Having taken a three year gap, Title Fight’s return this year with the compelling and almost dream-like ‘Hyperview’ has rightly been seen as a progressive and mature move by the band. More than just a shift in gear with regard to their musical direction, it is almost a completely different vehicle the band are driving now. The new sound and shoe-gazey feel seems like an awakening for the Pennsylvanian four piece, suggesting there is more to them then just indie-punk. The question remains though, how can the band transfer their sound from record to a live set and successfully mix in their heavier earlier material that has got them this far?

Before Title Fight can be evaluated Cold World perform and almost immediately split the crowd. The hardcore outfit get a positive reaction from a solid contingent at the front, with the beginning of each song seeing the kids go full throttle. However most of the room is perplexed by the band’s output, with a semi-circle formed for the hardcore fans to unleash their anger whilst the rest enjoy their beers at the back and wait for the headliners. This isn’t to say Cold World are bad, they do hardcore no harm, with lead singer Dan Mills stomping around convincingly and getting the crowd to sing along by dropping the mic into the pit multiple times during their set. Bassist Derek Scace plays his instrument almost like a guitar with his chord slamming being quite a sight. Altogether though, it’s clear to see the younger members of the crowd get Cold World considerably more than the slightly older members of the audience; nothing too surprising or wrong with that.

Title Fight eventually take to the stage and from the start it’s interesting to see how the set develops. Opening with ‘Murder Your Memory’, the band decide to make a subtle, calm entrance instead of a heavy ‘in-your-face’ statement. On finishing the short relaxing number, the band jump straight into ‘Shed’, finally releasing the energy of those waiting all night to see the old Title Fight. Cue endless stage diving.

It’s clear to see that most people enjoy the harder, faster Title Fight, with every song from ‘Floral Green’ or ‘Shed’ getting the most fervent receptions and best sing alongs. However it’s also fascinating to watch the band perform the older works with the sub-due energy of ‘Hyperview’ material; they seem to support each other in making every song sound stronger than on their respected records. The older songs sound incredibly tight, inch perfect. The latest songs showcase a band bravely pushing their new sound and output, without the concern of damaging their image or reputation. It’s refreshing to see a band comfortable mixing more anger/punk related material with calmer, thoughtful music. You do get a sense some members of the crowd grow tired of the gazey anthems however, and when this happens TF reignite the crowd with favourites, unleashing the double whammy of ‘Leaf’ and ‘Numb, But I Still Feel It’ – this band know what to and when.

Ending on ‘Secret Society’ the band send the crowd off in a frantic and excited manner, showing real class and a live performance template that many bands in this genre could do well to take note off. The new material may still not be to everyone’s tastes and only in time will it be seen whether Title Fights risks will be appreciated by all. But for now they are doing a damn fine job of trying to convince their fans.

As far as co-headline tours go, Modern Baseball and Into It. Over It. together is pretty high up the list of top double shows for 2015. After a run in Europe, the tour finally reaches the UK, with the bands set to play multiple sold out shows, including tonight’s at Tufnell Park.

The Dome is slowly becoming an established stomping ground for many indie-punk and emo bands passing through the capital. The talent on show tonight is just one collection of bands to relish that will be appearing at the venue in the coming months.

Opening tonight’s proceedings are Minnesota’s math rockers Tiny Moving Parts. Getting onto the stage just past 8, the three piece perform a bold and impressive set, with Dylan Mattheisen going from calm to madness in split seconds – in a moment simple strums are twisted and become intricate fiddling on the fret board. Showing a skillset of bubbly math rock punched with punk chords, Tiny Moving Pieces garner a great response from the crowd doing no harm at all to their reputation on their London debut. Expect them on their own UK tour soon.

