I must admit that I have slept on this Leeds-based alt-punk duo (vocalist/guitarist Lucinda Livingstone and drummer Conor Dawson) for way too long. I heard their debut EP ‘Sad’ a couple of times, but couldn’t really get into it. None of the songs on it were more than say a 6/10, but I need to revisit, as every song on their first full-length Seafoam is absolutely knocked out of the park. Kamikaze Girls play heart-on-sleeve, fuzzy-but-poppy, grunge-y, brooding, punk rock.

Their dreamy atmospherics at times remind me of a punk-y Depeche Mode. There is a definite ‘80s synth-y influence on Seafoam, with reverb in tow and a space-y feeling throughout. “Teenage Feelings”, meanwhile, has a hell of a catchy, twee indie-pop chorus. At the same time, however, Kamikaze Girls also bleed Bikini Kill. Reflective and shoe-gaze-y in parts (“Good for Nothing”); pissed off with crunchy guitars and scream-y vocals in others (“KG Goes to the Pub”). It is this dichotomy that makes Seafoam work so well, where the straight-up, in-your-face punk-y ‘fuck-yous’ hit so much harder when it’s surrounded by dreamy contemplation. That is not to say there is anything ‘dreamy’ about the songwriting on Seafoam. Kamikaze Girls have produced a lean, mean feminist machine with something meaningful to say throughout; every word seems to count. Indeed, the aforementioned “KG Goes to the Pub” is the best example of this, with its pounding, raging noise coming off like early Nirvana material, injected with Riot grrrl politics, in which Lucinda tells a “fuck boy, sleaze bag” who keeps putting his hands on her waist that she is going to knock his “fucking lights out”.

The record is very much introspective, but that doesn’t stop Kamikaze Girls having their say on issues on social justice and cohesion, which couldn’t be more pertinent in this day and age (as they do fantastically on “I Don’t Want to be Sad Forever”). Nevertheless, the lyrics are very much heart-on-sleeve, self-deprecating and earnest, with Lucinda gives intimate insights into her everyday anxieties as “one of those nervous millenials” (“Deathcap”). The album is very visceral, dealing with Lucinda’s raw emotions, straight from the off- whether it’s “I think I’m having a heart attack” on “Berlin” or “This morning, I felt sick/ I threw up in the sink” on “Deathcap”. Meanwhile, the two songs which bookend the record (ok, well one of them is technically a bonus track, but whatever) are tied by the depiction of a real-life robbery at gun-point which deeply affected Lucinda’s mental state. Seafoam opens with these gut-punching lyrics:

“One young man put a gun to my head, held me down and took my possessions/ and ever since, what a state I’ve been/ Spent a year of my life doing nothing” (“One Young Man”)

The anxieties afflicting Lucinda are nakedly depicted throughout the album, allowing the listener to get a real sense of her emotional state. There is a particularly vulnerable moment at the end of “Anxiety” (that aforementioned bonus track), where Lucinda’s vocals cry out in pain: “Can’t deal with a man with a gun/ No, I cannot go back there”. This ties everything together thematically and highlights the continuing effects that this incident is having on Lucinda’s ability to function. A raw, deeply emotive album that everyone can resonate with; it also sounds fucking amazing. Very much recommended.

https://kamikazegirls.bandcamp.com/

DB

So, on their third full-length Always Why, is this more of the same from Caves? Well, yes, and no. On the one hand, the sound on the record is still by and large in the band’s classic fuzzy, catchy, poppy punk style. Vocalist/guitarist (also drummer on this one) Lou and Bassist Jonathan are still doing their thing. The vocals remain passionate and heart-on-sleeve, with lyrics as intimate as ever. On the other hand, Caves have given the songs more room to breathe on Always Why. There is still a frantic nature to Caves’ sound at times, but they now seem to be in less of a rush to blitz their way through the album as they were on 2013’s Betterment. The more spacious style lends itself more to indie-punk than straight-up pop-punk, and allows Caves’ melodies to emerge to a greater extent. I mean, they have always been catchy, but on Always Why, the hooks are more reminiscent of Weezer or Superchunk than pop-punk per se (there is a noticeable reduction in ‘woah-ohs’ on this one!).

