REVIEWS: All The Best Tapes - Demo

Review by Tristan Fernie

All The Best Tapes warn potential listeners that they're "not advised for serious negi-heads and dubstepperz" which, as far is statements of intent go, is pretty fucking cool. Far from going off on a rant about the atonal collection of beeps and wubs that passes as 'electronic music' these days, I'd much rather the myriad of reasons why this new band deserve your time and listening attention.

The best comparison I can give is to The Ergs!, minus Mikey Erg's nasally American whine. Instead, Marcus Barker's vocals pack the bite of Dan Sanfey of Five Knuckle, or a slightly less batshit Wesley Eisold. Elsewhere, Danny Beardmore provides tastefully upbeat drumming, backed by Scott Woolley's Descendents-worthy basslines. A good mix.

There's a strong posi vibe to this collection of tunes; opening track 'Nice Baby' is all about the importance of friends and not allowing yourself to wallow in grief. The punchy and energetic guitarwork neatly mirrors the message of the lyrics. 'OMG! Posthardcore Kids...EVERYWHERE!' is a stirring affront to trends and sloganeering, expressing the frustration of kids moping around in xscenexcorex bands instead of doing creating something constructive and new, backed by some of the most dance-worthy pop-punk you'll hear this side of The Menzingers. 'You Could Never' is my personal favourite song here, mournful lyrics about (what I assume to be) friendships and relationships cracking when placed under the microscope. The contrast between melancholy lyrics and sunny day-glo pop-punk reminded me of Green Day before they went utterly to shit. Finally, 'Goodman Tensag' is all about people being complacent to be spoonfed shit by the radio and bullshit 'talent' contests like The X Factor. It's the fastest song on the demo, the rapidfire drumming being remiscent of Lifetime...and who can hate a song that has the refrain of "Clear Channel can suck a dick"?

I thought this demo was fucking great and, hopefully, it'll be the sign of better things to come. Check it out or, better yet, sort these boys out with a show!

REVIEWS: Defeater - Empty Days And Sleepless Nights

Review by Tristan Fernie

This is how it should be done. Ever since Modern Life is War split, Defeater have carried the torch for literate, progressive hardcore. Everything about 'Empty Days...', from the narrative arc that runs throughout the album, to the acoustic songs at the end (supposed to reflect "sleepless nights", natch), screams "BOW DOWN MORTALS FOR I AM HARDCORE OF GREAT QUALITY"...it's a testament to Defeater's integrity and talent that it not only works, but also forms the best Bridge 9 record since '...Is Dead'. While most of the hardcore scene is stuck in a knuckle-dragging stupor, hopelessly trying to emulate a scene that was shit 10 years ago, it's inspiring that Defeater play music for their own sake, proving that the genre should aspire to be more than just an exercise in goading idiots in vests into hurting one another.

REVIEWS: Bangers - Small Pleasures

Review By Tristan Fernie

Bangers have been mainstays of the UK scene for years now, cropping up supporting everyone from Chuck Ragan to Iron Chic, so it seems bizarre that Small Pleasures is the 3 piece's first 'proper' full length (not counting 2010's odds-and-sods collection Dude Trips). There's a curious world-weariness to the lyrics, counter-balancing the energetic pop-punk in a way that evokes Jawbreaker, or even Gunmoll's 'Board Of Rejection'. I can hear some Latterman and Leatherface, too, and not in the shameless rip-off sense that seems so popular with bands these days. Opening track 'Making Friends' rocks with a purpose and maturity the band previously only hinted at, achingingly personal lyrics about coming to terms with growing up ("I'm so terrified/that we'll all age and we'll all die) coupled with a satisfying crunch and chug that reminded me of Dillinger Four at their very best.
'Church Street In Ruins' is easily the best track here, bemoaning the kind of crass commercialisation ("more coffee shops than we could ever hope to drink in") and materialism ("I kind of find it offensive that everything's for sale") that's crept into Britain curteousy of America - backed by a triumphant repeated chorus of "the last thing I need is any more things". It's, for want of a better word, an absolute banger and seems set to join 'The Hard Way' and 'Excuses Be Damned' as a tune that'll ignite audiences into drunken singalongs. These are just two of ten absolutely excellent tracks, and I can easily see this ending up on my albums of the year.
With a US distributor in the form of Kiss Of Death Records, as well as appearances scheduled at this year's Fest in Gainesville, here's hoping that Bangers keep "making friends" (sorry) abroad, spreading the news of a burgeoning UK scene far and wide.

