On offer so far have been consistently great singles that have sparked praise from critics and music publications for good reason. Songs like ‘Sick is The New Sane’ and ‘A Cure for Wellness’, the first two tracks on the album, generate a lot of energy and show that, despite maturing, the band still have the ability to produce great hooks and bubbling melodies. 

‘LiarLiar’, another single, is an exceptional display of using your instruments to facilitate emotion as they keep the verses light with a palm-muted strum, before dipping into heavier chorus riffs that add to vocalist Tate Logan’s screams as he explores the frustration of dealing with depression. Given how honest and straightforward the lyricism is on this one, it feels like an anthem for anyone struggling with their mental health and it’s always cool to see a band relate to their fans in such a strong way.

The second half of the album hides surprises in the form of ‘April Is For Fools and ‘June Gloom’, both of which have a surf rock vibe. But the true winner is the final track, ‘Black Picket Fence’ – the strings add another layer to a song already steeped in emotion, and Logan’s voice takes a bit more of the spotlight when all other elements are stripped back. There’s also a brilliant instrumental burst for the last minute of the song, which seems out of place at first, but actually works really well. It feels as though the band are allowing you a moment to soak it all in, let it all out, and just feel. 

The only misfire is ‘Hooky’, which is a little cheesy and makes for an uncomfortable listen. It might have served the album better by sitting a little further down, instead of being third, but you have to admire the band for their confidence in it. 

If you loved ‘Cult Classic’, it might take a while to adjust to the more produced sound of ‘Imposter Syndrome’, but the clarity highlights their summery sound, making the contrast of upbeat melodies and the slightly darker lyrical content more impactful. Happy. might not be reinventing the wheel, but this is a genuinely enjoyable album – and with this year being what it is, who doesn’t want to step away from the shitshow for just a second and have a bit of fun? 

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Their second album, ‘Sex, Death & The Infinite Void’, once again flexes those creative and theatrical muscles as it brings in a new era of Creeper. After laying down their leather jackets in 2018 and seemingly calling it a day, the band returned under a moniker a year later before changing their aesthetic completely. This signalled a change in direction, but from ‘Born Cold’ alone, it wasn’t yet evident just how big that shift would be. 

The first single and moments in later track ‘Napalm Girls’ are still reminiscent of ‘Eternity’. Those big – almost frighteningly so – choruses, sewn together with intimidating guitar riffs and moving piano melodies that combine everything from My Chemical Romance to AFI and Bowie in an explosive package of volatile emotion, intense storytelling, and all consuming instrumentals. 

For the most part, however, ‘Sex, Death & The Infinite Void’ showcases a very different side of Creeper. Songs like ‘Cyanide’, ‘Paradise’, and ‘Four Years Ago’ serve up spaghetti western flourishes with jangly guitars and saloon piano tunes. Singer Will Gould spoke about how he wanted this record to transport you to another time – which it certainly does, by feeling somewhat like The Smiths met ‘Tranquility Base Hotel & Casino’-era Arctic Monkeys in the wild west. 

Creeper’s second album has very little in common with their first, except for Gould’s beautiful vocal range and poetic lyricism, and a shared dramatic edge. Their knack for songwriting is undeniable, as is their ability to create music that grabs you by the collar; the only worry is that ‘Sex, Death & The Infinite Void’ sometimes borders on feeling like a musical, especially on songs like ‘Thorns of Love’ and ‘Four Years Ago’. 

The album closes with the heartbreakingly honest ballad ‘All My Friends’, displaying that vulnerability Creeper wear so well. It will undoubtedly become the anthem for a generation who are struggling, and who see their friends struggling.

Whether or not this reincarnation of Creeper will alienate old fans, only time will tell – but what has become abundantly clear with ‘Sex, Death & The Infinite Void’ is this band’s ferocious hunger to evolve, to create, to dream, and build worlds beyond this one for listeners to escape to.  

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It’s this very scene fellow Philly band Commonwealth Choir have drawn inspiration from – and it shows, mixing in inspiration from greats like Elvis Costello and Tom Petty. The result lands them somewhere in the middle; one foot stomping along to punk, whilst the other is planted in the world of rock. Think The Replacements’ album ‘Tim’, and what had at that point evolved into a particular brand of punk rock that could be vulnerable, but still kick your ass when it had to.

