Words: Kate Allvey  //  Photos: Penny Bennett and Download Festival – Todd Owyoung

Dead Pony

As we already wilt in the shade of the Avalanche tent, Dead Pony deliver glitching, late night club energy in the middle of the afternoon. The spiritual descendants of the Prodigy pour a vodka lemonade fizz of a sound across the tent, which slowly fills as each siren song from vocalist Anna Shields entices us closer. ‘Freak Like Me’ is the grimy, pop-punk highlight of the Scots’ Download debut, and as they shift into ‘RAINBOWS’ gritty message of self-love, we feel, to quote Shields, absolutely ‘ready to fuckin go’ for our Download weekend. 

Boston Manor

The boys from Blackpool add a dash of casual darkness early into our day. They drop “the heaviest song we’ve got”, ‘Container’, confidently and efficiently, exposing it’s melodic heart to an impressively-filled field of fans. Vocalist Henry Cox uses his spotlight to spread his message of support for Gaza before ‘Heat Me Up’s deep bass focus sends a seismic groove through the earth and ‘Halo’s chimes crunch inwards for the guitar breakdown. Far above us, planes soar, unaware of the joy we feel below at being part of the pit jumping our way through ‘Passenger’. 

Northlane

Khaki co-ords and bass booms cut with piercing melodica draw us to the top of the hill. Assertive and raw, the profound echoes from ‘4D’ betray a heavy, optimistic Pendulum influence before Marcus Bridge’s screamo vocals drag us back to this reality, They display a whole festival’s worth of multi-faceted influences and moods on their own, with the moodily blooming ‘Bloodline’ as the centrepiece of a set from a band determined to give their all at every turn. 

Graphic Nature

The hardcore heroes create a sound clash wherever they go, separating the loves of the seriously heavy from the lightweights. The smaller but dedicated crowd are loving the honest, refreshing brutality from Harvey Freeman and co. “You are now locked into the sounds of the 404,” he intones, his confessional rage poised to started a distorted hurricane. He’ll have won a lot of new fans by the time he’ll have finished his set, judging by the approving nods and raucous, riotous smacking beats that drive us to greater love for the British heirs to Slipknot’s crown.

Rise Against

“I think six times’ the charm,” laughs Tim McIlrath, and there’s a reason why Rise Against keep getting invited back to Download. They’re sticking to the roots of their sound, all jagged guitars and soaring choruses, and ‘Satellites’ is rich in stunning minimalism before the bouncing chorus  fades into a whispered bridge. McIlrath poses with a megaphone, preaching unity, as we’re led into ‘Ready to Fall’, it’s explosive guitar and melancholy tinges to the melody twisting into the clouds as our shadows lengthen. 

Jimmy Eat World

‘Sweetness’ rings across the arena, transporting us back to simpler times. Jim Adkins’ iconic everyman voice has a tougher edge acquired with age, adding depth and a contemplative touch to their punchy live takes on their classics. ‘My Best Theory’ and ‘Let It Happen’ are more than enough to bring a tear to the eye of more than one bearded metaller, and ‘A Praise Chorus’ feels like a pleasant dream renewed with uptempo vigour. Our hidden smiles are revealed as ‘The Middle’ drips sunshine with sunshine. 

Opeth

You won’t expect a heavyweight band like Opeth, whose sets spark with drama and innovation at every turn, to have such a wry sense of humour. “We write songs about beer and the Royal Family,” Mikael Åkerfeldt grins, raising an eyebrow and apologising for his shortened set. ‘§1′ is hypnotic, the vocalist’s instantly recognisable growl reaching into the deep prog side of the heavy scene, and ‘Master’s Apprentices’ maximises heaviness and varies their narratives second by second. The guitar worshippers are more than satisfied with their four song set when each tune is this packed with absolutely everything that they can throw at it.

