Tag Archives: Review

NoSo: When Are You Leaving?

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Sometimes you hear a song, you find a band or singer and you immediately feel like you’ve found your version of home. You’ve found someone who says everything you wish you could and maybe that person is all you wish you were brave enough to be. You find this piece of music, and everything that had been missing is right there. Something clicks, and maybe you were absolutely fine all along. You just needed something like this to pull you through or to essentially, be a mirror. When I first started listening to NoSo a while ago, that’s exactly what happened. Then I saw them live, and my world got flipped and everything clicked. Those feelings have come back around this morning as I listen to the new record, and I absolutely could not love or be more proud of NoSo.

In 2023, NoSo’s debut record came out and it felt like my brain had been rewired. That same feeling happened a year later when I heard jasmine.4.t and it’s smacked me between the eyes again with When Are You Leaving? With just 10 songs, Baek Hwong has yet again created a masterpiece for the ears and heart. It’s a beautiful record, and I honestly didn’t know what to expect going into this. I didn’t know if something so perfect could be done again. I was silly to even have a fragment of doubt. There’s no second record curse or whatever here- far from it. Every single song on this record feels like home. There’s so much vulnerability in Baek’s songwriting, and it is so obvious on this record. They are a sensational songwriter, and it’s the way he truly gets to the core of every emotion possible and makes it beautiful. This record is a thing of beauty- even when touching on difficult themes. It’s everything you could want, and more. The way Baek writes about race, gender, the way the world is- it will break your heart because of the sheer honesty, but we need it. We need to hear it, and the way he does it is sheer poetry.

I’ve played this record about 3 times so far, and with every listen I am finding more and more things to love about Baek as an artist and as a writer. This record was entirely self-produced, and you can feel the grandness in it all. It’s such an open record and you feel there’s a lot of healing within the record. And I think the title alone shows the power in walking away from something or someone that is damaging. The relief you feel from walking away from something or someone that’s harming you can feel daunting but when it clicks, you know it’s the best thing you could have done. It’s also a record that feels like self-growth and becoming the person you knew you could be but still knowing there’s more to do.

Every single song on the record is just a work of art. I couldn’t pick a favourite at all and trust me I’ve been trying to work out which songs speaks to me the post, but I can’t do it. With the debut record, it was so easy. There’s a line on You’re No Man that got me in the gut, “And she’s gloating about being a gold star, you won’t break the spell.”  I don’t want to go into detail, but it absolutely got me. I think it perfectly sums up how Baek can write something so heartbreaking in a way no other could. There’s no one else who could write something so painful in such a careful way. It’s just beautiful. I love the urgency throughout Don’t Hurt Me, I’m Trying. It feels like it could be in a film or something- it’s got a speed chase feel to it.

For me, NoSo’s music is sacred and honestly if I could listen to his music without crying then I’d be fine, ha! The way he can just pull these feelings out in such an effortless manner leaves me in awe. It’s the way he just manages to portray such fragile feelings that make you feel like he’s writing about you or puts you in his position. It’s such a glorious record and it really does feel like the next step from Stay Proud Of Me. If you listen to NoSo’s debut first then go right into When Are You Leaving? you’ll hear the growth in the words, the music, the production and all in between. It is truly a perfect record, and it feels like home.

Baek has such a distinctive voice and it’s a voice that can soothe, and I think everything beautifully comes together on the last song on the record, Let It Die. And I think after playing the record on a loop for the past few hours- this could be my favourite on the record. It has such a big and euphoric feel to it. It feels like letting go, a massive sigh after the damage is done and relief takes over. It’s the perfect way to wrap up such a divine record.

I feel I may not have said enough about the record in the way I wanted, but maybe it’s because I feel the words so personally, I want to try not get too into it. All I know is that if I was a 13/14 year old queer kid listening to this record- I’d feel like it’s going to be okay. As queer adult, I think I’m still trying to find that reassurance, ha! That’s why artists like Baek are SO important and why his words and his experiences need to be told. The record defines survival, escaping and being okay. It isn’t an easy journey but it’s not one you always have to do alone.