After a short break, Into It. Over It. comes on, solo at first. ‘Anchor’ is a nice opener, performed to a near quiet venue, but it’s during the second song ‘Embracing Facts’ that the talents of Evan Weiss and his crew become evident. Performing with perfect tightness, the song brings the fans of album “Proper” together, drawn by the band’s ability to make the song sound even better live. Mixing the set between latest album “Intersections” and “Proper”, it’s clear from the audience reaction that the latter gets the better reception, and who would be surprised? ‘Connecticut Steps’ reminds us of Weiss’ beautiful ability to grab a room with his lyrics and make it feel sorrow with him. He and the band don’t manage to sway over the whole room though, and although not performing in a bad way by any stretch of the imagination, it’s clear though that the majority of the crowd is not here for Weiss’ soft-emo rock. No harm done, but on another night, with more time, Into It. Over It. would be able to own the room with greater conviction.

The instant obviousness the second that Modern Baseball take to the stage is quite overwhelming at first. You can just see the audience has been itching all night to pop, jig and dance to the Pennsylvanians infectious emo-pop-punk. Ripping through a set containing all the hits from last year’s “You’re Gunna Miss It All”, the band grin throughout, feeding off the crowd’s bursting boarding-teen energy. ‘Broken Cash Machine’, ‘Tears Over Beers’ and ‘Going to Bed Now’, along with, well, every song of the set highlight a band going from strength to strength.

MB’s lyrics generally concern rambling thoughts on college, beer and girls, ultimately concluding on the subject of wasted times. But tonight’s performance is far from being considered wasted time by anyone present. Goading each other on, and effortlessly taking it in turns to lead the vocals, Lukens, Ewald and Farmer (along with Huber on drums) make the show feel almost like a homecoming, with crowd surfers riding the good times, flooding the stage with bodies.

Leading the pack in the genre of emo-punk twee college fun, MB can be very confident that they have a loyal following in the UK, demonstrated by crowds and performances like tonight.

As the music draws to an end, it’s great to have seen three bands all perform at their best. With each representing different elements within the emo-punk scene, one appreciates being able to see such fresh talent all under one roof, all in one night. May the Dome and triple whammy’s like this long continue.

All too often these days veteran punk bands get a bad rap for their output of material and efforts to stay relevant (eyes squarely at The Offspring right now). Some of these bands have simply not been able to stay relevant as a new generation of punks comes bundling through the door. But it’s bands like Lagwagon and performances like tonight at the Islington Academy that remind us of the charm and joy of punk, no matter time or place.

Long term members of the punk scene, with a loyal fan base to boot, Lagwagon are a concrete staple of the 90s scene who never stuck to just one sound; from skater punk to ska-ey jams to metal elements. There’s no need for a lengthy introduction then, but what should be noted is that this is the first time the band have played their 2014 release ‘Hang’ on British shores after a 9 year album hiatus.

Getting down to business first though is Canada’s finest, The Flatliners. Playing a 2013 ‘Dead Language’ heavy set, knowing they have no time to waste on stage, the band perform without any uncertainty. Chris Cresswell and Co manage to bash out their songs with class and style from the start to finish. It’s hard to name anyone on the current scene (perhaps maybe The Menzingers) whose song writing continues to get better, especially when you consider the songs dropped from this short but excellent support slot. Getting their own mosh, it’s heartening to see the Flatliners’ efforts appreciated, which brings hope that they’ll quickly return to these shores sooner rather then later.

Tonight is clearly all about Lagwagon though – which is evident the second the band takes stage. With three out of the five members sporting dyed hair (blue, blue and fluorescent yellow) it’s easy to say tonight is not going to be too serious an affair, which is just fine with everyone in attendance – it’s Lagwagon after all!

Opening with ‘After You My Friend’, the crowd’s adrenaline instantly kicks in and has the place in raptures. Bursting out of the blocks with early favourites ‘Island of Shame’ and ‘Violins’, LW show no sign of slowing until ‘Obsolete Absolute’, the first from ‘Hang’ on the night. Over 6 minutes of interplay between punk, metal and punishing riffs, it is truly something to behold. For the rest of the night, all of the songs from ‘Hang’ deliver a new sound highlighting a distinctly, almost metal sound, a vast change from most of their earlier work. These moments allow the audience to catch a breath/get a beer, while for some they learn to dig them as much as the big hits. Regardless, it’s safe to say, all the songs are received well.

