Let’s give some love to the Danish punk scene. For years, the scene has become more and more noticeable and we have a lot of bands to thank for that. In September ‘19, when I was going through an insomnia-filled three days, I decided to go on a deep dive and that’s when I discovered […]
Let’s give some love to the Danish punk scene. For years, the scene has become more and more noticeable and we have a lot of bands to thank for that. In September ‘19, when I was going through an insomnia-filled three days, I decided to go on a deep dive and that’s when I discovered this band, and that might have been the second best thing to happen to me in that year. But let’s get on with this review. Back in January of 2022, a Danish skate-indie-punk trio called Forever Unclean released their first full-length LP via Nasty Cut Records (EU), Disconnect Disconnect Records (UK), and Hidden Home Records (US), consisting of 11 tracks. If you’re already familiar with Forever Unclean, they are pretty known for their short and one-worded title tracks, which we were introduced to on their EP’s Float, Woof, and Shreds. And that, much to my joy, is still the case with Best.
With Best, I took a different approach than starting from the top with “Dream.” When I first heard the record I decided to put it on “Shuffle” like some daredevil. The first song I heard, was “Kold” sung in the band’s native language Danish, and it became a favorite from the first guitar riff before the vocals come in. While it could fool one and sound uplifting and energetic, the lyrics do put another spin on the song. “Jeg er ligeglad nu”, translated to English “I don’t care right now”. I’ll admit, speaking Danish myself, I do think it’s nice to see the band dabble in Danish, knowing that it might only be appreciated by their Danish fans. But they took a chance and it definitely paid off.
Next up is Mandy, a cute love note to someone special. “I really need a break from reality with you, with you”, this song is unbelievably catchy from the first verse, and then picks up its pace around the 30-second mark, once again showing off how the three-piece work so well together, from the supporting vocals laying a good background to Lasse’s raw, impressive vocals. This could become a fan favorite in no time. I’ll even go as far as saying, this song should be pushed a lot more; send it to someone you love next Valentine’s Day or Anniversary.
“Smile” is the penultimate song on Best, and opens with Leo’s carefree and rapid drumming. I find this song might be where he shines through, yet the way Lasse and Troels complement the drumming, with their talents on the guitar and bass, gives me at best, ‘90s grunge vibes towards the end, probably why it deserves a mention. While I love punk, getting that hint of grunge from anyone has me hooked when I pick it up.
While I could give a track-by-track review of the record, I believe you need to check it out yourself and not get too influenced by a review. I’ll say this: the record packs punch after punch and you’ll only be glad you heard it. Even from listening to their previous material for three years, it’s very clear how these guys have grown into the band and with each other, the raw emotions transferred in the lyrics, while the instruments play some more uplifting music go with them. Throughout the record, you will are met with short songs, but they pack a lot and there’s no dropping the ball on this record. The trio does know how to properly mash genres, borrowing from the early ‘90s rock, and fast-paced pop-punk, and showing how not all indie music has to be quiet and can take a punch to it. The emotional display that we are met with on the album really benefits the band lyrical-wise, as a few bands before them haven’t been shy of showing a different emotional range on their records. Forever Unclean does it differently, with shorter and more packed songs with lyrics that make you reflect since I could ask them if they were doing a lot of self-reflecting while writing.
From the first listening, I knew this record was going to be on my top ten AoTY List, and I’m glad to say it still is even with all the releases that came this year.
If you want to catch them, they are supporting ALLDEEPENDS and Sewer Cats on selected dates, starting already Friday, November 18th in Copenhagen!
Hailing from upstate NY, Celtic rockers 1916 are an explosive concoction of the modern Irish Punk movement with an original mix of psychobilly which gives 1916 a sound that stands apart from other bands of the genre.
Starting as an acoustic duo in 2006, singer Billy Herring and original drummer Steve LaDue played the traditional Irish ballads of the Dubliners and Wolfe Tones in the local pubs in and around their home-town of Rochester, NY. They decided to call themselves 1916 to get people interested in Irish history. In 2010 they took the music to a new level with the addition of electric guitars, traditional instruments, and a full drum set. Within a few months of trying their new sound, 1916 were opening for the likes of the Dropkick Murphys, 21 Pilots, and New Politics, among other national acts.
On St. Patrick’s Day of 2012, 1916 released their first studio album, A Drop of the Pure, to rave reviews. That same year, 1916 became the first band from Rochester, NY to get their own Pandora station with the addition of their music to the Pandora genome project. With their music now reaching a global audience, the boys would soon gain fans all over the world.
The following year, 1916 released their sophomore album, Stand Up & Fight. This new album, featuring a collection of covers and originals, had a more polished sound than the raw punk feel of A Drop of the Pure. This new full length album also featured more traditional Irish instruments to give the new LP a fun and full sound.
As the band continued to evolve, they kept touring and playing as many shows as possible. With bigger audiences came a larger fan base for 1916 to interact with. The band has always enjoyed hanging out with the crowd both pre- and post- shows.
In November of 2014, the guys went back into the studio to begin recording their third album, Last Call for Heroes. Released in December of 2015, Last Call for Heroes was met with great enthusiasm from critics. Named one of the “best punk albums of 2016,” both home and abroad, the new album appeared to have given the band the momentum they needed to move forward.
Mandolin player Jon Kane joined the band in early 2016, just before the boys hit the road to join Flogging Molly on their Salty Dog Cruise. After a whirlwind spring of touring through the Bahamas and Europe, Jon was just what the band needed as he brought his energetic and fun stage persona into the fold.
The sound had certainly become streamlined and unique, but it wasn’t until 2017 that upright bassist Ryan Hurley would join 1916 to give the band the final integral piece that gives the music its psychobilly flavor. Ryan quickly found a new home in 1916 and the band now finds itself on the edge of yet another amazing year of recording and touring.
