proclamation that Beyonce had “the best video of all time” was as premature as the time he blew his beans up Kim Kardashian.

For my money (-£739 to be exact) there’s only one person in pop worth writing about and it would appear EVERYBODY wants to write about her, pops perky twerky princess Miley. 

It must be a butt fucker for the wealthy art school girls of America’s cosmopolitan cities that some rich red neck chick has muscled in on their NYC art house cinema screenings, completely grabbed pop-culture by the wrecking balls and drained it of all its shallow spunk. Gaga overestimates and overrates pop culture, Cyrus gets that it’s simple. Gaga wears meat, Miley makes people beat theirs. She’s hot, and she wants to get naked. You don’t ask Terry Richardson to direct your video and expect to keep your clothes on. I’m pretty sure he could take your primary school yearbook photo and you’d leave with just your tie on.

But apart from creating the two best pop singles of the year so far, what I really like about Miley 2.0 is that she literally does not give two fucks. Nerds smarter than me have attempted to classify her creation as racist and anti-feminist but what most seem to fall short on is that it’s awesome. Breakdown queen Sinead O’Connor has had a pop, Miley responded by mocking her mental health problems. No fucks. She’s wearing 12 hole Dr. Martin’s in her video and she’s backing it up with 12 round comebacks to people who literally couldn’t be further from relevance from right now. What makes Miley different from Sinead, Britney, Li-Lo and co. is that she’s doing drugs the right way. Whilst the PR machine is carefully hiding such mischief, there’s no doubt that at some hipster LA party Cyrus is sniffing harder than the builders brought in to take away THAT wrecking ball. The party will undoubtedly stop, but not for a while yet. And if it does she’s got Billy Ray’s money to fall back on, as well as country music’s ever welcoming embrace. There’s no chance of a Cyrus breakdown, unless it’s a carefully thought out re-birth a couple of albums down the line.

 

Any arguments that it’s the countless agents, management and PR guru’s that are running the Miley Movement are probably rooted in fact, but Cyrus is using them like she’s using us, sticking a foam middle finger right up our arses. Even on MTV’s attempt at getting a slice of the pro-Cyrus propaganda pie “The Miley Movement” she managed to distort and fuck it up by coming across as a bit of a bratty twat. Perfect. That’s how we want our rock-stars, moaning about the tiniest thing going wrong backstage and then stepping out into the camera’s glare all teeth, tits and tongue. I haven’t gotten round to buying Bangerz yet, but I sure as hell will and so will you, probably. One of my best friends did his dissertation on Miley Cyrus two years ago. He was well ahead of the game and the fact that he could get 10,000 words plus out of the old Cyrus gives the clearest indication yet that there’s serious depth to this pop-parade that delves deeper than just soft-core porn. She looks like a little boy made to do PE in his pants in the “Wrecking Ball” video; she gets kicked in the head in the “We Can’t Stop” video and she continually keeps getting bollucked by her parents. This is angst, this is youth, and this is quite frankly the best thing to happen to pop-culture in forever. I also can't thank her enough personally for choosing to jump onto rap culture and, unlike those stoopid models, stay the fuck away from punk.

No we don’t want our daughters or sisters copying her, but what we do want is a sledgehammer sucking, tantrum chucking, finger fucking superstar. Here she is:

A Democratic, Pussy-footing Around How Festivals Are Now Shit and Full of Twats.

Basically I hate this post, but it didn't get picked up by the monetary outlets I'd hoped it would so it's a shame to waste 500 words...A subtle moan about the scrots that go to, and get booked on festivals nowadays. It's kinda boring, but then so are Mumford & Sons and people consume that shit like lollipop dicks shooting coca-cola. 

With the festival season now over and that final layer of grime just about washed off your skin it seems a pretty good time to consider another fun filled festival summer.

One trend that seems pretty prominent in the UK festival scene right now is the frequent additions of more mainstream pop and r’n’b artists sharing the stages and tents with the more traditional alternative bands. On the flip side of this many of the remaining big niche genre festivals appear to be struggling to stay afloat and avoid a chart takeover.  
This year’s Glastonbury followed on from Beyonce’s headline performance with mainstage sets from the likes of Dizzee Rascal, Rita Ora and Professor Green, whilst the traditionally rock festival at Reading and Leeds introduced a new stage featuring grime, garage and hip-hop artists such as Wiley, Angel Haze and Waka Flocka Flame. Meanwhile V Festival has seemingly decided to focus almost entirely on MTV, top 40 acts with Emeli Sande, Ellie Goulding and Kendrick Lamar all enjoying prominent slots.

Whilst some festival purists may well resent moves to appeal to a wider audience, doing so may well be crucial to ensuring long-term survival of these live music institutions. Although the metal based Download Festival appears to be thriving, many alternative events in the UK have been forced to downsize or dissolve altogether. Sonisphere’s Knebworth event was cancelled in 2012, citing the economy and low ticket sales as the main reasons, despite boasting Kiss and Queen (with Adam Lambert) as headliners. This year’s Hevy Fest featured Black Flag and Killswitch Engage and yet despite trying to reschedule as an indoor show was also eventually forced to cancel. Alternative festivals may well find resisting excessive commercialisation difficult, both in attracting fans and finance. One worry for the old school is that mainstream artists across all festivals will lead to events losing their identities and differences. With so much of TV and Radio mainly focusing on the music in the charts festivals are often rare chances for fans to get all of their favourite music together in one place, a chance to escape the commercialised wave that is smothered across the media.  Celebrities, “IT” girls and reality stars have all gate crashed the festival scene, potentially threatening to steal it away from the real music fans, leaving a worse taste in your mouth than the burger van on the final day (although festival cuisine now seems more of a draw than the music for some, Ostrich burgers at Glasto anyone?).

However, is the argument of a mainstream invasion really such a worrying issue, or is it just a bad rumour like the “girl who fell in” one of THOSE port-a-loos? Reading and Leeds still boasted a strong alternative presence on the Main Stage, whilst Eminem as a headliner is certainly nothing new, having also topped the bill back in 2001. Another major plus point for wider ranging festivals is the variety of styles that is provided by broader artists. Genre fusion has always been a key part of alternative music and allowing different artists to interact and share a stage will surely lead to innovations in sound and staging that can only serve to see festivals evolve and not stagnate. In addition to this pop music appears to have realised the importance of live shows and touring in recent years, leading to a major improvement in the quality of performance. The massive recent tours by the likes of Rihanna and Taylor Swift emphasise that pop acts certainly do have a place in the live music calendar, whilst the entertainment and production values they utilise make for an enjoyable set regardless of whether or not you enjoy the music. Much of the fun of going to festivals is discovering new things, especially new music and the opportunity to be introduced to a new genre or band certainly can’t be considered a negative.