Weezer

Opening with a rough and ready take on ‘Hash Pipe’ spreads an aura of calm over the day that floats gently throughout Weezer’s set, blanketing us in nostalgic prom energy. Rivers Cuomo’s passionate, tender wailing blends with frantic solos to remind us that Weezer always were a rock band. When they speed up, we feel the distortion deep in our souls. Just like Jimmy Eat World, they stick close to their greatest hits, and ‘Undone (The Sweater Song)’ flips out a Mexican wave before the tropic slide guitar sends us off into the golden glow of ‘Island In The Sun’. It’s a warm respite, and reminder that Weezer are so much more than we recall them being. 

Within Temptation

A whole Roman temple onstage and a frontwoman who strides in like a shakespearean queen? That’s how if you know Within Temptation are here, setting the standard for stagecraft this evening. Sharon den Adel rips off her gold mask midway through ‘We Go To War’, letting loose a tougher version of ‘Bleed Out’ that commands this corner of the field. The eighties tinges to their live take on ‘Faster’  are infectious; singing back to her at the top of our lungs feels completely natural, as does their pro-Ukraine stance to ‘Stand My Ground’, presented with passion and poise. 

Apocalyptica

If pop punk on a huge scale isn’t to your liking, on top of the hill the world’s most gothic string section are brewing the antidote. With a sound like a classical murder storm, they unearth the serious side of Download like an ancient prophecy to expose the wild complexity at the heart of Metallica’s back catalogue. Their power and drama speak to the determined minority crammed into the Dog tooth stage in the mood for a musical nightcap, and in terms of technical wizardry they must be up there as one of the most intricate acts of the weekend. 

Green Day

Billie Joe Armstrong is not happy with the state of the world, and he’s returning to his American Idiot era to channel that into maximum frontman gold. Of course there’s lashings of fun, with inflatable hands holding grenades and gently floating blimps above our heads, but the message is clear. “This song is anti-war!” Armstrong screams before ‘Holiday’ drops, punctuated with fire, the riff as clear and immediate as if the intervening years since our first listen mean nothing. “Ladies and gentleman, we are slipping into fascism,” he declares bluntly through a megaphone before the rolling boil of resistance we’ve felt in the air all the day erupts into ‘Know Your Enemy’. The cold goosebumps raised by ‘Boulevard of Broken Dreams’ are so real and every single voice, with no exception is raised. ‘Bobby Sox’ comes into its own as a gender-exploring pop hit, the newest songs shining just as vibrantly.

Green Day’s evolution has reached its peak tonight. Older hits like ‘Welcome to Paradise’ screech into view with a “yeehaw!”, and ‘Hitchin A Ride’ electrocutes Armstrong, his eyes wide as he shakes through our cheers. These earlier songs feel like a gift, an acknowledgement of the first stage of their development and a reward for our faith, while ’21 Guns’ emerges as an anthem for hope. On cue, we feel the first cold drops of drizzle kiss our faces as Armstrong sings of rain in ‘Wake Me Up When September Ends’, a perfect second of coincidence, and a sea of phone lights floats like art across the arena as they close with ‘Good Riddance (Time Of Your Life)’. It’s a gorgeous sight, the perfect background to a band who move with the times, remoulding every song into a shape relevant for today to show off how magnificent they still are. 

With the announcement of their debut album, ‘A Funeral For Youth’, due to be released in September, Miss Vincent break down their inspirations for ‘Gravity’.

The Shirelles – ‘Will You Still Love Me Tomorrow?’

Old songs are going to be a bit of a theme, because Gravity is drenched in vintage influences. I love The Shirelles – that whole ‘girl group’ movement (a very out of date term, I know) brought out so many great songs with the most beautiful melodies, and harmonies that bring the songs to life. Shirley Alston has the most effortless, distinctive voice, and I get so much inspiration from listening to her. I read recently that this song was the first no.1 by a black female group, which makes it feel all the more significant.

https://www.youtube.com/watch?v=4955hA_hcB4

Bruce Springsteen – ‘No Surrender’

I’ve always liked Springsteen, but these past few years I just can’t get enough of his entire back catalogue. This song is such a great driving stomper of a rock song, which immediately comes to mind as an influence for Gravity. “No retreat baby, no surrender” is a killer hook to have in the chorus, and I love the way that each half of the chorus has different harmonies. I love straight up rock songs that don’t mess around and have an instantly memorable chorus, and this ticks all the boxes.

