New York Punk Rockin Power Poppers Wyldlife announce pre-sales for their brand new album ‘Year Of The Snake’ on Wicked Cool Records. Available on yin and yang black/white vinyl. All pre orders get instant two track download.  Bandcamp / Facebook

Album pre-orders have launched along with a bold new single titled “Kiss And Tell”.

Pre-order ‘Year of the Snake’: https://orcd.co/yearofthesnake

Of the new single, frontman Dave Feldman says, “After listening to “Definitely Maybe” for more times than we can count, Sam and I wanted to make a song that was tough and angry but still confident and cool. The lyric “I’d rather be ignored than be adored” was a riff on another favorite Manchester band, the Stone Roses. Obviously we as a band want to be celebrated and have an impact on people’s lives, but most times I just want to be left the fuck alone. WYLDLIFE tends to have a larger than life personality, but most people don’t actually know anything about us. I’ve said “good to see you” to more people I don’t know than I’m comfortable with.“

“I feel like WYLDLIFE is kind of the biggest outlier band of our time,” says Dave Feldman, lead singer of the fierce four-piece NYC Rock ’n’ Roll machine that continues its stylishly anachronistic upending of Rock ’n’ Roll expectations with their fourth album and boldest artistic statement yet, Year Of The Snake, out April 17 on Wicked Cool Records.

Stuffed with catchy riffs and choruses, charmingly specific lyrics and a palpable love of ’70s punk, glam and power pop, Year Of The Snake is the long-anticipated follow-up to WYLDLIFE’s Wicked Cool debut, Out On Your Block. That 2017 release, featuring their breakthrough hit “Contraband,” made the upper half of the CMJ and NACC college radio charts and was hailed by Thrasher as “Rock ’n’ Roll that makes your heart beat faster and your fists scream.”

All 11 songs on the retro-fueled new album were co-written by Feldman with guitarist Sam Allen. The two are “the Mick and Keef of the band” as bassist Spencer Alexander puts it. Dave and Sam have been friends since age 11 and have been writing songs together for nearly two decades.

“A lot of times, I’ll have a melody in my head, usually with lyrics, and I’ll just have to sing the thing out to Sam since I can’t play guitar to save my life,” says Dave. “I’ll be frantically trying to explain, ‘It should sound like this Stooges song, but with this Oasis song for the drums and this bass line like The Rezillos or whatever. Sam will transform it into something that’s close to what I meant but even better.”

The childhood friends have been augmented for some time now by Spencer on bass and Stevie Dios on drums. Dave sings their praises: “Stevie is like a self-flagellating workhorse. After every take he’ll be like, ‘I fucked that up, let’s do it again,’ when he’s the only one who heard anything. Spencer is super fucking relaxed pretty much about everything in life. He’s a rocker, but he’s even more of a roller.” An in-demand illustrator and designer, Spencer is also the visual genius behind the album’s striking art direction.

The record and its title track drew naming inspiration from 1989, the year in which Dave, Sam and Spencer all were born, and the third most recent year of the snake according to the Chinese zodiac. “We’ve always been crawling for glory, unwilling to compromise and are considered to be mesmerizing while simultaneously dangerous,” Feldman offers, without a trace of venom.

“There may be listeners who think there’s a bit more negative energy or anger on Year Of The Snake,” says Feldman, “but there’s always been a hard truth to our songs. Topics include paranoia, anxiety, bad relationships with others, bad relationships with self, hustling in every sense of the word…but it’s not all good news! I guess the overarching theme is: ‘It’s 2020. Life is obviously fucked, nothing matters whatsoever, let’s party about it.’”

The album kicks off with “Deathbed,” in which Dave laments about “Joey and Bowie and little old me,” referencing departed heroes Joey Ramone and David Bowie. He explains: “Death seems like the easiest, fastest way to make your mark, like a cheat code to notoriety. There’s always been a fear in my head: ‘Will people remember you? Will they remember WYLDLIFE?’ I hope someday I die with a bit of certainty that the answer is ‘yes.’”

While packed with upbeat rockers in the classic three-minute WYLDLIFE mold, the album does find the band showing off some new tricks. The taut “Automatic,” a song both inspired by The Jesus and Mary Chain and named after one of their albums, features harmony vocals by friend of the band Sasha Cibic, the first woman to guest on a WYLDLIFE song. Barrier-breaking album closer “The Falcon” is an epic five-minute cocaine bender with ominous overtones, complete with tubular bells and perhaps Feldman’s most intense vocal to date.

