La Dispute + Title Fight @ Relentless Garage London 20/09/2012 review

Being the only UK show of this mammoth European tour, also featuring Into it. Over it. and, one of my favourite bands, Make Do and Mend, this show was bound to get a more than enthusiastic response, and it did just that and more.

First up was Into it. Over it (6/10) who I sadly missed most of due to the queue stretching several hundreds of metres down Holloway Road. Regardless, I was impressed. Having only listened to the album Proper, knowing relatively little about Into it. Over it and expecting to see a full band, I was surprised to see one man (Evan Thomas Weiss) accompanied by solely an acoustic guitar on his lap. It was a stark contrast from the fast-paced aggression of Title Fight that would take his place, and a welcome one at that. Though I did think there was a little too much talking in the set and Into it. Over it suffered from the fact that the queue was still sprawling outside meaning most people hadn't made it in yet and the set was broken up by streams of people still entering.

Next to take to the stage was Make Do and Mend (6/10). Unfortunately Make Do and Mend severely fell victim to the terrible sound at the Relentless Garage; firstly you could hardly make out James Carrolls vocals as the mic kept cutting out and even when the vocal troubles had been resolved the bands sound was terrible unbalanced with way to much drums and it was almost impossible to differentiate between the guitars. Though Make Do and Mend overcame this with their distinctively raw performance and the quality of their music, especially their new album, Everything You Ever Loved. Once the microphone issues were resolved, James Carrolls voice was close to perfect. However, when you're playing a show in which there are two headline acts, it's inevitable that your set is going to get cut pretty short. After only 6 songs, which is nowhere near enough time for Make Do and Mend to truly get comfortable on stage after their technical difficulties, their set was already over.

And now for the first of the two headliners Title Fight (7/10) who caught me completely off guard kicking off with Safe in Your Skin and immediately a surge of bodies come flying off the stage into the audience. This was Title Fight for the following 45 minutes: sheer aggression. Nonetheless, the technical difficulties suffered by Make Do and Mend still hadn't quite resolved themselves; much of the first few songs consisted of obscene amounts of re-verb and white noise. Once the technical difficulties had ceased, Title Fight's new album Floral Green was really put to show, as well as playing some old favourites such as Loud and Clear and Symmetry. You would have thought from the reaction of the crowd that they were the final band of night. Already by the end of the set, the walls and ceilings were dripping with steaming sweat, the room was echoing with screams and shouts and the stage and audience seemed one. Though the enthusiasm of the crowd did distort the performance a little. The constant stream of stage-divers did get in the way of the band, both visually and audibly but when Title Fight finished with 27 it was undeniable that their success has only just begun.

Finally for the band that everyone (well at least me!) had been waiting for: La Dispute (9/10). La Dispute had by far the best sound of the night allowing them to pull off tracks from their outstanding and poignant album Wildlife. Opening with the spine-tingling All Our Bruised Bodies, the audience could already tell that this was going to be an intense and stirring 45 minutes. After Title Fight, you may think that this would be the wind-down, but you would be very wrong. True, La Dispute weren't as 'fast-paced' as Title Fight, but they were emotionally exhausting. The whole crowd was transfixed on Jordan Dreyer's pleading haunting vocals in All Our Bruised Bodies and A Poem and hypnotized by serene guitar in Andria, but the highlight of the night was their finale: King Park. The whole song builds up to an epic and dark ending perfectly suited to end such a violent and consuming gig as the crowd screams word for word along: "Can I still get into heaven if I kill myself?". And it's all over. Finally I return to the relatively dull reality but still with La Dispute ringing in my ears and wanting more.

NOFX - 'Self Entitled' review (2012 - Fat Wreck Chords)

Rapidly approaching their 30 year anniversary (Yes, they have been together for almost 30 years! I'm just surprised they're all still alive), what do I really expect from NOFX's 12th full length? Surely it's all been done before. True, it has, but after 30 years experience blazing ahead of the pack in the world of punk rock,  they know a thing or two about writing insanely catchy riffs and both hilarious and thought-provoking political lyrics that still manage to keep all us punk fans hooked. Though after the release of their last album Coaster, a disappointingly mediocre album with few memorable songs, even their most avid fans were wondering whether NOFX are still the potent force in angry socially conscious punk rock that they used to be.

As soon you press play, one of those statement NOFX  guitar led intros sets off in 72 Hookers that immediately lets us know that NOFX have still got the ability to tie you up on their leash within the first few seconds of a song. 72 hookers may be one of their most 'politically incorrect' and 'risque' songs to date while Fat Mike claims blow jobs, sex and and hookers will stop war and violence. Then, like a blast in the face, the rapid energetic 1 and a half minute long religious commentary I Believe in Goddess whips through you with its recurrent yet catchy riff alternating between guitar and bass. These two songs are NOFX at their most controversial and creative.