https://www.youtube.com/watch?v=MD3DdskaPhs

Sister Rosetta Tharpe – ‘This Train’

This one is less about a direct influence on the sound, and more about how it led me to approach writing certain parts. Sister Rosetta is one of the founding fathers of rock’n’roll, and her voice is one of the most soulful, natural sounds in the world. I honestly feel like I could listen to her sing the phone book and still love it. After all, a lot of her music is pretty religious, and I’m not religious at all – but even so it’s hard not to be reeled in by her voice. The way that she changes melodies halfway through a line, and occasionally adds an almost spoken word element to it is incredible. Whenever I’m struggling with vocal parts, I put some Sister Rosetta on, because she’ll get me right back on track.

Green Day – ’21st Century Breakdown’

This is a really underrated Green Day album in my opinion, and I love this track as an album opener. They’re the masters of the rock opera, which we all knew from American Idiot, but when this album came out I actively disliked for some reason. Then, when I went to see them on that tour (2009 I think?), something clicked and it all made sense. I’ve always wanted to write a song with very distinct sections that are totally different, but fit well together. ‘Gravity’ has a lot of that, and I can definitely hear the Green Day influence. We never want to be a pastiche of anything, but at the same time, sometimes influences shine through a bit clearer, which is definitely the case with this song.

Against Me! – ‘Bitter Divisions’

This is a song off the deluxe version of White Crosses, which is one of my favourite albums ever. Until recently I’d only ever heard the original album, so listening to the extra songs on the deluxe version was mind-blowing, I couldn’t believe it had taken me so long to hear them. This song really stuck out to me as a bit different from the rest of the album, but it still made total sense – and it had one of my favourite choruses that they’ve ever written. Lyrically it was a little brash but somehow still constructive, and I found it weirdly positive. It’s definitely informed my approach to writing lyrics.

Connie Francis – ‘Who’s Sorry Now’

I first heard ‘Lipstick on your Collar’ and that really got me into her music. Then when I heard this, it felt like a beautiful ballad, but with a rock’n’roll undertone. It’s short and sharp, and both her vocals, the harmonies and the backing vocals all come together so cohesively. I really channeled this song in the bridge of ‘Gravity’. When we were recording the album, I was going to hard on the vibrato because I wanted to sound like her, and the guys had to get me to rein it in. She’s definitely got some of the best vibrato I’ve ever heard.

https://www.youtube.com/watch?v=i9QEAtcz3o8

My Chemical Romance – ‘The Only Hope For Me Is You’ 

This is a weird one, because I don’t really like this album that much, but this song in particular has always stood out to me. It’s a huge stomping rock song and has one of the biggest choruses they’ve ever written, and if there’s one thing I love above all else, it’s big choruses. It also stuck out to me that it’s actually quite a plodding song, which I’ve always struggled to write. I generally gravitate towards fast songs, but with ‘Gravity’ I really wanted to rein that in and find a way of writing a massive chorus that was a bit slower. I remember seeing this live at Reading in 2011 (I think?), and it just sounded massive. That always stuck in my mind.

Ramones – ‘Danny Says’

It’s no secret that I’m a complete Ramones obsessive. I’ve been to the museum in Berlin a whole bunch, and I even met Arturo Vega by chance in NYC years ago before he passed away. They’re the greatest band of all time in my opinion. This song is on ‘End of the Century’, which is often seen as a misstep in their career, mostly I think because they worked with Phil Spector. But there are some really high points on this album and this song is one of them – I love the way it builds and Joey’s vocal performance is one of my favourites. There’s an undeniable romance in so many of their songs, and they channel all of the ’50s doo wop and bubblegum bands that I love. They were a catalyst for me falling in love with that era of music, and everything I’ve ever written, or ever will write, will be influenced by them in some way.