A band since 2011, Commonwealth Choir can share in that sentiment with their new EP ‘No End’. With storytelling at the forefront of what they create, they’ve wrapped clever imagery in bouncy melodies and incredible hooks that on songs like ‘Light’ veer more towards punk, while ‘Down’ and ‘2010’ incorporate more soaring rock sensibilities. Regardless of genre, ‘No End’ is packed with catchy choruses, and is deliciously liberal with its punchy basslines.

Having lived their early days as a folk rock project, Commonwealth Choir retain an undercurrent of those folk and bluesy guitar tones, which makes their music stand apart from the chug of everyday pop punk. By creating all these different elements – look out for the surf rock sway of the pre-chorus of ‘Light’ – they’ve created something fresh that feels familiar, but also exciting at the same time. 

Altogether, it’s an enjoyable listen from a band who’ve undoubtedly found their feet – and we hope that ‘No End’ is just the starting line for Commonwealth Choir, with many more albums and EPs to come.

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From the opening explosive verse from single, ‘An Honest Mistake’, it’s clear the Adelaide outfit has been wholly possessed by bands from that era – think My Chem and The Used – theatrical, concept driven art that’s dark and seedy, but also undeniably melodic as every track sinks in its teeth. This track introduces us to the concept of a preacher consumed by moulding the world to his vision by any means. The tempo changes often, which adds to the frenzy of the dynamic riffs and spurring drums to create the setting of this world Wolf & Chain invite the listener to be a part of. 

Concepts are always tricky to navigate and with this particular one, the intro to ‘Repent’ could border on overplayed as vocalist Jack Cumes delivers a monologue in a preacher/ringmaster/town crier style performance. Luckily, this does no harm to the track, which still shines when an incredible breakbeat style drum fill leads into a soaring chorus.

‘Killer Wolf’ showcases Cumes’ best vocal capabilities, as he effortlessly jumps between low growls and pleading cries. Along with ‘Murder Song’ it also displays the band’s instrumental prowess and an understanding for powerful songwriting. The breakdowns, particularly on ‘Killer Wolf’ will literally have you scrambling to listen to it again and again. 

‘An Honest Mistake’ might not particularly be a new idea, but it’s one that is executed with skill and pizzazz. It functions well as a concept, but even without knowing its story, it’s electrifying and a hell of a lot of fun. 

Formed in 2014, the Montreal group’s ambitions to be the “most kick-ass female band ever” may be ambitious, but certainly not unachievable – and with ‘Sick Hustle’ they prove they’re well on their way to world domination.

First track ‘Don’t Die’ would go over well with all the FIDLAR fans out there as Kathryn McCaughey’s confident vocal cuts through guitar fuzz in a very similar way to Zac Carper’s. It’s a blistering track that culminates in a vortex of screams, bongos, and scorching riffs.

Something very particular about this band is their ability to use an array of instruments and elements to add dimension to their music, and it’s especially effective on previously released track ‘Don’t Want To Talk About It’. The addition of a rhythmic thump throughout the song creates a kind of pulsing tension that makes the pay-off of the breakdown all the sweeter.

Given that ‘Marianna’ feels like a fun, party track you could sing along to at 4am when you’re dancing around in your underwear, it seems clever that it’s the last song. As with every other track here, it’s wonderfully written and brought to life by four individuals who are obviously the bad bosses they claim to be.

With ‘Sick Hustle’ being a four-track teaser, the only criticism is that this EP is way too short. Like all good things, it ends just as you’re really having fun, but we can respect quality over quantity – and what NOBRO have produced here absolutely ticks the box on the former.

Queens of key changes and anthemic choruses, NOBRO are cementing their place in rock ‘n roll history with unapologetic badassery and high octane tunes that you’ll wish could be the soundtrack to your life.

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“‘Deep Sleep’ as a video conveys the battle of addiction and temptation; literally in the form of alcoholism, or something else entirely based on perspective. Drug abuse, codependency, self medication, whatever it takes to find respite in a depressive or anxious reality. That solution or “fix” is portrayed in the siren character. For the wandering male lead, it is the only option, the only path that leads to a salvation without despair, in her embrace. Even if it means the end for him, he cant resist the cure, allowing her to pull him beneath the surface, finally at peace. He wakes, stunned to realize that it was only a dream; a temporary escape. Where does he go from here?”