When Are You Leaving? is a record to treasure and to love. It’s one of those records that you play for someone and say, “this is everything I cannot say just yet, but it’s all in here.” Like a diary entry I suppose, but deeper and with more care. The honesty and the way the songs just feel like home mean the world. I feel I’ve just made zero sense in all I’ve written so I’ll leave it here. In short, one of the best records of the year. Easily.

Thank you Baek for creating something so open and beautiful.

SPRINTS: All That Is Over.

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Buckle up because this is nearly 2,000 words!

The second album curse. Is it a myth? Is it for real? Well, one listen in on the new Sprints record, and it’s clear that this myth has passed them by. That myth looked at Sprints and knew better. It knew not to mess with them.

Letter To Self was one of the best records of 2024, and it was one of the most captivating debut records we’ve had in a while. It’s not fair to compare the two, but it’s fair to say that All That Is Over shows exactly what years of touring and working your arse off can do. Letter To Self was the starter. All That Is Over is the main event. It’s the one that grips you in a different way. The record opens with Abandon, and the way Karla’s voice grips you is unreal. It makes you feel like you are somehow listening in on something really private- almost voyeuristic in a way. You feel you shouldn’t be listening in but my god you are glad that you did. It’s the perfect way to start the record off and it truly grips you in ways the first song on a record should. Also, the drums on this are unreal.

You get your ears beautifully destroyed on To The Bone and this is one of the many moments where Karla’s voice shines. There’s this power (I honestly can’t think of a better word) in her voice that’s always there and she uses it to the fullest on this.

There are so many moments on this record that just make you think, “Oh shit this is THE BAND.” Like, this is the band you need to be pouring all your attention and love into. I’m seeing them play a small venue on Sunday here in Manchester and I just know it’ll be the perfect setting for them. Then, a few days before my birthday they’ll be playing the Albert Hall here and that’s my favourite big venue here in Manchester. I don’t there this a more fitting venue for them and to hear this record. It’s not a record that can be contained. It’s not a record that you stick on in the background. It’s a record you have to pay close attention to and let it grip you so tightly. The first song we got from the record was Descartes back in the summer and that pretty much summed up the feel of the record. Dark, heavy, poetic and addictive. It’s a stunning record and I feel that my words just don’t do it justice. This is a record that demands to be heard.

The latest single, Need is wild. I love the ending of it, and if you pay attention, you’ll hear Karla say, “I need you to leave me the fuck alone.” Perfect. I think most of us probably want this on a t-shirt or something. It’s fast and rowdy number, and I’m pretty sure seeing this live will be almost biblical. I think seeing them live will be just that to be fair. The more I listen to this song, the louder I want it. You want it louder and faster. It’s addictive. I’m pretty sure I’ll play this at the gym and feel I can take on the world.

Something’s Gonna Happen has claimed my heart. I could have this on repeat for hours, and with every listen, I’d find another part of it to adore and call it home. There’s an eeriness to it that would fit perfectly in like, a Norwegian detective drama series. It feels sinister. And you know, the whole record has this dark and sinister feel to it, but you don’t feel threatened. You feel quite safe, but you do feel on edge and that’s what they’ve done with Something’s Gonna Happen. You feel on edge, like it’s going to kick off and fuck me when it does kick off on this- it goes. It absolutely GOES. And I cannot wait to see this live. I just know the live version of this will be intense, and you can hear changes in Karla’s voice as she approaches the edge of the song- and that is the moment where you know you cannot escape your love for this band. It’s the anticipation that holds you so closely. You feel on edge- should you feel safe, or should you try run? As if you’re going to run. Don’t be a fool.