Danny and the Juniors – ‘Sometimes’

This one was a toss up between this song and ‘A Thousand Miles Away’, because they’re two of Danny and the Juniors’ best ballads in my opinion. The harmonies in this one are just the best, though. Back in the golden days of rock’n’roll, if you wanted to make a song bigger and fuller, adding harmonies was one of your only options, because recording was still so rudimentary. Harmonies are such a bit part of the Miss Vincent sound, so when I hear good harmonies it really makes a song stand out for me. There’s a beautiful, melancholy romance to this song, and lyrically I think it had an impact on ‘Gravity’ – especially in the bridge.

The Gaslight Anthem – ‘1,000 Years’

I’m in a minority of Gaslight fans because I unashamedly love this album to death. It’s raw, understated and incredibly vulnerable. When I first heard this song, it got to the line, “I heard about a woman once, who did everything ever asked of her. She died last week and her last words were ‘it wasn’t worth it’” and all of the hairs on my body stood up. The chorus is so uplifting, yet somehow so melancholy. Brian Fallon’s way with words is inimitable, but it’s certainly had an impact on me.

Miss Vincent’s debut album, ‘A Funeral For Youth’, is out September 17th via Silent Cult and available for pre-order here.

It’s been four years since Green Day penned the visceral ‘Revolution Radio’, very much a record for its time, in the chaos of a previously unthinkable Donald Trump presidency. It represented an almighty return to form for a band that many had thought were about to call time on their glittering career. The intensity and cutting tone was Armstrong back at his songwriting best, and reignited both band and fan base.

If ‘Revolution Radio’ felt like the release valve of pent up fury, aimed not just at the current political climate but at the lost years Green Day spent working on an ill-fated trilogy, then ‘Father of All Motherfuckers’ is the after party. It’s the trio letting loose, trying to sing like Prince, and creating the kind of infectious songs that will be rattling around your head for days.

The opening salvo of ‘Father Of All…’ and ‘Fire Ready Aim’, is Green Day in full stadium rock mode, with enormous choruses, punchy lyrics and that trusty four-chord structure. There are hints of Joan Jett in the grooving ‘Oh Yeah!’, while the 50s rock and roll-infused ‘Stab You In The Heart’ could easily be mistaken for a ‘Foxboro Hot Tubs’ B-side.

As with all of Green Day’s post-2010 releases, there are nostalgia-laden tracks full of references to young love and chaotic parties. This record’s contribution to the narrative is delivered in the one-two of an almost Weezer-esque feel-good summer vibe track of ‘Meet Me On The Roof’, and the truly superb, angst-laden ‘I Was a Teenage Teenager’.

‘Father of All Motherfuckers’ is a record that pulls you in all different directions. It refuses to be defined by one genre – there are far too many aspects going on at the same time – and, in theory, it shouldn’t work. Yet, somehow it does. 

It’s pretty much the culmination of what Green Day are in 2020. They’ve done their era-defining record, twice, they’ve done concepts, they’ve done political statements and, in their own words, with this record they just wanted to create “a mess”. As a mascot, a unicorn vomiting a rainbow could not be more apt for their 13th album.

Is ‘Father of All Motherfuckers’ an instant classic Green Day album? No. Are those die hard fans pining for a return to a pre-American Idiot going to be happy? Probably not. What it is, however, is 26 minutes of the Oakland punks letting off steam and having a hell of a time doing so.

TOM WALSH

We’ve seen reunions of bands we thought were long gone, experienced anniversary tours of our favourite albums, even lost some of our most beloved band members… You name it, we’ve been through it, and while it’s been a rollercoaster of emotion – life is life, after all, and it’s not always as perfect as we’d like – it’s each of these moments that have set up the industry for the decade to come.

The Punktastic team has chosen the 11 moments we think have changed the industry this past 10 years – for both better and worse. Check them out below!

Don’t forget to check out our Bands Of The Decade, Albums Of The Decade, and Bands of the Next Decade articles.