Here’s your first, exclusive look at ‘Deep Sleep’:

Header Photo: Jason Huynh

Despite only starting out in 2016, the Illinois trio have played an integral part in their hometown DIY scene. Taking inspiration from pioneers American Football, as well as Algernon Caldwalker, So I Watch You From Afar, and a cluster of other great bands, they created music they’d not only take to the road with, but also lay down on a five track EP called ‘Dreamland’.

Now, they add debut album ‘I Don’t Care Enough To Stay’ to their discography, and it sounds as though Tiny Moving Parts and Moose Blood had a lovechild. Unfortunately, it lacks the energy of the former and the palpable emotion of the latter, but they’re not a band without potential.

Starting off with lead single ‘Failures’, the album dives right in with the mathy guitar riffs the genre has become known for. It’s crisp and twinkling, providing an interesting contrast to Mario Cannamella’s more subdued vocals, which still maintain a rich quality.

‘Circadian’ is a highlight, blooming with enticing qualities that shift the spotlight away from the math aspect of this band and shine it brighter on their versatility. Having a song predominantly composed of math rock riffs can become distracting, and the band do well here to juggle it with catchy guitar melodies and rolling drums.

At times ‘I Don’t Care Enough To Stay’ does blend together, and whilst that’s not necessarily a bad thing – it makes it feel whole – it’s hard not to crave a little more energy from it. Their EP ‘Dreamland’ had a wonderful tempo to it, a uniqueness that one can’t help but feel has been lost somewhere along the way. Overall, the band delivers a perfectly good Midwest emo record that dabbles in the dark arts of pop punk, but in today’s musical climate where a multitude of artists are readily available at our fingertips, sometimes good isn’t good enough. Bottom Bracket have, with this album, proven they’re capable – in time they’ll hopefully show us more of themselves and what sets them apart.

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‘A Beautiful Place To Drown’ is no exception. There’s a definite shift towards commercial appeal, but without ever compromising on who they are as a band. They’re using synths and midi drums for the first time in their entire career and on ‘All On Me’, as an example, they not only incorporate a couple of voice effects, but also feature a saxophone. A post-hardcore band with a sax? And yet it works, because the melodies are ghosts of Silverstein albums past.

Then there’s ‘Madness’, the song hardcore Silverstein fans might feel most apprehensive about considering how unusual the collaboration is. Unlike the other guest appearances, including Simple Plan’s Pierre Bouvier, Beartooth’s Caleb Schomo and Underoath’s Aaron Gillespie, Princess Nokia walks outside the realm of what we consider punk music to sound like and yet, it’s a testament to the beauty of colliding worlds. ‘Madness’ is brilliant, but it’s not until the bridge when her voice comes in low and menacing, alternating with Shane Told’s characteristic screams that the song is elevated to pure genius – guaranteed to give you goosebumps every time. Suddenly, love does feel like madness, but despite it, you crave more.

This sort of clever songwriting is the essence of ‘A Beautiful Place To Drown’. Whether it’s experience, pure brilliance or a combination of the two, Silverstein’s best showcase of a band who are incredibly thoughtful when it comes to creating art, is on this record. Every lyric is what it needs to be, every riff is where it needs to be and despite busting down the walls of that box people try to put them in, they have this golden thread of their quintessence running throughout.

‘Stop’ is another showstopper; incredibly groovy and melodic, whilst remaining gritty, but then so is penultimate track ‘Coming Down’, as well as ‘Say Yes’. The latter at times sounds like the riff’s been converted to a polyphonic ringtone (did I just give away my age?) and makes me happier than watching malamute puppies tilt their little heads.

‘September 14th’ is very ‘Discovering The Waterfront’ era Silverstein, which is a lovely nod to their roots on an album that is so progressive and forward thinking; qualities that have been evident since lead guitarist, Paul Marc Rousseau, joined the band for 2013’s ‘This Is How The Wind Shifts’. The chemistry between Told and Rousseau as lead writers is palpable and clearly works, even when sharing vocal responsibilities as demonstrated on the third single, ‘Bad Habits’.

There’s so many brilliant facets to this album and, like anything exquisite, you’ll find another reason to fall in love every time you revisit it. All that’s left to do now, is to close your eyes and let your lungs fill with water, because this truly is a beautiful place to drown.