I mean, the band that Caves still remind me the most of is RVIVR, I guess. The at-times swirling lead guitars (check out, “Wild Dad” or “America”), the ‘boy-girl’ dual/alternating vocals, the bombastic choruses and the gritty production all call to mind the DIY Long-Island-ers. Caves totally have their own thing going on though and the hooks on Always Why can match anyone in the current punk scene. I really think they have gone beyond on this one with the quality of the choruses. Stand-outs for me are the stop-start, slow-loud “Wait”, reminiscent of Weezer or mid-era Green Day; the intensely personal tale of queer love “16” or the classic Caves sound of “America”. There is a sense that Caves are the ‘reliable one’ in the UK’s punk scene (no bad thing in itself), but actually, delve back into their back catalogue and you realise their gradual evolution; on Always Why, a sense of change shouldn’t be a huge shock considering that the two band members now live an ocean apart (one in the UK, one in the US) and this record was written remotely via GarageBand. Despite all that, Caves remain one of the most impressive and consistent punk/pop-punk bands in the UK, with Always Why probably their best full-length thus far.

Check it out: https://specialistsubject.bandcamp.com/album/always-why

DB

A new-ish melodic-punk band straight out of Nantes, France (some town in Northern France!). Following 2015’s ‘New Discoveries’ 12”, Distance is their debut full-length. Heavy Heart play a straight-up gritty brand of pop-punk that would fit in well at Fest. If we are record-labelling, their sound is a cross between late-era Fat Wreck and that classic No Idea sound. Banner Pilot, The Sainte Catherines and Iron Chic all spring to mind, with Heavy Heart’s crunchy guitars, complemented by gang vocals and hook-laden choruses.

More than any of these, though, the gritty, driving melodies on Distance remind me the most of under-appreciated Minneapolis punks The Manix. It’s smart, thoughtful and intense, in the same way. Lyrically, Heavy Heart engage in some good ol’ existential crises! The idea of ‘distance’ looms over the whole record, highlighting one’s perceived disconnection from the outside world. The stand-out track on the album “Worrier” says this best for me: “This life is scaring the shit out of me”. The group vocal chorus of “Take me, take me home” on this one reminds me of the best of Iron Chic. Other highlights? “Caged” and “Poison” are just pure, undiluted melodic punk goodness, but it is “Faces”, when Heavy Heart slow things down a little, that things get most interesting. It’s the album’s ‘ballad’, recalling perhaps early Jimmy Eat World at points or The Promise Ring. I love the lyrics on this one:

“Have we become so different? Or have we always been? I find it hard to say, because thinks they’ve stayed the same”

So, yeah, Distance is a pretty great debut punk rock album. As soon as the ear-worm-y lead guitars come in on opener “Unravel”, I was pretty much hooked. I mean, Heavy Heart are not re-writing the book, but when the songwriting is this good and the hooks are this big, who gives a shit?

Check it out here: https://heavyheartnantes.bandcamp.com/album/distance

DB

After a hiatus of sorts, The Dopamines are back with their fourth full-length Tales of Interest (the title is Futurama-inspired for the uninitiated). Following 2012’s Vices, this is a similarly gritty, heart-on-sleeve and Goddamn dirty take on pop-punk. If you have already heard “Business Papers” off the Larry Livermore compilation, you’ll have a decent idea of what the band are going for here. Nevertheless, The Dopamines have got noticeably heavier on the new record. There are actual hardcore breakdowns on display here. The guitars are crunchier and the recording is rawer than ever. The Dopamines have never really had a ‘clean’ sound (although the closest would be Expect the Worst), but Tales of Interest was recorded in just four (beer-soaked) days and it feels like it. They have totally perfected that tight, live-in-a-punk-basement sound, like some of the classic Lookout! pop-punk albums from the early-mid ‘90s did.

To say the vocals are aggressive on Tales of Interest is a massive understatement. Lead singer Jon growls and barks his way through the album, spitting out the home truths in disgust. At the same time, The Dopamines’ melodies are stronger and tighter than ever. It’s like everything (catchiness, tempo, aggressiveness, heaviness) has just gone up several notches. The pop-punk on Tales of Interest is not really ‘gruff’ but rather, in-your-face, raw, aggressive, yet hook-laden pop-punk. There are certainly hints of Dillinger Four in there, but Dear Landlord come to mind, too. I don’t think the modern Dopamines sound anything like The Copyrights who they are often compared to (and never really did to be honest). I guess this is the furthest the bands have strayed from the ‘pop’ in ‘pop-punk’.