Whatever your opinion regarding increasingly mainstream acts on festival bills it seems like for the larger events in particular, they’re here to stay. Fans usually vote with their feet, so the fact that these festivals continue to thrive and the acts continue to avoid being bottled off stage suggests that fans have either accepted the change, or, heaven forbid, actually enjoy the sets. Thankfully however, there are still plenty of smaller niche festivals in the UK, Dead Punk festival in Bristol this year was one of the best all day shows I’ve ever attended and emphasised that despite a number of high profile festival cancellations in recent years, there is still places for alternative music fans to escape the charts. Meanwhile, the big festivals all still provide enough variety to find or discover something you like. And hey, if you don’t like the music stay in your tent and don’t spoil it for those that do!

Pure Love - Anthems

Anthems is unashamedly, and unreservedly an appropriate title for a record brimming with confidence, it doesn’t feel particularly punk, and it’s not supposed to. Opener “She (Makes The Devil Run Through Me)” provides an irresistibly catchy riff, and it’s not the last. The same can be said for one of the top tracks of last year, “Bury My Bones” with Carter outlining Pure Love’s ambitions: “I’m so sick of singing about hate, it’s time that I made a change.” Follow up “The Hits” centres around brilliantly scuzzy guitar work from Carter’s new partner in crime Jim Carroll, formerly of The Hope Conspiracy, whose power chords are the driving force of this album.

Carter’s time with Gallows, one of the UK’s most important bands in recent years, showcases his ability to scream and bleed vocally, but here he reaches a whole new level, as is clearly evident on the slow-burning “Anthem” and the U2 -esque “Heavy Kind Of Chain,” highlighting the classic rock direction Pure Love are embodying. Carter hasn’t totally given up on revolution however, with “Riot Song” offering a Manic Street Preachers sounding depiction of “a riot on the streets of England.”

It’s admirable to hear a band admit that they are directly going for the stadium rock, popularist market, and thankfully Anthems has the songs to back it up. Although the idea of seeing a face tattooed, fire haired front man gracing the world’s biggest stages may be somewhat unlikely.

Soundgarden - King Animal

God bless Eddie Vedder. Soundgarden’s reunion, a return of one of the Mount Rushmore carvings of grunge, is a cash-spinning, half-arsed return that should have remained firmly in the mid-nineties. Fresh from a triumphant headline slot at last year’s Download festival, Chris Cornell and co have released their first LP in sixteen years, an ageing rock-a-thon that pays more testament to Pearl Jam’s brilliance and durability more than Soundgarden’s own relevance.  Cornell’s voice has always been a diamond that deserves far more credit than he, or Soundgarden, are ever given, but ‘‘King Animal’’, the comeback album from the Seattle rockers, only serves to typify this unfulfilled promise. After the brilliance of his early Audioslave work, and a hastily swept away Timbaland produced R’n’B’ turn, you would’ve expected the Soundgarden frontman to come out blazing, rather than this under gunned, somewhat dull return.

Opening track Been Away Too Long is self-aware of its own importance, with an opening riff that is nowhere near as big or as long as it should be,  a representation of much of this disappointingly OK album that would have surely benefited from letting Cornell scream and bleed a little bit more. Kim Thayil’s guitar work does sound fresh on second song Non-State Actor, with its follow up By Crooked Steps providing a gritty sound that would’ve worked so much better had it not been overdubbed by Cornell’s echoed and overproduced crooning. Blood On The Valley Floor offers a brooding resistance cut short by Bones of Birds with Cornell admitting ‘time is my friend, till it ain’t’ a dark admission of what surely could’ve been given such a fantastic voice.

Taree and Attrition showcase what is a much funkier return, with the severely downtuned acoustic focused Black Saturday offering an experimental turn that would’ve benefited from remaining solely guitar based, something also true of Halfway There, a victim of poor track placement.
As Cornell admits in Been Away Too Long, ‘I never wanted to stay’ unfortunately it may have been better if Soundgarden didn’t return, a harsh reality of what could’ve been a revitalising return. Though ‘‘King Animal’’ is by no means a bad album, it feels somewhat stagnated and self-aware, with Cornell never really letting his own talents, or that of his band mates, verge into anything unprecedented or new. Eddie Vedder’s got a ukulele album you know…

6/10

Green Day - UNO!

The return of Green Day has found them at something of a cross roads in their career. No longer the pop punk whirlwind of fresh air from the 90’s and early 2000’s but bona fide arena filling rock superstars. The all-conquering success of American Idiot in 2004 created something of a problem for Billy-Joe and co as to what direction they really wanted their group to head in. Thankfully, on Uno!, (the first of three LP’s planned in coming months) they have achieved something of a balance between past and present, though this is by no means their finest hour.

Opening track Nuclear Family starts promisingly but is something of a false start, lacking a truly massive chorus. This is something that is amended on second song Stay the Night and its follow up Carpe Diem as the album steps up a gear, with trademark chord heavy hooks and catchy melodies announcing that this record is unmistakably Green Day.

Let Yourself Go is perhaps the punkiest, and best, song on Uno!, charging through three minutes of energetic delirium complete with a screamed refrain that is the highlight of a superbly produced record. Unfortunately this is shadowed by the weakest song of the album, and perhaps Green Day’s career, Kill the DJ. Though the danceable riff should perhaps be celebrated for its experimentalism, it’s just a plodding, lazy mess of a tune.

Fell For You and Loss of Control are solid enough songs, however they don’t do anything special enough to save the middle of Uno! from feeling somewhat half-arsed and comfortable. Such filler suggests that Green Day may well have made a mistake releasing three albums in such a short space of time with Dos! and Tres! soon to be upon us in coming months.

One thing that is clear here however is that Green Day are oozing with a swagger and carefree attitude that was missing on 2009’s 21^st Century Breakdown. Whilst this no doubt comes with the financial security and knowledge that this record and tour will of course sell, it’s refreshing that they clearly feel under no obligation to make American Idiot part II, exemplified by Troublemaker, as Billy-Joe snarls and coos his way through 2:45 of breeze pop heaven.

