]]> https://www.punktastic.com/album-reviews/cheerbleederz-prove-me-wrong/ Thu, 04 Sep 2025 11:10:11 +0000 https://www.punktastic.com/?post_type=album-reviews&p=239480 You know the feeling, that creeping certainty that things are changing. The seasons are shifting, the summer is ending, you’re well on your way to toward winter. Cheerbleederz know it too well and with their new four-track EP ‘(Prove Me Wrong)’ they’ve captured it perfectly.

A whole three years has passed since Cheerbleederz released their debut record ‘Even In Jest’. It seems like only five minutes ago, but that record proved they had the knack for writing thoughtful, entertaining songs and could sequence them into a clear narrative. Here they’re using the same skills and playing with their established sound; drums, guitar, bass, vocals, to create delightful, slow-burning indie rock songs that show off a mastery of tone.

As the product of a slightly incestuous music scene, Cheerbleederz is a kind of ‘supergroup’. Made up of Phoebe Cross, Kathryn Woods and Sophie MacKenzie, they’ve played with bands such as Fresh, ME REX, Felicette and Happy Accidents meaning they have a lot of experience, but they also have chemistry – that indefinable something that makes their work so intoxicating. Time is on their minds. It’s a theme running through the EP, seemingly brought on by the band entering their 30’s. Indeed an air of melancholy to proceedings and not just on ‘Sleepwalking’ where they directly discuss growing older. Indeed, the songs have the slightly disconcerting feeling of sitting around with old friends; of thoughtful conversations about the past.

The songs have a slow-tempo, slightly off-kilter feel and Rich Mandell’s production captures a tender, surprisingly textured sound. Each of the four tracks has its own personality and details. ‘Passenger Princess’ is a tale of co-dependence where the observational lyrics and gentle hook are delightful but it’s the backing vocal which blurs the line between ‘need me’ and ‘beep-beep’ that’s really smart. It’s also interesting to hear the rough edges of ‘I Deserved Better’ distort as the energy levels change and the way the nocturnal feel of ‘You Got It In For Me’ builds slowly into sonic equivalent of warm, reassuring hug.

All four songs thread between waning enthusiasm and melancholy. So while the impression is of friends having the time of their lives, it’s also haunted by the strange melancholy of shifting life stages. The opening song ‘I Deserved Better’ captures this perfectly, juxtaposing downbeat musings and phrases like ‘I feel so lonely all the time’ with buoyant cries of ‘ba-ba-da-ba-ba-DA!’. During the final chorus the vocals crack, like the singer is laughing through tears, revealing that, for all its energy, it’s a helplessly sad piece of songwriting.

The EP captures the weary persistence found at a house party, long after everyone has gone. Of three weary friends sitting chatting, then heading off to bed with a glass of water. The implication is that things might not last forever, but they find joy in being together.

In times of change ‘(Prove Me Wrong)’ is a delightful, affecting EP that’s as comforting as a mug of warm tea.

IAN KENWORTHY

Words: Kate Allvey and Rob Dand  //  Photos: Penny Bennett and Paul Lyme

Gen and the Degenerates

“Cool is dead, this is post-cool!” Gen declares, ironically as she’s presenting a very cool start to the day. With melodic shouting, choppy guitars, and an acknowledgment of how brave we are to deal with the direct sunlight, they light up lunchtime with their everyday charm. New song ‘When My Ex Pulls’ is a punky indie gem, and ‘Big Hit Single’ (with its “very sarcastic” lyrics) is understated danceable gold. Gen and the Degenerates are disarmingly normal, which makes their sherbet cyanide music that little bit more special. [Kate Allvey]

Hidden Mothers

Dragging the pile of smouldering ashes that once resembled a crowd into another scorching morning are Sheffield-based post-hardcore four-piece Hidden Mothers. The band’s music deftly balances thick, bruising riffs with lighter melodic sections, weaving together harsh growls and more delicate vocals that call to mind a combination of Tom Waits and Dustin Kensrue. Opener ‘Defanged’ comes out of the blocks pretty fast, sounding like the lighter end of Converge meeting the heavier end of Thrice head on. Their short set showcases many of the highlights from last year’s debut full-length ‘Erosion/Avulsion’. There’s time for a rumination on the escalating horrors of the outside world, and the galvanising community of festival living, before an ethereal ‘Haze’ brings things to a close. Keep an eye on this lot. [Rob Dand]