Although almost laughing their way throughout the whole set, the band do take time to highlight their loses. ‘Heartbreaking Music’ is played in honour of Derrick Plourde (lost in 2005) and encore cover ‘International You Day’ is performed acoustically in honour of No Use For A Name’s late Tony Sly. Both are met with great cheers and even a few lighters are raised to celebrate the two; a fitting touch.

With all this, including other classics such as ‘Coffee and Cigarettes’, ‘Mr Coffee’ (and of course) ‘May 16^th’, Lagwagon are exuberant and are clearly having a great time, which in turn sees the audience thoroughly appreciate a band still able to put on a gem of a show. Set closer ‘Razor Burn’ is one of the highlights of the night, with the academy set for one last sing, jump, and all round jolly. It’s obvious and safe to say then that Lagwagon still know how to remain fresh and as relevant as they ever were.

Most punk fans would be lying if they said they’d rather see Mariachi El Bronx then The Bronx, but when the day of the gig happens to fall on Valentine’s Day, who on Earth wouldn’t want to hear some swinging mariachi tunes from Los Angeles’ finest? If there is anyone who is going to make you want to go out and see some fine music instead of going out on a standard restaurant-Valentine’s Day date, then Mariachi El Bronx is that band.

Onto their third album now, Mariachi El Bronx can no longer be considered a novelty side project of the riotous Bronx anymore – in full motion they are a fully-fledged 8 piece ensemble who take the music, genre and meaning of mariachi to heart entirely.

Taking to the Brooklyn Bowl stage in identical designed matching outfits, the band stand proudly looking inch perfect. The setting and night almost seems like it was made for them, with the crowd being a rowdy bunch of couples and singles, all ready for some Latino grooves.

What is noticeable instantly by seeing El Bronx live is their technique abilities on the exotic instruments. Making it look effortless, the band take on classic mariachi instruments such as the guitarrón and vihuela with ease. After years of honing their Mariachi sound, El Bronx can be considered to be a real Mariachi band. Not many bands can look this cool and professional as a straight up punk band AND as a mariachi band – Muy bien!

Taking in classics such as ‘Sleepwalking’, ‘Poverty’s King’ and ‘Revolution Girls’, the band keep the mood and tempo perfect throughout, going from slow pieces to faster numbers caressingly. The new songs such as ‘Wildfire’ and ‘High Tide’ are performed with people swaying, dancing and enjoying them like they are old favourites, a great thing to see.

With all the fun and joy of the music pouring out onto everyone, it’s the vocals and attitude of Matt Caughthran that gets the crowd excited properly though. Unlike on the records of El Bronx, where Caughthrans vocals can sometimes seem pushed to the side, live he takes the night by her hand and dancers with her majestically and teasingly. With such a charismatic attitude and bravado of confidence flowing from him, it’s impossible to not be infected by his charm and sultry undertones. Throughout the set, Caughtran, between songs, continuously exerts his love for “all the motherfuckers” in the crowd and paying special attention to the fact get to play in London on Valentine’s Day. Later in an honourable fashion, he mentions how he would be lying if he was to say he hadn’t wished they had played London on his birthday though (which fell on the day before). None the less, he and the band give out a stella performance, which is truly appreciated by the lovers and losers in the audience.

Without a doubt, it’s safe to say that seeing, hearing and feeling Mariachi El Bronx live and the atmosphere created is a much better experience then listening to them on record and one should get on down to a show if they ever have the chance to do so. Be they “a happy couple or a desperate single loser” as Caughthran so well points out is not an issue – just as long as you are happy to dance the night away – Vamos!