Contributors: Liam Knowles [LK], Romy Gregory [RG], Dave Stewart [DS], Tom Walsh [TW], Gem Rogers [GR], Yasmin Brown [YB], Fiachra Johnston [FJ]

Refused – Comeback (January 2012)

Refused released ‘The Shape Of Punk To Come’ in 1998, but split up the same year before it really had time to gather much traction. In the wake of the band’s demise, the album became a cult classic and is rightfully lauded by many as a masterpiece, the album title ringing true as it became one of the most influential hardcore / punk albums of all time. This meant that a lot of frustrated punks would never get the chance to hear these incandescent tracks live, leaving Refused as little more than a legend; an intangible concept on an immovable pedestal. Fast forward to 2012, and after a couple of years of rumours, Refused finally reformed and the live shows around this time carried all the politically charged fury, limitless energy and the glorious feeling of fresh relevance that the album had captured 14 years earlier, a feeling most bands wouldn’t be able to carry forward so long after creating the work. Granted, the albums they’ve released since, 2015’s ‘Freedom’ and 2019’s ‘War Music’, have had mixed reviews, but that initial comeback was an inferno that most people never thought they’d get a chance to witness, and nothing can undo that. [LK]

The Ghost Inside – Post-crash comeback show (July 2019)

In November 2015, hardcore heroes The Ghost Inside were involved in a tragic and fatal bus accident, seriously injuring the entire band and taking the lives of crew members and passengers of the other vehicle involved. Vocalist Jonathan Vigil had to undergo intense physical therapy in order to walk again, bassist Jim Riley lost part of his foot, drummer Andrew Tkaczyk even lost one of his legs. It couldn’t have happened to a nicer band, and it devastated fans and peers everywhere. Donations for the band started to flood in from around the globe, including a song Stray From The Path where every penny was given to the band to aid their recovery. Their record label, Epitaph, even stopped taking their cut from record sales so that the band could get every penny they needed. The love was just growing and growing, everyone yearning for some better news. So, in 2017 when they started hinting that they were still striving to get back on stage, that support jgrew even more. Each member of the band was physically improving, their mental battles being won every day, and everyone stuck right by them through their arduous journey to recovery. And then it happened – they announced their first show in 4 years, taking place in their hometown in July 2019. No support acts announced, no set list hints, nothing – just a date, a place and a time to arrive. Those lucky enough to attend were part of an outdoor show, a sort of TGI headlined mini festival, and when the band took the stage it was an emotional and powerful moment. There wasn’t a single person without goosebumps, regardless of whether you were there physically or watching a live stream. They performed like the injuries had never happened, and though it will have taken an incredible physical toll on them they sure as hell made it clear that they wanted to keep the flame alive. It was one of the most emotional and intense moments of the decade. The bus incident had the potential to destroy their careers, but their passion for music kept it alive. Undeniably inspirational. [DS]

Architects – Tom Searle’s death & the unifying of the metal community (August 2016)

The metal world is often heralded for the love and support within the community, and a blindingly bright light was shone on that community after the death of Architects guitarist Tom Searle became public knowledge. In August 2016 when drummer Dan Searle announced the tragic death of his brother, bandmate and founding member, it shook the entire genre. What was seemingly an out of the blue announcement for the world had actually been years in the making, with Dan explaining that his brother had been suffering from cancer for the last few years, choosing to keep it private and make the best of the time he had left. It also became apparent that ‘All Our Gods Have Abandoned Us’ was largely centred around Tom’s illness, turning the already stunning album into an emotional and poignant swan song. The outpouring of love and support that flooded Architects was truly beautiful, coming from both bands and fans alike. So many stories started to come to the surface, all of them highlighting how Tom was, and how unique a sense of humour he had. Not only that, but the way Architects handled it all was beyond admirable, seeing out the rest of their scheduled tour dates and dedicating everything they did to his memory – something they’re still doing to this day. Tom is still sorely missed by his former band members and by the metal community but his legend still lives on, his untimely passing demonstrating just how beautiful heavy music and those involved with it can be. [DS]

Arcade Fire – Winning Album of the Year (February 2011)