Every song on this record is a prime example of why Sprints are the most vital band around. You feel like you’ve found someone’s diary when you pay close attention to the lyrics, but you also fee like you’ve found a home. There’s a line on Pieces that got me in the gut; “Home is where the heart is, so where’s my head? For the last one who loved me, left me better off dead.” Oh, come on now! What a line! I’d have related to that well over a year ago, and it would have probably made me bawl. Now it just makes me feel silly for feeling that way. There’s always better and I found it. It’s a furious number, and again, is another example of why this record is made to be witnessed live. There is nothing calming about this record in the typical sense. As someone who finds security in loud songs and feels uneasy with the quiet, this record definitely feels good for the soul. It is comforting and its home. It’s just perfect.

Lyrically, this record is Sprints at their most honest and tender. Better is a solid example of the tenderness and it’s definitely got the potential to break the hardest of hearts. It’s one of the slower moments on the record and shows a different side of heartbreak in a way. There’s a healthy mix of rage, heartbreak, and disappointment on this record and Better sums up those emotions in the most perfect way. Sam and Karla’s vocals on this are just divine. I love their voices together anyway, but on Better you really hear how gorgeous they are together.

The record ends with a 6-minute dream of a song, Desire. I compare everything I listen to to the greatest song of all time- A Forest by The Cure. If a song can make me feel like I did when I first heard that aged 13/14, then I’m hooked. It goes without saying that feeling is there throughout All That Is Over but its comes alive on Desire. The last minute of this song feels like Karla is unleashing every single demon she’s ever known and giving it to the world and letting go. That’s how the whole record feels, and that’s how you feel when you listen to the record. Every ugly and intense feeling you have, that you have no idea what to do with is let go of when you listen to this record and for me, that’s what makes Sprints and this record such a joy to listen to. It’s like an exorcism of sorts. It’s a cathartic record and you get a real sense of it having that feeling during the creation of it.

The band in general on this record sound like gang. There’s not just one band member here to focus on- it’s all of them. Jack is a real threat on the drums, and there are a lot of moments on this record where the drums just take your breath away. The addition of Zac adds something that compliments the sound of Sprints in a way you didn’t think could exceed Letter To Self and previous, but Zac’s nailed it- that ferocious guitar sound feels like fireball approaching. Sam is probably one of best bassists around- the way he and Jack create this unique and thrilling rhythm on every song just leaves you in awe. Karla’s voice (and guitar) has never sounded so powerful. She has this tone to her voice which reminds me of my two favourites- Shirley Manson and Patti Smith. Writing this makes me feel like I have found Garbage for the first time aged 6 or 7, and that is what I get with Sprints. The power in their music reminds me so much of Garbage and my heart is so full of love for that. I pretty much could have cut out a thousand words here and just kept that in to sum up this record!

The whole record exposes the bin fire that is the world right now, and you feel less alone listening to the record- especially when you feel so fucking helpless. The world is heavy, and this record explores that heaviness in a way that has you hooked from the start. The production on this record is again flawless (I mean, it’s Daniel Fox- of course it’ll be perfect!) What was done on Letter To Self has been heightened and something entirely new has been birthed. It’s ripper of a record, and one you cannot get tired of. Sprints won’t shrink themselves for you to feel comfortable, and that’s one of the most wonderful things about this band. The hard work, the passion and the drive is right there. It’s always been there, but this record unleashes something entirely different, and you want it to be poured into your eardrums constantly. You simply cannot get enough of it.

All the best records are dark, intense and creep you out a little bit- All That Is Over does all this and more. If this is what they can do with just two records, then imagine what they’ll be like 5 or 6 records in. Dublin’s finest. Ireland’s finest. Just the best. I couldn’t praise this record more if I bloody well tried. It is like a thousand punches to the gut and head. A freight train to the soul. A mirror to yourself. It is perfect.

If you are in need of a record to break or fix you. If you’re looking for a record that puts you on edge but also makes you feel safe. If you’re looking for a beautifully created masterpiece. If you want a record that makes you feel like someone has stepped into your head and exposed all that you think and feel. If you’re looking for something you’ve not heard or felt before- then this is the record you need. It’s a masterpiece and it is a joy to listen to, and to be consumed by.