Though unfortunately this brilliant spell fails to last throughout the whole album. After a while their staple fast-paced punk becomes slightly repetitive and dull and doesn't quite manage to break away as a stand out punk album. She Didn't Lose Her Baby followed mostly the same drum sequence and chord pattern for most of the song with the exception of an admittedly impressive yet brief guitar solo. Even the lyrics were slightly un-inventive, which is rare for NOFX, and even a little too serious. Secret Society largely resembled an intro and I spent most of the song waiting for it to build up into something more.

It's not until Cell Out do I feel that NOFX make an impression again with their distinctive riff that's slightly reminiscent of retro gaming. Regrettably, even within the song, NOFX dip in and out of excellence and simply sheer mediocrity. Down With the Ship could easily be mistaken for one of the other fast paced songs in this album, it just fails to stand out.

Though the album does pick up again with My Sycophant Others does manage to break out of the repetitiveness of the album with a punchy verse and mid-song spoken section. The follow up to We've Got Two Jealous Agains, I've Got One Jealous Again, Again demonstrates a side of NOFX which we see very rarely. It's a much slower, sentimental and sorrowful song but the album really should have ended here. Xmas has been X'ed broke up and destroyed the natural calm of the preceding track, even though it is one of the better tracks on the album.

All in all, this album still clearly follows that signature chaotic, controversial NOFX formula that we all love, but it fails to do anything different or produce any tracks that you will go back to and press repeat for over and over again. NOFX certainly haven't lost their lyrical prowess but they may have lost a bit of that originality that excited punk fans all over in Wolves in Wolves' Clothing and The War on Errorism. Self-Entitled haven't ruined NOFX's reputation as a must-listen-to band for any punk fan, but this album can regrettably be largely ignored.

Overall Rating: 6/10

Gallows - 'Gallows' review (2012 - Venn Records)

Before 2012, Gallows were the quintessential modern British punk band and their frontman Frank Carter was the loud-mouthed, scrawny, offensive driving force. In live shows, he was a punching flurry of limbs; in songs, he was controversial bringing lyrics such as "I don't want you passing out, I want you sucking my dick" into the violent mix. Then Wade MacNeil shows up, with his Canadian heritage, already carrying the worldwide success of post-hardcore band Alexisonfire securely under his belt, to stir up the Gallows formula.

Even though Lags' songwriting skills are immense, I still had doubts as to whether this band would come out of this decisive line-up change remaining as a vital part of the modern punk scene. But these doubts have been put to bed. Principally, before listening to 'Gallows' you must bear in mind that Wade MacNeil is not Frank Carter, and he is no way trying to be a replacement. This new Gallows are not the same Gallows following 'Grey Britain'. In fact, they may be better, more mature and more relevant.

Instantly, Gallows grab us by the throat and demand our attention with Victim Culture: "Do you think they're out to get you?". Without a doubt, Gallows are still out to get us. The opener culminates into an aggressive whirlwind of a track setting the tone for the rest of the album: "There's no way out. There's no escape from the vicious circle we embrace." For the next half an hour, that unquestionably is the case as they tighten their grip with Everybody Loves You (When You're Dead) and then with Last June (the first single from the album) and its bold bass line and thumping drums to kick off this anthem to a signature Steph Carter solo. Outsider Art may be my favourite off the album as this the first time Wade's vocals are really explored and exploited. This track simply would not have worked with Frank; it needed Wade's trademark gruffness to give Outsider Art its haunting feel. Just as we feel like we have been giving a little bit of a breather with Outsider Art, Vapid Adolescent Blues then drags us into a hypothetical circle pit. It represents more of a Trash Talk track as opposed to Gallows.

Gallows also haven't lost their political, hard-hitting, controversial lyrics as Austere demonstrates. The difference is that as 'Grey Britain' was a commentary on mostly Britain, 'Gallows' is applicable everywhere, everywhere where there's violence, dictatorship or extremism. Cult of Mary asserts that Gallows are still not afraid to raise a few eyebrows with divisive lyrics "Cult of Mary, crucified Christ. Pagan blood for the religious Reich".

After an exhausting half an hour of some of the most angry and ferocious punk, the finale to this epic whirlwind, Cross of Lorraine, still won't let you go. It climaxes to a massive ending where you can't but help get up to the pounding drums which keeps on propelling you further into this captivating album until it all fades into a blur of ringing white noise.

'Gallows' is sure to maintain Gallows' reputation as one of the best modern punk bands, if not bring them yet more fame from across the Atlantic. Where 'Orchestra of the Wolves' and 'Grey Britain' were angry, violent records, 'Gallows' is also haunting and dark. Maybe it's because Frank Carter held the other members back creativity or maybe it's because they have all matured and learnt from experience, but every single member is on the top of their game writing some of the best riffs and lyrics yet over the most explosive drumming yet. Any fan of punk, hardcore or just decent music should give 'Gallows' a listen. in a year or so it will undoubtedly become the guide to brilliant aggressive music.

Overall Rating: 9/10