To me, The Dopas are totally doing their own thing on Tales of Interest, and it’s certainly difficult to think of other modern pop-punk bands which have such dynamism and variety over the length of a record, while simultaneously tying everything together. You have got the raw, gritty, more straight-forward pop-punk of “Ire” and “Common Rue”;  the super-fast melodic hardcore of “Kaltes Ende” (linking to the instrumental opener, “Kalte Ende” which is apparently the name for a sparkling wine in the States); the intense, yet catchy-as-fuck “Heartbeaten by the police” (a cover of the High Hats); or the faster, grittier re-recording of “Douglas Bubbletrousers” (off their split with Dear Landlord), re-titled here “Expect the Worst”. I guess “Business Papers (Reprise)” is the most interesting, starting with far-off, quiet and distorted vocals over a slow-strumming guitar, before suddenly and dramatically bursting into life with hardcore-punk urgency.

I’ve been a big fan of The Dopamines since the beginning, basically and they released their self-titled debut LP on It’s Alive Records back in 2008, and it’s been great to hear the band’s songwriting develop on each subsequent release. They have always been a bitter, self-deprecating and cynical band and that is maxed out on Tales of Interest, notably with their frequent thirst for revenge, as on the chorus of “Ire”: “I can’t think of a better way to spit it right back in your lying face”. There is a sense of desperation on the record, often linked with addiction of some kind, as there was on Vices. I know it’s a cover, but “Heartbeaten by the police” has a great couple of lines which captures this feeling: “I need my Hazel every night/ I need my haze to feel alright”. The lyrics are generally mature and somewhat deeper than on previous releases. There is also a personal, somewhat confessional tone to many of the lyrics on Tales of Interest: “And I assure you that I’m still the same/ I just got sucked into a world that took a hold of me”.

Jon Lewis said on the Anxious and Angry podcast (which is fantastic, by the way) that “Tales of Interest” was the album he had always wanted to make with The Dopamines, and you can totally see why: it’s a complete, cohesive yet varied, one body of work that takes the best elements of their previous records and enhances them to full effect.

Listen to “Ire” and “Common Rue” here: https://radgirlfriendrecords.bandcamp.com/album/tales-of-interest

DB

Pop enough for the indie-pop fans and edgy enough for the pop punk fans, this five song EP from UK outfit Austeros is just right for those of us who have one foot in each camp. Singer/guitarist Jeremy Pitcher has obviously been listening to plenty of power pop, because the song writing is hook laden, bouncy, and jangly. It’s kind of obvious that Green Day is a pretty strong influence, as well. What makes this EP so great to listen to is not only the great song writing or the catchy melodies, but it’s also the passion that comes through in Pitcher’s vocals.

The album begins with  “To Be You,” a mid-tempo cut that’s a real cut down – “Sucks to be you” goes the refrain, as the lyrics detail all of the flaws of the person being addressed. The guitars are nice and fuzzy, yet jangly, while the vocals have a hint of sadness to them. “Dead Cells” has an outstanding power-pop sound, and lyrics about killing ones own senses via killing brain cells. “Cherished” is the quietest and shortest track, featuring acoustic guitar and what sounds like a keyboard, but the vocals are pretty strong. But it’s really “Figure of Speech” where Pitcher comes into his own. Besides a great melody, with diverse sounds from raucous and fuzzy to quiet and calm, the vocals are particularly passionate on this one. “You trip when you run your mouth off like that,” the chorus declares, another put down, indicating the songs on this EP represent a lot of cathartic release. I think this one is my favorite track of the EP. “Island” closes things out similarly to the way it opens, with a mid-tempo, a great jangly feel, and lyrics about never really feeling like an island, that is a loner, but the tide is rising – distance is developing in a relationship, it seems.

This EP was my first exposure to Austeros, but it certainly makes me want to go back to their previous LP and two previous EPs to hear more.

Listen here: https://specialistsubject.bandcamp.com/album/ive-got-this

PS

Image result for coffee breath I'll lose interest in this

This Birmingham band presents their debut EP featuring four songs of math-pop. There’s lots of flowing guitars that dance around in a sort of swirly way, plenty of tempo and time signature changes, and changes from quiet and delicate to loud and raucous. All in the same song! There’s also a bit of dream pop influence at play on some of the songs, with loads of reverb. Emotional vocal deliveries complete the package, with an incredible tonal range, spanning many octaves and feelings. I think what strikes me most are those dueling jazzy guitar riffs that toy around with each other, sometimes playing follow the leader, other times seemingly playing very different songs, but it all fits together.

