Aerial Salad’s debut is refreshingly raw, angsty punk. FFO: Greenday, Jawbreaker and Wonk Unit.
Review by Mark Bartlett.
As 2017 draws to its conclusion, it’s becoming more and more apparent that this is a banner year for underground UK punk. Trends in music are cyclical. I personally feel the current hordes of identikit easy-core bands are about to succumb to a new wave of diverse, substantial and purposeful punk rock bands, much like how the hair metal and gimmicky glam of the late ‘80’s was melted away by Sub-Pop, Epitaph, Reprise and Fat Wreck Chords. We’re lucky to be in a musical climate where you can see an amazing home-grown punk band every week without fail (and without spending a lot of money either!).
Manchester 3-piece Aerial Salad’s debut album Roach has (in my estimation at least) leaped right to the top of the pile in a year choc-full of quality releases across every sub-genre in the UK punk spectrum.
It’s a perfect storm of everything I look for in a first release; it’s focussed, confident and passionate. It boasts muscular production that stands toe-to-toe with major studio albums, and it’s filled to the brim with total belters. Everything here sounds large, from the stadium-sized drums to the rich crunch of the guitar work on offer, as well as throaty, full vocals that sit perfectly within the mix. Overall it all sounds pretty immaculate.
Before this review reads like it’s entirely gushing praise, it’s important to address the few flaws that steer Roach away from perfection. Aerial Salad are shooting for a sound that marries huge, early Green Day hooks to the raw grit of Jawbreaker, and they succeed, but as consequence Aerial Salad aren’t exactly reinventing the wheel here. We’re in the strict territory of 3-chord punk rock and the quiet-loud-quiet-loud dynamics of Nirvana. It’s derivative. I could also argue that the song-writing here is somewhat formulaic, with classic pop-punk chord patterns that we’ve all heard many times over.
It’s not what you say; it’s how you say it. Aerial Salad, despite binding themselves to a strict sonic template, are utterly convincing and assured at every point on Roach. Vocalist/guitarist Jamie Munro has a really strong understanding of how to reel in the listener. His voice has a raspy drawl that emulates both Billie Joe Armstrong’s snotty enthusiasm and Kurt Cobain’s angsty inflections. Continue reading “Album Review: Aerial Salad – Roach”
Check out the new EP from Manchester pop-punkers, Bear Trap. FFO: The Starting Line, No Use For A Name, The Ataris.
Review by Mark Bartlett.
Manchester’s Bear Trap have got some pretty great stuff going on within the three tracks of their debut EP Sugarcoated (courtesy of Horn & Hoof Records), but the fresh 4-piece still have plenty of scope to grow into the best version of the noughties revivalist pop-punk unit they’re trying to be.
They’ve a really decent grasp of song structure and what makes for a good, uplifting chord progression, as well as a strong sense for a catchy lyrical hook. The opening bars of Goodbye really do an excellent job of cementing the Drive-Thru era sound and reeling in the listener. Bear Trap have claimed a Blink/Green Day/Yellowcard influence, but personally, I can mostly hear The Starting Line (which is no bad thing!). Lyrics like ‘I’ll wave you goodbye as the last train leaves, just say it’s not forever’ are pretty authentically classic emo. Bear Trap also score major points for sticking to their real accents and not falsely Americanising their sound; it really helps them carve out their own identity in a very crowded genre. Continue reading “EP Review: Bear Trap – Sugarcoated”
The new EP from London’s favourite ‘regret punks’ is a moody, melodic masterstroke. FFO: Iron Chic, Leagues Apart and Red City Radio.
Review by Mark Bartlett.
When I first saw The Burnt Tapes on a poster (a year or so ago) I’d already decided that they were awesome before ever hearing a note of music, such is the power of an excellent band name. But a band needs to be more than just a really really cool name. On Alterations the London-via-Athens band deliver six tracks that stand toe to toe with their peers and cement their position at the top of the pile of London’s best punk bands. Tone Apostolopoulos (vocals & bass), Phil Georgoulopoulos (lead vocals & guitar), Panos Tessaromatis (vocals & guitar) and Jordan Hall (Drums), have delivered one of 2017’s standout melodic punk releases.
Short opener Alterations sets the tone and pace nicely. Sonically, it all begins in a fairly sunny fashion, with triumphant progressions and some flowery harmonies that are effectively betrayed by vocals that take the granite chewing grit of Hot Water Music’s Chuck Ragan, viewed through a modern Iron Chic-esque lens. “‘Cause at twenty-eight, what the fuck can you change?”
Lead track Oh Marie was the first song I was exposed to. I immediately got vibes that took me back to circa 2001 post-hardcore/emo classic bands. Musically, the chord changes are a bit Good Mourning-era Alkaline Trio. The opening progression is menacing and bubble-wrapped in glass half-empty pessimism. Lyrically, we’re in a dark place here: “I’ve looked better, you’ve looked worse. Crawling on the ground for your last cigarette.”
It’s followed by one of the two strongest tracks on the record. The excellently punny Wayne Regretzky opens with a huge, sparkly pop riff that leads into the most dynamically interesting verse-to-chorus changes on the EP. Lyrically, it’s poignant and personally affecting with the refrain, “All good things pass, real fast,” delivering the record’s best lyrical moment. Continue reading “EP Review: The Burnt Tapes – Alterations”