In 2019, the band welcomed the thundering drums of Tony Presutti to take over behind the kit. Soon after that, 1916 further expanded their sound by the addition of accordion player Sam Sarratori to the crew!
As we near the end of 2022, music critics, publications, and fans alike are busy putting together their year-end lists. Did your favorite band put out a new project that you love? Did you discover a new artist altogether? Whatever tops your list will surely fill you with a sense of nostalgia for the music year that was. Sometimes, however, some truly excellent projects need to be revisited. Before The Dying Scene contributors put out any year-end list, some projects we did not cover throughout the year deserve some love! Without further ado, here are five punk/punk-adjacent albums released in 2022 that you may have missed.
The Chats: Get Fucked
Ironically, the first artist covered in this collection is one many readers have likely already checked out. That’s okay, though, because the only criteria we’re going off of is whether Dying Scene covered their 2022 release. And we didn’t.
The Chats are a garage punk-y band from Sunshine Coast, Queensland, Australia. The band has made a name for themselves in their short career with a viral hit in their pocket; their 2017 single “Smoko.” The song and its accompanying music video have been listened to and viewed millions of times, making it a track with mainstream success that few new punk bands have experienced now in recent times. They’ve built on this acclaim and continued their string of releasing solid material with their 2022 release, Get Fucked.
Get Fucked continues in the style the Chats have made their trademark early in their career. The hallmarks of this style include sneering, bratty vocals, straightforward garage guitar riffs, and simple yet catchy songwriting that harkens back to early British punk bands while still not sounding dated. Clocking in at under 30 minutes, this is no-nonsense pub rock/garage punk that makes for a fun listen. If you haven’t already checked out Get Fucked, start with the single 6L GTR.
Chat Pile: God’s Country
While the Chats’ Get Fucked oozes fun and charisma, God’s Country by Chat Pile (not to be confused with The Chats) switches gears into abrasive and disgusting cacophony (This is a compliment of the highest order).
Chat Pile, hailing from Oklahoma City, Oklahoma, is a self-described noise rock outfit that some music media lumps into the sludge metal category. Whatever you want to call it, Chat Pile burst onto the scene in 2022 with the release of their debut album God’s Country. While the band formed in 2019 and released EPs after that, their 2022 debut served as a real coming-out party. God’s Country was met with critical acclaim, currently at 87% approval on Metacritic.
Don’t trust the critics; take this record on a spin yourself. It certainly isn’t for everyone, but for anyone that enjoys noisy, unvarnished, and brutal rock music, this record may be for you.
While the instrumentation provides much of the mood, and truthfully this record would still be enjoyable if you only treated the vocals as sonic texture, a dive into the songwriting serves as horror itself. The vocalist of Chat Pile, under the pseudonym Raygun Busch, described the themes in God’s Country as ranging from homelessness to a 1974 mass murder of six restaurant employees in Oklahoma City. If you missed God’s Country and are intrigued, check out the opening track for the record “Slaughterhouse.”
Fresh: Raise Hell
In July of 2022, Brighton emo/indie/pop punk rockers Fresh released their new record, Raise Hell. Before the release of Raise Hell, Fresh was perhaps best known for their 2021 single “Girl Clout,” an anthemic indie rock track about disingenuous performative feminism in the punk and overall music community. The star in this track is the simultaneously emotionally vulnerable and biting songwriting and vocal performance of Kathryn Woods.
Raise Hell is a natural follow-up to the path set forth on that 2021 single as Fresh comes through with an 11-track suite of melodic emo/pop punk/indie rock tracks. (Full disclosure, this is not my favorite style of music, but Raise Hell has proven to be something that continues to draw attention and re-listens.)
Each track comes with at least a few moments of clever songwriting, a fun riff, or something in the overall composition that seems to transport you to the emotional place the song is trying to evoke. This means that even if one song is not one’s favorite on the album, something still makes it stand out. Check out their single “Why Do I,” and if you’re into it, consider giving the record a listen!
Petrol Girls: Baby
Throughout punk rock history, much of the excellent material is born out of anger, anxiety, or isolation from society. It’s unfortunate that the genre often reaps its most memorable moments from the unjust actions of society, but that is something that comes with the territory. Baby, the new full-length record by UK/Austria-based hardcore band Petrol Girls, is now a vital part of this tradition.
Hardcore/Post-Hardcore/Riot Grrrl act Petrol Girls have always been incredibly politically active, specifically on feminist issues. Still, the developments around women’s reproductive rights over the last couple of years seemed to light an even greater fire for the band. Baby is the band’s rawest, most vitriol-filled, and angriest project. While the disdain is palpable, the songwriting is always well-crafted, with much thought put into it. On many songs, albums, or pieces of media that deal with political or social issues, it’s easy to fall into the trap of being ham-fisted. This trap never reveals itself on Baby as the issues at hand are of grave importance and are treated as such.
The music matches the message, too, as, in a similar way to the aforementioned God’s Country, this record is not necessarily a pleasant listen. The math-rock and post-hardcore influences that have always been present in their work show up in even greater abundance. The texture is like sandpaper on many songs, providing a perfect backdrop to the vocal performance and lyrics, which take center stage. A short-form review like this can’t do justice to this project’s depth and gravity. If you missed out on Baby, do yourself a favor, acquaint yourself with the single “Preachers,” and listen to the whole album.
Soul Glo: Diaspora Problems
In the late 1990s and early 2000s, the term “rap-rock” used to be cause for apprehension. There are, of course, some stand-out successes, but for the most part, you knew you were in for something that was likely tacky, aesthetic over substance, and not a great listening experience. This trend has recently changed with several artists, such as Show Me the Body, Slowthai, and City Morgue, producing a much more palatable and harmonious fusion of the genres. Another such artist at the forefront of this effort is Soul Glo, who released an excellent project, Diaspora Problems, in 2022.