“The track was recorded in December and it just so happened that there was a set of tubular bells on loan in the studio; we knew we had to use them and to be honest, it’s my favorite part of the track. Upon completion Spencer pointed out that the Falcons happen to be Atlanta’s NFL team. As it stands, this is the only time I feel like I’ve ever been in the absolute right place in the absolute right time: fucked up soaking wet in a parking lot in Atlanta, Georgia.”

The blistering “Neon Nightmare” was the first Snake track to see the light of the day when released as a single in late 2019. It quickly achieved Coolest Song In The World honors on Little Steven’s Underground Garage, heard on SiriusXM and internationally syndicated radio. “Kiss And Tell” is the band’s first single of 2020, with a typically madcap music video on the way. Both “Automatic” and the irreverent French travelogue “Sacré Bleu” are also slated for airplay.

Recorded in late 2019 at Renegade Studios, NYC, home base of Wicked Cool head Stevie Van Zandt, the album was produced by Sam with Geoff Sanoff, the engineer known for his work with Bruce Springsteen, Fountains Of Wayne, Dashboard Confessional and others.

The latest release in Wicked Cool Records’ ongoing partnership with The Orchard as distributor, Year Of The Snake is poised to sustain the label’s momentum on the heels of its 2019 Billboard Heatseekers Top 10 albums by Jesse Malin and The Dollyrots. Both Malin and The Dollyrots are releasing new music via the label in 2020, as are The Empty Hearts, Soraia and more.

WYLDLIFE is:
Dave Feldman — vocals
Sam Allen — guitar
Spencer Alexander — bass
Stevie Dios — drums

To give a sample of what to expect check out the youtube clip of the single ‘Neon Nightmare’ that’s taken from the album

Now on this his 12th studio album we see Richard Marx release what I think is a career-defining album. For what makes Limitless a definitive moment in his illustrious career is that Marx has worked with several different producers here and while you do notice the differences, the songs are so good and do exactly what is asked of them and that is to present Richard Marx as one of the best singer-songwriters who are still current and making music that bring happiness to so many people. The opening song of Another One Down which was initially release back in June 2019 and co-written with his son Lucas, who incidentally also produced it as well makes this album a bit of a family affair when you find out that Richard’s wife also co-wrote Let Go as well The next song is the title track Limitless which is a like a ray of sunshine and together with its modern production tweaks gives a new take on the classic Richard Marx sound that he is known for.

The aforementioned song that Marx co-wrote with his wife is the fantastic ‘Let Go’, after this, I hope we will see more writing credits for Daisy Fuentes. It is something of a mid-tempo song that gives the listener hope of what is to come.

However for me, one of the brightest highlights on the album is ‘All Along’ which is the other song co-written by Lucas Marx. Kicking things into gear with a drumbeat straight out of the eighties. The song is the most reminiscent of his early rock releases. The classic songwriting has been brought right up to date with the fantastic production courtesy of Lucas Marx. The sound reminds me of the recent synthwave revolution. but still retaining its own identity as a Richard Marx song.

‘Up All Night’ is up next and another is more reminiscent of his more recent releases, so, therefore, another great singalong which no doubt will sound amazing live as will any of the songs on this album.

At the halfway mark we get the Matt Scannell to co-write in the shape of ‘Front Row Seat’. Which would easily sit on any of the Richard Marx/Matt Scannell releases. The pairing of Vertical Horizon’s Scannell and Marc was a match made in heaven and continues to deliver the goods.

This leads us nicely to another highlight in the form of the ‘Strong Enough’ which is a duet with Jana Kramer. This song feels like the sequel to Lady Antebellum’s booty call anthem Need You Now. Now having only know Jana from her stint in One Tree Hill – I have now found another voice to look into as she and Marx sound amazing together and I will no doubt check her 2 solo albums out soon.

‘Not In Love’ is another in a long line of Richard Marx’s heartwrenching piano-led ballads that he delivers time and time again – which seems effortlessly. However this time I feel so bad for the person who this song is directed to, This song is co-written by Marx and Sara Bareilles and is another piece of melancholy that sounds like roses when sung by Marx. Last Thing I Wanted was first released back in 2016 and is included here and it feels like it was always meant for this album and fits in perfectly. The song which feels like it was written about his meeting with future wife Daisy Fuentes. I love the autobiographical feel of this song and I am glad it is included here.