I think that of the four tracks “Playfight,” is my favorite, as it best embodies the full range of characteristics of this band.  “Summertime” is a beautiful one, too, with an unorthodox waltz time for the opening section, then going into a more conventional loud indie sound in four/four time, then back and forth again. The guitar interplay is lovely, and the vocals are intense in places. The other two tracks are also similar in nature, and while I do like them and they are beautiful, there’s just something missing for me. All the swirling guitars can come off a bit contrived if overdone. And the guitar tones are perhaps a little too clean. Those vocals, though, do feel quite honest.

Listen here: https://ihavecoffeebreath.bandcamp.com/releases

PS

Let’s be clear from the start. Nottingham’s Isaac aren’t breaking any new ground with “Let It Burn.” Their sound isn’t something unique that makes them stand out from the crowd. And, while there’s some variation in some of the songs, much of the album has a, shall we say, very consistent sound. I happen to like this sort of sound, personally, and though there are some problems with “Let It Burn,” overall it’s a decent listen.

The album starts out very promisingly, with “Hunger Pains,” perhaps the strongest track of the LP. A deeply fuzzy bass line introduces the track, then the guitar joins in with a simple line, and the drums give a bouncy beat. The track picks up with a strong riff, and then the vocals come in, the whole song having a texture very familiar to those who listen to bands with the post-emo sort of melodic indie-rock sound. “This Bitter Song” introduces some nice vocal harmonies, but from there things start to lose steam. “A Polish Cafe at Christmas” and “Lil Lord” have melodic lines that sound so similar that one would be excused for thinking the same song appeared twice on the same album. Most subsequent tracks fail to inspire, everything having nearly identical dynamic levels, tempos, mixes, and so on. A few of the songs in the latter half of the LP are a notch above the rest. “Wet Legs” has a stronger more dynamic feel to it than most tracks, and “Stiff Upper Lip” and “Fade Out” both have a nice bounce to the melody. But even there, the feeling of these tracks is just too similar.

At fourteen songs in thirty-five minutes, there’s a lot of sameness to wade through. This is something best taken in small doses in shuffle mode.

Listen here: https://circlehouserecords.bandcamp.com/album/let-it-burn

PS

Hey, so a new feature! Having both been born in 1989, me and Read Hard are going to talk about our favourite three records for each year since 1989. Despite not being actively aware or conscious of these records at the time, these are nevertheless the EPs, albums and 7″ which define ‘the years of our lives’…and so we begin….with the final year of the 1980s….

Read Hard’s Picks

1989 was an interesting year. It was the year I was born, for one. It was the year of the first Brazilian election in 29 years and the year that F.W. De Klerk became president in South Africa and the times of apartheid slowly ended. It was also the year the Berlin wall was torn down. There was no longer a West Germany and a DDR or a West-Berlin and East-Berlin. This happened on the 9th of November, about a month after I was born. So, this is not something I remember much of obviously. The day before I was born on the 9th of October, an alleged UFO landed in Voronezh in the Soviet Union (now Russia). The Dalai Lama won the Nobel Peace Prize that year. There were some great records released this year too, not that I remember any of those either. I’m gonna write about three of them. NOFX’s album S&M Airlines, Operation Ivy’s album Energy and Screeching Weasel’s EP “Punkhouse”.

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Operation Ivy-Energy

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It was first released on Lookout in March 1989 and later re-released on Tim Armstrong’s own Hellcat records. I was thinking of writing about it in my “Read Hard’s Pop Punk Picks” column, but I recently wrote about …and Out Come the Wolves, so it was fitting to write about Energy, as it is the best album from the year I was born. The band didn’t last very long and only put out one full length album. Matt and Tim from Rancid were members of the band. The singer Jesse Michaels later went on to start Common Rider and The Classics of Love. Energy perfectly mixes 80s hardcore with ska, making the way for the third wave of ska. I think there’s some Who-inspiration here too. The drummer was called Dave Mello. The first time I heard Op Ivy was when I was 14 and I heard the songs “Knowledge” (covered by anyone from Green Day to the Aquabats and Millencolin), “Unity” and “Bad Town”. The latter was cooler than any Rancid song I had ever heard and I discovered I really liked this band. I ended up finding the LP in Oslo and dreaded not buying it. I found it again in Camden Town in London and bought it! One of my finest investments!

