These heavy and low fuzzed up guitars swirl around each song, accentuating the depressing, solemn mood which fills each note. The record is reminiscent of recent releases by Pity Sex and Elvis Depressedly, purposefully leaving the listener feeling downtrodden. The vocals, which at times hook onto poppy harmonies and melodies, are distorted and low in the mix.

The record boasts pumping guitar riffs, reminiscent of Nirvana, and intricate bass guitar melodies which provide a lot of the interest and hooks in each song, creating an overwhelming sense of lo-fi attitudes with low instruments and moods. It shows aspects of a band exploring different elements of pop and grunge, whilst also attempting to carve a niche with a sound that is consistent throughout. The record plays with a few atmospheric instrumental sections, which are almost trance like in their repetition. These extend each song into a grungey but almost calming and very listenable record.

ALEX HALL

Skeleton Frames open up the gig with an extraordinarily tight performance. This band have made waves in the South West over the past year, delivering ten-tonne-heavy riffs with thousands of effects pedals, creating a tone to blow your socks off. Think Sigur Ros meets My Bloody Valentine and Nirvana. The vocals are tonight far clearer throughout, than in previous performances and soar over the bombardment of guitars, making this probably their standout gig so far.

These high standards set early on do not drop throughout the night as the second support slot falls to grunge revivalists Birdskulls. The set flows smoothly through the band’s back catalogue, displaying gritty vocals and bouncy hooks. The crowd, evidently eager, continues to fill up the room in anticipation for the headliners.

Clearly excitable following their sold out show at the Lexington in London earlier in the week, Muncie Girls are on top form. Luke Ellis consistently pulls it out of the bag in whatever band he is in and tonight lays down a solid performance on drums. Guitarist Dean McMullen continuously bounces around the stage, taking full advantage of the energy permeating from both old and new songs, all of which are similarly nailed by Lande.

A noticeable distinction in the night’s crowd is the female to male ratio. The above-average female representation is probably a result of Lande’s work as a role model in the community, helping girls in the music scene, including through annual School of Frock workshops. This theme, and other aspects of socio-political commentary are explored in the new Muncie Girls record, which clearly resonates with the local scene as the crowd sings along to ever song, even the very new.

Above all, it’s inspiring to see a local band do so well. Lande humbly comments half-way through the set that it feels strange playing Exeter as it feels a bit like going back to see your old friends who still know that you’re a dork, after trying to reinvent yourself as a cool rockstar. It seems however that this band are looked up to, perhaps even more so by their peers, who after packing out the venue stick around to congratulate the band on an exceptional performance.

The band gel together pop-punk influences into the heavily hardcore-based German underground punk scene, bringing together fans of both genres. The EP maintains a distinctive DIY punk sound, capturing well the rawness of hardcore shows. The aggressive and gritty punk vocals merge flawlessly with twinkly, melodic, and heavy guitars which are all showcased throughout. The overall feel of this record is one which many current bands strive towards, mirroring elements of crossover giants Trophy Eyes, pop-punk legends Crucial Dudes, and melodic hardcore veterans, More Than Life. The gritty hardcore vocals give Earl Grey an edge which distinguishes them in the UK scene, while the pop-punk-style guitars differentiate them from other current German hardcore bands.

The introduction to the EP comes with single ‘Passing Time’, opening with easycore tones before breaking into heavy vocals and guitars. The lead guitars, the distinctive highlight throughout the record, are exhibited from the start. However, the EP continues to grow from this track into ‘Backstabber’ which makes use of gang vocals, adding a strong chorus and anthemic edge. This track is a particular feature of the EP, as it is bouncey and poppy, whilst maintaining the rawness and energy that the band is known for.

Third track, ‘Headstrong’ is short and sweet with lyrics that are pertinent and fit the feel of the songs nicely. The whole EP is rounded off nicely with ‘Haven’, displaying pop-punk guitars reminiscent of the best The Story So Far tracks and Crucial Dudes. The constant aggressive vocals and distorted shouting is mixed well with melodic and poppy guitars, and the EP ends with a good mixture of fast drum beats and slow breakdowns, demonstrating all that the band has to offer.

This EP offers the whole package for someone looking for rawness and energy in the saturated pop-punk scene, or a poppy edge to hardcore. Earl Grey, though still relatively new, demonstrate an exceptionally promising future for both genres by interchanging and developing their style.

ALEX HALL

When producer Bob Cooper is involved in a record, anyone involved in this scene is continually aware of his catalogue of beautifully produced records. This self-titled EP is no exception, mixed and balanced brilliantly. Although this perfection is welcomed at times, the lack of passionate rawness comes as an unfortunate side-effect.

Larkhill’s influences, including Basement, The Smith Street Band and Brand New, amongst others, are demonstrable throughout, although the band manages to pull together a consistently individualistic sound. The EP’s highlight is ultimately the guitars, which draw both emo and melodic hardcore vibes. The lead guitar in particular is creative and flowing, without showing off or deviating from the overall feel of each song. This comes across brilliantly in Larkhill’s live performance, meaning the recent departure of lead guitarist Tom Regan is particularly unfortunate. The guitar tones achieved in recording are flawless and the vocals of frontman and guitarist Miz Trujillo are gritty, creating a tone well matched to that of the guitars. The vocals also create the necessary emo feel of sadness, nostalgia and angst very well indeed.

The standout track of the EP is ‘Post Teen Rebelliousness’ which contains heartfelt and relatable lyrics for anyone entering their early 20s. The singing guitars mirror the frustration and anger heard in the vocals. It’s very easy to listen and then hit repeat almost instantly after the end of the track.

This band will continue to go from strength to strength, cementing their well-deserved place in the emotional-punk scene.

ALEX HALL

With Ghosts take a very English approach to the American-fuelled Pop-Punk genre. The band hails from Swindon and have just released their debut EP ‘Endings’. The production on the record, by Lee Batiuk, who most notably produced Deaf Havana’s latest record, is second-to-none and displays every aspect of the band perfectly. Before even finding out about Batiuk’s work on this EP, the influences were recognisable. Much of the lead guitar, especially on ‘Bury Me’ is reminiscent of Deaf Havana.

‘Bury Me’ is the highlight of the record, it’s uplifting, with a full chorus, and well thought through instrumental intricacies. The track reflects other English Rock bands like Kids in Glass Houses, drawing elements from Pop-Punk and Pop Rock and creating a very smooth and listenable anthem.

The highlight of With Ghosts’ offering to this saturated Pop-Punk / Rock scene comes from frontman Nathan Gregory’s vocals, which create a refreshingly classic tone, far removed from the current modern day habit of strained and shouting vocals. Gregory’s English accent helps to distinguish and elevate the band, as it shows they are not afraid to stand out from the crowd or blend in to stereotypical American vocal techniques. Again, this English feel has been accentuated by the involvement of Batiuk who has produced similar sounding bands previously.

Unfortunately, the single and video released from ‘Endings’ does not do the band justice, as the video itself feels amateur-ish and lacks distinction from other videos. The lead guitar on track ‘Sorry I’m Not Sorry’ is quite boring at times and lacks the energy that would lift the band to higher plains. However, on listening to the EP in full, one can hear the elements which have enabled With Ghosts to recently earn support slots with genre heavyweights Don Broco and Moose Blood, such as strong choruses and solid song writing.

This EP is a great introduction to the band, who have room to grow and have given themselves enough leverage to really work on differentiating their sound before their next record. There are aspects of ‘Endings’ which really shine through, such as the vocals and the production, creating a new but refreshingly classic English Pop Rock record.

ALEX HALL