This is a show divided equally between two focuses, and could almost be a metaphor for the Menzingers’ seamless sharing of vocal duties between Greg Barnett and Tom May. There’s always a slight danger when playing an album in full that it could just be a rehash of a set point in the time and space of a band’s existence, rather than bringing something new to the live experience. Not so tonight. The beautiful dedication in the crowd’s heart clenching enthusiasm for each line of songs like ‘I Don’t Wanna Be An Asshole Anymore’, every lyric of Barnett’s sung back like a promise in a burst of  humanity that can be forgotten over a decade of re-listens to ‘Rented World’, is what elevates tonight above a standard retrospective. The hopes realised and rejected contained in each slightly sped up refrain of ‘My Friend Kyle’ feel like a blunt, genuine celebration. The way that the guitar on ‘Transient Love’ wrings out each tone seems like a confession from the past, cushioned in distortion used as cotton wool, dusted with dandelion-light backing vocals. 

However, it’s also the band’s humility and desire to share the journey that both they and their album have been on over the last ten years that make this such a standout night. May seems surprised that we’re even having fun (“Hopefully you know these songs, it seems like you do!”), and want to share morsels of backstage gossip to frame each song in our memories. “This song is maybe my favourite video, it was just the most fun fuckin time. Turns out all you need to have fun is a case of beer and some fireworks, that’s what makes for a good video,” he explains ahead of ‘Where Your Heartache Exists’s stark poetry, the depth of longing in it’s contrasts punctuated with a rough smattering of broken vocals to mark this reality of this moment. Reminiscing about the circumstances behind each song adds a rewarding depth of context, such as the disputes over who takes priority in an inadequately soundproofed practice room which fuelled a lot of ‘Rented World’ (“I think we were really angry being there, trying to fight with our metal neighbours”). The introspection accompanying ‘In Remission’ adds colour to each section before our eyes, turning it into a song that makes you want to stand up even more than you already are. 

We also feel closer and closer to the Menzingers as the night goes on through their anecdotes“You feel like your work is never done, for me,” says Barnett. “For ten years, I felt like I was never satisfied with it. With these shows it feels done, it feels like I have closure.” This really is the best summary of the live presentation of ‘Rented World’ as it stands in 2024; the songs now sound like they should have sounded all along, the new versions overwriting the studio takes in our psyche in real time and our bond with the Menzingers deepening minute by minute. 

As the final dark subtleties of their acoustic take on ‘When You Died’ fade, the energy spikes in an instant. This, of course, is not the end of the show, merely the beginning of the prize that is the greatest hits section. ‘Good Things’ pays tribute to jumping it out and keeping yourself afloat when everything falls down around you and screaming along to ‘Burn After Writing’ feels like self care at its most primal. Via a slower intro, ‘Try’ is a blunt instrument to bludgeon our emotions, shining light on a situation to exorcise it, telling our stories through borrowed words and applause. That’s one of the great things about the Menzingers. Both vocalists have an everyman tone when they sing that emerges a representation of our own histories, and songs that speak to our triumphs and tragedies hit the hardest. 

You don’t always need flashy backdrops and showman moves to create a really great show. Sometimes, what you need is a body of work which stands the test of a relatively long amount of time, and a desire to connect with the people in front of you, using your own normality to build a bridge through to us. The Menzingers have channeled this gift into making this celebration a night that was worth waiting a decade for, and maybe that’s what defines a real punk rock show.  

KATE ALLVEY

‘After the Party’ in 2017 was a career defining moment for the Pennsylvanians. While they had a solid back catalogue behind them at the time, it was one of the best releases of that decade and their most mature to date, featuring the best choruses they’d ever put out, superb lyrics, and relatable themes about love and ageing. They went one better in 2019 on the incredible ‘Hello Exile’, delving into serious topics of addiction and the political chaos in the United States while turning out some of the best songs they’d ever written.

‘Some Of It Was True’ continues their stellar patch of form, a triumphant record that will surely cement their already strong claim to be one of the finest punk bands of the last 10 years.

Bruce Springsteen has clearly been an influence on the band in recent years, which can most clearly be seen in vocalist Greg Barnett’s lyrical style. As a songwriter, he takes a leaf from The Boss’ playbook, taking on the role of a poetic storyteller and spinning tales that are as earnestly human as they are quintessentially American. As if to underscore the obvious influence, the cover art for this album doesn’t look dissimilar to Springsteen’s 1982 record, ‘Nebraska’.

The similarities are more than superficial, however. ‘Nebraska’ was a bold creative choice, a melancholy collection of acoustic songs released when Springsteen was at the height of his popularity. There are parallels to be found here; The Menzingers are more popular than they’ve ever been, and fans who are only on board because of their older material will be challenged by what’s on offer here. It features many tracks that are less explicitly rock-focused than anything they’ve ever done.

Large parts of the record will have fans of the Menzingers on familiar ground, however, not least album opener ‘Hope Is a Dangerous Little Thing’. This is one hell of a way to get proceedings underway, and is comfortably one of the finest songs the Philadelphians have ever put their name to. It’s a bluesy rock number, with a chorus hook that is in equal parts joyous and cathartic as vocalist Greg Barnett wails about unrequited love backed up by gang vocals from his bandmates.

Follow up ‘There’s No Place In This World For Me’ is another slam dunk, leaning on an Americana sound while the guitars have an infectiously groovy stomp to them. Title track ‘Some Of It Was True’ is one of the album’s standout moments, featuring an emotionally and sonically punchy chorus as Barnett croons “the older I get the less I know, and I knew nothing then”.

‘Alone in Dublin’ feels like a spiritual successor to ‘London Drugs’ from ‘Hello Exile’. Both songs deal with the experience of feeling out of sorts in a city thousands of miles from home. In classic Menzingers style, it’s triumphant sounding song with a gloomier meaning than it at first lets on as Barnett howls “I wish you were here with me, I’m all alone in Dublin searching for something”.

As with all previous Menzingers records, Barnett shares vocal duties with fellow guitarist Tom May. ‘Try’ is the best of May’s songs on this  record, a fun, bouncy track that is sure to sound absolutely huge live.

In many moments on ‘Some Of It Was True’, The Menzingers find their more tender side with songs that eschew the trappings of punk rock. This is a departure from their signature sound, but one that pays off massively. ‘Come On, Heartache’ is the album’s first foray along these lines, a song that is sonically upbeat but steers clear of the heavy guitars and gruff, half-screamed vocals you might expect from this band. Lyrically, it sees Barnett at his bittersweet best, lamenting about heartbreaks past while clearly having hope for the future. In a similar vein ‘High Low’ and ‘Ultraviolet’ are both slow, minor pieces that will be lighter-in-the-air moments at future Menzingers shows.

With ‘Some Of It Was True’ The Menzingers have proved how relentlessly and reliably brilliant they are, completing a trilogy of records that are all straight 10s. There are countless bands that make punk music, and many of those infuse their sound with an Americana edge, but there are precious few who can do it with as much energy or soul as The Menzingers.