Soul Glo is a trio from Philadelphia that has quickly risen to be one of the punk landscape’s most exciting and unique voices. They are simultaneously a hardcore band and a rap outfit. They deal with serious themes like racism and consumerism but also love to inject absurdist humor.
Soul Glo has built a lot of momentum since their formation in 2014, and Diaspora Problems feels like the culmination and crowning achievement of this moment in their career. As their first release on Epitaph Records, this is likely the most prominent platform the band has ever had. The record is abrasive, hardcore, and at times features production reminiscent of a classic east-coast hip hop (think Public Enemy’s classic It Takes a Nation of Millions…) style but updated and outfitted to the unmistakably punk leanings of the group.
Much like Baby from Petrol Girls, the songwriting themes on this record are too nuanced and in-depth to cover in this kind of short format, but do yourself a favor and check out Diaspora Problems, along with their single “Driponomics (Featuring Mother Maryrose).”
Wrapping Up 2022
We hope you discovered some new bands or excellent projects released in 2022 through this collection. Obviously, there are far more than just these five albums that may have slipped through the cracks for some people. Let us know your favorite albums from 2022 that may have yet to get the press or hype they deserve!
While this was just a quick summary of some of these projects, it is impossible in this format to give them the in-depth analysis they deserve, so please consider checking out the ones that intrigue you.
Remember that time your dad went to the grocery store to get milk and never came back? That’s the exact heartbreak us skate punk fans have felt since Cigar released Speed is Relative 23 years ago and disappeared into the ether shortly thereafter. Good news! Dad’s back, and he got the milk! Or, in this […]
Remember that time your dad went to the grocery store to get milk and never came back? That’s the exact heartbreak us skate punk fans have felt since Cigarreleased Speed is Relative 23 years ago and disappeared into the ether shortly thereafter. Good news! Dad’s back, and he got the milk! Or, in this case, Cigar’s back and they’ve got an awesome new record.
The wait was long, but it was worth it. With their Fat Wreck Chords debut The Visitor, Cigar picks up right where they left off on Speed is Relative. This record delivers more of the crazy fast, ultra melodic punk that earned the band’s 1999 debut its deserved status as a cult classic among skate punk diehards. Actually, I think this record might even be faster than the first one! Yes, two decades have passed, but these guys have defeated Father Time. They still have the same youthful energy that originally drew me to their music; I’m confident it will win many new listeners over as well.
Cigar wastes no time getting out of the gate, as “These Chances” kicks off The Visitor at a breakneck pace, and immediately rolls into the equally speedy “Legacy of the 7 Piles”. Right off the bat, drummer Jon Sortland is firing off like a fucking machine gun on drums; seriously, this guy is a lunatic. New bassist Jonathan Hischke shows off his chops with riffs that will make your fingers bleed just listening to them. Frontman Rami Krayem turns in a great performance once again, with some creative guitar parts and equally impressive vocal range.
I loved the album’s lead single “We Used To” when I first heard it a few months ago, and that’s still the case. This song has “instant classic” written all over it. But when trying to pick a favorite track, it’s a complete toss up for me. There are no stinkers to be found here. “Gone Wrong”, “Classic You”, “Forget About Me”, and basically everything else on this record is on par with the fan favorites of Speed is Relative.
The Visitor‘s closing track “Knocked Down” is introduced with an a cappella intro, and for a brief moment in time, you get the impression that Cigar might actually slow down. But this glimpse into a seemingly softer side of the band is short-lived. They quickly hit the gas, opening up the circle pit one more time with a rapid fire skate punk anthem to rival “Mr. Hurtado”.If you like punk rock fast enough to set a land speed record, The Visitor is the record for you. With any luck, Cigar won’t keep us waiting another 23 years for the next one!
Our favorite Pittsburgh foursome, Anti-Flag, are 13 albums deep into their career that has spanned since the late ’80s. There was a long break and line-up change before they resumed their work in ’92, but they are still angry, and this album shows it. To be clear, Lies They Tell Our Children is Anti-Flags’ first […]
Our favorite Pittsburgh foursome, Anti-Flag, are 13 albums deep into their career that has spanned since the late ’80s. There was a long break and line-up change before they resumed their work in ’92, but they are still angry, and this album shows it. To be clear, Lies They Tell Our Childrenis Anti-Flags’ first concept album and is a collection of probably their finest and most forward songs since their ’96 debut album. The album is 11 tracks, and seven of them have guest features, from Ashrita Kumar from Pinkshift, Campino from Die Toten Hosen, Tim McIlrath, and Brian Baker from Bad Religion, to name a few. While I usually believed that too many guest features were a red flag, this album shows that if you have an idea, you have a clear message, and people believe in the message you’re trying to bring forth, the number of guest features does not matter.
Let’s rewind to 2020; what the fuck happened? Covid, the world stood still; Anti-Flag released an album like many others. Now let’s fast-forward to 2022: war, impending doom, and most of us have given up hope that the system will ever change. Here’s Anti-Flag with clear, straight-to-the-point messages. There’s no misinterpreting anything with their lyrics on this album. Happy New Year, all; I’ll let Anti-Flags point out what is wrong with the system in 2023. But Lies They Tell Our Children doesn’t hold back on any song, and it’s time to go in for the kill. Anti-Flag has tried to perfect the balance between catchy hooks, headbanging instruments, and meaningful lyrics for the past three decades. I thought 20/20 Vision was a masterpiece, but Lies They Tell Our Children has outdone it. So I’ll get on with my review, and I’ll tell you this: I’m a sucker for any album that takes open digs and trashes the Government in any country.