The classic Green Day power chords charge back in on Angel Blue (the most American Idiot esque- track), presenting a strong finish to the LP along with the delicate Sweet 16 and the Warning era pop punk perfect Rusty James, which in quoting St. Joe Strummer suggests that such a sound and heritage was very much on the bands minds during this recording. Comeback single and album closer Oh Love polarised opinion on release, but as an album closer it actually works quite well, feeling more like a bonus track or encored  curtain closer then part of this collection of songs.

Only time will tell as to whether Green Day would’ve been better suited to putting all their golden eggs into one basket, rather than such a trilogy and Uno! unfortunately suggests that this may well be the case. However, it does provide a solid return, encompassing what we love and loved about Green Day. It’s a pity that any experimentation falls somewhat flat, but hey, I’d much rather see a stadium filling band take a few risks (*cough* Mumford *cough*) rather than playing it safe. After all, as Billy Joe so eloquently put it, ‘‘he’s not Justin Fucking Bieber’’.

                                                                                                                                                                                7.5/10     

Live Review: The Gaslight Anthem - London, KOKO

Before I start I should probably mention that I’m a MASSIVE Gaslight Anthem fan, so the prospect of seeing them at one of London’s relatively smaller venues left me more excited than a 16 year old girl about to be spit-roasted by One Direction – with Harry going first. Thankfully my excitement was well-justified as The Gaslight Anthem fired through a memorable set, ranked by the band themselves as one of their favourite shows ever.

With their debut major label release Handwritten due out towards the end of July, tonight was a perfect way so bid farewell to some older songs, showcasing exactly why the New Jersey punk rockers broke out of the basement scene and gained such widespread acclaim and adoration. Kicking off with Great Expectations, the album opener from 2008’s classic 59 Sound LP, the group ensure that the bar is set high, so high in fact that only a band with as strong a catalogue as TGA would be able to maintain it. The 25 song set included tracks from all three Gaslight albums, Sink or Swim, 59 Sound and American Slang, as well as Senor and the Queen, 2008’s four track EP.

A seamlessly paced set highlights Gaslight’s ability to mix hard rocking anthems with slower melodies as song pairings Drive - Blue Jeans and White T-shirts and American Slang – Here’s Looking at you, Kid perfectly illustrate. Of course it wouldn’t be as Gaslight Anthem show without a few covers and surprises thrown in, tonight’s offerings see an impassioned cover of House of the Rising Sun as well as a superb run through of Brand New’s Jesus Christ, situated during a rousing Angry Johnny and the Radio. In addition the inclusion of I’da Called You Woody Joe, homage to Camden Town and its patron Saint Joe Strummer is a fiercely relevant tribute to tonight’s setting.

With Handwritten looming on the horizon, (TGA’s first release since signing to Mercury Records) much speculation questioned whether the show heralded a different Gaslight Anthem, and if so would they play any new material. Well, if tonight proved anything it’s that the band themselves have not altered – singer Brian Fallon emphasizing this point himself, adding ‘‘everything’s changed, but the band haven’t changed’’ before launching into a stirring performance of breakthrough single The 59 Sound. Fans are treated to two tracks from the new record, though neither are world premieres. Biloxi Parish is a blues infused stomp of a track, previewed and debuted last year which rises up to a characteristically massive chorus that typifies the band. 45, the lead single from Handwritten, is even bigger, an immediate fans favourite that provides one of many highlights, with each ‘Hey, turn the record over’ greeted by a flurry of fists.

The unofficial inclusion of Fallon’s Horrible Crowes collaborator and former Gaslight guitar tech Ian Perkins has added a new direction to both the band’s sound and stage performance. Although an unassuming figure himself, Perkins’ guitar duties not only give the band an even bigger live sound, but it also allows Brian Fallon to further assert himself as a frontman. Putting down the guitar for around five songs allows him to clap, stomp and scream his way around stage, culminating in a brave stage dive from one of Koko’s balcony’s. Acting almost as a metaphor for the direction Fallon wants to take his band, this Eddie Vedder tribute is a representation of not only the influences on the new album, but also how the band would like to model their impending success.  Fallon is clearly ready for The Gaslight Anthem to be huge, arena huge and if their already brilliant back catalogue wasn’t enough to seal the deal, Handwritten will be. Anyone still unconvinced only need listen to tonight’s triumphant closer of Baba O’Reilly – one of the biggest ever rock songs, sounding bigger than ever before.

I’ll see you on the flipside.       

Top 5 Music Videos

In tribute to the late, great Adam Yauch I’ve decided to compile a quick top five of my favourite music videos of all time. There have obviously been hundreds of brilliant promos since video reared up, unwittingly and ultimately killing the radio stars of yesteryear, however this is a celebration of those that managed to perfectly capture a song visually.

Number 5: Beastie Boys – Sabotage

MCA may no longer be with us but thankfully The Beastie Boys humorous and energetic videos always will be. Sabotage is the best of the lot, building up the tension before launching into the fence kicking attack of the first verse. Fast, action packed and perfectly spoofed with fake moustaches it’s an LA cop chase that crams all the best bits of a film into an adrenaline fuelled three minutes of awesomeness.

Number 4: Eminem – Stan

Another white boy rapper famed for his outlawed comedy videos, Eminem went dark and disturbing with 2002’s Stan. Shot with low saturation and differentiation levels, it’s a rain drenched autobiographical tale of a crazed fan, driving himself and his pregnant girlfriend ultimately to death in his crazed pursuit of Eminem’s attention. Distressing and painful it explores the obsessive culture of fandom, so often trivialised, for its agonizing and often tragic nature.

Number 3: Social Distortion – Machine Gun Blues

A seven minute epic perfectly detailing the story told in the song. Set in 1930’s America, it’s wonderfully shot and stylish, just easing with cool. Mike Ness effortlessly pulls off the gun wielding anti-hero, keeping his tommy gun stored in his guitar case, leaving a trail of bodies in his wake. Retro, superbly directed and with an endless supply of ammo its pure punk rock heart and soul: Don Corleone with a Les Paul and what’s not to love about that.   

Number 2: Johnny Cash – Hurt

A video that will always hold poignancy and sentiment as it was filmed just seven months before Cash’s death, and three months before that of his wife June . The opening bars reflected through Christian imagery before revealing the essence of Cash’s cover of the Nine Inch Nails classic, an old man remembering through music. Shot at the House of Cash museum in Nashville, the derelict and diminishing building seemed a perfect metaphor for Cash’s own fading health. Frail, emotive and vulnerable it serves as an echo or epitaph to lost youth and memory.  Truly a goose bump inducing, room silencing masterpiece.     