ASH BEBBINGTON

Words: Aaron Jackson [AJ] and Yasmin Brown [YB]  Images: Penny Bennett

ZAND

Let’s get the cliche out of the way – it’s no mean feat to open a festival. However, this feels particularly pertinent after experiencing alt-pop wildcard ZAND’s performance on the Rock Scene Stage. Before the clock had even struck midday, demonic laughter echoed through the flush of summer sunshine as the Blackpool-born, self-proclaimed “ugly popstar” brashly rattled through their bass-drenched hits. Unflinchingly confrontational in everything they do, ZAND’s set was delivered with unbridled conviction. Regrettably, fans had to do without ‘Slut Money’ as Slam Dunk cut the slot short. Regardless of the abrupt ending, ZAND had kicked the day off with a boldness which stood unrivalled for the remainder of the festival. [AJ]

VUKOVI

Next up on the Rock Scene Stage were Scottish duo VUKOVI. Fresh off the back of receiving their first Heavy Music Award the night before for Best Production on their latest effort ‘NULA’, the spring in their step was plain to see. Vocalist Janine Shillstone swept across the stage, working the audience with vocals that fluctuated from delicate to intensely powerful at the flick of a switch. Meanwhile, Hamish Reilly relished the points in their set in which he had a licence to take the crowd to riff city with his guitar. New cut ‘I EXIST’ boasted a particularly impressive breakdown that was executed with aplomb. Provoking motion in and amongst the spectators, VUKOVI more than played their part in wiping away any cobwebs that might have gathered in those pesky queues. [AJ]

Movements

Relative to some of the veterans on this year’s bill, Movements have earned a calibre of adulation from their audience that much older artists still pursue. Of course, the highlights came in the singalong moments, with ‘Full Circle’ marking the point in the set that the Californian quartet really seemed to find their feet. The Kerrang! Tent was teeming with eager fans bellowing every word back to frontman Patrick Miranda, and this didn’t let up as they launched straight into ‘Colourblind’. Sure to give attention to the ‘Outgrown Things’ EP which put them on the map back in 2016, Movement’s rendition of ‘Kept’ was as sincere as ever, demonstrating the strength across their whole discography. Newer tracks like ‘Lead Pipe’ and ‘Barbed Wire Body’ may not have hit as hard on the heartstrings, but they were still expertly performed, with a special mention to Austin Cressey on bass who held it down exceptionally. Bowing out with the powerful ‘Daylily’ marked a poignant end to a set to remember. [AJ]

Spanish Love Songs

Sad summer season is here, baby. Taking to the stage with a complete air of modesty, there was little fanfare as frontman Dylan Slocum slipped straight into ‘Routine Pain’ after a brief soundcheck. Their flowers came in the form of the loudest singalong that had been seen up to that point. The ultimate form of sonic catharsis, there appeared to be a genuine relief on the faces of the band who unfortunately had to withdraw from the previous lineup. As Slocum recalled how that this time last year he was stuck at home with COVID, it must have felt incredibly gratifying to perform at what they called the “best festival” that Spanish Love Songs have ever booked. What’s more, the future looks incredibly promising for the band, with their newest single ‘Haunted’ not letting the team down as a huge portion of the audience managed to recite every lyric, despite the song only being out for a couple of weeks. [AJ]

Holding Absence

Holding Absence are a band who have found themselves steadily but surely rising up the festival ranks, today appearing proudly on the Slam Dunk main stage. The band bring all the energy we’ve come to expect from a Holding Absence set, but unfortunately for them, their first opportunity to show off music from their upcoming album falls flat – through no fault of their own. The sound on the main stage is lacklustre at best, meaning front man Lucas Woodland’s usually ferocious voice is lost, as are screams from guitarist and back up vocalist Scott Carey, and the drums hit fiercely by Ash Green fail to reach your chest in the way they usually do. As a result, chatter among the crowd can easily be heard, with fans barely having to raise their voices to ensure words reach their friends – words that we usually wouldn’t want to utter as a result of being so lost in the amazing music of this unique, “one to watch” band. It’s hard not to feel as bad for the band as you do for the fans, neither one quite getting the experience we deserved. [YB]

Trophy Eyes

“We just got here” mutters drummer Blake Caruso sheepishly into his mic. Indeed, Aussie four-piece Trophy Eyes were one of multiple artists to experience significant delays upon entering the festival’s site. Not ideal after already travelling over from the other side of the world. Nonetheless, this really feels like a period of rebirth for the band. All three of the singles released to this point from the forthcoming LP ‘Suicide and Sunshine’ featured proudly on the setlist and were met with a rapturous response. Naturally, the cuts from 2016’s flawless ‘Chemical Miracle’ stepped it up a level, with ‘Chlorine’ especially sending the crowd into a frenzy. Unfortunately, Trophy Eyes were also victims of a prematurely cut set, causing fans to miss out on the anthemic ‘You Can Count On Me’, much to the visible disappointment of the band. Music aside, it was impossible to ignore Floreani’s fighting form as he shadowboxed his way through the set. He’s no Vulkanovski, but it still wouldn’t be wise to get in the way. [AJ]

Real Friends

Fundamentally built for this festival, pop-punk mainstays Real Friends wasted absolutely no time in whipping their crowd up into a frenzy. The already-packed Kerrang! Stage descended into a blur of flailing limbs and aggressive finger pointing syncopated with frontman Cody Muraro’s singing. To the delight of all involved, the most feverish of fans flew above the crowd and were sent sprawling over the barrier (hopefully safely). It should go without saying that, as one of the true anthems of the scene, ‘I’ve Given Up On You’ was the standout hit from the set and left the most lasting impression. In their element and loving every minute, Real Friends dropped a set packed out with their brand of all-out pop-punk hits. If it ain’t broke… [AJ]

Boston Manor

Cool as ice, Boston Manor take to the stage with a confidence that commands respect and attention. Going by the amount of festival goers adorned in BM clothing, and the sheer volume of people in the tent during their set, it’s fair to assume that, for plenty, this was the most anticipated performance of the day. Certainly one to catch in person, the Blackpool quintet’s brand of moody, industrious alt-rock sounds infinitely beefier in a live setting. Naturally, this is at the sacrifice of some of the atmosphere that is curated in the band’s conceptual approach to their releases, it’s an entirely different experience, but one that shouldn’t be missed. Featuring a stellar live debut of ‘I Don’t Like People (& They Don’t Like Me)’ and the colossal ‘Halo’, during which frontman Henry Cox demanded “one hundred crowd surfers”, there were plenty of high points in this performance. It is a shame, however, that Boston Manor seem to have left behind anything released before 2018’s ‘Welcome To The Neighbourhood’. Nonetheless, progress waits for no one, and Boston Manor show no signs of slowing down. [AJ]

Four Year Strong

Four Year Strong instantly reminded everyone why they are one of the most steadfast pillars in the alt/pop-punk scene. Bouncing through their chug-tastic selection of aggressive, yet catchy hits, this performance highlighted just how strong the band’s discography has become over the years. Hits spanning from their debut album ‘Rise of Die Trying’ through to 2020’s ‘Brain Pain’ offered fans a blend of reminiscence and excitement. ‘It Must Really Suck to be Four Year Strong Right Now’, ‘Out of My Head’ and ‘Wasting Time’ created an excitable vigour among the crowd, while exhilarating covers of Green Day’s ‘Jaded’ and ‘Brain Stew’ went a long way to win over first-time listeners of the band. The triumphant opening riff to Heroes Get Remember, Legends Never Die summed up the set and was met with one of the biggest roars of the performance – washing the hundreds of fans in the tent with nostalgia before they resumed hurling themselves towards one another. Beards. Chugs. Sing-a-Longs… in that order. [AJ]