I don’t think I have ever written about a record in such detail before. Nearly 2,000 words about a record. I didn’t think I had it in me, but sometimes you hear something so important- you just have to let it all out. So, thank you Sprints. Thank you for creating one of the most important records of the year and for making something that feels like home.

THE GRUESOMES: The Dimension Of Fear.

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There are many things we can thank Canada for, but the one thing I am eternally grateful for, is that one of the best bands all time are from there. The Gruesomes.

The Gruesomes were a band I found on my own when I was about 20 ish (I’m 38) and when I found them, I felt like I did the first time I heard The Cramps and The Cure. I felt like I had found a home and being a weirdo wasn’t so bad at all. The Gruesomes debut record came out in ’86 (the year I was born) and 40 years later, the record still sounds effortlessly slick and ahead of its time. There is something so fantastic and beyond description within that record. I remember going to a market in Camden about 8 or 9 years ago when I was still living in London, and I did my weekly trip to buy records on my lunch break. I had 2 records in my hand, but all of a sudden, a copy of Tyrants Of Teen Trash caught my eye. I had been searching EVERYWHERE for this record, and all of a sudden, I am staring at it. Holding it in my hands. My holy grail. It was in my hands. I put the other 2 records pack, and bought The Gruesomes. I had the finest record of all time in my possession. I was the luckiest person in the world.

A few weeks ago, the band released The Dimension Of Fear. A record named by a fan, and it’s a solid name for a solid record. This record could easily have been released right after Tyrants Of Teen Trash. It has that typical sound of theirs; the sound that I know and love. The sound that feels like home, and the band have never sounded better. I hope one day they do a proper tour of the UK- I wouldn’t be mad if they didn’t make it to Manchester because I’d absolutely find a way to get to see them. But for now, let’s talk about why their new record rips and is one of the best records of the year.

The Dimension Of Fear is 12 songs in half an hour. You’ll want more, but what you get is essentially the best of The Gruesomes. It’s a sensational record, and it’s the band at their very best. I simply cannot praise this record enough, but I will. I will not shut up about this record at all. It’s their first record in 25 years, and those 25 years have sure as hell dragged! This is a stunning record, and if I was into marking records out of 10- it would exceed 10 out of 10. Gerry and Bobby’s vocals have never sounded so strong. You know they’ve been around for some time, and you’d probably expect there to be a change in how they play or whatever but absolutely not. This band can put any new bands to shame. They’ve got an abundance of energy that you wish you had even a fraction of. You wish you were as cool as The Gruesomes!

Just Go Away and That’s Using Your Head show us exactly why the band are one of the best, and I love that they are still playing shows. They are showing everyone how it’s done. They for me, are just one of the most underrated bands of all time. I love how they have that 60s Garage Rock sound but have carried it on beyond that (I know they formed in ’85, but I mean they perfected a sound before their time and made it theirs.) The Gruesomes know how to make songs that make you want to dance in a questionable fashion, they make you want to sing along as loud as you can to bops like What In The World, Broke My Brain and You’re Outta Luck. You cannot help but listen to this record and feel you’ve gone back in time BUT! BUT! If you’re already a fan of The Gruesomes, you’ll feel like they’ve never been away. I wasn’t born when their debut record came out (same year but I was still cookin’) but listening to their new record makes me feel like I’ve heard them for the first time but also really happy that I get to hear new music from a band I absolutely love.

Like a lot of bands I love, The Gruesomes make me wish I could play guitar or something because this is the kind of music I’d want to make. It’s just a prime example of slick Garage Rock/Punk, and it just makes you feel good. The band sure know how to make their fans feel good with their punchy Garage Rock sound, and I love that the band have been together for so long. You can truly hear in the music how much fun they have together and that beautiful childlike feel in their songs just has you hooked. The snarly vocals, the urgency in the sound. The playful and rowdy sound that just makes you want to ignore everything around you and soak up this record. It’s a masterpiece. It’s The Gruesomes in all their wonderful glory and I am so so grateful that they are still together and making music like this. It’s a flawless record, and you just cannot get enough of it.