Number 1: Replacements – Bastards of Young

If ever a music video captured what it’s like to be a teenager this is it, and it couldn’t be simpler. Shot in black and white, the picture slowly zooms out from a booming record player to reveal a bored teenager, sat on his bed, smoking and playing Tim. The climatic crescendo of the track itself is mirrored by the finale, where the punk lashes out, kicking his speakers over and leaving the room. A picture-perfect representation of anger, frustration and youth, it exemplifies the genre and captures feelings like no million dollar video ever could.

 You can keep Michael Jackson in space and Lady Gaga in prison; this is why music videos are awesome. 

Live: Sharks @ Club Ifor Bach,Cardiff

Leamington Spa indie punks Sharks continue to showcase their unrelenting potential during their first headline tour in support of ‘No Gods’. The four piece, now complete with new bassist Carl Murrihy, have clearly made the most of years supporting acts such as Social Distortion and The Gaslight Anthem on both sides of the Atlantic, reaping the rewards of such hard work and practice.

Opening act Crossbreaker provide the night’s local interest, with the Welsh acts energetic brand of hardcore introducing some heavy and accomplished riffs to a somewhat disappointing turnout. If the screamo style of the lead singer did appear somewhat out of place given the acts following them, this could be an association of genre Sharks themselves promote throughout their career, given that they are signed to the mostly hardcore label Rise Records.

The main support act, Cornish folk punks Crowns are very much a perfect opening for any rock band. Lively, charismatic and bursting with massive choruses they offer a very welcome English alternative to a genre traditionally dominated by Irish bands such as Flogging Molly. This is something that has definitely been missing in recent English punk but, along with former tour mates The King Blues, may be starting to change. Highlights from their mandolin driven set include Little Eyes, Kissing Gates and Full Swing.

Sharks themselves begin at the very top of their game. A superb one-two of Till The Wonders Rise and breakthrough single Arcane Effigies would seem to be unleashing too much too soon for many young bands, however the quality of all the songs on No Gods, and indeed much of Sharks’ back catalogue, ensure that this is far from the case. Having seen Sharks twice previously, one notable improvement is the quality of singer James Mattock’s vocal work. Whilst he has always had a classic punk rock snarl he occasionally seemed to struggle with the impassioned high end notes that are so powerful on record.  Tonight however, he is near flawless, something that may well have come both through practise and the guidance of album producer Brian McTernan, as he also achieved similar success with Polar Bear Club frontman Jimmy Stadt.

Sharks also have in Andrew Bayliss, a very intricate and technically brilliant guitarist. Tonight much of his best work comes out in Able Moving Hearts and Luck, littering the verses with sophisticated hooks. The highlight of the night for me comes in the form of Sweet Harness. Brimming with emotion, melody and power, such is the quality of lyrical imagery it’s hard to believe that this song was written when the band were still teenagers.   

 Despite spending much of their time in America, Sharks remain all about the British attitude. The piercing bark that opens Trains is intense and clearly intended for bigger crowds than this, bursting with ambition and frustration, it serves as a perfect penultimate track, highlighting Sharks punk rock background and outlining a thirst for greater things.

Finishing the night with album closer No Gods will no doubt become commonplace in upcoming years, as its anthemic, almost hymn like feel and instrumental finish bring proceedings very much to a completed close. Playing less than an hour, Sharks demonstrate exactly what this tour is about. By leaving plenty of room for more, they are clearly destined for bigger venues and crowds, something the band themselves seem keen on, given the direction their sound is taking.     

Sharks set list:

Till The Wonders Rise

Arcane Effigies

Able Moving Hearts

It All Relates

Glove in Hand

On a Clear Day

Fallen On Deaf Ears

Capital Youth

Sweet Harness

Luck

Matthew’s Baby

Patient Spider

Trains

No Gods

Lucero - Women & Work

Tennessee country rockers Lucero return with their most experimental record yet, Women & Work, mixing their own brand of Southern soul with rock and roll hooks and a wide range of musical backing.  

  

Introducing Women & Work, Lucero kick start their first record on ATO with Downtown, a minute long opener outlining the albums intentions; ‘come on out tonight, I’ll be good tonight’, they certainly don’t disappoint. The first song proper is the extension of this brief, On My Way Downtown. Here we are immediately exposed to Lucero’s fuller sound. Complete with a delicious blues riff and an uplifting brass section, this big band style is combined with Ben Nichols’ familiar barstool lyrics and a massive chorus of ‘come on baby don’t you wanna go, come on baby please say so’.

The title track that follows features a similar blues, rock and roll energy, powered along again by horns and an underlying jazz piano section that feels synonymous with the honky tonk bar themes described. It May Be Too Late acts as a call and response to the opening song. A slow, closing time piano beginning is soon laced with the last dregs of whiskey sorrow of a night drinking alone. The tender, downhearted lyrics lead to an unbearably desperate crescendo, perfectly mirroring that frantic search for a partner as the bartender starts to wipe down.

Track 5, Juniper, is driven by yet another bluesy guitar lick, a bravado fuelled dance number complete with horns, organ strains and a crooning Nichols at his very best. Though this track feels a somewhat unnatural successor to It May Be Too Late, this may simply be the result of searching for one story in the LP, rather than considering it a more sporadic compilation.        

Furthering this idea, Who You Waiting On tells the story of late night loneliness from the perspective of an unaccompanied woman, soon to be the interest of Nichols across the bar. The tracks steel guitars are soon overridden by a closing organ solo. Whilst previous tracks of despair have always featured a kind of hope in the night, track seven I Can’t Stand To You is pure despair. Described by Nichols as ‘the loneliest song on the record’ it is instantly darker, an eerie mix of wails and tense drumming creating a perfect storm of atmosphere.  In contrast, When I Was Young offers a reminiscent tone smothered around a steady beat, built up and centred on the lyric ‘I was fierce and wild in love, when I was young’. This particular track is perhaps the most similar to Lucero’s previous work, something which may well have been reflected thematically in sound, and is likely to fit seamlessly into their live show.