Love Rarely

Love Rarely have drawn a huge crowd over on the Neu stage. Whether those gathered in attendance are mathy indie-screamo fans or just exhausted shade-seekers is anyone’s guess, but if a helping hand from Mother Nature is what it takes to put this band in front of more people, that’s no bad thing. Appearing at Trees for the first time, the Leeds-based four-piece sparkle through a set that includes a high percentage of their recorded output to date, including recent single ‘Disappear’ alongside older rabble-rousers like ‘And You Know it’ and ‘Say Yes’. An engaging early afternoon showing from a band with heaps of promise. [Rob Dand]

Last Hounds

There are no airs and graces about Birmingham’s Last Hounds. Their street-level brand of punk possesses a snarl and a swagger that feels both exciting and familiar. Frank Carter-era Gallows is such an obvious point of reference that it feels almost pointless to commit this sentence to print, but here we are anyway. Tattooed shirtless vocalist Mike Skelcher demands a lot from the weary Day 3 crowd, but he seems ready to go to war for his ambitious dream of “making the tent wobble”. He does manage to incite several circle pits, and even a wall of death stretching to the second king pole. Viral single ‘Growing Pains’ and 2023 cut ‘Bubbles’ illicit particularly strong responses, but the band close the set with a rousing rendition of ‘Snakeskin’, complete with a late surprise. Inviting “his friend Jason” on stage, Skelcher is joined by letlive’s Jason Aalon Butler for the climactic final throes – a cameo appearance that, true to form, he goes all in on. [Rob Dand]

Bad Sign

Croydon-based riff merchants Bad Sign are playing their first show in seven years here today on the festival’s smallest stage. It’s a low-key billing for a reunion that hasn’t really attracted any fanfare, but it still feels like a lot of people have turned up for this band – many of them most likely having discovered their music during those wilderness years. Perhaps understandably after so much time away, the set feels a little like a course-correction. There are one or two brief moments where more technical passages and higher notes aren’t nailed with as much ease as perhaps they used to be – notably on the otherwise rip-roaring ‘Square One’ – but the good news is this isn’t a one-time deal. The band are properly back, and new music is on the way. [Rob Dand]

Catbite

Summertime and ska go together like gin and tonic, so Catbite’s snappy ska-punk attitude is perfect for the afternoon. Folk in fancy dress gather at the front of the stage for the costume contest, jamming out to ‘Tired Of Talk’, all while Brittany Luna’s wail ties it all together. ‘Scratch Me Up’, complete with claws in the air overflows with the classic bittersweet ska territory into ferocious sass with a hint of Madness. Catbite are the burst of totally different refreshment on the 2000 Trees bill that we didn’t know we needed, their easy going rocksteady sliding into ‘Call Your Bluff’s party riot.  [Kate Allvey]

Humour

Up the hill, Humour are making waves. Their intriguing blend of everything intelligent and heavy, from post punk contemplation through to full rage-infused howls. The Axiom stays seated to appreciate the chill they cast from their ever-changing narratives, their music a brief respite from the busy outside. Always interesting and ambitious with what they aim to show us: sharp crunching rhythm, fuzz and inspiration.  [Kate Allvey]

Vower

Emerging onstage beneath the rays of the merciless sun, not a pair of shorts between them, Vower launch into ‘Satellites’, with a riff so meaty it should come with a side of peppercorn sauce. The main stage sound is almost always good here, but this could be one of the best-sounding sets of the weekend. The guitars sound deliciously crisp, and Josh McKeown’s soaring vocals are colossal, showcasing just why he’s comfortably one of the best vocalists in this sphere. The band members’ individual talents would be nothing without a collection of good songs – but thankfully, Vower have the songwriting pedigree to match. With only one EP and a smattering of singles to their name so far, their all-too-brief half-hour slot comes to a close with the mighty ‘Eyes of a Nihilist’, and while there’s sadly no room on the setlist for incredible new single ‘Moth Becomes the Flame’ (released almost immediately after the festival), it’s clear that there is much more to come from this band – hopefully soon. [Rob Dand]