They still have that rebellious schoolkid sound, and that sound is something you cannot help but love. You cannot help but be obsessed with it. Everything about this record is all us fans of The Gruesomes could ever want from them. It’s massively exceeded what I thought the record would sound like. I knew it was going to be a dream of a record, but this is truly something else.

Get yourself a copy and play it as loud as you can. And have it on repeat. I feel I could write a thousand plus more words on this record, but hopefully I’ve summed up my love for it and why it’s one of the best records of the year and was worth waiting 25 years for. Just don’t make us wait another 25!

The Dimension Of Fear is out now via Soundflat Records. Get some snotty Garage Punk in your ears!

SLICERRR.

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Well, it’s happened. I’ve broken my word to myself where I vowed to never buy tickets to a show at Victoria Warehouse in Manchester. It’s a 5/10 minute walk from my flat but it’s also the worst venue in this city. I’ve not seen some bands there because I hate it so much BUT Amyl And The Sniffers are playing next month, and I cannot ever not see them. I saw them at a small venue in 2019 and to see them play a place like this is just WILD. Deserved but wild. Also, the support bands are insane. The Menstrual Cramps were a band that Raz loved so I’m partly going for him. And my girlfriend is desperate to see Amyl And The Sniffers too- I don’t think anything I tell her is going to fully prepare her for the experience!

Alright so, here’s a bloody great band from Helsinki for you-SLICERRR. Their debut EP came out in February and trust me it’s a ripper of a record. No part of it sounds like a debut record- it sounds like something a band deep into their career would make. It’s a fantastic record, and it’s one I am proudly obsessed with. If you can’t play a record on repeat relentlessly, then why bother?! This is everything I want from a record and more. It’s a proper rowdy Garage Punk record. It’ll make you want to down cans of lukewarm beer, throw empty cans at passing cars and run off into the night (I don’t advocate for throwing shit at people, but you get my point!) It’s a record to waste the day to and it’s a record that’ll make you wish you could go to their live shows every night. The energy throughout the record is divine.

I don’t know what the Punk scene is like in Helsinki but if there are more bands like SLICERRR out there- send them my way. This is incredible. The record touches on tough subjects such as the difficulty of modern life all the way through to the hectic nightlife of Italian cities (as a slightly more than half Italian human being, I welcome this!) The EP is a work of art; it’s just everything you could want from a record and these 5 songs are made to played loud and on repeat.

The record opens with Losing My Grip which perfectly sets the tone for the record and is a perfect introduction to the band. You really feel immediately what the band are about and right away fall in love with their sound. There’s probably a bunch of bands I could liken them to, but that’s not fair and comparisons serve no one at all. All you need to know is that the last minute of this song is a furious and shows you exactly why SLICERRR are one of the most exciting bands around. In some ways though, the song reminds me a little of Bored by Crows and that’s probably why I love this band so much. That’s the only comparison that’s needed, and I think it shows exactly how and why SLICERRR are so good! I know I say this a lot, but if I had ANY musical talent, I’d want to be in a band that sound like this. They just have this perfect Garage Punk/Garage Rock sound, and it just makes you want to MOVE. I feel like SLICERRR can only add positive things to your life and record collection. Who do I need to ask to demand a UK tour?! This is the kind of sound I absolutely adore with everything I have.

The EP is a perfect insight to the band, and I’m so excited to hear what’s next from them and to just get more and more music from them. SLICERRR are a joy to listen to, and I really hope that if you listen to them, you love them as much as I do. They deserve any and every bit of success they get because they really have such a strong sound and it’s a sound I can’t get enough of. They’re an incredible bunch of musicians and definitely deserve your attention, and love.