Sat rather confusingly far back into the album is the brilliantly crafted Sometimes. Featuring the LP’s most memorable riff, this slow, steam train classic is perfectly paced, building up and slacking to the anthemic post chorus ‘You and your brothers watch out for each other, always’, serving as a powerful love song to friends and family. The unfaltering grandeur continues with follow up Like Lightning, with rock and roll chords complimented by a heavily distorted bass line, crashing over a piano introduction. This is 1950’s rock at its best, with each lyrical gap feeling like it should be accompanied by an Elvis hip shimmy. Producer Ted Hutt continuing his near unmatchable ability to let vocalists go balls out crazy towards the end of the track, whilst making it all appear so controlled.

Perhaps like every Southern gent, the debauchery of such Saturday night fire is often accompanied by Sunday morning repentance in church. Therefore, as a perfect closer to such a rocking country record, final song Go Easy is given a gospel feel, its hymn like melody supplemented with a choir backed chorus.

That this doesn’t feel out of place on Women & Work is testament not only to the Deep South setting that Lucero have always nailed, but also to their new ability to expand and experiment. Nichols brings the album to a halt with an upsurge of voice cracking passion that is an ideal curtain closer to a country rock record that in acknowledging its roots and influences never cheapens or overplays them. A record that transcends its boundaries to feel at home whatever part of the world you’re listening to it in, whatever you’re drinking.

But, since you asked, mines a whiskey.                 

Sharks - No Gods

For a young band to boldly title their debut LP No Gods it takes some bottle, not to mention the need for the tunes to back it up. Sharks clearly have both, with their Rise Records unveiling living up to all expectations.

Having formed in 2007, the quartet’s previous release The Joys of Living 2008-2010 catalogued the early work that has seen them gain fans and support slots with the likes of Social Distortion, Chuck Ragan and The Gaslight Anthem, before signing with Rise last year in a move with signalled the labels intention to add punkier acts to their roster.  

Opening track ‘Till The Wonders Rise’ is a magnificent curtain raiser, with a fuzzy introduction bringing in a pounding rhythm section and the first of many notable riffs. Full of energy, a massive chorus and an intricate guitar solo, it serves as a clear statement for the band, with singer James Mattock emphasising ‘We’re the overestimated underdogs’, a lyric that may well prove a classic motto for an increasing number of fans from both sides of the Atlantic.

Follow up track Arcane Effigies proved a deserved first single for the album, earning frequent Radio 1 airplay from the likes of Zane Lowe, Mike Davies and Daniel P. Carter. It’s brilliant slice of guitar pop-punk, highlighting why lyrically and sonically Sharks have been compared to The Clash. The line ‘hapless sick lay on door-steps of beauty, and the privileged are unhappy’ outlining the quality of lyrics present throughout, which is even more brilliant given the bands young age.

Able Moving Hearts provides an anthemic early candidate for No Gods’ second single, with its ambitious feel perfectly supplemented by Andrew Bayliss’ unique guitar work. The combination of tones and rhythm from Bayliss and Mattock perhaps most resembles that of The Gaslight Anthem and this great attribute of Sharks’ sound is a major highlight throughout the entire album.

On A Clear Day You Can See Yourself and Patient Spider brim with a slow confidence, that gives No Gods an upbeat, summertime feel that is sure to be a hit during this year’s festival season. Turn To You  offers an almost waltz like feel, showcasing the wide number of genres and styles present on the record, from the punk honesty and vigour  of Matthew’s Baby, to the rock n roll swagger of What Entails and the indie-tinged Luck.

Closer No Gods is one of the albums best tracks, serving as a seamless closer to a record without a single note of filler. Soaring and dipping from verse to chorus and back again, it closes perfectly with a raw, commanding and uplifting instrumental section outlining exactly what Sharks appear to be about.

The ability to experiment with differing sounds, whilst wearing their influences on their sleeve to create something entirely original is exactly what Sharks do best, something that has been sorely missing on the UK rock scene in recent years. With No Gods these four, clearly talented and motivated musicians, have combined exactly what has made British punk so great over the years, with real lyrical depth and flair. In doing so, they have set themselves up perfectly for a bright future.  ///              

9/10

Bruce Springsteen - Wrecking Ball

The Boss returns with his 17^th studio album against a backdrop of unemployment, a global economic crisis and a disdain for the wealthy that created it – what could be better?

The opening eight bar beat of first track We Take Care of Our Own suggests that Springsteen has learnt a tick or two from the young, punk upstarts he has recently been championing. 15 seconds in however, that unmistakable New Jersey sound chimes in. The initial verse may well have sounded at home on Springsteen’s last two LP’s, however it’s when the chorus kicks in that we realise the Boss of old has returned. Raging ‘We take care of our own’ Springsteen offers a derisive quote that Republicans and other no brain patriots may well misconstrue. That Springsteen has felt cause to take such a risk for the first time since 1984’s Born in the USA was so horrifically misinterpreted highlights just how important Springsteen believes his message to be.

Second track Easy Money offers a Southern country flavour that immediately implies that Wrecking Ball will be a true Americana record. Shackled and Drawn offers a similar vibe but with a railroad blues undercurrent with Springsteen asking ‘What’s a poor boy to so in a world gone wrong?’ maintaining that unrivalled essence of storytelling that proves despite his millions, The Boss is still very much the working class man.

The albums train track pace is slowed down by the piano driven Jack of All Trades, which reaches a soft crescendo of trumpets, classical guitars and an electric solo from Tom Morello. Even this soft timbre cannot mask Springsteen’s anger however, proclaiming ‘If I had me a gun, I’d find the bastards and shoot them on sight’.  Death to My Hometown has a Celtic, rockabilly mix, perfectly complimenting a stomping electric clap running throughout.

Title track Wrecking Ball may have been written and first performed ahead of the destruction of the New York Giants stadium in New Jersey back in 2009, but it fits perfectly both as an anthemic title and thumping kick-starter to the second half of the LP. The most autobiographical and hopeful song on the album, it opens with the triumphant stanza ‘I was raised out of steel here in the swamps of Jersey, some misty years ago, through the mud and the beer, the blood and the cheers I’ve seen champions come and go’. This only serves to cement Bruce’s place as New Jersey’s spokesman and hero. The crash of cymbals accompanying every chant of ‘bring on your wrecking ball’ is an adrenaline fuelled fist pumper, bringing in an equally energetic brass section, the eloquent contrast between verse and chorus perfectly orchestrated by Soozie Tyrell’s violin. Springsteen remains, however, the focal point. Repeating ‘hard times come and hard times go’ providing the sense of fight that is perhaps the most important message of all.