The Menzingers

Perhaps one of the last loud and proud rock and roll bands, The Menzingers have been flying the flag for some time now. With six full-length albums under their belt, there was a healthy spread across their discography on offer, with considerable love especially going to 2012’s ‘On the Impossible Past’. Fans were also treated to the live debut of a brand new song titled ‘There’s No Place In This World For Me’ which was respectfully observed by a crowd of fans who will no doubt relish the reveal of new music from the Scranton four-piece. Their formula is tried and tested, but The Menzingers deliver every time and this performance was no different, executed with seasoned expertise. Is there a better band to sip a beer in the sun with? Doubtful. [AJ]

PVRIS

Fronted by superstar talent Lynn Gunn, it’s clear that PVRIS held a core of devoted fans at the festival, who met the band’s walkout with awed cheers and applause. With a setlist featuring a healthy spread across the artist’s esteemed discography, this was a true showcase of the many facets of PVRIS’ dynamic. Gunn’s vocals were hauntingly fragile at points, demonstrating her remarkable range. The louder, more electrifying songs such as ‘Monster’ and ‘Fire’ were unfortunately dampened by what felt to be poor mixing. The heavy peaks were sucked from the stage and disappeared into the open air and, even more disappointing, Gunn’s efforts often fell into the background. Despite a sound quality that left some wanting more, PVRIS performed with spirit and were clearly relishing every minute on their platform. Maybe some of the crowd were feeling the heat by this point, but there was a palpable outpouring of passion coming from that heartbeat of fans who were with PVRIS every step of the way. [AJ]

Creeper

Back with a theatrical bang as multi-instrumentalist Hannah Greenwood strides onto the stage wielding frontman Will Gould’s severed head (not really), it was fitting that Creeper’s time came as an early hue of dusk began to bleed across the sky. The goth/glam/punk outfit boast an aesthetic that is infectiously cool, oozing with horror iconography that gorgeously decorates a sound equally as evocative. Creeper are a band that know how to make the most of their instruments, with the synths adding a particularly effective texture. It initially felt as though Gould’s voice suffered through the skulking verses of ‘Ghost Brigade’ and ‘Born Cold’, but once the band flew into the choruses, Gould absolutely soared. Complete with a (successful!) on-stage proposal before ‘Hiding With Boys’, this set had everything to make a lasting impression on fans both existing and prospective. Wrapping up with ‘Misery’ demonstrated just how powerful this band are, completely abandoning all instruments and microphones for the final chorus, leaving the crowd to shine. They went above and beyond, marking an emotional end to a landmark moment of the festival. [AJ]

Enter Shikari

The festival’s headliners never fail to deliver fireworks, on this occasion, quite literally. Visually stunning, the stage is drowning in digital flames, and LED lava, before Enter Shikari even walk out. Complete with the sun setting behind the stage, the atmosphere was already bliss. Launching into ‘(pls) set me on fire’ commanded attention from a crowd that had been eager for this moment all day. Such is the pull of this band, it’s no wonder they were billed as the main attraction. For years now, Shikari have been at the cutting edge of the scene, pushing boundaries and redefining perceptions of noise along the way.

A glaring downside to the performance, through no fault of the artist, was again the poor sound quality coming from the Rock Scene Stage. The mix was all over the place and resulted in the band’s music, which is consistently so impactful, falling disappointingly flat. One of the finest live acts this country and scene has ever produced were regrettably disserviced by the stage setup on the day.

Nonetheless, a setlist packed with the highlights across their seven-album strong discography served as a reminder, as if one was needed, just how much value can be found in a Shikari performance. London duo WARGASM joined the band onstage for a special run-through of the recent award-winning single ‘The Void Stares Back’, an apt celebration for both artists involved. All things considered, there’s no better band for the occasion, Enter Shikari closed out a challenging festival to the best of their ability, and those standards could not be higher. [AJ]

A spectacular firework display capped off a day of mixed emotions. On one hand, the music on offer was, to an artist, fantastic. Slam Dunk has comfortably graduated from being just a pop-punk festival and hosts a sprawling lineup of some of the scene’s most elite artists, all of which delivered. However, it’s impossible to look past the shambolic organisation of the event. Hours wasted in standstill traffic and queues, leading to numerous acts missed for many, not to mention the countless health and safety red flags. That’s just scratching the surface of what went wrong with this year’s Slam Dunk Festival. Plenty of discourse can be seen across social media as patrons are justly frustrated and disappointed with the festival’s execution.

Let’s just say that Slam Dunk have a lot of work to do if they are to make reparations and restore the faith of a fanbase so loyal and passionate.

It’s in this latter category that Pass Away fall. What started life as a side project for members of I Am the Avalanche and Crime in Stereo now feels like a fully realised band, creating the kind of cathartic and emotional punk rock will appeal to fans of The Menzingers, The Flatliners or Iron Chic.

‘Thirty Nine’ is the band’s second album and, while their debut was a short and scrappy affair, this time things feel fuller and more considered; the production far cleaner than that of its predecessor.

For the most part, the songs feel more memorable too. Opening acoustic number ‘Chic’s Beach’ is an odd way to kick things off, though it does do a good job of establishing the heartfelt honesty of the lyricism. Second track and lead single ‘Halloween’ does a far better job at establishing the record’s tone; harbouring a similar energy to bands like Gnarwolves, there’s a welcome sense of familiarity, as well self-deprecation, which would have been a far more fitting way to open proceedings.

Elsewhere, ‘Bartender’s Lament’ provides a slice of Menzinger’s style nostalgia and the most memorable chorus on the record. ‘Bushwick’ is another acoustic offering, though this time feeling far more fitting than the aforementioned opener. Coming at the half-way point it provides some brief respite from the record’s driving punk rock, if not from its angst.

‘Coffin Hands’ and ‘Brooklyn Psychotherapy’ round things off in perfect fashion and are definite highlights. The former a cathartic and rousing number that proves to be the strongest track on the album, the latter a slackery conclusion to the record; the piss and vinegar so often previously masked by inherent self-deprecation now finally erupting in the form of erratic guitars and a snotty vocal delivery.

Packing buckets of promise, ‘Thirty Nine’ is the sound of a band coming into their own, yet it doesn’t quite reach its full potential. While the album highlights are excellent, there are too many moments that feel like filler in comparison. That said, it’s by no means a bad record either. What it is, is an album of plaid shirt punk rock for the craft beer generation. And if, like me, that ticks your boxes, you could do far worse than spending some time with it.