If you’re a fan of Küken- then you’ll love SLICERRR. Both bands have the same urgency to their sound and it’s just divine! (Sorry about the comparisons I said I wouldn’t make!)

Check out the EP (released via Dödstil) here:

CROCODILES @Zerox, Newcastle 28th August 2025.

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Thursday night was my 20th Crocodiles show (it was also the bands 100th show with their current lineup) and it was without a doubt; the best I’ve ever seen them. Of course, my view will be entirely biased because I love that band a hell of a lot, but others at the show said the same thing so, I reckon it’s a fair comment!

The night before, my girlfriend and I had been in Edinburgh to see Chappell Roan and that was something else. Getting back to the hotel at 3am was not the same magical experience and we spent most of Thursday asleep. I think the pizza from Scream For Pizza cured me though. Hands down best vegan pizza I’ve had. I’ll probably say this throughout- but Zerox is my favourite gig venue. My heart does belong to the Shacklewell Arms and I think the Brudenell in Leeds is next level BUT Zerox has something else. It has something I can’t quite describe but it was the perfect place to see Crocodiles for sure.

If you’ve never seen Crocs before, then you may not be sure what to expect. However, don’t do what I did and stand right at the front next to the speaker. It’s been 2 days and my hearing in my right ear is slowly coming back. Anyway, if you’ve not injured yourself in some way at a show- have you even had a good time?! Charlie gently placed a Palestine flag on the stage before the band started, and it just reinforced my love for the band. Crocodiles are for the people. They are for those who get overlooked and they will always speak out. Sometimes they speak louder than most, and it’s why I adore them.

The hour and a bit that they are on stage is what sheer joy feels like. They play all the hits such as Wait Until Tomorrow, Love Beyond The Grave and Upside Down In Heaven but for me, it was Brandon dedicating Mirrors to little old me. I didn’t expect it and I felt like a little kid. The last time someone did this was probably around 8 or 9 years ago, and it was Tall Juan covering Chinese Rocks by the Ramones. I felt so cool! That feeling came back around and was the perfect way to make show number 20. There is something so special about seeing a band you adore live, and being able to see them in a new city is always good too (even if you did feel half dead beforehand!)

Since Raz died, I have honestly found it tough to write about music. I’ve got a lot that I probably need to listen to and write about, but I think seeing Crocodiles has slowly brought that love back and the love for writing. They always get me through. Their set was incredible and I’m pretty sure that when I turned to my girlfriend during the start of their cover of 1969, she probably thought something was wrong with me (more than usual!) It was a ripper of a cover and I hope they keep playing it. There was once a video on YouTube of their take on I Wann Be Your Dog but I’ve searched endlessly for it, and it’s gone. I hope their cover of 1969 makes it online somewhere because it is SO good. They ended the night with another cover- Jet Boy, Jet Girl which always goes down well. They sure know how to make classic songs their own. It’s part of what makes them great. The crowd were gorgeous in every way too and it was so good to see people appreciate Crocodiles in a way that they absolutely deserve. They have my heart for sure!

There’s a handful of bands that I love that I could happily watch play every night, and Crocodiles are one of them. It was easily the best show I’ve seen them play and I think maybe part of it was due to the venue and how you could sense a true feeling of community there. The venue wasn’t rammed but it was definitely full of love for the beloved band from San Diego.

Hearing a large chunk of songs from their latest record Upside Down In Heaven (2023) was so good and it’s safe to say that songs like I’ve Become What I Fear Most and Surfing With Death live are unreal. It makes you appreciate the record even more. They’ve released 9 or 10 records, and each one shows just why they are one of the best bands around and you can truly tell they love what they do when they are on that stage and the bond, they all have with each other is just a joy to watch. Seeing Charlie swing that guitar of his around like a machine gun will never ever get old!

I hope they play Zerox again because I will happily use annual leave from my job to travel to see them. An incredible venue.