Ah, 2011: Where Rebecca Black was soon to rise to infamy and we still trusted Facebook. The grunge of the 90s and the heavy rock and nu-metal of early 00s were very much echoes of their former selves, the holy quartet of The Strokes, Vines, Hives, and White Stripes had left their eternal marks on the industry, and emo and pop punk had hit their peak and were entering the silver age. Yet a new beast loomed on the horizon. As Billboard pointed out in their own end-of-decade retrospective, the rise of modern indie in the 2010s had a marked effect on the rest of the genre, on how rock music was produced by artists and how it was viewed by fans. While there are many events to draw examples of this from, Arcade Fire becoming the first indie rock band to win Album of the Year at the 2010 Grammys was perhaps the tinder that started the fire burning. With a swell of support from magazines like Pitchfork (at the time having an astute focus on indie), Arcade Fire’s third album, ‘The Suburbs’, became a sleeper hit near the end of 2010, leading to the Canadian group picking up the the award in February of 2011 and their most acclaimed album yet, jumping forty places on the Billboard 200 to number 12. Suddenly, bands like The National, Alt-J, Two Door Cinema Club weren’t just the outsider new kids or eternal B-players in the business, they were the norm, reaching the top of the charts and headlining festivals globally. Indie bled into other genres, into alternative, into pop-punk… In a hilariously cyclical twist it bled into genres that the original understanding of indie rock ended up inspiring. It was in our homes, corrupting our children, making them all vaguely melancholic and longing to stare off into the distance from the balcony of an apartment, cigarette twirling in their mouth, all in black and white. Whether it was to your taste or not, the coming of indie was huge turning point in the rock industry, and this moment was the linchpin of it all. [FJ]

Gallows – Frank Carter’s departure (July 2011)

Gallows broke the mould in UK hardcore. The chaotic live shows coupled with a bold, innovative approach to songwriting made them one of the most exciting punk bands in the country, even drawing comparisons to the Sex Pistols. Led by the enigmatic front man Frank Carter, the Watford five-piece produced the visceral ‘Orchestra of Wolves’, a tour de force of bile boiling hardcore, before creating the masterpiece concept sophomore album ‘Grey Britain’. However, with heightened exposure and an exhausting touring schedule, Gallows were always flying close to the sun. After being dropped from Warner Brothers, post-‘Grey Britain’, there was radio silence and the sporadic live shows didn’t feature even the hint of new material. Then in the summer 2011, Carter announced he would be leaving Gallows. Subsequent interviews described a band pulling in different directions with guitarist Steph Carter telling Alternative Press that his brother wanted to be a “big, successful, straight-up rock band, like Queens of the Stone Age”. Frank would go on to form the ill-fated Pure Love before returning to heavier roots and gaining heightened success with Frank Carter and the Rattlesnakes. Gallows would remain and enlist Alexisonfire’s Wade MacNeil on vocals, recording a further two albums, and while the change was passable, it would never quite reach the excitement and quintessential British sound of the band’s early work. Just as explosive as they entered the punk world, it was only fitting that this is the way it would end. [TW]

Green Day – Reading + Leeds anniversary performances of ‘Dookie’ (August 2013)

As the annual Reading and Leeds Festivals prepared to host their 2013 edition, it was a tumultuous time for Green Day. Almost a year had passed since Billie Joe Armstrong’s infamous intoxicated rant at the iHeartRadio Festival in Las Vegas and reception of what would be an ill-advised trio of albums had been considerably lukewarm. After such an illustrious career, this start was now on the brink of collapsing. However, 2013 presented the 20th anniversary of ‘Dookie’, a masterpiece of snotty punk alienation that turned three working class kids from the Bay Area into global stars. It was a record that was a catalyst in the immersion of a thousand punk bands. In the almost monsoon conditions in Leeds, a newly-sober Armstrong led the celebration of this iconic album. Played in its entirety, the performance seemed to completely reinvigorate the fading aura of Green Day, the timeless classics of ‘Welcome to Paradise’ and ‘When I Come Around’ cutting through the pouring rain and the rare airings of gems such as ‘Sassafras Roots’ and ‘Coming Clean’ taking us back to those endless 90s summers. The run of shows over 2013 and 2014 took Green Day back to basics and gave them time to consider the real ethos of the band. The overthinking had gone by the time ‘Revolution Radio’ was released in 2016, a throwback to the Insomniac-era anger that had lacked in anything post-American Idiot. These ‘Dookie’ shows reminded everyone just how special this band is to so many people and while in Leeds, at least, we were all head to toe in liquid mud, those 45 minutes felt like being bathed in warm sunshine. [TW]