Split Chain

Bristol’s Split Chain have, by their own admission, not travelled far to get here. A short hop up the M5, in fact. One of many Deftones-esque bands on the bill weaving hazy shoegaze with 2000s alt-rock, and adding a dash of hardcore, Split Chain are clearly happy to be here and similarly delighted with the size of the crowd they’ve managed to attract. Understandably, they lean heavily on material from their just-released debut full length, ‘motionblur’, opening things up with ‘Under The Wire’ and bringing down the curtain with ‘I’m Not Dying To Be Here’, the single that launched this new era back in January. Having opened up the much smaller Neu stage here last year, this mid-afternoon slot feels like a big (two-) step up, but the packed tent suggests they already have the following to give them a shot even higher up the bill in future years. [Rob Dand]

Future of the Left

Hollered drama and waterfalls of outsider guitar? Yes please. Every lyric from Falco feels like an intoned threat as we camp on the baked floor, before ‘Miner’s Gruel’ slams like a manifesto, pierced with visceral screams. The welsh act forsake genre definitions for blistering authenticity propelled by rocket-engine bass and a desire to blast out what’s on their mind. Even though we’re wilting, their force of will compels us to our feet.  [Kate Allvey]

Girlband! 

Nottingham’s Girlband! have the Neu tent more than packed out as we spill into the sunshine to chant along to the Neo-grunge sincerity- probably the busiest the side stage has been all weekend, in fact. ‘21st Century Suffragette’ and the dance moves it inspires proves that Girlband are getting stronger with every show. Catchy choruses and huge scale old school guitar solos prevail in their Trees debut, and ‘Talk Me Down’ is the best punk song Fleetwood Mac never wrote.  [Kate Allvey]

Vukovi

We’ve long suspected Vukovi might be cyborgs sent from the future to spread ethereal, vicious metal, but today seems to sadly disprove that theory. Janine Shilstone bounces in shining silver, starting a joyous pit, then can barely contain her giggles as a crowdsurfing fan in a huge disintegrating fridge costume crosses her path. She pops on a pair of comfortable crocs (“the floor is like fucking lava”) showing that she’s as human as the rest of us, but her glorious electronic tinged sound, choc full of vengeance and power like ‘Creep Heat’ are a hard reset to reinvigorate our energy.  [Kate Allvey]

Birds in Row

Eschewing the traditional stage lighting set up, as they frequently do, Birds in Row are illuminated predominantly from behind, with only sparse accents of colour allowed to escape from the bulbs overhead. This is the atmospheric backdrop against which the French post-hardcore three-piece emerge, as the stabbing intro of ‘Water Wings’ gets things off to a frenetic start. Much of the material in today’s set list is drawn from 2022 record ‘Gris Klein’, and most of it is fast and bleak, but the groove of ‘Noah’ and the slow build of ’15-38’, taken from 2018’s equally brilliant ‘We Already Lost The World’, does offer some variety. Despite the melancholic aesthetic, the band’s final message is one of hope, and there’s a promise of new music to come. We can’t wait. [Rob Dand]

The Hara

Without all their usual stage dressing to distract us, we’re forced to appreciate how much the Hara are one hell of a rock band. Within seconds of opening they’ve started a pit in the middle of the Forest stage. Of course, their electronica lingers but they’re absolutely focused today on the rock half of their sound: ‘Fire’ slams under its own merit without the distraction of visuals, the pounding riffs enough to impress. Frontman Josh Taylor struts and launches into the air, swimming and posing as he’s carried aloft, climbs the stage and rules the entire space, his emotions on ‘Trophy’ casting twilight through the trees.  [Kate Allvey]

La Dispute

After yesterday’s special set in the forest, La Dispute have ascended almost to the summit of the Axiom lineup, and right from the get-go it’s clear this is going to be a very different proposition. There’s not a poetry book in sight, and very few people are dressed like sick Victorian children, for one thing. Launching into ‘I See Everything’, the Michigan natives focus on some of their more up-tempo material, include early performances of ‘For Mayor in Splitsville’ and ‘Hudsonville MI 1956’. Only ‘Woman (in mirror)’ and ‘Andria’ are repeated, bookending a mid-set trio of new songs from forthcoming fifth album ‘No One Was Driving the Car’, their first full-length since 2019.