“Sold Everything“ is a solid album opener; the song starts slowly with the rhythm guitar taking the lead before Justin Sane jumps in with their much-appreciated political lyrics. “Neo-liberal white saviors, Murdoch and Fox News. Fuck the Pittsburghpolice and our president too!” sings Justin Sane, backed by the rest of the band during the song. Next up is “Modern Meta Medicine” ft. Jesse Leach from Killswitch Engage taking their dig at Big Pharma, and I would like to say America’s significant consumption of pills and other things. Still, the fact is that it isn’t just a problem in America but everywhere in the world. While “Sold Everything” doesn’t set the tone for the album, this song does. It’s fast-paced with loud drumming and guitars but again highlights the catchy hooks. We’ve all heard this song for some time, so there’s nothing I can say that everyone else hasn’t caught on to. “Laugh. Cry. Smile. Die” ft. Shane Told of Silverstein was the first single to shoot off this album. “The lies we tell our children shaping everything we know/ Turning fact into fiction streamed on every single show” goes well into how the misinformation isn’t anything we can run from. Especially the younger generation has much more access to knowledge than the later generations had while growing up.
I’ll skip a bit because we’ve all heard most of the features, but let’s bring “Shallow Graves” ft. Tré Burt into focus. Now this song is probably one of the biggest standouts, in my opinion, and sad it wasn’t released as a single. This song sounds different, with heavy guitar riffs, rough vocals, and rapid drumming. But it has a more unpolished indie vibe before it goes into the classic Anti-Flag sound throughout the album. “Only In My Head” is another standout track, but this one is without guest features. “They are after me/ But no one’s free,” screams Justin Sane throughout the track, with the rapid machine drumming and simple “oh’s” from the band in between, concluding a great album. Things changed over the years, but Anti-Flag hasn’t that much, and that isn’t bad because this album feels like the beginning of something big to come.
Standouts to listen to: SHALLOW GRAVES, IMPERIALISM, SOLD EVERYTHING and ONLY IN MY HEAD
It’s summer in 2002 and it’s about to be golden hour while you lay on your bed staring at the ceiling. You are dwelling on some fight you had with your mom. Every friend you have is out having fun or on vacation- unreachable by phone and you’re swearing off each and every one of […]
It’s summer in 2002 and it’s about to be golden hour while you lay on your bed staring at the ceiling. You are dwelling on some fight you had with your mom. Every friend you have is out having fun or on vacation- unreachable by phone and you’re swearing off each and every one of them. Your last ditch effort of hope points to a Walkman and a bike while you ride the familiar streets of some suburban Midwestern town with headphones filled with relief.
Flash forward to 2022 after a pandemic and a half has washed over you and you’re still sitting with the same feeling of being grated by life, but you have time to step into the Crushverse and kick it with Hayley & the Crushers. Modern Adult Kicks is an album that houses singles released from 2021 and some fresh new tunes from the band and most have adult themes paired with power pop fun that are sure to ride with you from your morning coffee to a late-night vinyl dance sesh. By the way, this album comes in a limited edition blue raspberry for those vinyl aficionados.
Modern Adult Kicks starts off strong with the single “Taboo” which offers this hefty guitar riff as Hayley’s dark and devious voice coaxes you melodiously to the stranger side of power pop. You’re gonna follow her and you’re gonna love where it’s headed. In the 2nd verse, the first four lines are delivered such a mood of heavy desperation and need. You hear it in the annunciation of T’s and the beaks in guitar. “Taboo” connects this memory of that feeling while looking out of the window in The Lockdown of 2020. You wanted to go out, but you know it was taboo.
The album goes on to carry The Crushers’ more polished sound for your tender punk heart. The band has described this album as an example of “how to grow up without growing jaded.” Nothing could be more rightly said about it. The death of the ego really prevails in the sound of Hayley’s sharp guitar playing, lyrics, and titles of songs in this album. Songs like “She Drives”, “California Sober”, and “Overexposed” bring out this perfect mixture of sunny pop-tempo painting this scene of punks enjoying life knowing full well everything around them is burning (this is fine). Which is just the kind of macabre sense of fun that most of us who survived the past few years may need right now. Don’t worry for all you tough guys out there the album still houses the familiar punk sound echoing the frustration and need to thrash around that resides in most of us.
In her own words on Sound Digest, Hayley has written a little year in review which gives insight into what this album may mean to her. It is in this touching honesty as she writes about being a musician during the pandemic, getting her shit together, and driving to really refine her career as a musician. All the touring she wanted to do for the band’s last album which was released in 2020 never got to come to fruition. All that hard work and self-reflection came to be in March of 2021 when the band was signed by Josie Cotton to her record label Kitten Robot Records. The band got to work with Paul Roessler remotely as well as in person for Modern Adult Kicks and the album was mastered by Mass Giorgini (Squirtgun). The band is gearing up for a tour that begins September 23rs, 2022 and it is one that you may not want to miss out on.
Hot Mulligan is well known for their buoyant pop-punk sound with an emo seriousness behind their lyrics. These guys have been a huge favorite of mine for so many years. Getting into the local scene, a lot of bands here seemed to pull inspiration for their sound from these guys (or bands similar to them). […]
Hot Mulligan is well known for their buoyant pop-punk sound with an emo seriousness behind their lyrics. These guys have been a huge favorite of mine for so many years. Getting into the local scene, a lot of bands here seemed to pull inspiration for their sound from these guys (or bands similar to them). They never fail to bring such a fun and upbeat tempo in their songs, despite having a song or two that start soft and then pick back up into the pop-punk sound we are familiar with from them. Why Would I Watch is an incredible album as far as lyrics go, throwing in a song about a lost pet that had me bawling in my car on my way to work one morning. Absolutely worth it.