This album will no doubt win Marx new fans but will also keep his old and current fan base happy that he is still releasing great new music. Now I for one can not wait for his dates at the Union Chapel, London which will feature a few of these soon to be classic Richard Marx songs.

Buy Limitless Here

Author: Dave Tetley Prince

THE VINYL REVIVAL
Fascinating documentary from the makers of Last Shop Standing exploring the renaissance in all things vinyl 
Arriving on DVD on April 10th via Wienerworld (UK)
Includes interviews from Nick Mason (Pink Floyd), Philip Selway (Radiohead), Ade Utley (Portishead), Joel Gion (The Brian Jonestown Massacre), The Orielles, CASSIA and many more

From the makers of the acclaimed Last Shop Standing, this new film, The Vinyl Revival, charts the amazing revival of vinyl over the past several years. The film explores the whys and hows with industry pundits, artists, record shop owners, vinyl fans and many more.

Directed and produced by Pip Piper, we hear from passionate new record shop owners as well the established die-hards still going and thriving. The film discusses the importance of the record shop and vinyl as a whole. We answer the why’s of vinyl’s revival, the human need for belonging, the love of history and the stories of how the humble little record shop has shaped so many lives.

Record collecting has lost its image as a hobby for middle-aged men and become instead a pursuit of the most fashion-conscious consumer. Will it last? What is the future for record shops when vinyl becomes less fashionable? Why are we in danger of another record shop decline? Why must we support these bastions of culture?

Features an 8 page booklet chronicling the making of the film, with contributions from director Pip Piper (Last Shop Standing) and author Graham Jones.

“The vinyl record is the equivalent of whether you have the tea bag or the Japanese tea ceremony; the tea ceremony is the right way to approach music.”

– Nick Mason, Pink Floyd

“It’s a Lazarus moment.”
– Phil Barton of Sister Ray and ERA

It’s the 14th of February 2020, so that can mean only one thing being marked in H-Bombz diary, right? Yup, its gig time as I head to Le Pub in Newport for Bad Sam’s all-new single launch party.

 

Braving storm Dennis along with what appears to be a head on collision of a Friends Reunited meeting for Arkham Asylum and a Pokemon Go adventure party gone a little off course I have just enough time to grab myself a quick pint before local alt-rock trio The Oversights kick off proceedings with a punchy selection of what we used to broadly describe as “indie music” back in those halcyon days of TJ’s.

 

With ‘Hello Adventure’ their debut 5 track EP available at the merch table and a healthy number of people already looking to catch them live I feel The Oversights just need to get some gig experience under their belts before they become true contenders, but at this very early stage in their career things are certainly looking more than just a little rosy.

With The Oversights idea of image being three Hawaiian shirts slung on quickly before they play it takes a mere glimpse out of the corner of my eye at Igam Ogam wandering through the crowd to really restore my faith in true musical eccentricity. These crazy fuckers look like a band formed by the cast of Psychoville and what’s more they actually sound like it too. It’s all a bit too Primus-y for my tastes but the between-song banter from drummer/singer General Waste is absolutely priceless and bassist Grotty the Clown and guitarist The Third Person look and sound absolutely amazing even if ole Clowny could do with losing about 5 strings off that 6 string bass of his. As I say it’s not my thing musically, but the packed audience seems to love the likes of ‘Happy Families’ so who am I to argue?

Any new music from the Newport’s favourite hardcore sons Bad Sam is worthy of a celebration so it seems completely right and proper that they have chosen tonight and Le Pub (the city’s venue renowned for welcoming lovers…not fighters) to act as the springboard for the band’s all new 3 track ‘Alcoholic’ 7” single. It also feels right and proper that the band should kick off their set with a track from said release, and as ‘Looking Back’ unravels in all its Sabbath meets Bad Brains glory, this sets the tone perfectly for what is to follow with Beddis and the boys playing eighteen tracks from throughout their back catalogue.

I’ve honestly never seen the band tighter or more focused than they are tonight as the likes of crowd favourites ‘Bastard Son Of A Teddy Boy’, ‘I’m A Terrorist’ and  ‘Black John Wayne’ sit alongside deeper cuts like ‘3 Little Pigs’ and ‘Sweet Dreams’, and never mind how much Beddis claims to dislike playing these latter tracks live, they still sound absolutely amazing through the Le Pub rig. What is surprising is that ‘American Fat Fucks’ isn’t given a run out, albeit the long overdue reintroduction of ‘I Love The Port’ (which ends things in total chaos) almost makes up for this.