What makes the album great for me, is that it sounds really low fi and noisy, but the songwriting and lyrics really make up for that, if that were a bad thing in the first place. The lyrics are often socio-political or philosophical. There are still love songs like “Bombshell” and songs about music and punk rock like “Sound System”, “Jaded” and “Artificial Life”, but most of the lyrics seem to be about violence and hatred and how to stand against violence and unite (“Take Warning”, “Bad Town” and “Unity”). “Smiling” is also a song that deals with gender roles in an intelligent way. They also do a cover of Nancy Sinatra’s “These Boots Were Made for Walkin’”’ called “One of These Days” and it’s just the chorus repeated. “Freeze Up” shows a dystopic view of the world where elected politicians say their phony lines, but don’t offer solutions for the bleak future. The line “It’s 1989 take a look around” was changed from the original version. The album was originally recorded in 1988 at Gilman Street, but it didn’t sound quite right so they re-recorded it in Sound and Vision studios.

NOFX- S&M Airlines

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It was released on the 5th of September 1989 on Epitaph Records and produced by ER’s owner Brett Gurewitz. Fat Mike really wanted to take the band in a more melodic and Bad Religion inspired direction than the earlier NOFX stuff, so having Brett produce the album and other Bad Religion members do harmonics seemed perfect. Mike and Greg Graffin also do a duet on the album, a cover of “You Can Go Your Own Way” by Fleetwood Mac. This shows that Graffin was, and probably is, a way more skilled vocalist than Fat Mike. The album is probably the album with most collaborations between Fat Mike and Eric Melvin. It also was their first album with metal head Steve Kidwiller, making it a more metal-sounding album than any of their other records, with hair-metal riffs and solos. Their long hair also made them look like a metal band.

The album is lyrically very punny like most of Fat Mike’s lyrics. The titles shine with clever yet corny word play like “Day to Daze”, “Professional Crastination” (“We’re living in a procrastination!!!!!!”), “Drug Free America” and “You Drink, You Drive, You Spill”. The latter being about drinking and driving and how it’s not as bad as you think, unless you’re afraid of spilling your drink. The title track gives us a peak into one of Fat Mike’s hobbies that is BDSM and so does “Vanilla Sex”, that also mixes the theme of being into kinky shit and the moral majority and the government getting involved in people’s sex lives. The most serious song on the album “Jaundiced Eye” has always been one of my favorite Fat Mike lyrics and it deals with racism. The lyrics “Fascism racism all start up the same/ Stop feeding the fire, help put out the flame” and “All looks yellow to the jaundiced eye” made a huge impact on me as a kid. I bought the CD in Copenhagen, Denmark in October 2015, right before I turned 16. This was also the same holiday I bought Punk in Drublic! Though way too metal for my taste and with vocals that are too bad even for me, S&M Airlines really was the start of the NOFX we know today and it’s a pretty good album in spite of it all!

Screeching Weasel-Punkhouse

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It was released July 7th 1989 on Limited Potential. They had released the album Boogadaboogadaboogada half a year before, at the end of 1988. It’s the first release that features Dan Vapid. What’s interesting about the EP is that it both sounds more hardcore and also a bit more melodic than Boogada. Except for the cover “I Think We’re Alone Now”, all of the lyrics are written by Ben Weasel. The title track has music written by John Jughead and “Something Wrong” has music written by the entire band. “Fathead”, that appeared on My Brain Hurts was written by Weasel, Vapid and Jughead together. “I Need Therapy” is probably the most hardcore-sounding song on the EP and is my theme song. I think “Punkhouse” and “Something Wrong” are the best songs on there. “Punkhouse” is, as I’ve heard, based on a true story (the potato in mouth thing). The song is a catchy Pop Punk tune with the lead solos we got to hear on My Brain Hurts and got some tastes of on Boogada. The song satirizes living in a punkhouse and ends with a Peter Pan Complex statement “We’re never growing up” similar to newer Weasel track “Follow Your Leaders” (“Whatever you do don’t grow up”). “Something Wrong” is about being a band on the road and meeting “stupid” and “fucked up little girls” concluding that “there must be something wrong with us”. The EP was re-released a couple of times. Ben Weasel released it on his own label No Budget records and it was also released on Selfless records. The entire EP was also included on the Weasel compilation Kill the Musicians from 1995. And that was the first time I heard it back in 2006 or 2007.