With bands hailing from all over the UK in tonight’s capital, it’s a shame to not see the Islington Academy bursting to the seams, but there is easily enough people here to feed all the bands energies. The room is just right to set the stage for tonights showcase of UK pop-punk.

Thrash Boat are easily the youngest of tonight’s bands and although lacking in age, they make up for in confidence. With a solid crew of boys at the front bursting to sing along to the band, the St. Albans five piece are received more than well and show just why people love easycore/pop-punk – fast, jumpy, fun with plenty of chugs on top. Thrash Boat all too easily know how to make solid easycore belters, and are sure to move forward in the UK pop punk scene. Watch out.

Up next is Roam, bringing their own version of pop-punk from Eastbourne. Opening with ‘Foresight’ the band do not receive the crowd as warmly as Thrash Boat, and are alas hit with multiple sound/technical difficulties continuously throughout their set. Vocalist Alex Costello does his best to get the crowd going, but unfortunately they just can’t pull away from the problems presented. Ending on ‘Head Wash’, their main single, the band finish off gracefully enough, but ultimately it is not there night.

By the time headliners Me Vs Hero come onstage you can see an older looking crowd emerging. It’s clear to see by the bands appearance that they are a good few years older than their supporting travelers, which shows in their song delivery and output. Holding the best voice of the night, Sam Thompson sings with a sense of knowing his strengths and taking on his weaknesses: there are no signs of discomfort in the delivery of any of his screams, with a strong melody shown throughout. The band, show piecing their second album ‘I’m Completely Fine’, are tight and perform in an effortless manner. This is a band who have since there 2010 debut ‘Days That Shape Our Lives’ have grown to become a more complete package, with a horned sound. New songs such as ‘Opposties’ and ‘Things We Know’ are welcomed by the crowd and show the band can still make powerful easycore songs aswell as more rocker music. But it is old favourites ‘Days That Shape Our Lives’ and closer ‘Can You Count, Suckers?’ that turns the non-stop circling mosh upside down, with everyone from the back to front singing along.

Me vs Hero and all their fellow pop-punkers pull off a successful and certainly enjoyable evening for all attending, and prove that UK pop-punk does have a voice and exciting performers. Bu the question remains, when will these bands start to push on and get more attention internationally?

Since their last break up in 2010, the band looked like they had finally succumbed to post-second album “musical differences” syndrome. Their last release, ‘Epilogue’ a collection of left over tracks from their attempted third album seemed to all but say Finch were over for good. The nails looked like they were in the coffin hard.

Pass another two years, and the band were asked if they would be interested in doing a one off 10^th anniversary celebration show in honour of their 2002 break out album ‘What It Is To Burn’, an album forever cemented as an essential in the early emerging post-hardcore scene. That one show would end up being a whole international tour in turn leading to Finch finally re-gaining the confidence to record a third album, ‘Back To Oblivion’.

On first instance, it’s hard to assess the impact ‘Back to Oblivion’ is meant to have. Since their absence from the much-criticised 2005 ‘Say Hello to Sunshine’ you could argue the band needed to pull out all the stops and really deliver here to have a paddle in an endless stream of post-hardcore bands that have surfaced since their hiatus. However it seems Finch chose to ignore any expectations of progression or diversity and simply made what came naturally to them. It’s a solid performance for sure, in a ‘if it isn’t broke don’t fix it’ kind of way, but if you’re looking for innovation or a ‘Letters to You’, expect to be disappointed. To be fair, for a band in their early 30’s, expecting another WIITB (released when the boys were only 18), would be asking much.

What strikes instantly on ‘Born to Oblivion’ is the difference in Nate Barcalow’s vocals – he is using a new vocal tone and is pronouncing a lot more. The closet comparison would be Benjamin Kowalewicz of Billy Talent. That’s either going to excite you or alienate you depending on your preferences. It works in some parts, but over all it’s just a slight change in the bands sound and doesn’t dictate the album thankfully.