Acoustic driven You’ve Got It is the ideal track to follow such an anthem, providing the soulful, foot tapping, shoulder swagger that has always come so east to Springsteen. Rocky Ground is a gospel tinged singalong, broken up by a rap section from the superbly talented Michelle Moore. That this feels an almost natural progression, if a surprising one, emphasises just how much of a genre spanning album Wrecking Ball is.

Land of Hope and Dreams was first performed back in 1999 but features on Wrecking Ball for good reason. The last track recorded with E-Street saxophone icon Clarence Clemons, who passed last year and is lovingly remembered as ‘Too big to fucking die’ by Springsteen in the album notes, this is a perfect farewell, with the Big Man’s powerful solo offering both fond memories and an optimistic future. 

Such an outpouring of emotion, so passionately maintained for a soul draining and refilling seven minutes is always difficult to follow and this is perhaps the unavoidable downfall of next two tracks We Are Alive and Swallowed Up (In the Belly of the Whale). We Are Alive is a rock n roll, banjo supplemented country and western song that also can’t quite match the fire of the first half of the album, despite its warmth and positivity. Penultimate track Swallowed Up (In the Belly of the Whale) serves as a slow burning melancholy lullaby ‘I dreamed I awoke, as if buried in my grave’.

The slight lull of intensity provided by Swallowed Up may well have been deliberately placed by Springsteen, as it sets up the perfect anti-dote in the shape of album closer American Land. Outlining all the promised glory and riches of the American Dream ™, Wrecking Ball’s final bow is a glorious Irish folk classic. Detailing the hope of migrants to America, Springsteen adopts an Irish snarl amidst a river dance of strings, drums, lutes, pots, pans and anything else lying around chez Springsteen.       

With Wrecking Ball Springsteen has created a genuine blue collar, genre spanning masterpiece. It serves as a darker, angrier (re)definition of all that makes Bruce Springsteen great, a story told with unequalled style and musicianship underlining The Boss’ relevance and importance. 

Hot Water Music detail new release

Influential hardcore legends Hot Water Music have announced the details of their next record, to be entitled Exister. Chuck Ragan and co. will release the full length LP and their first with Rise Records on May 15th.

Exister will be the bands first record since 2004's The New What Next, following on from last years 7" The Fire, The Steel, The Tread/Adds Up to Nothing. 

The Florida four-piece have also revealed the tracklisting for Exister, whilst a US tour is expected to be announced in the coming weeks.

1. Mainline
2. Boy, You're Gonna Hurt Someone
3. State of Grace
4. Drown In It
5. Drag My Body
6. Safety
7. Exister
8. Wrong Way
9. Take No Prisoners
10. Pledge Wore Thin
11. No End Left In Sight
12. The Traps
13. Paid In Full

 

Review: Leonard Cohen - 'Old Ideas'

‘Old Ideas’ sees 77 year old Canadian singer and poet Leonard Cohen return for his twelfth studio album and his first since 2004’s ‘Dear Heather’.

The albums opener ‘Going Home’ begins with an almost childlike rhythm, however, the instant Cohen’s distinctive voice whispers in, the feeling is more like a child’s funeral. Sorrowful, mourning and soothing, this spoken word track appears autobiographical, with Cohen stating ‘I love to speak with Leonard, he’s a sportsman and a shepherd, He’s a lazy bastard, living in a suit’. Next track ‘Amen’ descends through as an eight minute psychedelic, pitch black prayer, in which Cohen manages to exude remorse, passion and finality without ever breaking into a sweat. The female backing that has accompanied much of Cohen’s later work, in addition to the Godfather esque trumpet solo seem to raise Cohen’s voice into an almost statesmen like form, hinting at his womanizing past. Far from attempting to shy-away from his advancing years, Cohen embraces them, his voice croaks, breaks and fades with all the signs of a life well lived, each line uttered as if it could be his last.

Album highlight ‘Show Me the Place’ certainly sounds like a swansong, with its melodic piano and violin combination giving a climatic and cinematic feel. ‘Darkness’ has a driving jazzy backdrop, sounding smoky and sexy, whilst ‘Anyhow’ emanates backstreet poetry during its cries for forgiveness. ‘Come Healing’ bursts with light and is a timeless love-song, typically tinged with Cohen’s now trademark gospel sound and lyrical style.

 The introduction of slide and blues guitars is a welcome introduction to ‘Banjo’, the most off the cuff track on the LP (‘There’s something that I’m watching, means a lot to me, It’s a broken banjo bopping, on the dark infested sea’), whilst album closer ‘Different Sides’ feels an appropriate ending and returning loop to the beginning of the record, Cohen ending with ‘You want to change the way to make love, I wanna leave it alone’. This is a relevant final ending to ‘Old Ideas’ highlighting Cohen’s own message both through the album’s title and many of its themes.  These are ‘Old Ideas’ and the theme and style of the LP is nothing new for Cohen, but this is something to be embraced and celebrated, whilst we still can.
          

8/10

Review: The Menzingers - On the Impossible Past

The Menzingers open their account with Epitaph Records with the anthemic, hard-hitting and God damn brilliant On the Impossible Past.

Opening track ‘Good Things’ is a short, sharp introduction, bursting to life and setting an almost impossibly high tempo with the lyrics ‘I’ve been having a horrible time, pulling myself together’ rising and crashing through this avalanche of a record.

There’s no let up on next song ‘Burn After Writing’ which announces the first instantly memorable riff of the LP, as well as the first narratively brilliant and complex lyrics that ring like a classic novel being torn apart and thrown into the wind.

The next two tracks are the songs released by the Pennsylvanian four-piece prior to the LP’s release, ‘The Obituaries’ and ‘Gates’. It’s with these two tracks that the albums storyline and landscape really come into life. The Obituaries introduces the American backdrop that plays setting to many of the themes, but possess a monster of a sing-along chorus ‘I will fuck this up, I fucking know it’, that is so simple and so true in explaining the everyday anxieties and reservations we feel. It hits the nail right on the fucking head, without sugar-coating the splinters that come flying off. Meanwhile the strength of ‘Gates’ lies in its good old fashioned American storytelling ‘It’s not hard to fall for a waitress, when you both smoke, smoke the same cigarettes’ coupled with staggered power chords that build into yet another massive chorus, making you recollect anytime you’ve humiliated yourself for love, and yet making you determined to do it all over again in order to remember that ‘happiness is just a moment’.