Also, it’s vital to say that Jade Hairpins were on before Crocs, and they were gorgeous. Jonah from the band donned Charlie’s slick long leather jacket during Crocs setlist and stood at the front which was one of those “you had to be there” moments. If you weren’t there, then you missed out! Jade Hairpins played an incredible set too, but what do you expect when you’ve got members from Fucked Up there, right?!

In short, the show was just a dream. A wild and sweaty dream, and one I’m going to remember for some time.

PSYCHIC PIGS: S/T

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If you’re looking for say, 10 really loud Punk songs to knock you out or burst your eardrums- then you need the debut record by Psychic Pigs. A band fronted by half of one of my favourite bands in the world, Brandon from Crocodiles (a write up on Charlie’s Crush Of Souls project is coming) has created Psychic Pigs with his buddy Jonah Falco (yep, from Fucked Up) and made one hell of a rowdy record.

I won’t liken the record to anything Brandon has previously done (but if you loved one of his many bands such as Flowers Of Evil, then you’re going to adore this) but if you are a fan of Crocodiles, then you will love this delightfully loud record.

The record was made in London, and you can hear hints of UK Punk in the record all the way through. With Jonah on production and drums, Brandon is responsible for the vocals and guitar. Put these two together, and you’re of course going to be blessed with something truly incredible. These 10 songs were made for you to trash a room to, break stuff, throw yourself around a room and really get wild. I live on the 8th floor and it’s tempting to throw the TV off the balcony whilst listening to this record (I won’t!) This record was made in only 4 days, and you can really hear the rush and urgency on it. Songs like Everyone Pays massively sounds like it could have been born from early Hardcore days; you can hear what has influenced Brandon a lot on this record and his writing yet again will blow your mind. Charles and Brandon are two of the greatest writers of our time, and their genius shines always- whether together as Crocodiles or separately. I just adore them.

This record by Psychic Pigs is beautifully filthy and is there for you to totally immerse yourself in- in every way possible. It’s a record that’ll cause or cure a hangover; it’s a record to play really loud when you’re on your own. It’s a speedy and mucky record, and only good things can rise from the dirt, right? This is a record that goes beyond being a side project- it’s got this drive and bite to it that makes you feel like you are hearing Brandon’s voice for the first time, and also, you get exactly the same feeling from Charlie’s Crush Of Souls project. In short, they make beautiful music regardless.

The songs on this record don’t really hit over the 2-minute mark, so it’s pretty easy to just have this on repeat constantly. I love Hello Oblivion the most right now, but I’ll change my mind in a few hours and find a different song on the record to adore. I just think Brandon and Jonah have created something really important here, and it goes beyond being a rowdy Punk record. It feels comforting in some ways and maybe that’s because for me, Crocodiles have constantly (since 2008/9) been my ultimate comfort band. Every record is associated with something or has got me through something, kind of like having a buddy there right in your corner, y’know? There are so many hints of Hardcore bands on this record mixed with something that’s utterly nameless, and I think when you find something that you cannot describe, you’ve probably found something to treasure for a long time.

The lead single off the record (self-titled) was the perfect introduction to what we were going to get on this record- that snarly Stiv Bators attitude flows throughout the record and is so prominent on the lead single. It’s a brilliant song to get us all hooked on the Pigs. If I won the lottery, I’d pay for Brandon to bring a Psychic Pigs tour to the UK because this is a record that’s got to be witnessed live. New Dark Age

venue where you don’t know where the stage ends or begins-everyone just merges into one, and personal space doesn’t exist. Beer and sweat falls on you, and neither is your own. Perfect.

For me, the second half of the record is where the rowdiness really kicks in and songs like Masochist oozes a real Punk attitude that may have once scared your mum but she will tell you she’s seen and knows more than she lets on- so who’s scared now?! I know this is a great record because even though I have it playing super loud, my cat Mary, is happy to still be asleep next to me. She’s a Punk at heart- she didn’t really get a say in it.

