Robyn Writes

Review: You’ll Live – Lost. Forgotten. Abandoned. Buried. [EP]

US screamo outfit You’ll Live are back on the scene with their new four track EP Lost. Forgotten. Abandoned. Buried.. To be released on the 7th of October, the US three-piece recorded and mastered the EP while touring across the US, Canada, the UK and Europe.

The four tracks each make up part of the EP’s name, showing how it is meant to be listened to as a complete package, a unified production, rather than a mere collection of songs. First track, ‘Lost.’, is a short and sharp assault. Clocking in below the two minute mark, it still has time to overflow with raw emotion, provided primarily by the raspy vocals of … and pushed further by the driving guitars.

In this sense, the second and third tracks, ‘Forgotten.’ and ‘Abandoned.’, continue in a similar vein. The similarity resonates back through their previous catalogue as well, with the exception of the vocals which have deepened into more of a growl than the more shriek-y sound on debut EP Things Would Change If You Heard This and their full length Above The Weather. However the screamed vocals and lightly distorted guitars are still features of each release.

Final track ‘Buried.’ is the odd one out on the EP, with its 7 minute run time showcasing the slowest and most epic sound from You’ll Live to date. These seven minutes, about the same length as the rest of the EP combined, show the real progression and maturing of the band. It is as if you’re transported into the studio with the three of them, just listening to them jam and losing yourself in the music. However, what the EP gains in its methodical and contemplative style, it risks losing in its appeal to first time listeners, with far fewer riffs that tend to stick in the listener’s head and draw fans in.

3 out of 5 high fives!

Review: Will Tun And The Wasters/MC Amalgam – Unite and Charge

Will Tun And The Wasters, that folk punk lot from Reading, have decided to do something that is wholly different. A complete departure from their outstanding Time Is A Bastard EP, the band have gone down the route of reggae-ska-hiphop with French MC Amalgam along for the ride. It’s disorienting, completely off the wall and pretty much totally unexpected. But it’s so damn good.

There’s still plenty of accordion embedded throughout, but now, it’s tangled up in tasty beats and full on rapping. Opener ‘Raggamuffin MC’ is wonderfully catchy, self-deprecating and completely charming. Even as MC Amalgam comes in swinging with a totally different language, it still feels stupidly fun and blends in perfectly – and watch out for that ska breakdown towards the end! ‘Red Is Not Dead’ starts off as a faced paced ska jam with some sweet folky picking and wonderfully Parisian feeling accordion. After the fun-filled ‘Ragamuffin MC’, it shows that the boys are still as politically driven as ever and is guaranteed to get you moving. ‘Slice Slice Slice’ is a bouncing trip-hop inspired affair with some banging references to sandwiches and cheese. It’s utterly mental, but lacks no attention to detail. It also marks the last of the new material for the EP, as the rest is filled with remixes of both old tracks, like ‘Community’, the first Wasters song to feature MC Amalgam, and of ‘Raggamuffin MC’ and ‘Red Is Not Dead’. The ‘Community’ remix, courtesy of Cryzo-P, stands out amongst the rest. A little bit dubsteppy, a little bit 8-bit and with some brilliant Autotune to boot, it’s a completely fresh take onto the otherwise punk-as-fuck anthem.

However, there’s just too many remixes, and although they’re all fun in their own right (the Slamboree remix of ‘Raggamuffin MC’ feels like it could be in LittleBigPlanet), you do feel a little overwhelmed by the end of it, especially with two mixes of Red Is Not Dead right next to each other. Nevertheless, the new tracks are so fantastic that you’ll barely notice. You can always count on the Wasters to do something completely off the wall, and this time, they’ve certainly delivered.

4 out of 5 high fives!

Review: Laughing In The Face Of – The Governor [EP]

Puns can be challenging. Used to work with a guy who made it his mission in life to purvey and promote the art of punnism in every possible context. Emails, meetings, server names. It never ended. Used to have to fight the daily urge to drag him by the hair into the gents and drown him. This lot also like a bit of that sort of thing. All four track titles are plays on words, with some kind of cryptic fish and chip shop conceit going on.

However.

This metallic, thrashy little Birmingham outfit, also known as Laughing In The Face Of, have also hidden four tight as a gnat’s proverbial, pacey, old school HC-spirited tracks under a smokescreen of these knowingly dumb song titles. In all, this is a bit of a DIY belter. I can completely forgive song titles like “Cod Stewart” and “There’s Something Fishy About this Plaice” when a band nails out simple-as-fook bounce-along classic ‘core fare like this. Think Jailcell Recipes – only a lot younger and prettier – nudging into Gorilla Biscuits territory. With the odd gang chorus and guitar squeal, crisp lyrical content and clean delivery, this is nine minutes of shot in the arm positivism that gets in, does its business with a minimum of fuss and just says bye bye. And leaves. Job being done.