The beginning of ‘Ava House’ shows that The Menzingers have lost none of the innovative song patterns and structures that littered previous album ‘Chamberlain Waits’. ‘I’m pretty sure this corner of the world is the loneliest corner of the world’ evokes the lyrical styling’s of The Hold Steady but the gruff crescendo of screams that finish this particular verse show that The Menzingers combine this lyrical intricacy with a heavy punk-rock attitude. Lower key ‘Sculptors and Vandals’ feels perfectly placed on the track listing, whilst ‘Mexican Guitars’ brings sunny Route 66 road-trips flooding through this late winter record and will undoubtedly sound just as great come July. ‘On the Impossible Past’ serves as an excellent bridge between the first and second halves of the record before ‘Nice Things’ revamps the pulse, screaming ‘Do ya wanna feel safe’, acting as an almost rhetorical question to remind you all that’s great about punk-rock. ‘Casey’ sounds like another ready-made single which seems a continuation of the plot that began with ‘Gates’, and is a fantastic example of the story-telling that makes this record such an enthralling listen.

Such is the energy and pacing of ‘On the Impossible Past’ that even at 13 tracks, listening to it seems to make time fly-by, whilst there is not a single note or line of filler whatsoever.  Come final track ‘Freedom Bridge’ the plot is wonderfully concluded and summarized, giving you the feeling of finishing a classic American novel, before immediately wanting to flip over and start all over again. They didn’t fuck this up, I fucking know it. Awesome.           

9/10

February and March 2012 - What to look out for

February

The Menzingers – On the Impossible Past

The third studio album from American punk band The Menzingers is released later this month through Epitaph on February 20^th. Two singles have been made available by the band so far, the anthemic  The Obituaries and the addictive Gates. Both singles are sharp, catchy punk songs that suggest that The Menzingers have honed their creative, but often chaotic style into a more simple and yet no less exciting format. Lyrically these tracks are as image laden as before, but the ease with which the band now unleashes massive sing-along choruses suggests that On The Impossible Past will be a very electrifying and powerful record.

Though a UK tour is most likely to occur in a support slot only, the band has announced a one-off headline show at the Fighting Cocks in Kingston.

Stay tuned for a full Rain Dog review when the album is released...

http://www.youtube.com/watch?v=P1aWag0Nl9E


March

Sharks

2012 looks set to be the year of the Sharks. With debut single Arcane Effigies currently receiving frequent play on Radio 1, the band are currently on tour with Social D and Frank Turner in the States. A full headlining tour begins on March 25^th in support of their first major LP with Rise Records No Gods, set for UK release a week before the tour. Make sure you catch the Lemington Spa four piece whilst you can, with their brand of DIY Punk drawing not over exaggerated comparisons to The Clash, and big names such as Mike Ness, Chuck Ragan and Brian Fallon amongst an ever increasing fan base.  

http://www.youtube.com/watch?v=sfxdQheV0ZA

ALBUMS OF 2011

10. Dan Andriano In the Emergency Room – Hurricane Season

Hurricane Season saw Alkaline Trio bassist and co-vocalist Dan Andriano embark on his first solo album. Hurricane Season is much softer than the Trio, however, the mood of the album does feel consistent with Andriano’s own penned Trio tracks such as Love Love Kiss Kiss and Crawl. Despite these clearly being Andriano themed songs, lyrically this is a much lighter and more descriptive offering, with gloomy undertones being somewhat brightened by lines like ‘I’m like a wine glass sitting on a wedding dress, I am ready and willing to make a mess’ from the title track. Although Andriano made his name as a bass player, much of Hurricane Season’s highlights come from his clearly talented guitar playing. Let Me In and On Monday feature memorable and embracing riffs that perfectly underpin the soft, undercooked vocals.

9. Twin Atlantic – Free

The first full length LP from Glaswegian alt-rockers Twin Atlantic attracted much attention, with frequent radio airings and prestigious touring slots creating a busy 2011 for the quartet.  Free saw the band justifiably make the big breakthrough that they have threatened since their formation and two mini-albums. Featuring 13 ambitious and majestic songs the band has achieved an established sound no doubt honed by producer Gil Norton (Foo Fighters, Pixies).

The highlight is undoubtedly the epic single Edit Me which soars and crashes into a massive chorus of real power and vigour. This big-verse, even bigger chorus format suits singer Sam McTrusty, who retains much of his regional accent despite the more mainstream sound.  Tracks Free, Time to Stand Up and Make a Beast of Myself emphasize the bands unreserved desire to be successful however, Free shows a band breaking into the mainstream by doing what they love and losing none of their principles.

8. Rival Schools – Pedals

The eagerly awaited follow up to 2001’s United by Fate, Pedals marked the return of post hard-core super group Rival Schools. Whilst Pedals doesn’t quite match up to the brilliance of their influential debut, it only serves to emphasize the frustration as to why Schools have taken so long to return. Opening track Wring It Out is catchy and full of superb hooks, whilst the gigantic chorus serves as a triumphant announcement of Rival Schools’ return.  Eyes Wide Open and Choose Your Own Adventure are in a similar mould, whilst 69 Guns and Small Doses showcase the understated brilliance of singer Walter Schreifels.
Here’s hoping they don’t take another ten years to release a third… 

7. Blink 182 – Neighbourhoods

Blink’s first record since 2003’s self-titled success and the first since their reunion in 2009 could perhaps have been considered a last gasp attempt. The impact of various side projects before and during their split opened the question as to whether these contradictions in styles spelt the end for Blink 182 almost twenty years after they formed. Whilst Neighbourhoods does appear more Angels and Airwaves than +44 this is in no means a bad thing.

For their sixth LP Blink offer a mature mix of pop-punk, with Delonge’s love of big, aircraft hanger power chords driving the record forward, whilst Travis Barker’s drumming is as tight and inventive as ever.  Neighbourhoods offers something that showcases all of Blink’s many qualities, with tracks such as Ghost on the Dancefloor and Up All Night emphasising the bands advanced sound, whilst the Mark Hoppus led Hearts All Gone is a fast paced anthem, reminiscent of their early work.

The differences and growing pains that may have caused Blink 182’s hiatus actually ends up creating a fresh, new direction for the group, highlighting that even as they approach middle age they’re still as relevant as ever.

If you’d rather hear 40 year old balding, overweight men singing about farts and fucking then go ahead, Bowling For Soup are still touring…  

6. Chuck Ragan – Covering Ground

Chuck Ragan, front man of Florida punk band Hot Water Music, released his third, folk influenced solo album in September.