This album kicks off with a decently long song title (as are many of their song titles, but whatever) called “Shouldn’t Have a Leg Hole But I Do”. It’s a very happy-go-lucky-sounding song that will throw you way back to the original pop-punk sounds that we all grew up with. I found myself finding this song almost familiar and comforting. They did a phenomenal job in capturing the “old sound” of pop-punk and going back to the roots of the genre (which will also be a recurring theme throughout the album). Lyrics for this song speak volumes on trying to escape a situation or leave something behind that you know you should and need to live your life for yourself, but something will always bring you right back until you face whatever it is that needs to be addressed.
Powering into the next track is a beautiful transition that tells the realities of life not going as you expect. “It’s a Family Movie She Hates Her Dad” is largely about breaking cycles and being aware of the toxicity that is to be able to change and grow from it. My biggest indicator of that is the more than relatable line in the song that jumped out at me where he sang, “Sit down and give me the confessional // Stay together for the kid // Isn’t that original?” Having been faced with that situation, this song hit home and had me hooked on the rest of the album to follow. The instrumentals of this track scream the classic and familiar sound of Hot Mulligan’s original tracks from when they formed in 2014. I love how consistent they’ve always seemed to be while making their music. Always staying somewhat in line with what they’ve always done, yet making it just different enough to keep us on our toes!
Moving into the next song, it almost has a sense of urgency in the tone of the entire thing. It really brings together the lyrics’ theme of just trying to survive in a world that’s so different from where you were. “And I Smoke” might be relatable for more of us than we may realize, just pay attention to the lyrics and see if you may find a sense of familiarity in the feelings this track has to offer. My personal favorite being almost the start of the song, 00:22 in he sings, “Move out, a new place that I don’t know // Its smallest details are unfamiliar // Sit in the shower until I feeI alone”. I moved to a new city I wasn’t super familiar with not too long ago and so this song really resonated with me on that. The unfamiliar and the fear of the unknown is a real thing to battle with when moving out and on your own, especially if you have children in tow.
The song that has everyone’s brains trying to process the way the band will have to announce it while on tour. “This Song is Called it’s Called What it’s Called” is one of my favorite tracks. It beings with soft instrumentals and vocals that bring the most comforting sounds I’ve heard from a punk band. Reminiscing on a few spotty memories, seemingly with a fond tone. Then 60 seconds in the realization hits that it’s all gone by in a blink of an eye and the time lost is nearly crippling. The regret of not doing things just slightly different and leaving things unsaid that could have changed the entire trajectory of your life. “Oh, there’s so much I would change // Take more pictures // Oh, I left so much to say // All the missed connections.” I think everyone can relate to this in one way or another and this band has got a serious knack for finding the perfect instrumentals to not only match the mood of the song, but also keep the listener engaged with their tempo changes and execution of the lyrical melody! Easily one of my favorite tracks on the album.
“No Shoes In The Coffee Shop (Or Socks)” is an upbeat song that kicks the vibe back up to a more fun and lighthearted feel, telling the story of looking back on what is expected to be an epic journey that ends up being filled with regrets. This title track has a deep undertone to it if you’re willing to listen close enough, and maybe you’ll catch the placement of the album’s title and appreciate its weight when you do! It’s followed by a slightly higher energy, good-vibed track named “Christ Alive My Toe Damnit Hurts”. It’s honestly about the back and forth of addiction and how hard it can truly be to ignore the intrusive thoughts that come across the mental when you’re trying to fight the urge of needing just one more. The admiration I have for artists like Hot Mulligan that have off-the-wall track names to go with songs that have a 50/50 shot of being deep and meaningful, or just a good chuckle with the randomness of the analogies chosen with no serious direction to be left open to interpretation.
Then we get to “Betty.” If you’re ready to bawl your eyes out to a beautifully soft and wholesome ballad to a best friend…this is it. I was completely blindsided by a single line around the 1:11 timestamp that had the waterworks start almost immediately. If you’ve ever had a pet, and had them cross that rainbow bridge without you, this song is going to have you severely deep in your feelings and reminiscing those best friends that you cherished once upon a time.
This song’s title is a bit deceiving. Maybe you’d read “Cock Party 2 (Better Than The First)” and think it’s going to be a heavy and upbeat track, like myself. Much to my pleasant surprise, this song starts out pretty low-key and mellow. Then I went back the second time through and really listened to and read the lyrics along with the track, finding the meaning behind it. Beautifully written, and something ALL of us pop punk babies who have grown up can easily relate to this. The first verse screaming the song’s meaning of growing up and wondering where the hell all the time went and how we wish we could just not be adults and see our missed childhood loved one(s) as if we didn’t have responsibilities to worry about now. “When did we stop laughing? // Feel sorry for us now // Paying rent, calling home again // Routine and tedium now.” Its ending having a very Panic At The Disco!-esque ending of emphasizing the last two lines almost word for word. It’s a beautiful punctual ending to the overall feel of the track.
“Shhhh! Golf Is On” is an immediate classic vibe of instrumentals for throwing us back into the nostalgic sound pool. Then it brings in the instrument that will spice up ANY band’s sound, the cowbell. The love I have for bands that find some clever way to incorporate the cowbell, let alone subtly and in an extremely tasteful manner, will have me applauding the artists every time. It only makes an appearance a few times throughout the track, so it isn’t an incessant sound they try to force to work throughout it, just enough to give it a unique and fun spin.
“Gans Media Retro Games” is a title I didn’t fully understand, which in turn made me immediately go check out the lyrics to maybe get a better understanding on how this song was going to maybe sound like. When I read them and found it was about blacking out and wondering if you’re the problem when things go wrong nights you don’t remember. The next morning regret being strong and trying to come to terms with figuring out the story to find the root of the problem. It’s definitely relatable for some people (I’d be lying if I said I didn’t have a few nights like that myself) and the vibe of the song is upbeat, but with enough of the urgent and somber feel of realizing you just may be the problem due to how you choose to cope, was a strong play for them to throw so bluntly into a song. It’s absolutely admirable to see a song about trying to take accountability and get to the root of their issues.