 

I’ve said it before, but it’s worth repeating, that in the times we find ourselves in the UK needs bands like Bad Sam to give us something to believe in. So get off your arses and drop Beddis a message to secure your ‘Alcoholic’ 7” for £5 plus P&P, or if you live in South Wales why not pop into Kriminal Records in Newport Market and pick one up first hand. These vinyl bad boys ain’t going to be around for long, do don’t be snoozing.

 

This album represents one of those brilliant moments in life when you receive an album that just immediately clicks on almost every level. If this album didn’t come from Hodge, it might not be what you expect from RPMOnline. With a history of performing with Crass, Ryan Hamilton, and Ginger Wildheart among others though, I was going to be very interested in hearing this album on that basis. From the moment I hit play, I found myself stuck on the computer the first time it played. I immediately burned a copy for the car and then made sure it was on the iPod so I could play it throughout the house. Hodge has created a great pop album that takes darkness and immerses it in hope and her charisma.

‘Stop Worrying Baby’ features some very nice piano that reminds me more of the likes of Carole King then what people consider pop music today. Hodge’s voice hits me in all the perfect ways, and she uses it to craft a magical chorus that has made me hit the repeat button numerous times. Piano alone introduces ‘Waving Not Drowning’ with the song feeling like it should be the centerpiece in a movie. Musically, this song has a very haunting feel to it, but, as I mentioned in the introduction, the song has much more of a positive message to tell with this song addressing suicidal ideation and the importance of reaching out to others whether it be friends, family, or strangers. ‘I Still Love Me’ provides an increase in the tempo and celebrates all of the special things that make each of us without it sounding cheesy. Dave Draper’s production is spot on throughout the album (as expected) with this song being a shiny example. The drums and bass jump out of the speaker with the guitar riff being perfectly placed. The chorus is designed for maximum effect without it being over the top in the mix.

‘In Case of Emergency’ showcases how powerful a ballad can truly be. The delicate piano works in perfect union with Hodge’s vocals. The subtle twist in key going into the chorus is tremendous. I also don’t think I have made it all the way through this song one time without the hair on my arms standing up from Hodge’s magical vocal. The subtle use of the guitar here provides some additional texture. Following that song was never going to be easy, ‘Magical Bullet’ rises to the task by providing us with a great rock song that makes it impossible to sit through without moving. You will want to be up on your feet moving, dancing, and singing.

Kicking off the back half of the album, ‘Send Me Someone’ reminds me more of the likes of Fiona Apple perhaps. There is something magical about Hodge’s voice when it is just paired with a piano. While this song does not connect quite the same as ‘In Case of Emergency,’ it remains a powerful song full of powerful, direct lyrics. The sequencing here is extremely important too with ‘Send Me Someone’ containing vocals until almost its last note. The transition to the layered vocals at the start of ‘Semi Colon’ is perfection. I am left hanging on every vocal and piano note on this one. Even after many plays, it becomes a challenge to write a review while listening to the album because I just keep getting lost in the music and words all over again. ‘Virtue Signals’ turns up the rock again and is also the longest song on the album at 5 minutes. This song has proven to be more of a grower which I attribute to the previous song being so amazing. Hodge sings with confidence and power here which gets highlighted with the way the pre-chorus sets up the chorus by taking her vocals and musical down a deep ravine before having the full music and vocals come back for the chorus.

Hitting near the end of the album, ‘Stopped Believing in You’ has all the makings of a huge crossover hit if it could catch some airplay. Draper had made a comment to me about the potential of this song to make this album huge, and he was right on the money. It highlights the strength of the album when this song gets placed near the end. The song builds and builds over a musical beat that again gets the listener moving. Subtle musical touches rise to the surface with each listen, and, at just over 3 minutes, this song ends way too soon so I have noticed this is another one where that repeat button keeps getting abused.  ‘Let Gravity Win’ serves as a perfect closer as Hodge tells the narrative that happens to us as we get older in this society. The song provides a sense of catharsis and provides empathy that we all go through this rite of passage. We can do it our own way though.

‘Savage Purge’ hit me at the perfect time when I first heard it so I resisted reviewing it immediately. I wanted to give it a little more time so I could dig in deeper. Additional listens have only strengthened my first impression. These 10 songs deserve to be heard by an audience far and wide. This album also goes to another level in the dead of night when there are no other sounds in the background. Do yourself a favor and give this album some listens and a purchase. We need to keep hearing more songs by Hodge.