DAVE BEECH

The Menzingers are not the only band to have released a reworking of old material while in lockdown. Fellow Pennsylvania band Code Orange, for example, recently released ‘Under the Skin’, a live album featuring acoustic versions of songs from throughout their career. There may be a financial motivation, as well as a creative one, behind this trend. When the COVID-19 pandemic hit earlier this year, bands were forced to return home from tour and cancel any future live dates, cutting out many artists’ main source of revenue overnight. New releases like this are a way that bands can bring in some much needed income at a time when opportunities to tour seem like a remote possibility. So, if you are a Menzingers fan, stream this record. If you can afford to, buy a physical copy when the vinyl is released in November, or pay for the audio files through Bandcamp. As well as being well worth your time, this record is an opportunity for fans to support a band they love through a difficult time.

‘From Exile’ is not your typical ‘punks go acoustic’ album, where a gruff punk band picks up an acoustic guitar and re-records everything note for note. The band have clearly put some serious thought into each song, reworking them to suit a more acoustic sound to the point where many are unrecognisable. It almost seems like they’ve approached their own songs as though they were covering someone else’s, looking for ways to put a different stamp on each one.

The whole album has a jam room essence, and at points it appears both vocalists are feeling their way through the new rearrangements of the songs, trying to figure out where their lines fit. This is probably a result of the album being recorded remotely, and may well have been a conscious choice, but it adds a great relaxed, rough around the edges feel to the album.

As soon as you press play, ‘From Exile’ is a very different proposition to its predecessor. Opening track ‘America’ – a gruff punk protest song against Trump’s America on ‘Hello Exile’ – is reworked to be an upbeat, cheerful folk song. Barnett’s vocals are much softer here, ditching the furiously spat anger from the original version to fit in with the changed musical style.

‘Anna’ is the track that benefits most from receiving the acoustic treatment. The full band version is a fun, upbeat punk song that’s only slightly tinged with melancholy; in the chorus, Barnett begs his girlfriend to come back home, but in the bridge tells her to “take as long as you need to take / I’ll be fine on my own”. On that version, it sounds like he misses her but is coping with it just fine. On the acoustic version, Barnett sounds completely wracked with anguish. It’s testament to Barnett’s proficiency as a lyricist that the same set of lyrics can have such a profoundly different impact when the song is played a different way.

‘High School Friend’ is reworked in a comparable manner, taking a relatively upbeat song with sad lyrics and turning it into a slow, melancholic acoustic song. The overall effect is similar to ‘Anna’, where the song’s already despondent lyrics take more of a front row seat and have a greater impact.  In terms of instrumentation, ‘Last to Know’ is probably the biggest departure from the band’s other work, featuring a drum machine and a violin. The structure of the song is largely unchanged, but the violins add an extra layer to the choruses under Tom May’s vocals.

On ‘Strangers Forever’, Barnett’s vocals take on a more ghostly quality, compared to his ordinarily gruff delivery. While the original sounds like an angry ‘fuck you’ to an ex-girlfriend, on the acoustic version Barnett sounds laid back and indifferent, in a similar vein to ‘Don’t Think Twice, It’s Alright’ by Bob Dylan. This is an interesting spin on the track, taking the old lyrics and giving them new meaning. Not every track transitions smoothly into acoustic territory, however – in particular, title track ‘Hello Exile’ has barely changed and is slowed down to a crawl. It’s noticeable that the original really benefits from that couple of extra beats of pace. It’s still a great song, but this version is just a little bit too slow and lacks urgency.

‘Portland’, ‘Strain Your Memory’ and ‘Strawberry Mansion’ are all brilliantly reworked as charming folk numbers, with the lead guitar parts from the originals redone as upbeat fingerpicked parts. All three songs sound as if they could’ve been recorded as acoustic tracks first, rather than as reworkings of full band material. The reworking of closing track ‘Farewell Youth’ sounds like something from Bruce Springsteen’s seminal acoustic album ‘Nebrasksa’, with slow, major guitar lines and an understated vocal.

With ‘From Exile’, The Menzingers show that they’ve got many more tricks up their sleeve than just the Americana punk sound that has brought them such acclaim. The Philadelphia punks have demonstrated that they are accomplished acoustic players, and they understand how to construct a song in this medium. If they decide to slot an acoustic number or two into their next studio album, this record shows they have the skill to pull it off.

ASH BEBBINGTON

The alternative scene has provided us with so much value over the past 10 years, so much so that the Punktastic team couldn’t help but take a moment to reflect on the bands that have had the greatest impact on us as we’ve grown from teens to young adults, or young adults to like, real, adults (yeah right).

These are the bands we think have had their most formative years in the 2010s, and that we believe have made a difference not only to us, but to the wider industry, too.

So here they are. The most important bands of the decade according to Punktastic.

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

Enter Shikari

Enter Shikari are one of those experimental, electronic rock outfits born out of Myspace Music’s glory days, quenching our 2007 desires for music that we could both screech and rave to in our bedrooms. But, by creating and continuing to develop their niche and genre-bending sound, Enter Shikari have managed to secure a broad-ranging appeal with momentum that has stormed through this decade with new albums every couple of years. They’re politically charged and socially conscious, taking to the stage with messages about mental health awareness and stigma, Brexit, Donald Trump, capitalism, nuclear weapons, privatization of the NHS and, more recently, the global climate crisis.

The 10th anniversary tour of Enter Shikari’s first album ‘Take To The Skies’ in 2017 included a headline spot at Slam Dunk Festival, which closely preceded the UK general election. Thousands of guests were gleefully captivated by vocalist Rou Reynolds through a performance that was so nostalgic, yet proved how relevant and loved they still were. It was only fitting that one of the first singles released later that year from album ‘The Spark’ was ‘Rabble Rouser’ as Enter Shikari’s lyrics are intentional and deeply poignant, often spurring some sort of action (whether physical or a change in perception) – speak openly about your emotions, be kind to each other, don’t give up on what you believe in, use your voice to vote and make change.

In 2019, Enter Shikari broke the record for the highest number of performances at Reading and Leeds Festival, demonstrating their versatility across the Main Stage, The Pit/The Lock Up tent, and a surprise acoustic performance to flaunt their more delicate side. After releasing the single ‘Stop The Clocks’ this year, work is underway for Enter Shikari’s sixth studio album which will firmly secure their place in the industry for another decade, where they will undoubtedly continue to challenge our society in the way only Enter Shikari know how. CATIE ALLWRIGHT [CA]

MOST NOTABLE TRACKS: Sorry You’re Not A Winner, We Can Breathe In Space, ‘Gandhi Mate, Gandhi’, The Last Garrison, Rabble Rouser, Shinrin-Yoku

Highly Suspect

Just three albums into their career, Highly Suspect have had a lot to say over the past 10 years. The beauty of this band, though, is that they’re not trying to prove a point or please anyone in particular; their stance is that they make the music they love and they appreciate those with whom it resonates, and somehow by entering the creative process with this mindset, they’ve picked up one of the most authentic fan bases a band can muster.

Whether it’s the political statement of 2016’s ‘Viper Strike’, or the painful mourning that’s expressed in ‘For Billy’, there’s a great fearless vulnerability in all of Highly Suspect’s music. We listen to songs about drug abuse and sexual endeavours and cheating, and in doing so we’re allowed an insight into the lives of people who want to share a little piece of themselves without every censoring it to make themselves sound like anything other than normal people.