This is one of those tracks that has an opening line that had me replaying it a time or three to make sure I heard it right. To say I was not expecting to hear “Sucking blood out of a canker sore” come out of Nathan’s mouth, had me double taking, then laughing a little bit. Then getting into the rest of the lyrics, they seem like they may just be gibberish with random meaning, but if you really listen, there are a few lines in there that hint at what the true meaning of the song is about. Watching a loved one deteriorate to a memory-stealing disease is never easy. I have loved ones who suffer from conditions and diseases that are similar and it’s taxing to your mind, your body, and even your soul.
“John “The Rock” Cena, Can You Smell What the Undertaker.” To be entirely honest I had no words when I saw this track title, just straight confusion. I assume that’s the entire point, but, as I mentioned before, these off-the-wall names are just leaving no room to even try to guess what it could bring to the table instrumentally or lyrically and I love the mystery. I’m not 100% positive about this interpretation that I’ve gathered from the song’s meaning, but it seems to be the toxic expectations of the organized religions in the world. It doesn’t name any specifically, but it touches on key points and the lyrics, to me, screamed the struggle to fit the mold of what the religion had for its followers and the intrusive thoughts that followed when you’ve been taught toxic “rules” to life based on how they think you’re supposed to live.
Overall this album is incredible. Nathan and the guys did a great job bringing us back to the original roots of punk and giving us that nostalgic feeling of being in middle and high school again blasting the artists who started it all. Three years was well worth the wait for this band to drop another solid vibed album that came with some deep and heavy topics that I wholeheartedly believe the world needed songs for. Beautifully done, Hot Mulligan, and we can’t wait to see what else you’ve got in store for us!
Why Would I Watch? was released everywhere on May 12th, 2023!
Holy shit I love this record… Okay, so I suppose that’s maybe not the most professional way to kick off an album review, but whatever. This is a punk rock website and reviewing albums isn’t exactly my profession in the technical sense… Anyway, let’s start over. Back in September of 2011, just a day before […]
Holy shit I love this record…
Okay, so I suppose that’s maybe not the most professional way to kick off an album review, but whatever. This is a punk rock website and reviewing albums isn’t exactly my profession in the technical sense… Anyway, let’s start over.
Back in September of 2011, just a day before my 32nd birthday, I had the privilege of reviewing the then-brand-new and incredibly stellar Samiam album Trips. I loved it. I loved everything about it. It finished the year right near the top of my Best of 2011 albums list, and if I were to rerank that list a dozen years later, it’s probably the album that holds up the best. Sometime after Trips was released, I remember commenting on some social media platform – I think it was MySpace honestly rofl – that hopefully it wouldn’t be another five years before the next new Samiam record (Trips is preceded in the Samiam discography by 2006’s Whatever’s Got You Down) and the band’s lead guitarist and artistic force Sergie Loobkoff just responded “LOL” or something like that. At the time, I interpreted that as “LOL, don’t worry, we won’t wait that long next time.” Yet here we are, just about a dozen full years later, and we’ve finally got the follow up to Trips in our midst. It’s called Stowaway and it’s out this Friday (March 31st) on Pure Noise Records and saying that it was worth the wait is a bit of hyperbole because I wish we didn’t have to wait 11.5 years…but I’ll be damned if it wasn’t worth the wait.
Stowaway kicks off with “Lake Speed,” a track whose introductory air-raid siren dive bombs are soon met with a frenetic energy that shows that musically, Samiam have not only not lost a step but are in fact as charged-up as ever. It’s as tight and concise a post-hardcore-style ripper as you’ll find in the Samiam catalog complete with a pretty awesome guest spot from *SPOILER ALERT* none other than Hot Water Music’s Chris Wollard. It’s a damn-near perfect track, with Wollard and Samiam frontman Jason Beebout layering their unique voices over Loobkoff and Sean Kennerly’s dizzying guitar runs while the comparatively new rhythm section of Colin Brooks (drums) and Chad Darby (bass – more on that later) push a blistering pace. The whole thing is controlled chaos and creates the sense that it could careen off the rails at any moment, but then it’s over somehow just as quickly as it began. (Oh, and its lyrical tip of the cap to the longtime NASCAR driver with whom it shares its name is just the icing on the proverbial cake).
“Lake Speed” gives way to “Crystallized,” one of the three singles that was put out in the leadup to the album’s release. In many ways, it’s a perfect single: it’s got a big, classic Samiam sound that’s been charged up by Brooks and Darby the latter of whom you may recognize from his time in one of Chris Wollard’s other projects, Ship Thieves. If you’re an astute follower of Dying Scene, you’ll recall the time that he and Wollard joined us on the (*both laugh*) podcast, during which he may or may not have indicated that he was working with Samiam on new music and may have short-circuited my brain in the process…
“Lights Out, Little Hustler” follows and continues in the vein of charged-up, instant classic Samiam tunes. Oodles of vocal harmonies adorn the verses before frontman Jason Beebout’s inimitable voice powers through on the powerful, introspective singalong chorus. “Shoulda Stayed” would have been right at home on 120 Minutes or on a certain skateboard-inspired videogame series in a previous decade, as do the chunky guitar in the verses of “Shut Down.” “Scout Knife” features another appearance from Wollard, which makes sense given that some of the album’s components were recorded at Gainesville’s Black Bear Studios with frequent HWM/Ship Thieves collaborator Ryan Williams.