The music of BTO sees a sharp, cut post-hardcore sound. A larger, atmospheric theme runs through the songs more then from any other release. There isn’t the intensity of WIITB (certainly no ‘Project Mayhem’s to be heard), and it doesn’t have the necessary heaviness of SHTS, but what it may lack in, it makes up for in clarity.

Opener ‘Born to Oblivion’ is as strong as anything the band has made before. The tingling guitars are like a breath of fresh air. ‘Further from the Few’ stands out with its huge chugging guitaring and ‘Us vs Them’ holds strong with its delicate outro.

Unsurprisingly there are some misses though. ‘Play Dead’ simply goes on too long, whilst with ‘Tarot’ and ‘Inferium’ you start to see tired songs. But these are just a few hiccups that any band out of the game for so long would be bound to make; no one’s perfect.

BTO isn’t an album that will shake post-hardcore to its core then, but a solid return none the less, having enough appeal for any old school Finch fans to be excited about. It certainly won’t touch the success of WIITB, but Finch do no harm in returning with this solid, all round piece of work.

JOSHUA WROATH

The release of the eagerly awaited new EP ‘Go Down In History’ heralds a new era for the band. Its very first line starts with the perfect battle cry to announce their desires – “It’s time to set the record straight”. At last able to signpost their clearest musical goals since their break through album ‘Rise or Die Trying’, the band sound ready and empowered again.

The time apart has clearly re-energised the band. Focusing less on studio tricks, FYS have crafted a set of songs to redefine themselves and what they hope to bring to their live shows. Guitarist/vocalist Alan Day has gone as far as stating that the band were not thinking how these songs would sound on record, but how they would sound live. This has undeniably led to a clearer, stronger sound.

Packed with old school heavy riffs, the band takes no prisoners on the too-short 16-minute offering. Each song contains a spark, almost re-birth, for the band. ‘What’s in the Box?’ leans on the tones of ‘Enemy of the World’, with its super catchy chorus (which will definitely trigger a sing along in the mosh), while the slick guitars of ‘Living Proof of a Stubborn Youth’ are downright delicious. The title track ‘Go Down in History’ can be heard as a declaration of FYS’s aspirations and an open letter to all their fans – “This time, we’re gonna take the world on, bracing for impact/Cross my fingers, hope and believe that/You’ll be right by my side”. It’s a belter and will make it on the current setlist without a doubt.

A taster hopefully for the next full LP, ‘Go Down in History’ is the perfect return for FYS, creating enough raw, new sounds as well as mixing former more recognisable elements; it is the boys back to their best after a long absence.

JOSHUA WROATH

Riffs are hard and pressed on the band’s new EP ‘The Lies We Lead’ with guitars wailing an ever-wishful hope to be filling arenas. All six songs are clearly crafted to stand on their own, musically and lyrically, as if each was considered to be a single (‘Technicolour Trainwreck’ ended up winning that competition). As a result each is memorable, but not necessarily in a good way.

Opener ‘Splinters’ is the most coherent song on the EP, being a straight up rock song, followed by ‘Technicolour Trainwreck’ which is itself acceptable, although by the end you can hear cracks appearing. It’s not as if SIS make bad music, it’s just none of the sounds really stay in your head – they seems to just drift over you.

The rest of the EP slides downhill from the first two tracks. ‘Mislead Soldiers’, an anti-war song, is just so confused in its approach. Over the top preachy and with its screaming bridge, it becomes borderline tasteless.

‘Moths’’ acoustic beginning is actually a breath of fresh air by the time you reach it. Adam Smith’s continuous reverb vocals however do irritate word after word, reverb after reverb, until the abrupt drumming brings in a completely unnecessary rock out. Sticking to basics can do so much more than just ramming in guitars and drums sometimes, and it is on moments like this where it is hard to see how SIS could ever musically progress.

Title track ‘The Lies We Lead’ takes the biscuit however. With its overtly creepy lyrics “Take off your clothes and be who you wanna be tonight”, it is not only cringey, but also makes one feel a bit queasy.