My Chemical Romance – Return (October 2019)

It seems strange to think that we’re both starting and ending this decade with My Chemical Romance alive and kicking. For a while, it felt like we’d never witness our favourite emo band on stage ever again; a bittersweet resignation that comes with understanding that while it hurts, it is for the best for everyone. MCR fans spent the past 6 years since the initial break up feeling grateful for the time we had with the band, and despite rumours flying around, we never really believed we might get them back. But just a few months before the decade draws to a close, following the slow yet clear dropping of hints across social media, MCR came back to us. The announcement saw polarised responses – this is, after all, a band that saw accusations of becoming sell-outs thrown at them from all directions following the release of ‘Welcome to the Black Parade’ – but ultimately, the people that matter most – the fans – couldn’t be more ecstatic to see the reunion fo their favourite band. This is a band that you can genuinely say saved lives, even during their six-year hiatus, and their reformation not only comes with the potential for new, exciting music, live shows, and interactions, but also the potential to reach new kids and revive the MCRmy of 2005. It’s a late entry, but this reunion is undoubtedly one of the most important moments of this decade. [YB]

Linkin Park – Chester Bennington’s death (July 2017)

Linkin Park was the gateway into music for a lot of the PT team, myself included. They compounded a love for heavy music, hip hop and art, and while we may have drifted away from them after the third album, ‘Hybrid Theory’ and ‘Meteora’ can easily be said to be the reason behind our love of this art. When we were angsty, uncertain teenagers, they provided the words that made the most sense to us. They guided us when we felt unsure or felt unappreciated, so when Chester Bennington died in 2017, it didn’t just break the hearts of Team Punktastic, it broke the heart of music lovers worldwide. Chester was a kind, compassionate singer who struggled with depression for most of his life. He didn’t shy away from that, accepting it and speaking openly, becoming a pseudo-advocate for openness and mental health awareness. In a time where it was unusual for men to talk about how they really felt, Chester did so with frank honesty. It’s becoming less unusual for bands and musicans to talk about their struggles but Chester was ahead of his time. I personally believe that, without Chester being open about depression, we wouldn’t have a generation who talk honestly about it now. So Chester, thank you for opening the door. Thank you for the music. Thank you for letting us know it’s okay to not be okay. [AJ]

Taking Back Sunday – Reformation of the original lineup (March 2010)

Over the past year, Taking Back Sunday have been celebrating 20 years as a band, although the lineup hasn’t always been as it stands right now as we move into the next decade. From 2003 to 2010, founding member and co-writer of the band’s debut album ‘Tell All Your Friends’, John Nolan, left the band to pursue other projects, but returned in 2010 to start a whole new journey as their guitarist. While the albums that were released in the 7 years Nolan was working elsewhere are arguably some of TBS’ best to date, it wasn’t until his return that it really felt like Taking Back Sunday again. TAYF is a persistent fan favourite, and Nolan’s return led to an authentic reunion tour followed by a 10 year anniversary tour and, this year, a 20 year anniversary tour that saw the album played live in full every single night. It’s only really in hindsight that we can see the impact that this reformation had on the success of the band and the intensity of the fanbase, and admit that Taking Back Sunday was just never really the same without John Nolan. It was one decision, but it changed the entire future of this band. And I ask this question sincerely: Can you imagine a TBS show without Adam Lazzara’s southern drawl introducing “John Nolan on the gee-tar”?! [YB]

Frightened Rabbit – Scott Hutchison’s death (May 2018)

What is there to write about Scott Hutchison that hasn’t already been said? Scott was a phenomenally talented musician and artist who wrote raw, soul-baring music in both Frightened Rabbit and his solo project Owl John, and the outpouring of love after his passing in May 2018 showed how he touched countless lives from afar. For so many, the lyrics Scott wrote vocalised their struggles with depression and anxiety, making them feel heard and less alone. There are endless stories of acts of kindness Scott regularly undertook, such as a heartfelt note of support sent to a fan going through a difficult time, that show his remarkably generous nature. Scott’s death still remains devastating in that he was unable to overcome the issues his music helped many others weather, but his legacy is defined by the wonderful light he brought into many of our worlds through his music and his art.

