Robyn Writes

People On Vacation – The Summer And The Fall

The words ‘side project’ are equally celebrated and feared by many fans of musicians today. While the chance to hear new, different music from a member of a band you love is exciting, there’s always the fear that it will be too different, too out-there, and perhaps even distract said artist’s attention away from their original band. In the duo of People On Vacation, this effect was doubled, as not one but two frontmen combine to create a new artist. Many will be familiar with Jaret Reddick’s vocal and songwriting styles as the man on the mic for pop-punk legends Bowling For Soup, while there is somewhat less familiarity around Ryan Hamilton, frontman of Smile Smile. (Note – since originally writing this review, Smile Smile have sadly parted ways, with Ryan now splitting his time between POV and a new solo career.) The project formed almost as an experiment by the two involved – their contrasting songwriting styles, Hamilton’s melancholy, adult-oriented indie clashing with Reddick’s bouncy, upbeat pop-punk, led them to wonder if they could combine and each have an effect on the other, creating something that sat somewhere between the two and perhaps leave a lasting effect on both men’s talents along the way.

From the moment one starts this album with stellar opening track “Because Of The Sun”, one thing is obvious: This goal has not only been achieved, they’ve passed it with flying colours. Said opener is one of the strongest tracks on the entire record and sets the path perfectly for what to expect ahead, with laid-back acoustics giving way to melodic soft rock underneath lyrics mourning the end of perfect nights together with people one loves. The pursuit of the fairer sex is, perhaps unsurprisingly, a key theme throughout the album, and although not all songs centre on the quest for love, those that do provide arguably the highlights of the record. And when fans discuss the highlights of The Summer And The Fall in the future, I really can only see one thing opening any conversation – the incredible “Prettiest Girl In The World”. Yes, it’s as hopelessly slushy, cloying and sickeningly filled with puppy-dog love as the title would lead you to expect, but it’s done absolutely perfectly. A true ode to a girl who takes normality and makes it feel like perfection, the song is well-balanced by some lyrics (which one feels were contributed by Reddick) which raise an unexpected laugh, and one of the most addictive choruses on the record. Make no mistake, this is an album full of fantastic songs, but if you want to choose one song to sum up what this project is all about, take this one; it’s simply perfect.

While “Prettiest Girl In The World” may be the stand-out track, by no means do the other songs on the record pale in comparison. Indeed, one can easily tell just how long has been spent working on this album when listening through, as each song brings it’s own thing to the table and you simply cannot pinpoint a single track you’d want to skip when listening through the album. Sure, some songs might stick in your head for longer or make you sing a little louder, but every album has highlights. The difference here is that there are no low points – every song is enjoyable, every track puts a bounce in your step and keeps you hooked until the album’s end. “Lonely Fish” is a great take on the old cliché of there being ‘more fish in the sea’, and features without a doubt the album’s best chorus, one you’ll be singing for weeks after hearing the song for the first time, while “I Get You” is a nice little follow-on from “Prettiest Girl…” discussing finding someone who you click with perfectly, and again puts a smile on the face whenever one listens.

Some songs on the album are brought forward from the band’s only previous release, “The Carry_On EP”, which was released as a split along with a solo EP from Bowling For Soup bassist Erik Chandler. While these songs have been around a little longer, they fit seamlessly into the album and unless one already owns the previous EP, you don’t even notice that they weren’t written specifically for this release. “Rainy Day” is an inspiringly positive song about, well, positivity, while “Where Do We Go”, which closes both the EP and “The Summer And The Fall”, provides a downcast but incredibly well-written ending, centring on the biggest question of all in life, as the chorus is simply a repeat of the line “Where do we go when we die?”.

Overall, fans of both artists will love this album. While the musical style is certainly closer to that of Hamilton’s previous efforts, Reddick’s unmistakeable positive attitude shines throughout and provides highlights across the album. However, the simple reason that this record will please all is simply this – it’s a masterpiece. Not one song feels badly written, rushed or an afterthought, and the result is possibly the best album released thus far this year. If this is Reddick and Hamilton simply taking a vacation, then I for one cannot wait for when they next fancy a little time off.

5 out of 5 high fives!