Cool Society is a dig at how awful politicians are and how those who live in the real world know exactly what’s going on and how politicians aren’t in touch with any of us. How could they ever be? The frustration on this one is glorious and Brandon really lets the world have it with this one. This is another close favourite but truth be told, the whole record is a real masterpiece. The frustrations, the truth and all that goes along with it is what makes this record divine. The record ends on I’m On Drugs, and it’s fair to say this record is a wild trip that you won’t be able to get enough of. Inject these songs right in and let them consume you.

Psychic Pigs are released out of the dirt and into the wild tomorrow via Slovenly Records. And if you live in L.A, they will be playing a release show tomorrow (23rd) at Permanent Records Roadhouse with Tenement Rats

BACKYARD RITUAL: Small World.

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Small World by Backyard Ritual was released last summer, and I’m a dummy for not writing about it sooner. Backyard Ritual is the project of Ian Campbell- the main songwriter of a band I’ve written about many times and love a hell of a lot- Pop.1280. Ian reached out to me about this record, and I genuinely never thought someone from a band I love so much would ever do that! The first person (and only besides this) I told was my uncle because he too, has an impeccable taste in music and is also a fan of Pop.1280. If anyone was going to know how big of a deal this was to me, it was him! Anyway, story out the way. Time for the music.

Small World is a tense and atmospheric record. It’ll keep you on edge but at times it will calm you down. I love how dark the record and how it feels it could easily have been used in an early John Carpenter film. There’s a lot to love and take in on this record, and I really appreciate how you can take in the minimalism approach on this record. Interboro reminds me of The Vacant Lots- there’s that New York feel to the record. I’ve said it before that some bands/artists make you really pick up on where they are from. You can really put a place to the music, and Backyard Ritual do this so well. You feel like you are scoping the alleys of New York late at night when you listen to this record, and you even get that when you listen to Pop.1280 but I’m not here to compare old bands to current.

The debut full length record is dark and eerie; the best records usually are. There are Industrial and Post-Punks influences on this record, and it doesn’t feel heavy. I know I mentioned above that you immediately feel you are in NYC when you listen to this record, but you still pick up on other feelings on this record. It’s perfect for if you are feeling lost and want to be found. There’s an urgency to it, and there are also slight laid-back moments too on this record. It’s a gorgeous Electronic record if you are in need of genres to be thrown around. But honestly? It goes beyond that. It’s a solid record. A really captivating debut record as Backyard Rituals, and there are moments on this record that are truly heavenly. For me, the gentleness in the middle of the record on Circumstance shows just how brilliant Ian is as a musician. The record does start powerful and it is then toned down here, and it then picks up. You don’t know how to feel, but you take it in any way because it’s such a big record. For me, I feel you could easily put your headphones on and soak up this record whilst wandering the street late at night or on the night bus to get you wherever you need to go. It’s a late-night record, and they are usually the best ones.

There’s something about this record that makes you feel like you’ve gone back in time but also stepped foot into the future with it. In its own effortlessly slick way- Small World is timeless. There are nods to Ian’s previous projects on this record, but there is also something brand new here. Something we’ve not heard before, and it truly comes to life on songs like Amateur Journalist and Proxy. At the moment, they are my two favourite songs but we know that the more I listen, the more likely I am to find a different song to love. In short, it’s a bloody remarkable record and one I am so glad I have been made aware of. Imagine going through life, and not knowing about this record?! How boring! How unfortunate!

If you love bands like Cold Cave, Harsh Symmetry, The Vacant Lots- then you’ll fall in love with this one. In just 9 songs, Backyard Ritual have created something really long-lasting and important. There’s urgency throughout this record and there’s so much to appreciate. I don’t think I’ve even touched the surface on describing how great it is, but hopefully if you listen to it too, you’ll hear it. You’ll pick up on how vital and slick this one is.