Towards the end of the set, vocalist Jordan Dreyer slows things down to give an almost identical speech to the one he gave among the branches and roots yesterday; but although the message is the same, the variations in his phrasing highlight a from-the-heart authenticity. He speaks in broad terms about the situation in Palestine and in Ukraine, as well as the struggles faced by those subject to prejudice, and it’s clear that he means every word. A born orator, Dreyer uses his platform to very respectfully hold the tent’s attention while he talks earnestly about some of the modern world’s most sobering issues, and the power of community in the face of hopelessness. There’s an airing for the rarely-played ‘Why it Scares Me’, taken from their 2010 split with Touché Amoré, before ‘King Park’ wraps things up with a now-predictable finale that has somehow lost none of its goosebump-inducing impact, despite being the band’s signature song. [Rob Dand]

letlive.

There’s a buzz in the air in anticipation of the return of letlive – and it’s not just the army of furious wasps that have bullied festival attendees for the past three days.

The band initially called it quits under something of a cloud in 2017, so tonight’s show promises to be part of a proper farewell. They arrive with a fearsome live reputation, constructed primarily around vocalist Jason Aalon Butler’s wild antics. To everyone’s delight, tonight’s show is no different. After only a few minutes, Butler’s crowdsurfed, dragged various monitors and the drum riser halfway across the stage, poured three bottles of water over himself and thrown one at his drummer, and somehow found time to sing a few songs. ‘Le Prologue’ kicks things off, before ‘The Sick, Sick 6.8 Billion’ and ‘Renegade 86’ continue down a path with foundations built from standout 2010 album ‘Fake History’.

Beneath the theatrics and seemingly boundless energy, connection to his audience is clearly a priority for Butler, but entertainment is never far from his mind either. He gives weighty personal context to ‘Muther’, before literally dragging someone dressed as an amp onstage to join the fun. His commitment to the bit is admirable, and he carries this enthusiasm into another interaction, bringing a fan onstage to enjoy the experience from a unique perspective.

The talking point of their incendiary set arguably comes right at the end, after Butler has relieved himself of most of his clothing and starts to haul his sweat-drenched body up the metallic shell of the stage. He manages to reach the lighting rig and continues set closer ’27 Club’ from here, with the crowd watching on in equal parts awe and horror. Only those at the front can hear the climactic breakdown, though, owing to the fact that the decision has been taken to cut the sound – save for the on-stage monitors. It’s a truly memorable bookend to a set that achieves everything it set out to do. Welcome back, letlive, and so long. [Rob Dand]

Calva Louise

They might be in the smallest stage, but Calva Louise can’t be ignored. ‘W.T.F.’ makes for a clashing opener, their small but very determined fan base loving every second. ‘Third Class Citizen’ emerges strong, sophisticated piano underlining throat-shredding screaming. The scale of their ambition and what the multi-instrumentalists create is what draws in more and more intrigued future fans, and of course the combination of haunting vocals and crunching riffs to get heads banging don’t hurt either.  [Kate Allvey]

Black Foxxes

Black Foxxes have played at Trees before, but not quite like this. It’s possible that a fair few in the crowd haven’t seen the band for some time, and those people are about to have their expectations ripped apart and put back together in front of them. At this point in their trajectory, it’s best to just accept that the band standing before us are not about to tear through any of their punchy early cuts like ‘Husk’ or ‘I’m Not Well’. Instead, what they choose to do with their 50-minute headline set on the Neu stage is take their time with just five songs, four of which aren’t on their newest record and one of which (closer ‘The Diving Bell’) is twice as long as the album version, courtesy of an extended jam that hangs in the air like butterflies dancing precariously at grill-height over the M5. It’s a delightfully contrary performance, and while it’s a shame that we might never hear some of those big, spiky rock songs again, there is pleasure to be found in watching Mark Holley’s journey of discovery play out. It’s an assured set from a unique band, who only write and play the music that feels interesting to them at the time. Long may they continue to do so. [Rob Dand]