Go Deep – Counseling

With a line-up featuring past members of Undying and Outbreak, Brooklyn boys Go Deep have released their debut record and oh boy it’s packed with some classic punk jams. Unremitting and in your face, Counseling smashes out shouted vocals from Kris Kneale and a throbbing bassline, egged along by ripping guitars and solid drum work. In terms of the releases production, Counseling sails quite well between the rocks of too-clean-sounding for a hardcore record and that raw edgy bite that you come to expect from punk. Lyrically the band doesn’t try anything too complex, this is punk after all, but they get straight to the point and they don’t go holding any punches. In this sense it is everything that is good about punk.

With first track ‘Late Notice’ the album starts off with a pretty tired hardcore device: sound clips from 80’s movies (Point Break). But they also deliver an all-out punk assault until everything fades to black just before the 2 minute mark (yeah that’s right, a punk song over two minutes long!) before evolving into walloping chords forming a truly dark hardcore punk riff and a furiously creative breakdown. Second track ‘Glossectomy’ shows perfectly how every last line Kris shouts is targeted, he’s got someone in his sights and his words are loaded. “I’m a destructive person, and you’re the fucking reason.” Clocking in at 51 seconds of pure aggression, this is more like what you would have expected, bringing fast riffs and a bone-crushing bass. The song definitely harps back to the unadulterated punk of the 80’s – thumping from jazzy riffs to a devastating end, this song is all of the punk you can handle and more.

When fourth track ‘Leave’ hits in all hell breaks loose, it screeches into life like a rollercoaster that’s flipped off the tracks. Showcasing some of the heaviest hardcore punk riffs you will ever hear, the song also finds time to go back to the punk roots with a faster, jumping middle and end. “You’re so fucking critical, so tell me what I can’t do. I’ll shove this down your throat….” This is one of the most abrasive and coarse songs on the release. Then there is ‘Elders’. The most satisfyingly unexpected song on a hardcore punk album. This one is slow, it is heavy, and boy it’s angry: “Spoon fed poison ideas since birth.” Adding in the darkest lead riff on the album Kris ends with the demand: “Learn to accept.”

The final two tracks ‘Bundle of Joy’ and ‘Enthusiast’ form a bit of an uncharitable social commentary on the lives of today’s youths: teenage pregnancy and drug habits paid for by daddy, but slammed together with powerful riffs which make me forget about the unfair character assassinations of kids today and just enjoy one hell of a ride. Really trying to ‘Go Deep’ and end off the 7 track release on a dark note, the band tackle addiction: “I can’t imagine losing myself like that… You’re dying for one more.” Hitting out at the selfishness and self-apathy that feeds into addictions, like much of the 10 minutes that came before it, this comes out of the blue and hits home as a bit of a shock, but not in a bad way. Oh no, this is good shit.

All in all, Go Deep have furiously churned out a hard-hitting collection of songs that promise to unite any lost fans of punk out there by combing traditional punk with something a little bit different and a little bit heavier. In what has become, like so many, a genre with too many bands with too few ideas, Go Deep bring something exciting to the feast knowing exactly what they want to do and precisely how to deliver.

4 out of 5 high fives!

Midday Committee – I’m Sure Someone Mentioned A Cheque [EP]

Portsmouth pop-punkers Midday Committee released I’m Sure Someone Mentioned A Cheque last July, and are heading back to the studio this summer in order to record a follow up record. This being their second EP, I’m Sure… is a sixteen minute burst of sunshine that flew under the radar when it should have been dominating the record stores. From the first twiddly bars of ‘This Job Has Its Ups And Downs’, it’s clear that we’re in for a lot of fun. Rich Sanders’ vocals are beautiful, and sound even better backed up by Keiran Heath, and that’s the case throughout the EP. ‘Chivalry’s Dead, Sugar!’ has vocal lines that soar like a majestic eagle, as well as some cheeky acoustic guitar punctuating throughout just to keep you on your toes. Although these tracks are a lot of fun, it’s ‘We Have A Particular Set Of Skills’ that really shows the weight these guys can pull. Breaking out all the tools in their arsenal – those sublime vocals, well placed gang shouts, inspiring lyrics, perfect melodies and infectious basslines to say the least – Midday Committee have written a guaranteed hit, perfect for the stage. Latest single, ‘Starry Eyes’ has a chorus that was made for singing along to, preferably in the car on the way to the beach (and probably in a country with a bit more sun than we’ll be getting). It’s the weakest song on the EP – it goes on a bit longer than it needs to – but it’s still tons of fun and showcases the rhythm section at its best.

