Laura Jane Grace of Against Me! playing an in-store show at Banquet Records at the start of March.
It’s difficult to imagine there can ever be something close to a “bad month” in music, and March continued to prove the non-exception that doesn’t prove the rule in this case… confused? Us too.
What didn’t leave us confused is the wealth of exceptional releases, ranging from the welcome return of La Dispute and Seahaven, to the comparably unknown (but not for long) such as Accents or Somos.
March also saw us spread out wings stateside, hang out with the incredible Laura Jane Grace, host two PT Presents shows including our brand new club night at The Old Blue Last, and announce that Save Your Breath will be joining us in April. Phew.
Here we have 14 tracks that you need to have heard this month – our biggest playlist yet!
Enjoy.
I Am The Avalanche – ‘117’
‘117’ manages to epitomise everything I love about I Am The Avalanche. It’s a gruff, singalong anthem while also sounding fresh; it couldn’t have been released by any other band. [Rob Barbour]
The Menzingers – ‘I Don’t Wanna Be An Asshole Anymore’
The first track from The Menzingers upcoming Rented World is the perfect tone setter for the album. Its upbeat music plays as the perfect backing to the songs lyrical themes of the personal hell that comes from self-reform. I can see them opening their shows with this song and the crowd just going ballistic at the opening riff as they anticipate the impending intensity of the chorus. The Menzingers can do no wrong and this song is just further evidence. [Mathew Stokes]
Accents – ‘Hold Me Close’
Accents return with their second album, ‘Tall Tales’, and it’s a triumphant mix of soaring melodies and life affirming vocals such as on ‘Hold Me Close’. With members of The Cast Before The Break featuring, we didn’t expect anything else than a masterpiece though. [Tom Beck]
Seahaven – ‘On The Floor’
A miserable and depressing song about being at the lowest point in your life, which makes you want to gaze out of a rain-streaked window contemplating life, death and other serious matters…seriously though, this song, and this whole of ‘Reverie Lagoon: Music For Escapism Only’ are so sad. But that’s a GOOD thing in my book, anyway. [Georgina Langford]
Somos – ‘Dead Wrong’
The first time I heard this song I fell for it hard. It’s the perfect balance of good melodies, catchy little guitar riffs that just drew me in. It was so catchy that I found myself singing it for hours after. It’s another clear example of how Tiny Engines are on fire right now. [Maryam Hassan]
Petrol Girls – ‘Restless’
Petrol Girls are a cool DIY hardcore four-piece from the dudes who run Astbury Castle. Their 3 track EP is excellent with ‘Restless’ being the track of choice. [Mike Scott]
The Kimberly Steaks – ‘To Live And Die In West Central Scotland’
‘To Live And Die…’ comes off an album full of short, punchy pop-punk songs, but it’s the longest of all the tracks. The band themselves call it “A way-way-way-off-Broadway musical by The Kimberly Steaks”, whereas I prefer to view it as a Scottish version of NOFX’s ‘The Decline’. It’s full of Simpsons references and dark, self-deprecating humour too. A really great way to end one of the most enjoyable releases of the year. [Sam Kanal]
Banner Pilot – ‘Modern Shakes’
Banner Pilot are back and you just gotta love Nate’s catchy bass lines. It’s amazing how consistent this band are over all their releases – and this track shows how they’ve honed their sound perfectly. The new album comes mid April, which gives ample time for everyone to learn the new songs and blow out their voices out at Fest this year. [Mark Gadong]
La Dispute – ‘35’
Bleaker than anything La Dispute have produced before, the gruesome nature of this month’s ‘Rooms of the House’ can take some time to digest. ‘35’ is an unrelenting account of the I-35W Mississippi River bridge collapse – an account that has the potential to make the listener sick to the stomach. It’s a prime example of La Dispute’s controversial penchant for twisted storytelling, and one that’s both exhilarating and unnerving in equal parts. [Ben Tipple]
Johnny Foreigner – ‘Shipping’
It’s hard to pick one song off ‘You Can Do Better’. Light-years ahead of everything Johnny Foreigner have released before, the album is a flawless example of maturing with age, and ‘Shipping’ is the perfect opener. All Blink-182-inspired phased drums and furious noodling, with any justice ‘You Can Do Better’ will propel JoFo to the heights they’ve always teased. [Tom Connick]
Fireworks – ‘The Only Thing That Haunts This House Is Me’
Taken from their incredible new album ‘Oh, Common Life’, this is the pick of the bunch. It highlights exactly how good a band Fireworks have become. This isn’t your typical pop punk by numbers – pop punk is actually a debatable term here. It contains an incredible vocal from Dave Mackinder and the bridge is one of the best things you’ll hear this year. [Chris Marshman]
Nightmares For A Week – ‘Dead Will Stay’
The Nightmares For A Week and Banquets split is a slam dunk for each band and one of the best releases of the year so far. ‘Dead Will Stay’ is just a simple and beautiful song and sometimes that’s all you really need. [Nicole Carter]
The Mraz Volta – ‘Green/Trees’
AIR is a label I really enjoy. Run by a crazy nerd who just loves Chicago music he often finds gems (including MEEE) and puts them out no questions asked. The Mraz Volta (I dare you not to chuckle at this band name) is fronted by Frank Okay, formerly of the incredible Chicago band Truman & His Trophy. This time Frank trades in his keyboard for a fuzz guitar and scream addled vocals. I love everything about this song, from the catchy guitar lick to the “wah wah wah” vocal pattern, to the fact I’m pretty sure the drummer doesn’t use a high hat. [Devon Kay]
Nothing – ‘B&E’
Nothing finally gave us what is probably the most melancholic March release at the start of the month with their new LP, ‘Guilty Of Everything’. Its penultimate track echoes the My Bloody Valentine / Slowdive shoegazey vibes that have been revived these past few years, much like the rest of the album, which can be seen as a definite highlight of that shimmering sound. [James Fox]