As December Falls

The viciously independent alt-rockers draw everyone from children in dinosaur headphones to rave teletubbies, and as Bethany Hunter bounces across the stage to deliver modern Paramore vibes, we know we’ve made the right choice about who to watch. ‘Ride’ uplifts before ‘Angry Cry’ assertively smacks backs with throbbing bass and a giant chorus. We answer the call to ‘split the forest in two’, we sing our lungs out to ‘I Don’t Feel Like Feeling Great’ and we love every minutes of the band who won us over on the main stage last year with their melodic, unapologetic  tales of survival. ‘Ready Set Go’ hints at a direction with even more bite, with tense drops and drum thrills, and were treated to ‘Everything’s On Fire But I Feel Fine’- the title track of their upcoming album- which gets a live debut scorching enough to send a tiny girl dressed as a fairy crowdsurfing.  [Kate Allvey]

Alexisonfire

Walking out to the epic string crescendo of the ‘Last of the Mohicans’ main theme, as they generally do, Alexisonfire appear ready for a fight. Guitarist Wade MacNeil is literally sporting chainmail, and vocalist George Pettit looks the swelling crowd square in the eyes during the first chords of opener ‘Accidents’: “When this over, I want to see significantly less trees”, he snarls in reference to the festival’s name, and probably only partially joking.

Right from the very first opportunity for crowd participation, though, during the bridge of that first song, it’s abundantly clear that Alexis already have the crowd on their side. A band who head booker James Scarlett has very publically had on “the list” for several years, they already know what this festival means to the UK music scene, and they aren’t about to half-ass their headline slot with lazy nostalgia. Yes, ‘Accidents’ bleeds into the equally well-received ‘Boiled Frogs’, keeping the momentum going, but what’s really exciting is that the band have the balls to work some of their newer material into their set. ‘Sans Soleil’ comes next; a magical moment as MacNeil’s guitar line shimmers out over the heads of the crowd and up the hill toward the setting sun, its tyrannical grip finally loosening in the glowing evening sky.

There are a few fairly surprising omissions (some of them agonisingly cropping up elsewhere on their short run of dates either side of Trees), but otherwise the next hour and a half is a very confidently delivered collection of hits alongside slow-burns like ‘Rough Hands’. It’s a set befitting of main stage headliners who have always excelled at finding balance – light vs dark, humour vs gravitas, Dallas Green’s captivating cleans vs MacNeil’s signature rasp and Pettit’s feral scream, Charlie Sheen vs Henry Rollins. They always were head and chainmail-covered shoulders above most of the bands who tried to emulate their sound (and boy, were there a lot of those for a while back there).

As regular closer ‘Happiness by the Kilowatt’ slides out into the atmosphere, there are no fireworks. No confetti cannons. No pyro. Just the warm satisfaction of having watched five unapologetically individual characters turn in a memorable set that only they could have produced. [Rob Dand]

WORDS: BEN ADSETT / IMAGES: DORY VALENTINE

Cheerbleederz

Whilst others are hunting for Easter Eggs. at MPF we are hunting supergroups. The first of the day are Cheerbleederz and are a much gentler start to the day. With three part harmonies and floaty guitars, they create serene atmosphere in a busy room. This is the kind of set that encourages an audience to immerse themselves in the music and at the end, when heads stop floating, it feels like waking up from a lovely dream.

Hell’s Ditch

In a weekend where we have seen some incredible heavy music, Hell’s Ditch were surprisingly tame – based on the name we were expecting another onslaught. Instead, tuneful pop punk/British rock followed and looking around Gorilla, it felt like this is what people needed on a Sunday afternoon. Despite the singers best efforts, the pit never woke up but from the stage there was enough energy for the whole room. Although there was no circle pit, the appreciation from the audience was very clear.

Cherym

Cherym took things up a notch and with a set of politically driven power pop, they created a party atmosphere. Angular guitars and tight vocal harmonies have to be so precise to not compete with each other, this was not a problem at any point for this three-piece, who’s song writing and performance skills are razor sharp as was their stage patter. Overall, this was a lovely set to experience, and was absolutely impossible not to beam around the room at all the other smiling faces.

Binboy

Another supergroup backs Binboy, the solo project of Thom Weeks (formerly of Gnarwolves and Kasa). With an already extensive discography to pick from, this is a set that will be full of surprises and it’s not a surprise that this is one of the best sets of the weekend. Binboy mould together on stage to create a take on slacker pop that leaves no suggestion that what they are doing is easy. Musically, they are highly talented and when clever vocals and lyrics are added in, the live sets are full of charm. The pink room at YES fits this perfectly, and looking around a full room swaying in time feels somewhat therapeutic.