“Monterey Canyon” features probably the album’s best examples of the Loobkoff’s trademark single-note atmospheric divebomb melody lines. “Natural Disasters” is maybe the brightest sounding track on the album to this point, in some ways belying the songs vocals which, if taken literally, lament that the damage we’ve done to our home planet is probably irreparable at this point. “Stanley” is a fun song with a lot of different stylistic layers and sonic textures. “Highwire” starts somewhat down tempo for a Samiam song but turns itself into a a bombastic anthem with what are probably Beebout’s most soaring vocal performance. “Something” is a sneaky contender for my favorite track on the album that isn’t called “Lake Speed.” It’s a no-nonsense, four-on-the-floor, downstroke heavy punk rock ripper with Loobkoff and Kennerly again trading catchy guitar melodies over an even catchier shoutalong outro. The title track closes out the festivities in a way that probably best encapsulates all of the album’s different layers and textures and sonic directions in one four-minute package.
There has been talk at times over the years since Trips that part of the reason that there wasn’t new Samiam music was due to concern over whether or not Beebout still wanted to sing and to write new lyrics; there’s a quote out there somewhere about “maybe people over the age of 50 should admit they’re probably too old to be in the music business” I think. To state it emphatically and for the record, I’m really glad he decided to keep at it. Beebout’s voice has long been one of the most powerful and unique in the game and that’s just as true a statement now on Stowaway as it was at any other point in the band’s thirty-five year tenure. There’s a feeling and an urgency and an introspection and a devilish humor in both his vocals and his lyrics that are unmatched and that have the ability to provoke both goosebumps and long, honest looks in the mirror, sometimes within the same song. See “Shut Down” or “Monterrey Canyon” on this one, for example. When added to Loobkoff and Kennerly’s urgent guitars and, lately, Brooks and Darby’s punishing grooves, it’s part and parcel to what makes Samiam Samiam after all this time. It’s fair to say that Stowaway will be tough to dislodge from the #1 spot on this year’s end-of best-of list, and it’s fair to say that if I revisit this album in another dozen years, when I’m in my mid-50s (woof…) it’ll still feel as vital and compelling as ever.
Sleep Token. Everyone knows their name by now, as they’ve taken the world by storm with their latest songs. The first 5 singles that they dropped in anticipation of the full release of Take Me Back To Eden gave us all a teaser that still left us blindsided by the incredible taste of the main […]
Sleep Token. Everyone knows their name by now, as they’ve taken the world by storm with their latest songs. The first 5 singles that they dropped in anticipation of the full release of Take Me Back To Eden gave us all a teaser that still left us blindsided by the incredible taste of the main course. Before getting into the review, I’ve got to be honest, I re-wrote this at LEAST three times. The third time restarting being because I got to experience Sleep Token at Aftershock 2023 from the front bar. Their set was incredible and to experience 5 out of the 12 songs from Take Me Back To Eden was easily something I’m never going to forget. I had the absolute pleasure of hearing 2 of my 3 favorite songs on the album and will keep those memories forever. The album is incredible to begin with, but to now have heard some of them live and know that Vessel sounds just as amazing live as he does on track makes it that much better in my opinion.
Getting to the review now, overall, I love this whole album. Cover to cover, this album flows so beautifully and makes me wish I knew how to do production stuff like this personally. They opened the set at Aftershock 2023 with “Chokehold”, which is how the album also starts. Easily one of my favorite songs on the album, musically and lyrically. Having someone in your life that you’re so infatuated with that you can say they’ve got a “chokehold” on you is an incredible, yet unnerving, feeling. I’m sure some can listen and relate to the song on some level, whether it be a passion, person, hobby, place, etc. There’s typically ONE thing most people can say has a hold on their love and affection to this seemingly extreme degree.
“The Summoning” came further in the set at Aftershock, but hit just as hard as it did when it took the world by storm last year. The lyrics of the song still ring true to many and had the entire crowd at Aftershock screaming along to the lyrics. This song’s seductive and sexy vibe makes it a crowd favorite and I don’t see it leaving their setlist for live shows for years to come. “Granite” is the third song up on the album and it brings a different perspective lyrically than a lot of the others. Speaking of a person who chose to take advantage of their loved one and treat them as though they are just another body in their world, and not someone who is supposed to mean the world to them. It’s a song that I fear many can relate to and I can say I, too, have been there.
“Aqua Regia” is a smooth and vibey song that gives the listener a nice buffer between the heavy and intense instrumentals of the previous tracks. The intensity of most of the tracks are greatly appreciated by many, I’m sure, but having these breathers that give us a nice little break from the intense heavy topics, and into a chill and calmer vibe. Then they launch you into “Vore.” One of the heaviest songs on the album for sure. I love to go listen to this song when I need to just sit back and let the music scream for me. It’s got a slightly haunting, yet angry and broken, feel to the vocals and it genuinely seems to help relieve some of my anger when I’ve had a bad experience/interaction in life since it hit the streaming services.
“Ascensionism” is easily my top favorite song on the album. I have loved telling people that it’s been my anthem since the album was released. Not only did the lyrics speak volumes to me, but they more or less describe an individual who desires both redemption and ascension, but at the same time, a longing to escape from reality with a person who understands them, and potentially even one that shares the same dark desires they have. Asking who made them like this to have them feel so “broken” and trying to show they understand who the individual is at their darkest. Inviting them to dance in the darkness they find themselves in together and take to the broken skies with their soulmate, hand in hand. It may be a hopeless romantic outlook on it, but this depiction is a large part of why I love it and it’s been my anthem since it hit our ears when the rest of the album dropped on May 19th.
“Are You Really Okay?” I’m sure had thousands of people bawling their eyes out and eating their comfort foods. I know I was at least once since the full album’s release and I will shamelessly admit that. Getting vulnerable, slow, and all around deep into those feelings like they did for this song, really hit home for many of us music lovers. If I really need a good cry, but I can’t quite figure out how to get it all out without waiting around for something to make me cry. I just throw on this song, and by the time he says the title for the first time, I’m bawling. 10/10 recommend if you need a good cry or just a wholesome song to listen to.