I was in Glasgow around a month after Scott’s death and gathered up the strength to listen to ‘The Midnight Organ Fight’, an album I hold dearly close to my heart, for the first time since the news. I walked the early morning streets of the city and thought of him, and when the line “as manic gulls scream “It’s okay”” kicked in, a flock of seagulls suddenly circled overhead. I won’t pretend it was much more than a small, yet startling, coincidence, but it was a sign that, as Scott once said, “when it’s all gone, something carries on”. Scott’s spirit will forever live on in his music, his art, and in the charity set up in his memory by his family, Tiny Changes. [RG]

Bonus moment: A personal and awkward encounter between our very own assistant editor, Andy Joice, and NOFX (May 2014)

This is more of a personal moment (hey, no one said they had to be genre affecting). And no one said they had to be positive either. This moment goes back to May 2014 in a small hotel in Belgium I was camped out in for Groez Rock. As we check in, an American sidles up to us, looks at a flan left on the reception counter and says, “Mmmm, Cake”. Before I can think of a snarky response, I look up to realise it’s El Hefe of NOFX. Now, we assumed that if Hefe was in the hotel, the rest of the band were likely to be skulking around too and he wasn’t just there for a free slice of flan – and sure enough, come the morning, he was eating what looked like corn flakes and croissants for breakfast. Later that day, after a few beers in the village, we walk back into the hotel, only to realise the entire band were behind us. After holding the door open for the band, Fat Mike turns to me and asks where the toilet is. I’ve got no idea, so I looked him squarely in the eyes, pointed at a door and proceeded to bolt up the stairs as fast as my legs would carry me. It was at that point, I heard him say, “that’s the fucking closet”. I almost died – partly from running up stairs, partly from misdirecting one of my musical idols to a cupboard. To this day, I still don’t know if he found the toilet. [AJ]

Originally found on their 1991 sophomore album ‘Kerplunk’, the video is to coincide with the band’s career spanning compilation ‘Greatest Hits: God’s Favorite Band’, on which the song is featured. This was released earlier this month on Reprise Records.

The song is exclusively found on the band’s career spanning compilation ‘Greatest Hits: God’s Favorite Band’, which was released last week on Reprise Records.

This an updated version of the band’s previous best of comp, 2001’s ‘International Superhits’. It will be released on the 17th November via Reprise Records and can be pre-ordered here. The record will feature a brand new track called ‘Back in the USA’ and a re-recorded version of ‘Ordinary World’ from their last album, last year’s ‘Revolution Radio’.

The tracklisting is as follows:

1. “2000 Light Years Away”
2. “Longview”
3. “Welcome To Paradise”
4. “Basket Case”
5. “When I Come Around”
6. “She”
7. “Brain Stew”
8. “Hitchin’ a Ride”
9. “Good Riddance (Time of Your Life)”
10. “Minority”
11. “Warning”
12. “American Idiot”
13. “Boulevard of Broken Dreams”
14. “Holiday”
15. “Wake Me Up When September Ends”
16. “Know Your Enemy”
17. “21 Guns”
18. “Oh Love”
19. “Bang Bang”
20. “Still Breathing”
21. “Ordinary World (feat Miranda Lambert)”
22. “Back In The USA”

The song is featured on their latest album ‘Revolution Radio’, which was released last year on Reprise Records.

The reissue is to commemorate the record’s 20th anniversary. It will be released on the 13th October via Reprise Records. More info can be found here.

https://m.youtube.com/watch?v=b6jtGjiDwIQ

Last year the band released their twelfth album ‘Revolution Radio’ on Reprise Records.

It is taken from their latest album ‘Revolution Radio’, which was released last year via Reprise Records.