‘Savage Purge’ is officially available March 30th and available for purchase now

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Author: Gerald Stansbury

 

 

 

 

Meanwhile.  Lo-fi punk rockers Phone Jerks have been busy boys recording this here mini album for Wanda Records.  Outta Naumburg Germany Phone Jerks play hard and don’t hang about but when they click they can Rock like a motherfucker.  Take the barnstormer of ‘Back To Bootcamp’ then follow that up without taking a breath with the awesome ‘Kill Kill’ hell they even reference Little Richard and the Dolls so what’s not to like? Take a swill of that Thunderbird wine, ruffle your hair, shrug your leather jacket on your shoulders and count us in 1-2-3-4 and away to go. Phone Jerks rip it up.

Six tracks is enough, for now, I guess at times it’s exhilarating and breathtaking.  Who said punk rock was a young man’s game I could Slamdance and pogo along to these six easily even if it totals less than twelve minutes who cares its always quality over quantity. ‘Rubberhead’ channels Dee Dee perfectly well and the world needs that right now tune in a turn-off. To be fair you can hear elements of Dee Dee’s spirit running through these tunes like the chorus of the parting shot ‘Don’t Ring Me up’.

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Buy ‘Out The Gates’ Here

Author: Dom Daley

Erik Nervous is a new one on me as are the Beta Blockers but they’ve joined forces for this self-titled album.

‘Violent Dreams’, Is first out of the traps with its angular punk rock borrowing from the USA wave of punks like Minutemen and maybe a little Devo with something that’s not a million miles away from Tubeway Army and the angular early Buzzcocks.

‘Gravure’ is more of the same it’s intense and sparse but well-produced and not at all tinny sounding but full fat or should that be full phat (as the kids would say)

But it’s not at all one-dimensional dum punk that people might expect on hearing the “hanging on by a thread” ‘Richard’ with its basic one-note guitar breaks and thumping bass line. As the Bontempi is plugged in and early Human League gets exercised on ‘Blasted Heath’.

It all goes a lot Devo meets Kraftwerk on ‘Want To Not Wanna’ the vocals get treated and the sampler goes into overdrive before the distorted guitars go off-piste on this captivation and interesting midway point.

 

It’s not a safe record by any means there are challenges for the listener as Erik leads the players through some difficult runs both high and low. Titles make me giggle like a school kid as the Joy Division inspired ‘(I’ve Got A) Desklamp For A Hand’ is up next.  what inspired the title? God only knows but it doesn’t envoke lampshades or missing limbs. You crazy kids…Treat the record as something of a voyage of discovery some bits will stand out whilst others don’t quite work  I’ll let you decide which is which but it’s well worth checking out.

‘No Chorus’ strays into Fall territory whilst ‘Make Up To Break Up’ is more straight forward punk rock. ‘Horseshit’ and ‘Stateline’ are both worthy slices of new wave punk rock and are really well delivered. Hop onboard kids – Erik and The Beta Blockers offer an alternative to punk rock and twist it out of shape using the past to progress to the future.  Another great release from Drunken Sailor Records one that shouldn’t make anyone Nervous except Erik that is.  Go check it out.

YOOOO!

The official music video for ‘Round the Bend’ is out now, featuring work from the talented Michael Roberston and Toon53 productions. Working on it was a fucking dream and we’re stoked to show it you!

🔥 ’Round The Bend’ is about being at the very edge of your emotional strength, I guess. I wrote it when I was at a breaking point of sorts, where I felt like what I’d been trying to make happen with the band for 12 years, wasn’t in fact going to happen… 🔥

The band are also pleased to announce a full U.S. tour. An artist presale from today. Use the code BACKFOOT. Get em before they’re gone!!

Don’t forget they will also be hitting up the UK including🔥FUCKING HEADLINE SHOWS🔥in Leeds AND London!!!

Head to the website for all the details!!

There were a couple of recent(ish) episodes of the superb YouTube series ‘Produce Like A Pro’ that featured Roger Joseph Manning Jnr talking with the host Warren Huart about how Jellyfish recorded their wonderful ‘Bellybutton’ and ‘Spilt Milk’ albums. Within each of the enthralling episodes (a must-watch for music nerds everywhere, trust me) Roger revealed how the band would always go back to one other band’s music to sense check if what they were doing was right – and if it’s good enough for them it’s good enough for us kind of thing -and (spoiler alert) that band was the greatest band to ever come out of Swindon, XTC.