REVIEWS: Pudge - Chippy Tea

Review by Tristan Fernie

I first encountered Pudge supporting Unfun, and before they'd even played a note I was sold. Rocking a guitar decked in Legend of Zelda and Strongbow stickers, guitarist Ste gave a rallying cry to "BRING THE MOTHERFUCKING RUCKUS!", before launching into the good-people-good-times anthem "Fucking Yes Mate". If down-to-earth, relatable lyrics like "there's half a spliff left in the ashtray/and two tinnies left in the fridge/half a pizza in this box/I'm not going home" don't leave you beaming then you're probably dead inside. While every other band seems to be clamouring to make some kind of grand 'artistic statement', it's refreshing that Pudge cut the bullshit and write about what they know - in this case, getting pissed, chatting up girls, scrabbling to pay rent and having chippy tea. The lack of pretention imbues Pudge with a kind of honesty that's absent in more 'serious' bands - just check out their homage to the criminally under-rated (and much-missed) Cop Out in, uh, "Cop Out". All of this is hinged around the kind of fast, Satanic Surfers skatepunk that makes you nostalgic for a time (2001?) when every UK band wanted to sound like Propagandhi, and all was well. Pudge give a well needed reminder to have fun in a scene that's steeped in it's own rules and pretentions - fucking yes, mate!

REVIEWS: Baroness - The Blue Album

Review by Tristan Fernie

The word 'epic' is banded about to describe everything these days, from middling nu-core bands, to Green Day's latest conceptual abortion, although I feel it perfectly sums up Baroness. Simply put, if all metal was this good, I'd have given up on punk years ago. Baroness are bearded, stoned warriors who rock with equal parts Sabbath, Mastodon, The Melvins and Torche...with 'gruff' vocals (I apologise for using the term) and a groove that will have fans of Planes Mistaken For Stars and Young Livers salivating in awe. Every track could be the highlight of another album - "Jake Leg" opens with an Eastern-flavoured riff (the type The Offspring used to use before they became shit) before exploding into a downright-fucking-filthy guitar chug, "A Horse Called Golgotha" is as beastly as the name implies, deceptively clean opening chords giving way to the coolest dance-infused drum beat I've heard all year - there are times when the minimalistic snarl is reminiscent of Deftones, albeit Deftones with access to much better drugs. I honestly do not give a shit about going into full-on fanboy mode because there isn't a single note, lyric, or chord I would change on this album. Getitgetitgetit!

REVIEWS: Touche Amore - Parting the Sea Between Brightness and Me

Review by Tristan Fernie

Touche Amore straddle an awkward tightrope between mawkish, "I-hate-my-parents-and-want-to-die" melodrama and genuinely heartfelt passion. The biggest clunker is 'Condolences', a screamed piano ballad that opens with the morbid "if you fantasise at your funeral/I understand" - the wangst is overbearing and comes across as completely insincere, I mean, what does a youngish band signed to Deathwish Inc. have to be so fucking depressed about anyway? I've heard that some of the band are Christian, which doesn't sound too implausible - there are times when the lyrics positively reek of religious guilt. 'The Great Repition' is also about witnessing your own funeral, the metaphor being about as subtle as a sledgehammer to the face.

When they wipe off the mascara and rock out, the results are exhilerating- 'Face Ghost' has a ball-quakeningly intense breakdown, 'Pathfinder' reminded me of the much-missed Sinking Ships, and 'Home Away from Home' is the single coolest love-letter to going on tour I've ever heard. All in all, a mixed bag, the stolen Integrity riffs are as good as ever, but the lyrics have definitely regressed. You can't help but feel Touche Amore's magnum opus is yet to come, so here's hoping they overcome their growing pains and become the powerhouse that I'm sure they're capable of being.