Melonball

As the third (or fourth for the truly dedicated) day starts to take a toll, Melonball are the perfect wake up call. Their fast and often brash skate punk is balanced out with three part harmonies, and a stage presence and energy that is infectious. The crowd go wild throughout and with every escalation, the energy on the stage goes up until the end where the heat from the pit moves like a wave to the back of the room. This is a take on skate punk that not only follows the origins but also pushes them in exciting new directions.

ME REX

The final supergroup brings Fresh and Happy Accidents together in the form of ME REX; a band with more instruments on stage than members. The jaw dropping musical conclusions are created when all these instruments combine to create delicate and well measured walls of noise. With a backing that could be successful without vocals, adding harmonies, incredibly catchy choruses and those vocal cracks that convey endless emotion, it is clear ME REX are a very special band.

Ithaca

In the heavy stakes, Ithaca saved the best for last and, much like Going Off, prove the smallest vocalists create the most intense noise. With two critically acclaimed albums under their belts, it must be hard to select a relatively short setlist but it’s expertly crafted and has the room instantly on side. Riffs and rhythm drive behind the vocals to create an unrivalled intensity which is balanced by the occasional tender moment. The most tender moments come between songs, when messages of representation and solidarity are applauded and, more importantly, listened to by an engaged audience.

Wonk Unit

There have been so many ‘legends’ on this line up that the fiercely independent Wonk Unit may not be the most famous band on the bill, but in this setting, they are heroes. Their DIY ethos is unquestionable and despite being another band who have been struck down with a scratchy voice, this performance is breathtaking, and not just because of the relentless pace the songs are fired at us. There is something almost hypnotic about watching a band who interact with and around each other on stage; it looks certain that someone is going to get hit with a guitar neck or come crashing through the drum kit, but this band are too experienced and too in tune with each other for this. Their scrappy punk offerings are delivered in short bursts and the sheer number of great songs is staggering. As the final songs hit, it is clear the audience are almost as exhausted as the band who have just torn through over an hour of three minute songs.

Tickets for next years Manchester Punk Fest are available here.

CLICK THE IMAGE BELOW TO SEE OUR MANCHESTER PUNK FESTIVAL – Sunday GALLERY

Originally billed as a headline show for London three-piece Happy Accidents, a couple of weeks beforehand it was announced that Washington punks RVIVR would be topping the bill and everyone instantly thought, “hey, that’s pretty good”.

Not only would fans be getting a night with one of the rising stars in the UK pop punk scene, but also a very special performance from legends of the genre. This night is so good that one audience member has just come from spending three hours in Leeds Royal Infirmary prior to the show after inadvertently swallowing a cigarette butt.

Before all those fun and games begin, Happy Accidents have brought along Philadelphia indie trio Hurry who delight the audience with a charming set. The beaming Matt Scottoline balances self-deprecating humour with uplifting tracks that manage to strike the right tone with the slowly filling basement floor. 

In the past five years, Happy Accidents have slowly been growing a reputation as one of the must-see bands on the DIY scene. An infectious energy combined with hook-laden songs has provided a delicious recipe for pop punk success, and it’s no surprise that it caught the attention of Alcopop! Records.

Each member of Happy Accidents carries on Scottoline’s lead with grinning faces as they smash into opener ‘Wait It Out’. The trio bop around the stage as they rattle through a back catalogue of songs that tackle poignant – and currently relevant – topics such as confronting friends on political views, the social pressures to drink, and the general toxic environment we live in.

Every aspect of the performance is on point, from the intricate guitar work of Rich Mandell, to the controlled chaos of Phoebe Cross’s drumming, to the three-part harmonies provided by Neil Mandell. There is even time for Cross to smash the wrong button on the drum machine on ‘Nunhead’, only to be laughed off in the most appropriate fashion. There is time for the huge closing track of ‘Leaving Parties Early’ to lay down the marker for RVIVR.