 

So, what the hell has this got to do with the third studio album from Willie Dowling and Jon Poole I hear you ask? Well, Jellyfish and their influences are exactly the right place from which to start this review, not least because ‘See You See Me’ opens with a title track that welcomes the listener in like some long lost friend of the masters of 90s bubblegum pop, a band who introduced a whole new generation of us to the delights of Supertramp, The Beach Boys and the Raspberries amongst many others.

 

Where The Dowling Poole perhaps now have the slight edge on Jellyfish is that they have almost three decades of new influences that they can channel into their songwriting and that’s why whilst ‘The Product’ might sound at times like an in his prime Elvis Costello its comes complete with a haunting Rialto (remember them?) like harmony vocal refrain and sounds just like the guys had Missy Elliott helping out behind the desk. It really shouldn’t work, but by God it does.

 

Likewise, ‘Keeping The Stupid Stupid’ has that Marilyn Manson patented march as a backbeat but over it, Dowling and Poole sounds more like the modern-day Squeeze, and without a doubt things are certainly very cool for these cats.

 

Then there’s the white soul of recent video/single ‘Hope’ a song so fantastic you could just imagine Robert Palmer or Prince having it on one of their mega Platinum selling records. In fact, it’s a song I’d love to hear Jarle Bernhoft get to grips with one day. Now that really would be one hell of a collaboration.

 

Elsewhere ‘Made In Heaven’ suddenly has me looking for the Andy Partridge co-write credit on the press sheet, and ‘Human Soup’ has me thinking that The Dowling Poole might just be the ideal support act for Crowded House’s UK return this summer, and at the same time ‘Alison’s Going Home’ suddenly makes me want to go dig out those classic Head Automatica albums all over again.

 

Lyrically on point throughout the album, there are those who will argue that politics (however subliminal they might be) should be kept out of music, but when the songs are as joyous as those contained here on ‘See You See Me’ you’d have to be a total moron not to appreciate the social context in which these tracks are being written. Oh, and for those of you thinking “all he’s done here is reference other bands in his review”, just look at those bands, XTC, Jellyfish, Elvis Costello and Squeeze. I’m sure that’s a quartet of artists Willie Dowling and Jon Poole won’t mind sharing some review space with.

 

So, with their former Wildhearts bandmates justifiably receiving plaudits galore for their ‘Renaissance Men’ album, ‘See You See Me’ whilst an altogether different beast, is every bit as great as that record. The million-dollar question I suppose though is will you be brave enough to make the purchase leap when it’s released at the end of February? Go on I dare you – and who knows – perhaps in just a few years’ time we may be watching Willie and Jon doing their very own ‘Produce Like A Pro’ webisode, because to my ears ‘See You See Me’ is absolute powerpop genius.

Buy ‘See You See Me’: Here

Author: Johnny Hayward

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American Television are a punk rock band outta DC.  They play fast and are a throwback to the kind of punk that swamped MTV back in the day. At times they remind me of the likes of Anti Flag, Bad Religion and of course Green Day.  This is their debut album and for the Genre their hitting outta they do it really well. The band themselves say that its an album of ten tracks of pop melodies with a punk rock attitude and that’s a fair assessment of what ‘Watch It Burn’ is all about.  There is an air of being uplifted by the songs and that’s always a good thing, right? Like their genre compadres Anti Flag they feel that the “Man” is crushing the man and money and greed is taking over above the greater good and I like that and you can hear it in their lyrics.  Bands like American Television offer hope and are eternal optimists and that’s always cool.

 

I particularly love the bass thud of ‘Drinks’ – married with the thunderous riff its the standout song. Close on its heels is ‘Dad’s Song’ which is probably reflected right around the globe currently. to be fair when you dig into the album the guts of the tracklist is really strong and songs pop out the more you play it. ‘Technology’ is grabbing me at the moment followed by the harder-edged ‘Wasteland, USA’ with its sub-two minutes heads down and hit it hard attitude.

Something of a call to arms for all the disenfranchised and misfits out there ‘Misprint’ is autobiographical and something many punks can relate to and it’s wrapped up in a good tune and they reference Greg from Bad Religion to boot.  If you’re waiting for the slow heartfelt set-ender then forget it.  these guys light the torch and carry it on ‘Great Divide’ reminding me of the Downtown Struts and that’s always a cool sound.  Check it out I really liked it and can only see it growing on me even more.

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Buy ‘Watch It Burn’ Here

Author: Dom Daley