As a result, fans allow themselves some slack when it comes to self-assessment. If our favourite bands can fuck up and act in ways that are morally questionable and still be worth loving, then why can’t our actions be forgivable? Aren’t we worth loving through our flaws too?

And more than that, aside from the thematic content of this band’s discography, there’s the cacophony of genres that Highly Suspect have pulled from, often not even making an attempt to blend them together. The way we consume music has changed so much this decade, from the decline in CDs to the resurgence of vinyl and – most importantly – the takeover of streaming platforms that allow consumers to venture beyond one particular genre, and musicians to experiment. The stark hip-hop, rock, synth, electronic music that Highly Suspect create means they unknowingly have the potential to become an inspiration to others, as well as reaching new fans that may have been entirely disinterested at the start of the decade. Their fearlessness crosses from controversial themes to chaotic sonic choices and all of it has the potential to impact the wider industry, as well as inspire fans as they’ve been doing since day one. YASMIN BROWN [YB]

MOST NOTABLE TRACKS: Viper Strike, For Billy, My Name Is Human, Lydia, Mom

Deafheaven

If there’s one genre that’s more impenetrable to most people than any other, it’s got to be black metal. That was, until Deafheaven came along. Whilst they may not be the originators of ‘blackgaze’, or whatever you want to call it, they’re certainly the popularisers of it, and their blend of cinematic post-rock, white-hot blastbeats and harrowing vocals has opened the floodgates for the wider alternative world to embrace what used to be a very insular scene. 2013’s ‘Sunbather’ was the best-reviewed album on Metacritic that year, the artwork for that album was featured on Apple adverts, and in 2018 the band received a Grammy nomination for their track ‘Honeycomb’. The black metal gatekeepers may not like it, but Deafheaven are the reason their precious scene is no longer solely the domain of genre purists and those guys are THE WORST, so that can only be a good thing. LIAM KNOWLES [LK]

MOST NOTABLE TRACKS: Dream House, Honeycomb, You Without End

Paramore

It’s easy to box Paramore into pre-2010 with ‘Riot’ or ‘All We Know Is Falling’, and these may well be their more widely known albums, but it’s really been the past five years during which they’ve made their real impact.

Despite lineup changes – founding members leaving and old members returning – this decade has seen Paramore achieve more than ever on a huge scale across the industry. With self-titled and ‘After Laughter’ especially, Paramore took the expectations that were set on them, and threw them completely out the window. When they returned after ‘Brand New Eyes’ with leading self-titled single, ‘Now’, it wasn’t exactly met with positive reactions, but it’s this album that led to the band’s first ever Grammy win for ‘Ain’t It Fun’.

The band pushed themselves and refused to be confined to any one genre, and this wasn’t only an incredible comment on the potential of ‘emo’ bands, but it also highlighted that women not only belong in this genre, but that they can achieve great things for it, too.

The lyrics across the self-titled record are angry and honest, and it showed that it’s possible to combine these themes with a more accessible sound that will end up plastered across radio stations worldwide. That’s not to say that this necessarily needs to be the goal of every band, but the fact that it is possible, means that those who have that dream can push themselves to achieve it. Particularly for women who – as festival lineups prove over and over again – continue to take the back seat when it comes to media exposure.

‘After Laughter’ took this even further. Arguably Paramore’s best album, I don’t think anyone expected ‘Hard Times’, or indeed anything that followed. The blatant addressing of depression, bitterness and total dismay that this album conveys was again combined with bubblegum pop beats. It continued to appeal to pre-2010 Paramore fans, yet it brought on a whole new fanbase too – people that were now open to talking about mental health. Because if Hayley Williams can be brave enough to talk about this stuff, so can we.

Paramore have been one of the catalysts for acceptance of the alternative genre and for the women within it and while they’re taking a break at the moment, their impact continues every time someone listens to any of these tracks and feels just that little better because of it. [YB]

MOST NOTABLE TRACKS: Hate to See Your Heart Break, Ain’t It Fun, 26, Hard Times, Last Hope, Fake Happy, 26

Fever 333

Jason Aalon Butler has time and time again ripped apart the boundaries of performance. Whether in his former outfit letlive or now in Fever 333, the singer creates art onstage with a live show that is unrivaled. Most importantly is that Butler’s art carries weight. Fever 333 are a collective more than a band. They don’t perform just concerts, they hold demonstrations. In a time of uncertainty around the world, Fever 333 offer messages of hope and unity within the confines of some the most incredible music that explores beyond the confines of what is considered alternative. Something that hasn’t been done with such a heavy political stance since Refused’s ‘Shape of Punk To Come’. They are the sound of a new, angry generation tired of injustices and Fever 333 deserve to be listened to. LOUIS KERRY [LK]

MOST NOTABLE TRACKS: Made An America, Hunting Season, We’re Coming In, The Innocent, One of Us

Parkway Drive

Starting out back in 2003 as a hardcore band, it wouldn’t be fair or true to say that none could’ve predicted where Byron Bay quartet Parkway Drive would end up. This is a band who’ve had star power from the outset, and as they gradually evolved their sound over the years, everything else about them leveled up, too – by the time this decade came around, Parkway were making genre leading metalcore in the form of ‘Deep Blue’ (2010) and ‘Atlas’ (2012). It’s the sound that propelled them to the forefront of heavy music – and yes, they were already well on their way to stardom (their top slot on the Never Say Die! tour in 2008 and 2010, along with 2000+ cap venues on headline tours, can attest to that), but what they’ve done with that success since is truly staggering.

As the decade rolled on, we began to hear something new from Parkway. A turn away from the metalcore that had made them famous led to a broader heavy metal sound, with every last drop of aggression driven into earth-shattering breakdowns and unforgettably melodic riffs – 2015’s ‘Ire’ and 2018 masterpiece ‘Reverence’ do not know the meaning of holding back. Still, ‘Reverence’ displayed a depth that we had not yet seen the like of; great sorrow and beauty lies within, and it marked the change from a band at the top of their genre, to a band who sit far above any such labels. And then, of course there are the live shows. Oh, the live shows.

If ever anyone had been concerned about the future of main stage headliners, Parkway Drive smash all of those fears to pieces. From drummer Ben Gordon’s ‘cage of death’ to some seriously eyebrow-singing fire antics, everything about their performance is a perfectly orchestrated spectacle – work in some powerful moments from ‘Reverence’, and you find yourself with one of the most jaw-dropping, moving shows you could encounter. It’s no wonder that this is a band now finding themselves topping bills to huge crowds, and their ascension is clearly set to continue into the next decade. We can’t wait to see what they come up with next. GEM ROGERS [GR]

MOST NOTABLE TRACKS: Bottom Feeder, Shadow Boxing, The Colour Of Leaving, Karma

IDLES

It’s not often there’s a sound so bespoke that it reinvigorates the genre but IDLES have managed to do just that. While they may not see themselves as a punk band, the truth is they have inspired a spate of up and coming bands who focus on similarly heavy rhythm sections and angry, passionate vocals. It’s a sound that makes you sit up straight.