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This particular Thursday night co-headliner, which took place at Boston Music Room, came from Prince Daddy & the Hyena and Oso Oso, but not before Brighton punks, Fresh, christened the stage with a stand-in drummer and an arsenal of indie-punk tunes, all rose tinted with poppy hooks and big energy. What became crystal clear throughout their set, was not only their infectious enthusiasm, but also the undeniable chemistry between bandmates, making them all the more likeable, whilst also ticking the boxes for a great live set. 

Now, if Fresh had big energy, Prince Daddy & the Hyena reaches category 5. Unyielding from the opening moments of ‘I Lost My Life’ to the final seconds of ‘Really’, the New Yorkers were a force, battering the crowd with fan favourites like ‘Thrashville 1/3’, ‘Lauren (Track 2)’ and ‘I Forgot to Take My Meds Today’. 

Vocalist Kory Gregory’s voice is rough and ferocious, the utter magnitude of it best understood when put in contrast with Oso Oso’s Jade Lilitri’s, when the latter came out for a guest appearance on ‘Thrashville 2/3’. Barely audible over the sweet chaos of Prince Daddy’s set, it put into perspective just how frenetic the band really are. At times, this can almost become jarring, especially for first time listeners. Don’t get me wrong, this is a band of skilled musicians, a solid vocalist and a catalogue bursting with punchy tracks, but at times, you crave a moment of relief. It’s like having pizza every day of your life. It’s incredible, but by the third or fourth day, it gets harder to stomach. Throw in a couple of broccoli florets every now and again, and boom, the magic of the slice has been reinstated. Just like you need the good to appreciate the bad, varying tempo would make the high-energy moments feel so much more significant. 

With a palpable shift in atmosphere, it was a question of whether Long Island’s Oso Oso could follow on from such a dynamic set; a question completely forgotten when the band took to the stage. Kicking things off with the rather fitting ‘intro’ and following it up with favourites like ‘the view’, ‘Track One, Side A’ ‘the cool’ and ‘the walk’. Lilitri’s voice is beautiful; tender and sincere as he delivers every lyric earnestly over the rising and falling melodies of his back catalogue. The set feels uplifting as bodies sway along to the radiant instrumentation. 

The set winds down with ‘Reindeer Games’ and ‘This Must Be My Exit’ before the last spike of ‘gb/ol h/nf’. With the Prince Daddy boys singing along from the side of the stage all night, it wasn’t surprising (even if it did seem impromptu) that Gregory came out to sing the final bars before inciting a stage invasion. The optimist will see this as camaraderie, the cynic as Gregory stealing some of Lilitri’s thunder; whichever side of the fence you find yourself on, you’ll be unable to deny the pure joy of the moment. And at the end of the day, that unadulterated, overwhelming sense of delight is what we all crave from music. Something that, safe to say, was in no short supply on the night.  

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Formed in Georgia, suitor may have personal ties to bands like Can’t Swim and Microwave (Nathan Hardy actually having had a hand in producing ‘folklore’) but they’re in no way reliant on those connections. Instead, they’ve grinded for their craft, cutting teeth on previous projects where they’ve been able to incubate their sound by feeding into the 90s grunge and alternative influences they’re fond of. But they’re not all fuzz and distortion. By the sounds of it, suitor are quite partial to dipping a toe in the shimmering pond of midwestern emo, with twinkly guitar tones we’ve seen bands like Movements and Balance And Composure use.

‘Deep Sleep’ is by far the standout track. Vocalist, Casey Smith’s voice is magnetic and effortless as he lazily sings along in warm tones, offering an exciting contrast as the instrumentation is more urgent, especially the pummeling drums. If the other songs are roughly cut gems, ‘Deep Sleep’ is a pristine, shimmering diamond and hopefully the direction the band will follow with future albums. 

This debut EP isn’t long – clocking in under twenty minutes – but it doesn’t need to be, because it’s a perfectly adjusted microscope; the eyepiece to this band’s capabilities, giving the listener an intimate glimpse into past relationships through sharp lyricism, influences and musical skill. Stepping out with their best foot forward, suitor are solid from the soaring atmospheric notes of ‘Folklore’ to the final, moreish moments of ‘Creature’.

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