Nice.

4 out of 5 high fives!

Review: Fighting Fiction/Sweet Empire [7″]

First, an apology. I had planned to finalise this write up before these good people formally launched this vinyl offering of neo-politico punk in early September. But things got delayed. That’s the gonzo world of hobby writing for you. Family; work; then this stuff. Sorry.

And sorry, because this is really rather good. And well deserves the shout. Don’t expect hardcore – it’s melodic-p verging onto almost Billy Bragg territory of yore at turns – but this is still pokey enough fare with soul, brain – and heart.

Fighting Fiction – hailing from that Brighton… not that we should hold that against them… have been doing this for a while now. Album under their belt and a decent following driven by a touring ethic. I’ve written elsewhere that the predictions in some quarters of a upwelling of intelligent political music – of a hue unseen since the 80s – as a reaction to the current administration have proven distinctly hollow. Is the best we can do the King Blues..? Jesus… Nonetheless, some acts come up near the plate, Enter Shikari (maybe) – and these chaps. And that’s about it, unfortunately.

This split seven incher with the Netherlands’ Sweet Empire features four tracks that don’t hang around. You get a minimalist take on mass acceptance of exploitation (‘The Long and Short of It’) and a harder-egded vitriolic gobbet ripping brightly into the artistic and spiritual desolation of the talent show culture (‘Tonight Matthew..’) on the Fighting Fiction side – and classic-sounding melodic garage punk railing against Business Bastards on the Sweet Empire side. Sweet Empire’s contribution has a freshness and vigour to it that is infectious – no song longer than 2 mins 15 secs – and that is medically impossible to dislike. Blink and you miss it.

Do the kids even care about anything other than social media and getting the right quiff to go with their deck shoes these days? Does anyone care? Don’t know. But if you like your punk with a bit of a conscience and substance – alongside the same basic formula of hooks and riffs that have been going around for nearly thirty years now – then these bright, handsome young things are for you. Keep it up, gents. Do us proud.

4 out of 5 high fives!

Review: Self Defense Family – You Are Beneath Her [EP]

Self Defense Family, formerly knows as End of a Year, have already gained a loyal following amongst punk fans who value integrity and unabashed creativity over predictability and pandering to the whims of the standard exponents.  The prolific band are firmly amongst those who have taken the punk manifesto to heart and applied its one main rule: there are no rules, a guideline that many punk bands seem sadly unaware of or ignorant to.

You Are Beneath Her is a brilliant exercise in their idiosyncratic punk vision, unashamedly hooky yet adrift from any notion of contemporary pop-punk, you won’t find any high-school saccharine tales of awkward romances here.  Instead, the lyrical fare remains heavy in its emotionality, providing some essence of darkness amongst the comparatively up-tempo instrumentation.

Singer Caroline Corrigan takes the spotlight for the E.P’s four tracks, replacing outspoken frontman Patrick Kindlon’s gruff delivery in a flux of members that marks Self Defense Family as a defiantly unorthodox band, folk-like in their revolving membership policy. Her cooing vocals sit beautifully amongst the delicate acoustic opener ‘Eric Hall’ yet also stand up strongly against the band’s furore on the remaining three tracks. Layered harmonies on ‘Jeni Leigh’ provide a joyous depth to the otherwise basic production style, a production method used sparingly on the E.P but to sumptuous effect.

The straight-forward and propulsive ‘Marissa Wendolovske’ exudes urgency, the tempo upped and smattered with melodically inflicted chords. Closer ‘Philip Jose Farmer’ arrives amongst the ambient noise of a video game arcade, soon giving way to the most versatile song on the E.P as Caroline rallies against unoriginality: “Is there any good idea lame asshole won’t steal” she laments.

Instrumentation and production quality reeks of the classic Dischord Records house style, it may be basic but is certainly not unoriginal, the guitar work obviously taking much inspiration from Ian Mackaye’s Fugazi years: gimmick free and wonderfully simple.

You Are Beneath Heris a fantastic example of Self Defense Family’s continually studious punk. Caroline’s understated voice acts as focal point, delivering Patrick’s Kindlon’s typically opinionated lyrical fare with a breathless elegance that may seem oddly divorced from the dogmatic content, yet her warm vocal grain provides a soothing experience for the ears. A wonderfully intellectual little punk record that offers a genuinely individual and slightly eccentric take on the ageing genre.

4 out of 5 high fives!