Robyn Writes

Review: State Lines – For The Boats

Yep. This’ll be a Tiny Engines release then. All of their acts that I’ve heard so far (Dikembe, Desolate Peaks, Jowls etc) have the distinctive quality of being able to squeeze a lot of sonic action into deceptively short songs.
This, the second or “sophomore” full-length release by Long Island NYC’s State Lines – is no exception. Within the general confines of a sparsely-produced, 8-trackish sounding guitar / drums / bass formula – entirely reminiscent of fellow NYC outfits For Serious this time and Sneeze – this covers a lot of stylistic ground, while avoiding any filler. Now. Is it emo? Is it pop punk? Is it lo-fi? Is it post hardcore? Is it garage punk? It’s all of ’em. You’d be fairly fucked if you tried to file it under a single itunes genre tag. You get forays into all of these territories, and a few more. There’s a lot of good stuff going on here, and it takes a few listens to get it all, such as the nods to white boy hip hop (Shady Existence), grunge (Water Song – spot the Nirvana homage), straight acoustic (Where it’s Warm) and even Nick Drake-style folk (For the Ears).

I hear their debut release was a touch limp – bit too much moping and no trousers. Whilst there’s a ruck of emotional vulnerability on display here, there’s also backbone: deliberately sharp lyrical edges and snarly vocals that deliver some acid turns of phrase with absolute sincerity and, well, charm. And that lift matters comfortably clear of wet blouse indie guitar territory. Lyrically, this is a collection of simple little vignettes of post-childhood, pre-adult life in maritime US suburbia: tales of driving in your minivan (The Same Mistake); beaches covered in snow (Tuesday Morning); and of quietly missing the simplicity and expectancy of being a kid (Kids, Indian Burn). Snapshots of ordinary loss, failure to live up to expectations. That sort of thing. And very winsome it is too.

In all, these boys have crafted a long player with a maturity of sound that belies the angst and confessional subject matter – and the goofy outtakes slipped in amongst the actual tracks themselves. There’s a unifying theme woven in here, references to ships and that slipped in across all the tracks – it’s called “for the boats” for a reason. I’ve not worked out what that reason is, but this is no way detracts from what is an accomplished and stylish work of ultra-modern East Coast guitar music.

4 out of 5 high fives!

Shout out – Surprise Attacks in Worcester tomorrow!

Surprise Attacks – Fine purveyors of Punk and Noise to the Big Bad Wu since May 2013 – are pleased to bring you the third of sonic excellence this Thursday, 1st August at the Firefly, Lowesmoor, Worcester… All the details on Facebook.

An epic trio of new bands spanning the length of the Midlands.
LAYERS bring their brand of soulful, emo-influenced rockin’ hardcore down the M5 from Brum, ahead of their debut EP release and on the back of much positive press attention for their energetic live shows. Ay it!
PLANECRASHER bring their Black Flag/Hives meets Albini-influenced riffage over the border from Herefordshire. Wear ear plugs.
EMPIRE (UK) head the other direction up the M5 from Chelters with a wild live show like Faith No More gone hardcore. Tidy!

The usual recession busting £3 entry – and parking’s universally free after 8 too.

Looking further ahead, acts already confirmed include:
Sept 5th – Baby Godzilla (Nottingham) / The Callout (Redditch) / TBC
Sept 25th – Crucial Section (Japan) / Geriatric Unit (Ex Heresy) / King Of Pigs
The Crucial Section gig alone is enough to make any discerning hardcore fan wet themselves with anticipation. Come join us.

J-Pop Sunday – Berryz Kobo

We haven’t had any idol pop in a while. Considering how big a part of the Japanese music scene it is I think it’s time for some more idol nonsense. To be honest I’ve been trying to avoid writing about idol groups; there are only so many times I can say “Look at this horde of cute Japanese girls and their super happy pop!” and I will eventually have to talk about AKB48 at some point if I do too much on idol groups. I’m trying to avoid that. I don’t dislike AKB48 – “Flying Get” is one of my favourite J-Pop songs – I just dread the day when I have to properly research them. A lot of skeletons in that cupboard, you know? Plus the obvious comparisons to NWA and then all their spin-off groups and then-No! I’m not getting into that right now! We’re going to look at Berryz Kobo today! Simple, straightforward, Berryz Kobo!

Love that zebra print.