Admittedly, Midday Committee completely play it by the book. This is pretty much pop-punk 101 in a nutshell. However, that doesn’t mean that it’s not a shining example of the best of the genre. So next time the sun shines long enough for a BBQ, crack open a cold one and get jamming this in preparation for the next record.

4 out of 5 high fives!

Campaign – The Black Album [7″]

A cursory listen to The Black Album will reveal two things – Campaign like to party – and I mean really party as in total uninhibited craziness that leaves you with the mother of all headaches and finding yourself inexplicably covered in blood. Secondly, Campaign want YOU – the listener, to be sucking vodka shots out of belly-buttons and committing yourself unquestionably to a whole manner of crazy-ass shit. With tracks such as ‘Breaking Bones’ and ‘Out Of Control’, Campaign’s breakneck punk flurries render themselves as the perfect Jackass soundtrack to a pre-sober Steve-O doing something particularly gnarly probably involving his genitals or Bam Margera kicking himself repeatedly in the head just for the heck of it. This is good-time punk, free from the accusatory nature of more politicized strains of the genre and whose aims are held down to a simple humility- to spread their beer-soaked vibes and preach the gospel of raucous festivity. Campaign’s hardcore zeal is provided by the less-politically inclined rage of party-centric hardcore of the likes of Black Flag’s Six-pack and TV Party era celebrations of nights spent getting hammered. Their overall sound therefore, is often strikingly similar to The Bronx- blistering punk n’ roll that’s often downright gritty and depraved but holds onto anthemic ambitions which manifest in the crowd-friendly “woah-oh” choruses. ‘Breaking Bones’ is a relentless piece of speed-punk where the band manages to cram two guitar solos into just two minutes whereas ‘Slums’ dispels any over-riding sense of one-dimensionality with some inventive and squalling lead guitar work. ‘Midnight Interrogation’ falls just short of a minute which is probably for the best as the drummer’s traction-engine arms seem to harbour some unsettled beef with the drum kit. In a rare use of subtlety, closer ‘Out Of Control’ comes complete with keyboards that hover in the background yet their effect as atmospheric device is perfectly tangible.

Lasting less than ten minutes, The Black Album is a flurry of punk fury for those in need of a quick and instant fix. Sure, you may be convinced that you’ve heard a few of these riffs before, but the sheer ferocity with which they are delivered eradicates any notion of unoriginality; its gargled howls and partially destroyed drum kit an irrepressible and hugely enjoyable exercise in no-frills party punk.

3.5 out of 5 high fives!

Juna – Heteroglossia [EP]

Over the years the town of Athens, Georgia has given the world a fair amount of college-rock and indie bands.  Alternative stalwarts R.E.M. hail from its shores (yes I’m using that expression despite the fact Athens is thoroughly landlocked) and in some ways Juna could be their natural successors.  Their new EP Heteroglossia draws on R.E.M.’s rattly, reverb tinged sound but adds to the mix a progressive element with impressive results.

The chilling first chords of album opener ‘Notes on a Penance’ course down the spine in anticipation of the heavier-handed guitar of the first verse.  This fierce fret work bookends smoother bass-and-drum interludes and the whole aura of this piece lends it an air of Floyd-esque prog rock but with a slightly unhinged element. Throughout the EP, an ominous darkness prevails, elements like the chorus of ‘Solemnly Swear’ sound almost akin to Black Sabbath.  These moments are always held down to Earth by the more laid-back air of tracks like ‘A Passage’; looser in composition but no less enthralling. The captivating nature of the songs is helped no doubt by the swapping tempos and sounds.  Early Muse-ish static noise tricks are not uncommon, alongside tones which wouldn’t sound out of place on that Josh Homme-produced Arctic Monkeys album from a few years ago.  All the while the drums give the listener a feeling of being perched quite precariously high up, on the verge of some massive drop. However, ‘A Passage’ sees the band sway into a different territory.  This is more abrupt, reflecting the subject of the song, and seems to cross guitar sounds that would be at home on a Tame Impala b-side with further elements of Humbug.

This is a promising EP from a band relatively unknown on UK shores, but by combining influences from both sides of the pond in their sound, it results in the sort of music you’d expect to hear reverberating through a disused cathedral or the vault of some long-since-emptied bank which has been moved into by a group of indie squatters.  The ‘strangled bass’ noises heard on some of the tracks are also a welcome weapon, generally underused in the indie arsenal.

4 out of 5 high fives!