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Dave’s Picks

Pixies- Doolittle

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Doolittle, Pixies’ second full-length, following the wonderfully raw and visceral Surfer Rosa, emerged amidst the veritable golden-age of indie-rock. The sound of ‘alternative’ was in its boom period, with Dinosaur Jr, Sonic Youth and Mudhoney having all released career-defining records during this period, but, for me, Pixies was always the crème de la crème of this batch of bands. Incidentally, I think Surfer Rosa is a little superior to Doolittle, but alas, as I wasn’t born until 1989, the format of this article series means that I can only ramble on about the latter.

To be fair, both of these records are great, albeit pretty different to each other. It is well-known that the recording process for Doolittle was in sharp contrast to its predecessor. While Surfer Rosa was recorded in little over a week with Steve Albini, Doolittle was ‘perfected’ over a much longer period with Gil Norton, who was much more ‘hands on’. It meant that Doolittle had a comparatively cleaner, poppier sound, with “Monkey’s Gone to Heaven” and “Here Comes Your Man” melodic hits likely to be found in indie clubs to this day (the latter with an incredibly memorable guitar riff). There are hints of Husker Du and Sonic Youth to the Pixies infectious indie rock sound, but not overly so; Pixies were always doing their own thing and I think they can be barely compared to their contemporaries.

Indeed, they could be put down as one of the most original, goddamn bizarre bands of all time: if they weren’t singing randomly in Spanish, Francis Black was squealing like his life depended on it (best heard on “Debaser”, of course), alongside some of the strangest (and at times, most violent) lyrics ever penned. The songwriting on Doolittle is, of course, fantastic. Although Kim Deal is only actually credited with songwriting on one track here, her influence can be found throughout (although this point of course marked the beginning of the end in regards to internal band relations). There is also incredible variety on Doolittle, where Pixies can just switch from the melodic alt-rock of “Monkey’s Gone to Heaven” to the jittery, country-ish ditty of “Mr. Grieves”. Indeed, the more straight-forward, poppy tracks just makes the weirdness stand out even more, like “Tame” for instance. “Gouge Away” is, meanwhile, a fantastic album closer, highlighting the band at their visceral best. Doolittle represents a thrilling ride, from first to last minute.

Fugazi- 13 Songs

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An influential and legendary band. Repeater is their best full-length, but 13 Songs is Fugazi’s go-to release for me. It combines the band’s first two EPs (‘Fugazi’ and ‘Margin Walker’) but for a while when I was much younger and first heard 13 Songs, I didn’t realise that this wasn’t an actual album. I mean, everything gels together so well. I guess the EPs were recorded more or less around the same time, so it may as well have been a full-length. I guess we all know the history of Fugazi but just in case you were unaware: Minor Threat dissolves; Mackaye forms the short-lived Embrace, an early pioneer of emo along with Rites of Spring; shortly after, in 1987, Mackaye forms Fugazi along with a couple of Rites of Spring band members and a member of Dag Nasty.

It is often difficult to know how to describe Fugazi’s sound, but it is somewhere between straight-up punk (of the spiky, anarchic kind), post-hardcore and emo. I know they have been said to inspire later bands such as Get Up Kids or Braid, but to me, they don’t sound anything like that kind of emo: rather, there is raw emotion running through 13 Songs, that sometimes comes out as pure unadulterated rage (most obviously on “Waiting Room”) while others are more considered, reasoned anger (see: “Provisional” or “Suggestion”). “Suggestion” is just great; a feminist anthem that must have been very much against the grain back in the macho ‘DC ‘80s hardcore punk scene (“We blame her for being there”). I guess there is an anger running through the whole of that scene and time, but Fugazi just channeled it in a whole different way. Some of it sounds a bit like reggae (“Promises”), as Mackaye wanted.

The word ‘fugazi’ apparently means ‘something fake’, but there was nothing at all fake about this forever-DIY punk band. They have always pinned their ideals on their chest and never deviated to gain profit or wider recognition. For one, they never had merchandise as such or had gig tickets above a certain price. There is a timeless quality to 13 Songs that derives from their ideals, meaning that it feels as fresh as it would have done back in 1989 (in contrast to so many of their peers). “Give Me The Cure” is post-hardcore brilliance; “Margin Walker” explodes in all the right ways; “Suggestion” provides a great lead into the much more upbeat “Glue Man”. Also, one of my favourite ever punk lyrics comes from this collection (“Waiting Room”): “I’m planning a big suprise/I’m gonna fight for what I wanna be”.