Quick Guide:
Act Name: Berryz工房 (Berryz Kobo/Berryz Workshop)
Line-up – 7 lovely young female vocalists:
Saki Shimizu (清水 佐紀) (Group Captain)
Momoko Tsugunaga (嗣永 桃子)
Chinami Toknaga (徳永 千奈美)
Maasa Sudo (須藤 茉麻)
Miyabi Natsuyaki (夏焼 雅)
Yurina Kumai (熊井 友理奈)
Risako Sugaya (菅谷 梨沙子)
Years Active: 2004-Present
Genre: Pop
Kaito’s Choice Tracks: Shingisukan (ジンギスカン/Dschingis Khan) (2008), Ryuusei Boi (流星ボーイ/Meteor Boy) (2009) Ajian Serebureishon (アジアン セレブレイション /Asian Celebration) (2013)
Fun Fact: I honestly don’t know which one is which.

Although just a moment ago I was bemoaning the many offshoot groups of AKB48, Berryz Kobo are distantly related to the idol powerhouse that is Morning Musume. The Berryz are another group that operate under the supervision of producer Tsunku and are a part of his “Hello! Project” idol group empire. In 2002 Tsunku set up auditions for new “Hello! Project” talent and in 2004 – after two years of professional training – eight of the girls who auditioned became Berryz Kobo. Unlike many idol groups Berryz Kobo doesn’t have a constantly changing member line-up and has had the same members from the day of its’ foundation – with the exception of Maiha Ishimura who left in 2005 to focus on her studies. Good for her!

The first song we’ll have a look at is the group’s biggest selling single. And the strangest. “Shingisukan” was released in 2008 and is a Japanese cover of Germany’s 1979 Eurovision Song Contest entry “Dschingis Khan”. I’ll let that sink in; a J-Pop cover of a 70’s German Eurovision entry. “Dschingis Khan” was originally performed by the group “Dschingis Khan” – which of course is the German pronunciation of Genghis Khan. Yes, the song is about Mongolian emperor Genghis Khan. It’s a J-Pop cover of a German 70’s Eurovision song about Genghis Khan. And I love it. Although, the Berryz Kobo cover tones down the more explicit lyrics of the German original that referred to war, sexual conquest or the alcohol. Which does beg the question, what could be left?


Somehow, this sold over 37,000 copies in Japan.

Moving away from Mongolian conquerors and slightly closer back towards the realms of sanity – or at least as close we can get in the world of J-Pop – we have “Ryuusei Boi” (Meteor Boy). My favourite Berryz song: The combination of the funky detective vocal, guitar and drum riffs in the backing track – in fact the whole backing track – and naff green-screen effects in the video give it a certain charm.


“Never Give Up! Never Give Up! 1, 2, 3! GO!”

“Asian Celebration” is one of the more recent Berryz Kobo singles. Released back in March “Asian Celebration” is catchy, cheery, upbeat, has random Engrish in the chorus and legs. Your J-Pop Trope Bingo cards should be full by the end of this one. I didn’t actually like this one at first, but it grew on me, although I’m still not too keen on the electronic harmony towards the end.


Love the floor tiles.

More Berryz Kobo:
Official Website: http://www.helloproject.com/berryzkobo/
Official Youtube Channel: http://www.youtube.com/user/berryzchannel
Official Twitter (Japanese): https://twitter.com/Berryz_kobo

Review: Little Big League – These Are Good People

Harking back to the US indie scene of the 1990’s, Little Big League demonstrate that there is still plenty of potential for creativity and exploration within their respective genre of raw and consistently melodic indie punk. Little Big League are riddled with quirks, manifesting in the effortless interplay between the two rough-hewn guitars- but their biggest quirk is also their most appealing and fascinating, a secret weapon of sorts that elevates the band exponentially. The focal point of Little Big League is undoubtedly Michelle Zauner’s voice – stocked with idiosyncratic tics and diametrically opposed to convention, her words leap across the aural palette to startling effect. Flitting between saccharine hushed tones and almost violent projections, she freely allows her voice to break and oscillate at will- her enchanting versatility knowing no boundary and ultimately, carrying the potential to polarize the band’s listenership. It is undoubtedly attention grasping, with Zauner’s bluesey and anguished vocal histrionics sounding like Brittany Howard of Alabama Shakes fame doing her best Patti Smith impression. For a mannerism that could all too easily eclipse any other aspect of a band’s output, the remaining members of Little Big League are still able to assert themselves against Zauner’s intimidating lung capacity, for the most part avoiding any notion of faceless backing band to her fascinating performance.