Thunderous rhythms and frenetic, screeching guitars cushion vocalist Joe Talbot, who spits lyrics with such animosity and venom, it should be off putting. But the combination works so entirely well, it’s almost impossible not to appreciate it, not to be moved by it, both physically and spiritually.

Lyrically, they represent a subsection of society that hasn’t had a voice. Heavy advocates of the NHS and mental health support, as well as fighting against political discord and shrewd observations of the country, it’s no surprise they’ve been nominated for numerous awards, released two standout albums and played a Glastonbury set that will go down in infamy. They’re the new voice of a jilted generation, long may they reign. ANDY JOICE [AJ]

MOST NOTABLE TRACKS: Never Fight A Man With A Perm, Television, Danny Nedelko, I’m Scum, Mother

twenty one pilots

What could possibly be more important than a band that brings together millions of fans to tell them that everything is going to be okay? And more than that, a band that helps these fans believe that this is true?

For years, twenty one pilots wrote their truth only for a handful of people to hear it. Back in 2014, outside of America, the name ‘twenty one pilots’ was largely met with a blank face whenever uttered. But to those who knew this band, knew they were something special. Playing to rooms of 800 people, fans were encouraged to repeat “we’re broken people”, “our brains are sick but that’s okay”, and – most importantly – “the sun will rise and we will try again”.

For fans going through a period of great distress – depression, anxiety, personality disorders, PTSD – it was this unwavering acceptance that drew them to twenty one pilots. What kept us here were the theatrics of the live show, the social media interactions, and the record that was to follow in 2015 – ‘Blurryface’ – that was made just for us.

What’s interesting about twenty one pilots’ impact is that it came entirely organically. The success that followed ‘Blurryface’ was by no means anticipated, and so the inside jokes and comments weren’t explained or generalised for the greater public, and yet somehow, enough people understood the messaging for this record to lead to multiple international arena tours.

They had, unintentionally, opened up a discourse around severe mental health issues that simply doesn’t exist in the mainstream world of music. We’re surrounded by stigma and it keeps us quiet, but by creating music with almost no expectation, twenty one pilots removed so much of this stigma and created a community (or ‘clique’) that extends worldwide. People became proud to talk about the issues they were battling or overcoming because their favourite band was telling them to do so.

In just 18 months, twenty one pilots went from singing along with 800 people to 13,000 and by the end of 2019 they’ve headlined most alternative or pop festival you can think of (Glastonbury won’t be far behind). We’ve spent so much time pretending to be okay, but thanks to twenty one pilots, and bands like them, this wall is breaking down and we’re really starting to believe that there’s no shame in our mental illnesses.

As long as our expectations don’t affect the band’s ability to be raw and vulnerable with us, this impact is sure to extend well into the next decade, too. [YB]

MOST NOTABLE TRACKS: Neon Gravestones, Goner, My Blood, Fairly Local, Holding onto You, Truce, Screen, Guns for Hands

PUP

Forming in 2010, PUP really are a band that’s come to prominence this decade. From the release of their debut, self-titled album in 2013, their brand of garage inspired pop punk has helped them sell out multiple tours, both in their native Canada and across the globe. Of course, three critically acclaimed albums helps too.

Sophomore album ‘The Dream Is Over’ is particularly poignant – not necessarily in content but in context. After extensive touring, vocalist Stefan Babcock found a cyst on his vocal chords, one that was haemorrhaged and had the potential to not only affect the band but affect Babcock’s voice. Permanently. Babcock was advised to give up the dream of being the bands frontman, for the sake of his life. But as the battle weary champions that they are, they came back stronger and better than ever, using the title as a middle finger to the doctor who wrote him off.

One of the selling points, aside from their excellently written songs, is their sense of humour. Dry wit and cynical snark sits in almost every track, coupled by Babcock’s gravelly vocals, they’re a band we desperately want to spend a night in the pub with, talking about shit stories and a love of music over a cold beer. It’s been a great decade for PUP – here’s to the next decade. [AJ]

MOST NOTABLE TRACKS: DVP, Sleep In The Heat, Kids, Reservoir, Morbid Stuff

Wolf Alice

Wolf Alice’s decade is defined not just through their unique and powerful sound and style, although that is to be noted, but through the rare trait of being able to capture the spirit of an entire generation. Their 2015 debut ‘My Love Is Cool’ is a solid and enjoyable indie rock outing, but its their Mercury prize-winning effort of 2017’s ‘Visions Of A Life’ that sets them apart from other efforts. As Drowned in Sound’s Luke Beardsworth wrote in his review: “It has captured on record the thrill, angst, sadness and uncertainty of being in your twenties and not really knowing what’s going to happen or should happen.”

This chaotic aimlessness is what fuels Wolf Alice at their best: their quest to use music to understand and come to terms with a kind of secondary coming of age that inspires so much dread in their peers. The latter half of this decade has been defined by this emotional turmoil, and Wolf Alice has encapsulated it perfectly and used it to create the sound of the decade. FIACHRA JOHNSTON [FJ]

NOTABLE TRACKS: Moaning Lisa Smile, Don’t Delete Those Kisses, Beautifully Unconventional, Bros, Visions of A Life, Silk

Pissed Jeans

In the unlikely event that humankind was asked to place one album in a time capsule as a representation to future generations of where noise punk was at in the 2010s, either Pissed Jeans’ ‘Honeys’ (2013) or ‘Why Love Now’ (2017) would make an ideal submission.

Plenty of explicitly political punk rock has been made this decade and rightly so, but more than anyone, Pissed Jeans have documented the everyday frustrations of the salary slave such as wishing food poisoning upon an obnoxious co-worker on ‘Cafeteria Food’ or the awkwardness of being the oldest person at a house party on ‘Bathroom Laughter’. That’s not to say Pissed Jeans’ music isn’t political though; Matt Korvette rails against the objectification of women on ‘Male Gaze’ and ‘It’s Your Knees’, as well as the mistreatment of service sector workers on ‘Have You Ever Been Furniture’. The band put out three albums in the 00s but it’s been their work this decade that’s made Pissed Jeans a (sub)culturally significant band, as they’ve gone from playing pubs to selling out packed concert halls, all the while maintaining day jobs in the insurance and retail industries. This could be due to Bradley Fry’s guitars meshing better with Randall Huth’s bass on their work this decade or the band’s overall songwriting turning out more memorable choruses (‘The Bar Is Low’ being a notable example). Either way, the combined strengths of their fourth and fifth albums represent a distillation of everything great about the noise punk scene that’s blossomed on both sides of the Atlantic these past ten years. The sub-genre has swelled with new entrants in that time, but none of these bands have demonstrated the overwhelming sonic power and fun of Pissed Jeans. GREG HYDE [GH]

MOST NOTABLE TRACKS: Bathroom Laughter, The Bar Is Low

State Champs

It was the genre that seemed unstoppable back in 2007, but over the years, pop punk has… well, it’s fizzled out a little. Many bands that find themselves under the label these days tend to take more influence from other genres, and true ‘pop punk’ feels almost impossible to find sometimes. It’s not too surprising, in a way – it’s a genre that can too frequently rely on clichés and cookie-cutter riffs, making finding something new and interesting tricky. And that’s where State Champs come in.