“The Apparition” is about two-thirds through the album and I love the low-key aspect of it, giving us a two out of three song breather from the heavy and intense instrumentals. It’s got some good higher notes that have beautiful orchestral music behind it and is a perfect segway into the next song, “DYWYTLM” (Do You Wish That You Loved Me). The low-key sound of “The Apparition” flows into “DYWTYLM” with such ease and keeps that slow and less intense instrumentals while bringing the lyrics back to a bit more of a relatable feel. There is one line in this song that resonates with me, though. At the 3:14 mark there’s a line where he sings “But I cannot hope to give you what I cannot give myself.” That line alone had me replaying the song a few times and really sitting with it and wondering how many people heard it and did the same. It’s a powerful reflection to have two-thirds of the way through the song, if you ask me.
Moving on to my last favorite song of the album, “Rain.” This song is about finding your soulmate and having their touch wash away all your problems, getting hurt by them was something you could deal with because they’ve got their hooks in you. Knowing it’s a two-person game and wanting to give what they’ll take and take what they’ll give. Having this feeling that you’ve come together for a reason and seeing them in your future has to be a fateful sign of your unification. Acknowledging that it could all just be a part of life’s game, but looking forward, you can swear they’ll be there. I’m in a spot in my life I can confidently say I can relate to the feeling of finding a soulmate, and that feeling was only solidified further getting to experience this song from front bar at the festival.
Now for the title track… “Take Me Back To Eden” was such a rollercoaster of a song. Genre-wise and lyrically. I love the analogies and the cryptic messages that seemed to be sprinkled throughout it. The song seems to be about wanting to go back to the start when life wasn’t confusing. Losing yourself and not knowing where you’re going can be disorienting and will absolutely send many into feeling like if they could just go back to the start of a situation or experience, then all would be fixed. It’s such an incredibly produced song and I’m absolutely impressed with the instrumentals’ seamless transitions throughout the track.
Last, but absolutely not least, “Euclid.” This song was an homage and revisit to a previous song in a previous album. If you’ve been listening to Sleep Token long enough, maybe you’ve heard the song “Night Does Not Belong To God” from Sundowning. This song has a very deep and heavy meaning behind it. This struggle with his relationship with Sleep and wanting its eternal embrace, but also having that person that he doesn’t want to leave. The back and forth in his head in accepting eternal sleep or pushing forward to continue on. Finding the beauty in the darkness and he’s handed over the darkness to his love to survive. At least, that’s my interpretation of it.
Overall, this whole album was a banger and I absolutely loved that they wrapped it up with a song that references another previous album/song. I’m not sure I’ve known a whole lot of artists to do that and it’s refreshing to hear something uncommon. Their multitude of genres and the seamless transitions into each style is mind-boggling and I am constantly recommending Sleep Token to anyone who will give them a chance.
You can stream Take Me Back To Eden on all streaming services as of May 19th!!
This article is going to start the same way Night Surf‘s 2017 debut EP Blasted! does; straight to the point. The opening song “So Long” just fires into this EP while painting amazing apocalyptic imagery, which I am a huge sucker for. Call me old fashioned but heartfelt descriptions of the end of the world […]
This article is going to start the same way Night Surf‘s 2017 debut EP Blasted! does; straight to the point. The opening song “So Long” just fires into this EP while painting amazing apocalyptic imagery, which I am a huge sucker for. Call me old fashioned but heartfelt descriptions of the end of the world shouted over catchy pop-punk guitars just gets me fucking jacked. The execution in “So Long” is so perfect that you can’t help but scream along:
And I want you to know That I don’t need to go And we can stare at the dying sun and wait for nuclear winter! As long as you’re by my side I’ll be ready when it’s our time to die Say so long to the falling stars So much for being so lucky!
Yeah. That hits the spot. Thankfully, there’s more where that came from. “This Is What It Takes” follows up with the same raw energy that’s felt throughout the EP. The harmonized shouted/sung vocals fit so well together and give a very sincere feeling to the albums’ lyrics.
“Straight To” continues with the directness and just blasts open. There isn’t any time to relax during the opening 3 songs on this EP. I mean, if your trying to relax and looking for rest periods between songs, an album named Blasted! is probably a bad place to start. That should be a given, really. But I digress. They all hit one after another and, along with their shorter run time, it adds to the chaos presented by the lyrical content. It’s so good to sing along to!
And I’m alone in an echo chamber Living completely under the radar And if I escape I hope I never See your face again.
My hope is wasted on you!
Alright. I have to keep it down. My wife is trying to sleep and all of my shouting is getting the dogs all riled up. Whatevs. This EP rips. The closing track “Lungs and Throat” finally gives you a moment to catch your breath before it goes on another tear. It feels like the final act compared to the blistering and slammed opening track “So Long” and gives the album a feeling of closure and completeness. Bleak closure and completeness. Not triumphant but defeated yet accepting.
So far from home Hoping for the best all alone I’ve lost my direction I gave up the ghost I’m waiting for this moment to go. With no one around to hold my hand I’m heading to the dark all alone. I head into the dark all alone.
And now you die alone!
Fuck it. It’s too good not to scream along to and I don’t care if it’s late. I’m screaming Night Surf in my office and I will apologize to no one!
This was a self released EP by Night Surf in 2017. I can’t remember exactly how I found it but I was hooked on it the first time I heard it. Since Blasted! was released in 2017, they have released 1 EP and 1 full length album. Blasted! is the perfect introduction to this Brooklyn based pop-punk band and is an album punk forgot.