In true 90’s fashion, suspended above the rather sublimely orchestrated instrumentation, looms an air of resignation, of defeatism and surrender to oppressing forces that is so common in the psyches of young people whose idealism has been quashed by the brutal and inescapable Western capitalist syndrome. These Are Good People manages to pinpoint the moment of comprehension at the unrealised dreams of adolescence which, sadly, will remain an applicable point of strife for many. Despondent it may be, the gloom is not overwrought, embellished subtly in the minor key arrangements and existing as a lingering periphery that the band bring in to focus in affecting brilliance on tracks such as ‘Settlers’. Elsewhere a foreboding darkness is conjured at the intro to ‘Sportswriting’, looming like a distant wave of depression that is instantly vanished by the arrival of Zauner’s coruscating vocal- cleansing the music any denying darkness an opportunity to take hold.

Not until the closing section of final track ‘Never Have I Walked Away When The Time Was Right’ does the band loosen their well-honed melodic and often spritely fretwork with a thick dose of abrasive distortion that arrives as a slight shock after the lighter, more measured and melodically centred instrumentation.

Little Big League should be more than proud of their debut, a record of unorthodox beauty that despite remaining grounded in the defeatist attitudes and musical practices of their 90’s punk forbearers, contains some thoroughly unique elements: no less Zauner’s much lauded vocal. It’s a genuinely brilliant aural venture encapsulated within an endearingly punk production quality. Despite the lack of outright vitriol, the contempt for social realities is as palpable as any pissed off and downtrodden hardcore band could muster. Instead of a raucous bloody-faced affair, Little Big League subvert the punk penchant for superfluous anger, Zauner’s vocal harbouring an outrage beyond articulation, yet oddly understandable. Coherent in its overall vision and riveting in its execution.

4.5 out of 5 high fives!

Review: The Heights – Drag Race On The Moon

The Heights’ third EP Drag Race On The Moon showcases impressive atmospherics and melodies, while a star is born in Gavin Sutton, a frontman with a pristinely clean, soothing voice, which suit much of the lyrics (dealing with emotions) perfectly. But is this the future of pop-punk? No. At least probably not. The classic rock band setup supports Gavin’s vocals with solid drumming and guitar trying their best to lure listeners in, but they lack any real gritty or edgy quality that rubs up against you and drags you into their lunar drag race.

Opening track ‘Soldier’ has a gradual escalation to the crescendo that is the chorus, yet, like the EP as a whole, it leaves you with the feeling that something fundamental is missing. I can’t help but feel as though it needs to build to an even bigger finish, not just to each repeat of the chorus. For any AFI fans, what I have in mind is something more like ‘This Time Imperfect’, a song which does build up to each rendition of the chorus, but ends with a more powerful finish. On the other end of the scale second track ‘Some Give You Away’ has an upbeat tempo with guitar riffs and a catchy chorus, but it lacks the sort of build-up that made ‘Soldier’ more special.

‘Devil’ appears to be an early fan favourite from the EP, being the most anthemic track with a catchy melody as well as a little guitar solo which gives it an extra dimension, earning it a more dynamic standing than the others. Contrary to perceived wisdom, I would recommend listening to ‘Spinning Webs’ in particular. The track is more slow and powerful than the rest of the EP, bringing a ballad to the front and centre. Explaining the songs inclusion on the EP the band said: “There are not many local bands that have ever included a piano ballad on their releases. There might be a reason why, but I like to think it was a ballsy move on our part, and I’m hoping it pays off.” They’re right, a slow piano ballad is not a common feature of any release claiming to be pop-punk, but forgetting labels and preconceived notions of how a band should sound, there is a lot of heart in this track. Everyone can relate to wishing something had happened differently, wanting to change the past or wondering if things could have gone differently if only you had acted differently. The song opens just with Gavin singing along to a tune on the piano, before shortly after the drums start up with a gentle beat. If you want a song that you can sit down and play or sing along to, look no further.

All things considered, the EP is solid and perhaps I’ve been a little over critical, but it’s only because I believe they are capable of more. None of the songs are bad, but they fail to really hit home and if critical reviews can annoy bands enough to prove the reviewer wrong, let’s hope this works. Watch this space.

2.5 out of 5 high fives!