After forming in 2010 and releasing a couple of (maybe slightly questionable) EPs, State Champs perfected their identity on 2013’s ‘The Finer Things’, and proved in an instant that pop punk can still be truly great. Never falling back on identikit power chords or tired lyrics, there’s a life and energy in this Albany five piece that is unrivaled – taking the classic sound and complimenting it with the kind of outstanding musicianship naysayers would never expect to find (the basslines on ‘Prepare To Be Noticed’ and ‘Something About You’ – enough said). Not only that, but they know how to deliver live, too, with the slickest and most captivating of performances that induce a never ending sea of crowd surfers.

This is a band who continue to go from strength to strength without ever abandoning their roots, and 2018’s ‘Living Proof’ isn’t just one of the best pop punk albums of the decade – it’s one of the best ever. This is pop punk as it should be, and State Champs are leading the way for an entire subculture. [GR]

MOST NOTABLE TRACKS: Criminal, Mine Is Gold, Secrets, Elevated

The Menzingers

There are not many questions that resonate more with millennial punks than “Where are we gonna go now that our twenties are over?”, and not many bands could document this coming of age better than The Menzingers. Starting this decade in very much the mid-card role of the punk scene, playing bars and small clubs, the Pennsylvania natives enter 2020 headlining packed shows on both sides of the pond.

We are used to Greg Barnett and Tom May spinning beautiful tales of their beloved hometown and young love in diners and gas stations, but 2017’s ‘After The Party’ broke the mould. It tugged on the heartstrings and tapped into the worries of anyone hitting the big ‘three-oh’, and was, in their own words, “a love letter to our twenties”. The Menzingers just know how to hit us right in the feels. Whether crafting delicate lullabies of drinking “forties” with pals down at the Stone Pony or creating the ultimate party anthem which has us screaming “everybody wants to get famous, but you just want to dance in a basement”, they will be there to document every relatable aspect of growing old. As 2019’s ‘Hello Exile’ already looks to be an album of the year contender and sold out shows planned for the next 12 months, there seems to be no slowing The Menzingers. And if there’s one thing we can thank them for is that it’s really taken the edge off being 30. TOM WALSH [TW]

MOST NOTABLE TRACKS: After The Party, I Don’t Wanna Be An Asshole Anymore, In Remission, Tellin’ Lie, Strangers Forever, Sun Hotel

Every Time I Die

If the past decade has taught us anything, it’s that Every Time I Die are the undisputed kings of hardcore. When you have the combination of the poetry of Keith Buckley, the shredding, intricate riffs of Jordan Buckley and Andy Williams, and the earth-shattering bass lines of Stephen Micciche, you have the perfect storm of hardcore.

With each record they’ve produced over the past ten years they’ve fine tuned the edges and culminated in 2016’s ‘Low Teens’. Even by Buffalo five-piece’s high standard this album was something else. Fuelled by loss, torment and delved from the darkest of places, it’s their most intense album to date with ‘The Coin Has A Say’, ‘Map Change’ and ‘It Remembers’ instant all-time classics.

Their songwriting continues to push boundaries where their contemporaries would not tread. Collaborating with everyone – from Panic! At The Disco’s Brendan Urie and The Gaslight Anthem’s Brian Fallon – it demonstrates a desire to think outside the box and not confine themselves to an accepted sound. And then, there are their live shows.

Every Time I Die have played everywhere. They’ve played in your mate’s back garden, they’ve played your city’s most iconic venue, they’ve played on a boat that sails around New York’s East River and they’re still playing the huge Christmas show in Buffalo every year. Each performance is as raucous and chaotic as they like it and for those that haven’t experienced it, go and experience it.

Now with a new album penned for 2020, we can safely crown Every Time I Die the goddamn kings of hardcore. [TW]

MOST NOTABLE TRACKS: Map Change, Underwater Bimbos for Outer Space, Decayin’ with the Boys, The Coin Has A Say

The Hotelier

At the start of the decade, few were even aware of the genre-evading Worcester band The Hotelier, let alone able to fathom the impact their stunning second album ‘Home, Like Noplace Is There’ would come to have on the slowly emerging so-called emo revival. The devastation that unfolded on ‘Home…’ was only briefly alluded to in their exuberant and youthful pop-punk tinged debut record ‘It Never Goes Out’. But if ‘Home…’ was the despairing feeling of crushing dark autumn nights slowly giving in to winter, their third album ‘Goodness’ transcended the clutches of the emo genre and emerged like the first leaves on a spring tree, bringing with it a newfound hopefulness in the admiration of natural beauty.

Both ‘Home…’ and ‘Goodness’ demonstrated The Hotelier’s remarkable ability to progress their songwriting skills on each release. Their blistering, cathartic live shows, defined by a chorus of voices screaming back the words of ‘Your Deep Rest’ (and of course the infamous “fuck” in ‘An Introduction To The Album’) cemented their place in the upper echelons of the ‘scene’, and Holden’s profound and poetic lyricism on both ‘Goodness’ and ‘Home…’ set a bar few of their peers could hope to live up to. ROMY GREGORY [RG]

MOST NOTABLE TRACKS: An Ode To The Nite Ratz Club, Your Deep Rest, Dendron, Soft Animal, Two Deliverances

The Ghost Inside

The Ghost Inside may have been mostly inactive for half the decade, but the influence they’ve had on the scene as a whole is impossible to ignore. Their music surging with positive energy, their live shows are unrelenting and intense, and they’re some of the nicest guys that you’ll find in the hardcore scene. Album after album saw them reach new heights on a seemingly endless upwards trajectory, and then tragedy struck in the form of a devastating accident involving their tour bus in 2015. The collision resulted in serious physical injuries for the entire band, bringing their thriving career to what most would consider an immediate halt. But it simply didn’t stop them. Their hunger to return to music grew larger with each passing day, their strength to pull through and get back to the things they loved getting closer and closer with every tiny shred of improvement. The music industry rallied behind them, peers surrounded them with love and support and fans did the exact same, sending them well wishes and positivity continuously for years.

Then, in 2019, they returned to the stage. Despite everything, after an accident that would’ve ended most bands careers, they performed a headlining set in their hometown and performed like they’d never been injured at all. They are the embodiment of hardcore and continue to be a shining light for the entire alternative scene. Long live The Ghost Inside. DAVE STEWART [DS]

MOST NOTABLE TRACKS: Engine 45, White Light, Unspoken, Shiner, Avalanche, Dear Youth (Day 52)

Conjurer

There’s something about a band like Conjurer where the music is just as good on stage as it is on record. In the past decade, the band went from playing shows in the UK, to touring in America, to playing festivals like Bloodstock and Download. These achievements have not gone unnoticed and for that, Conjurer have gained fans and caused a bigger love for the heavier side of metal. Albums like ‘I’ and ‘Mire’ showcase who they are as a band, especially the ferocity and the power of the music which leaves fans just wanting more.