Screeching Weasel- ‘Punkhouse’ EP

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And so, to the Weasel! Screeching Weasel’s ‘Punkhouse’ EP marked the exciting period between Boogadaboogadaboogada and My Brain Hurts, when the band were really ‘finding’ themselves. I mean, don’t get me wrong, Boogada’ is great, but this EP marked the beginnings of a different kind of Weasel. They retained the brattishness, immaturity and pure fun of their previous work, but became more melodic here (partly due to the addition of a certain Dan Vapid). The songwriting also started improving significantly at this time.

In regards to a greater sense of melodic, I am referring specifically to the title track and closer “Something Wrong”. There is a sense of youthful exuberance and optimism in the former. I know there are a ton of songs about punkhouses, but this one must up there with the best. These are the kind of bratty, charming hooks that would later dominate ‘peak Weasel’ Although My Brain Hurts immediately followed this EP, I think the sound on ‘Punkhouse’ is more akin to the scrappy, faster-paced nature of Wiggle, particularly “I Need Therapy” and “Good Morning”. The vocal melodies on “Good Morning” actually remind me a little of “Dingbat”. “Fathead” is a cool song, but, as John Jughead said on his youtube blog thing, it doesn’t fit too well on My Brain Hurts, and it probably works better as part of the ‘Punkhouse’ EP. The cover of “I Think We’re Alone Now” is the only real filler on here (and cover-wise, pales in comparison to “I Can See Clearly Now”). Overall, though, one of the better Weasel EPs, and acted as the starter to the main course delight of My Brain Hurts!

 

 

I feel like Isotopes represent the stereotype of American youth culture perfectly. And they are of course from Canada. Formed in Vancouver, British Columbia, but they are currently based in Louisville, Kentucky, if I’m not off base. An athletic addition to the Ramonescore-landscape they describe themselves as Baseball Punk, and have set themselves out to educate the public about baseball’s etiquette and gameplay. 1994 World Series Champions kicks off with the first inning “What We do Ain’t Secret”, the title is a Germs reference and I love it. The music is straight up pop punk and shows us what is ahead on the record right off the bat. Though they are Canadian, Isotopes sound very European and could easily be from Italy if it wasn’t for the native North American accent. I have no idea who George Brett is and most of the Baseball references are lost on me. I also believe that, with the exception of a couple of Riverdales and old Oi! Songs, sports have no place in punk! I don’t feel like I’m getting educated on the subject through these songs either. That being said, Little Deuce Coupe by the Beach Boys is one of my favorite albums and I can’t stand cars either.

The song that has caught my attention the times I’ve listened to the album the most is “Indian Summer”. It’s a catchy little song and it’s definitely a highlight of the record. Other highlights are “Morganna” a very Riverdales sounding tune and “Rochelle Rochelle” that is very Ramones-y and catchy in its own way. The album is not bad, but it’s very generic. Many bands have done this thing before and better. I also feel like songs are a bit too repetitive for my taste. I keep on wondering; is the sandlot the place on the baseball field where there’s sand? Anyway, if you love to go to parties at the sandlot, whatever that is, this is the album for you!

Check it out here: https://theisotopes.bandcamp.com/album/1994-world-series-champions

RH

Wow! I’ve found a solid contender for my best records of 2017 list. Imagine blending the upbeat positive sound of RVIVR with the rock’n’roll of The Dirty Nil, then mix in the powerful melodies and solid work ethic of Success, and you have the start of an idea of what Grand-Pop sounds like. The Bristol band’s songs are tight and uplifting, melodic and powerful, and Warren Mallia’s vocals are strong and confident, reminding me of a smoother version of The Dirty Nil’s Luke Bentham, with the way it dives and bends notes, while remaining rock-solid and powerful. There are amazing touches in the songs, like in the opener, “Drop Trow,” which starts hard and charges forward the whole time – until the 2:40 mark, when it suddenly gets quiet but for a single whispering guitar, before it explodes again several seconds later. “Nova Scotia” is a favorite track, probably as much for the vocal gymnastics as for the great melody. “On and On” has a minimalist feel to the melody, which I like, and the vocals are particularly strong on this one. Throughout all these tracks, the sense of melody is amazing, and the power rarely lets up. This is highly recommended!

Check it out here: https://specialistsubject.bandcamp.com/album/eight-nights

PS