Young and bashful, SIS are clearly honing their sound and lyrics toward an audience of screaming young adolescents. They will find an audience with this EP for sure, but just don’t expect them to be making head way in the alternative rock genre anytime too soon.

JOSHUA WROATH

Honing their sound for a few years now, Goodtime Boys have finally delivered a strong concrete sound. Having reassembled with two new members last year (Lewis Johns on guitar and Casey McHale on drums), the band decided to focus more on immediate sound and raw energy rather than dwelling on intricate sections, parts and songs. This has made ‘Rain’ a solid album, without any part sounding too produced, too exaggerated or over-layered (which can so often be a case with hardcore).

‘Washout’s atmospheric beginning forefronts the underlining lyrical template of the whole album: inevitable death, loss and uncertainty. It’s not a cheery album by any stretch of the imagination, there’s no way of getting around that. Alex Pennie’s lyrics delve into the darker tones of life with each song carrying agonizing questions and confused thoughts; there is absolutely no moment of sunshine on the album. Everything is just unhappy and desolate it would seem. Even the way Pennie sings/screams at times give the impression that the lyrics are too much to handle for him sometimes, with his vocals having a near exasperated, unbearable-can’t-hold-on element to them. It’s something rare these days.

An album centred around bleak, sombre themes is hard to listen too without it becoming completely depressing, which if you allow it to, ‘Rain’ could do. But thankfully the music of the Goodtime Boys, with walls of guitars, riveting drums and fresh breakdowns, doesn’t allow the album to get too heavy. With new guitarist Lewis John producing the album, it’s clear to hear that the band not only acquired an established guitarist, but also an exceptional producer, with the songs being perfectly mixed.

‘Rain’ is just one of dozens of UK hardcore punk albums set to come out this year, but it is definitely a contender for one of best of the year so far. Capturing all the elements that make hardcore so passionate, Goodtime Boys look set to push on from this debut with hopefully more to come in the future.

JOSHUA WROATH

From start to finish the musical style jumps around, with the pair trying ever so (too) hard not be pigeon holed into one genre or sound. The result is there is no coherent flow.

The eponymous opener ‘Ultra Cultura’ with guest vocalist Rachael McVay is energetic, from which one thinks that the duo could have the knack of making a trippy electro-indie number. The same can be said for lead single, ‘Modern Life is War’, with McVay again on lead vocals. Unfortunately these are the only two tracks where this is so as her clear, melodic voice wraps around the boys’ indie/electro music perfectly and provides a consistent sound.

Walker and Emm clearly don’t take their lyrical content too serious, which is fine, but when the lyrics are the main part of a song then it does become a problem. On ‘Human Error’ the monotonous repetition of the song title grates agonisingly on the ears. By the end you wish it had never made it to the album. ‘Nectar of Instruction’ is not much better. The lyrics are weak, the words seemingly chosen simply because they rhyme. And how anyone is supposed to get their head around ‘The Sun and his Sunglasses’ or what on Earth it is meant to achieve will forever be a mystery.

The most enjoyable song on the album is undoubtedly ‘Archetypal Woman’. With its surfer rock sun vibe, it’s the catchiest and most fun sound on the record. A simple, rocking 3 chord number, it’s fuzzy bass and pure punk drumming makes anyone want to dance and smile. It’s just a shame this is not heard anywhere else on the album.

If Walker and Emm just wanted to demonstrate as many different musical sounds and arrangements as possible, then this is a good effort. If they wanted to make a pleasurable listening experience though, they have not succeeded. If the duo can bring the rest of their sound and songs in line with ‘Ultra Cultura’, ‘Modern Life is War’ and the instrumental ‘Slowcore Puck’ then they would start to create accessible songs and have an actual direction. But if they simply want to remain unattached to any genre or musical space, then Select All Delete Save As will always remain just a fun experiment for the two boys from Jersey.

JOSHUA WROATH