The band recently teamed up with label mates from Holy Roar Records, Pijn and formed Curse These Metal hands, an album that shows the diversity of each band and how it works so well together. Check out Conjurer at any show, whether as a support band or the main act, and you’re guaranteed to have a very lovely time because they play every set like it’s their last show. For me, Conjurer were that band that brought me back to metal after a long break of moving away from rock and metal, and only listening to the same five bands on rotation. Metal always has a way of bringing back that passion that once was felt. SARAH TSANG [ST]

MOST NOTABLE TRACKS: Frail, A Chasm Forged in Dread and Disarray, High Spirits, Choke

While She Sleeps

Born out of Sheffield in 2006, While She Sleeps have proven in the years since their inception that they’ve got the steel their city’s known for running through their veins. However, as hard – and unapologetic for it – as they are, this band has truly made metal accessible to the masses. More melodic than your run of the mill metalcore band, While She Sleeps have become celebrated for their anthemic choruses and innovation when it comes to presenting political issues in a way that can more easily resonate with listeners. Probably why all four of their studio albums made it into the Top 40 on the UK Official Chart, their 2017 album, ‘You Are We’ cracking the Top 10.

But their music isn’t their only attractive quality. While She Sleeps have also become synonymous for their great community and DIY spirit. This year’s album, ‘SO WHAT?’ was completely crowdfunded, allowing fans the opportunity to really become part of the Sleeps family and even offering fans the chance to come along and record gang vocals before the album was released on their independent label, Sleeps Brothers, in collaboration with Spinefarm and UNFD.

Despite singer, Loz Taylor’s previous vocal surgery and a brief personal absence this year, this band is stronger than ever, continuously pushing boundaries and challenging conceptions of what rockstardom is. RENETTE VAN DE MERWE [RVDM]

MOST NOTABLE TRACKS: Seven Hills, This is the Six, Dead Behind the Eyes, New World Torture, Silence Speaks, Anti-Social, The Guilty Party

Architects

Architects influence on today’s metal scene is impossible to ignore. There’s an addictive air that continuously surrounds them, endlessly drawing more and more people in to breathe it in deeply. From their raw mathcore beginnings with their ‘Nightmares’ record, the early evolution of their sound on ‘Hollow Crown’ and their genre defining record ‘All Our Gods Have Abandoned Us’, they’ve grown from little local noise makers into global metal heroes.

Their fans were already in large numbers before the tragic loss of founder and guitarist Tom Searle, but they way they dealt with it was far beyond admirable. Every single show became a dedication to his talent, choosing to share Tom’s gift with the world rather than shut down and keep it hidden. Their enormous heart and undying passion for what they do is hard to ignore, and has earned them a horde of loyal fans as well as an extended network of loving and supportive peers. There’s no one else like them, and there never will be.

They’re true pioneers of British metalcore, and will proudly fly the flag high for years to come. For Tom, always. [DS]

MOST NOTABLE TRACKS: Gone With The Wind, Momento Mori, These Colour Don’t Run, Holy Hell, Doomsday, Follow The Water

The Menzingers have spent a career dealing in wry nostalgia. The tales of young love where the basement shows in Pennsylvania would seem to last forever, the heartache of break-ups, the railing against the establishment, and the growing sense of a fading youth… For a generation of fans, it feels as though this band has been narrating every chapter of their own lives.

In Barnett’s words, 2017’s ‘After The Party’ was a “love letter to his twenties”, and it masterfully resonated with everyone who woke up and realised, “shit, I’m going to be 30 soon”. It was immaculate in its storytelling and hit every emotional branch as it fell from the top of a tree named ‘pending mid-life crisis’.

‘Hello Exile’ demonstrates that the Scranton-natives have not lost any of that magic. While ‘After The Party’ felt more of a celebration with doe-eyed nostalgia, though, there is a much darker tone to their latest record. It takes a dim look at the world we live in and, for the first time in the Menzingers’ recent career, their idealised version of Americana seems such a laughable concept.

Opening with the poetic ‘America (You’re Freaking Me Out)’, it encapsulates the struggle in Barnett’s own mind. While he opines, “lately I feel like I’m in puppet Vichy, France trying to teach the devil how to dance” – a reference to the Nazi puppet state set up after Germany’s invasion of France in World War II – he admits to waning hope in his homeland as he maintains “America, I love you but you’re freaking me out”.

This somewhat sombre opener, albeit wrapped in riff-laden pop punk, is juxtaposed by lead single and 24-carat Menzingers track ‘Anna’, a typical tale of calling back a friend to good old Philly. There are a number of these moments dotted across ‘Hello Exile’, such as the incredibly bitter-sweet ‘Strangers Forever’ and Tom May’s rasping voice screaming “bring the part of me you love back” on ‘Portland’.

All the while, however, this darker, frantic tone persists, like a panicking sense of how to comprehend what is going on. ‘Last To Know’ is a beautiful, foreboding track with May’s chilling line of “sacrificial children’s voices echo on and on”, which can sit a little uncomfortably with the America of 2019. It’s an incredibly powerful lyric, delivered with a reverence that is reminiscent of the inclusion of a speech from ‘The Great Dictator’ in one of their earliest songs ‘Cold Weather Gear’.

Where there isn’t exasperation with the world, there is brutal introspection, such as in ‘I Can’t Stop Drinking’, where Barnett tells a first-person tale of an alcoholic fumbling to explain their actions to their spouse. Rattling through the tired excuses, diving into masochism, and looking up through tear-stained eyes to someone who hopefully still cares. It is another bout of heartbreak that this band delivers effortlessly. 

And then, just when you think you’ve had enough, they throw another haymaker on ‘Farewell Youth’, which seems almost an acceptance that those carefree days are long gone.

While The Menzingers used ‘After The Party’ as the emotional cushion as you sail out of your twenties, ‘Hello Exile’ feels more like an expertly delivered piece of “what the fuck is going on?!”. We kissed goodbye to the innocence and rationality of a sane world a number of years ago, and The Menzingers are now ready to narrate our eventual downfall. As Barnett succinctly puts it in the agitated ‘Strain Your Memory’: “can you strain your memory back to a time, when trouble wasn’t always on our mind?” Maybe we can’t – but ‘Hello Exile’ will provide the soundtrack for whatever the future holds.

TOM WALSH

The Pennsylvania punks often paint an idealistic portrait of the Americana they know, full of late-night diners, young love at basement shows and long road trips through the great plains of the US. However, the political turmoil the States is in with a pseduo-fascist in the White House and far-right nationalists killing protestors, Greg Barnett’s dulcet, optimistic tones come with a caveat of foreboding.

Their latest single ‘America (You’re Freaking Me Out)’ from the upcoming album, ‘Hello Exile’, sees Barnett share the same viewpoint of Rammstein’s Till Landemann. While Landemann proclaimed “Deutschland mein herz in flammen will dich lieben und verdammen” (Germany, my heart’s in flames, want to love you, want to damn you), in his inner struggle to find sense of his country’s decisions, Barnett too, opens up on his horror of what happens in 2019’s version of the US.

The kitsch nature of Barnett’s America may have been lost and after saying farewell to their twenties in 2017’s ‘After The Party’, The Menzingers may be using ‘Hello Exile’ to say goodbye to the America they thought they knew.