Ragan’s love of low-key, whole hearted folk may seem a million miles away from the gruff hard-core sound of HWM, however Ragan approaches Covering Ground with the same power and intensity that gave his band so much acclaim.

Ragan’s gravelly voice powers through Covering Ground, giving the LP a breathless force as he paints a picture of a traveller’s lifestyle. Backed brilliantly throughout by fiddler Jon Gaunt and Joe Ginsberg (Bayside) on the double bass, tracks such as Nomad by Fate and You Get What You Give provide a strength and passion severely lacking in modern folk, whilst Ragan also remains true to the genre.

The album features a range of duets and appearances from artists such as Audrey Mae, Frank Turner and Brian Fallon, who assists Ragan in the LP’s highlight Meet You in the Middle.

5. Tom Waits – Bad As Me

One of the last great releases of the year, Bad As Me is the 17^th studio album by American icon Tom Waits. 62 year old Waits offers up a blue-grass, foot-stomping account of his travelling life as an artist throughout the decades. Despite this lengthy career Waits’ voice has never sounded so good. Frantic, dark, soulful and as whiskey smoked as ever, Waits shows no sign of slowing down now he’s entered his 60’s. On opening track Chicago we get a clear indication of this with Waits howling ‘I’m a boy’ at the end of the song.
The albums stand-out tracks are the singles Satisfied, a Keith Richards riff led thumper of a track, the title track Bad As Me and the military march and bark of Hell Broke Luce.

Waits’ lyrics are as imaginative and colourful as ever whilst the mournful tracks Last Leaf and Face to the Highway showcase the softer, bluesy side of Waits’ versatile vocals.

4.  Polar Bear Club – Clash Battle Guilt Pride

American hard-core group Polar Bear Club lived up to all their early promise on the third full length Clash Battle Guilt Pride. The band appears ambitious, with opening track Pawner declaring ‘I gotta take my grab at something great’ – something the band have achieved with this record. Singer Jimmy Stadt retains his gruff voice, which perfectly matches the heavy riffs and beats throughout the album, although Clash Battle is a much more melodic and attractive record then their previous work.  Tracks Screams in Caves and My Best Days show that the band now have a confidence in their sound, appearing unafraid of embracing big sing-a-long choruses that may well introduce Polar Bear Club to a wider audience. Based on this record, future success appears inevitable – and richly deserved

3. Dave Hause – Resolutions

Fans of Dave Hause’s full time band The Loved Ones or indeed anyone who saw him steal the show at 2011’s Revival Tour (no mean feat. considering Chuck Ragan, Dan Andriano and Brian Fallon were also there) will tell you exactly how great and underrated the Philadelphia front man is. On Resolutions, Hause offers his first solo LP and unquestionably shines.

Resolutions features songs that Hause originally wrote for The Loved Ones, however the differences between these tracks and The Loved Ones brand of punk make the decision to publish alone a correct one.  Acoustic driven tracks such as Pray for Tuscon and Years from Now are the more traditional, singer-song writer type tracks; however Resolutions is much more than simply this. C’mon Kid and Rankers & Rotters are ready made anthems that deserve a massive stage, whilst Prague and Time Will Tell showcase Hause’s equally powerful vocals and lyrics.

Regardless of whether Hause remains solo, or returns to The Loved Ones, Resolutions is an album of real class and accomplishment and I can’t wait to hear what he does next.

2. The Horrible Crowes – Elsie

The Horrible Crowes features Gaslight Anthem frontman Brian Fallon and English friend and guitar tech Ian Perkins.  On Elsie Fallon looks to delve into influences such as Tom Waits, The Afghan Whigs and Nick Cave, which perhaps differ from TGA’s blue collar Rock and Roll. On Elsie the duo achieves just that. A perfectly timed album of just under 45minutes of soulful, brooding reflections on love lost and the pain and anguish felt.

Despite Fallon’s distinctive vocals, this clearly isn’t just a solo project passed off as a band. Perkins creates a dark and mournful atmosphere through the use of innovative bass lines (Sugar) and intricate guitar-work (Cherry Blossoms) which perfectly complements the rock chords used by Fallon. Fallon’s lyrics are intimate and gritty, truly catching the feelings of unrequited love and unfinished business. This is most evident on Ladykiller (‘I can smell him on your skin; I bet I’d taste him in your blood’) and the final track on the album I Believe Jesus Brought Us Together, a track that offers hope after 11 songs of torture.

The main highlight of Elsie remains Fallon’s vocals however. The crescendos at the end of Crush and Go Tell Everybody are powerful, raw and balls out brilliant, evoking Waits at even his most raucous and wild.   

With this stomping, passionate and tender debut The Horrible Crowes have provided both a modern and classic LP, paying homage to and revitalising styles that have been criminally neglected by many new artists. Whilst I hope that this doesn’t spell the end of Gaslight Anthem, I certainly hope it isn’t The Horrible Crowes’ only album.

1. Social Distortion – Hard Times and Nursery Rhymes

California punk stalwarts Social Distortion take the top spot in our albums of 2011, despite being one of the first records released last year. Though formed over 30 years ago, this is only Social D’s seventh studio album, with founder and iconic front man Mike Ness the only surviving member. Hard Times and Nursery Rhymes sees Ness fully immerse the band with the Bluegrass, rock’n’roll sound that has always been present even in their punkier beginnings.  California (Hustle and Flow) and Gimme the Sweet and Lowdown take clear influence from the very origins of Rock’n’Roll in the 1950’s whilst low-tempo numbers Bakersfield and Writings on the Wall are stripped down to the very essence of blues, with Ness’ gravely snarl sounding better than ever before.

Social D still flaunt their punk rock attitude with tracks Road Zombie and Machine Gun Blues, but the addition of female backing singers give the group a much more complete and classic sound. Ness’s battles with drug and alcohol addiction feature heavily in the album, although this is an upbeat record, suggesting the worst is well and truly behind him, with closing track Still Alive cementing Ness’ place as the great survivor.
The fact that Mike Ness and Social Distortion are still alive is something that we should all be thankful for.  In Hard Times and Nursery Rhymes Social D have perhaps produced the most honest and truly Rock’n’Roll record of the last ten years.      

Other special mentions should go to Title Fight’s Shed, Frank Turner’s England Keep My Bones, Bon Iver, The Foo Fighters and Against Me!