In many ways, the surroundings of Wharf Chambers reflect the ethos of each of the bands on the bill. This community-run space is one of inclusivity, free from judgement and somewhere people can simply be themselves. It’s something not lost on guitarist Mattie Jo Canino, who explains how he feels at home in a venue such as this. “I feel I don’t have to explain myself in here, and that’s just great”; a beautiful yet somehow sad statement that we live in a world where someone who identifies as transgender can feel uncomfortable in a different setting.

However, the beauty of the punk scene in 2018 is that, even in divisive times, it will always be one that welcomes whoever you are with open arms. In saying that, RVIVR are here to make this one hell of a party. It is a frantic, intense and joyous set – from the rapturous ‘LMD’, the visceral ‘Wrong Way/One Way’, to the loving ‘Paper Thin’, it is a non-stop ride that encompasses everything that is wonderful about the genre.

Canino and fellow vocalist Erica Freas provide the perfect foil for each other. They interchange singing/screaming duties whilst almost entering Dueling Banjos territory as they swap guitar solos with willful abandon. Every note is lapped up by a sea of smiling faces until the thrashing ending of ‘Tiny Murders’.

As we file out, there is a consensus amongst the crowd – “hey, that was pretty good”.

TOM WALSH

The album opens with the magnetic ‘Nunhead’, named after the cemetery in South London. It’s a slow build with a soothing melody but exemplifies the direction of the album. Swiftly followed by singles ‘Wait It Out’ and ‘A Better Plan’, we get a glimpse of the harmonies between Mandell and Cross, with each leading the vocals respectively. The band released a video late November, showcasing ‘Wait It Out’ and ‘A Better Plan’, stating, “It sometimes feels like a new band, so to split the video down the middle felt like the only way to give a proper taste of what’s to come.” And they’re absolutely right. Bouncing between vocalists every few songs keeps it fresh yet maintains the essence of the band.

Cross takes the lead on the shorter, almost interludial ‘Float’, and melancholic ‘Text Me When You’re Home’, with Mandell regaining the reigns for the quicker  ‘Free Time’ and ‘Unwind’. The hauntingly sombre ‘Sink’ closes the album in the way it opens; slow, harmonised and wistful.

Despite the upbeat, pop punk nature of the album, the songs themselves deal with depression, loneliness and anxiety, a stark contrast to Mandell and Cross’s intertwined harmonies. Lyrically, there’s a maturity not seen on ‘You Might Be Right’ as they explore the chaotic personal relationships around them as they progress on their upward trajectory. It’s heart-warming, honest and forthright. Certainly a band to look out for.

ANDY JOICE

Before going into the kind of video Yr Poetry have made to promote their material, it is vitally important to understand the song’s themes. “‘Sons’ is a song about the ratio of men vs women in bands being horrifically screwed,” explains Berrow. “There’s nothing more I can say that hasn’t been said more eloquently by others, but it feels weird to be a man in a pop punk band and not at least acknowledge that this is a sketty boys club in all but name.”

It is thus with that reason that the duo felt it would be “hypocritical” of them to do the standard “two guys playing the song in a video” trope that is commonly used for this medium of music. Instead, the band have given a platform for their friends Anna Palmer of Dorcha and Youth Man’s Kaila Whyte to discuss their experiences as artists within the music scene.

“Anna and Kaila are two of Birmingham’s most exciting songwriters right now. Dorcha and Youth Man, their respective bands, sound about as far removed from each other as guitar bands can get but are both visceral and engaging in a way that puts 99% of dicks in bands to shame. So the obvious choice for a promotional music video for ‘Sons’ was to get them to spend 20 minutes talking to each other about the hows and whys of their craft.”

Side note from Alexei Berrow: “Yes I am wearing a Brand New sweater. We shot this the day before the allegations came out. Haven’t worn it since, obviously. Fuck that guy, fuck that culture. Believe women.” We couldn’t agree more!

‘Sons’ is taken from Yr Poetry’s second EP ‘Lost Boys’, the second in a trio of EPs the duo are releasing over twelve months, following the first entry ‘One Night Alive’ from April last year. It is available for PWYW download on Bandcamp. The band also have a couple of live appearances including playing with Kermes, Happy Accidents and more at The Y in Leicester on the 14th April, which will be followed by an appearance at Washed Out Festival in Brighton on the same day.

As for the two aforementioned acts whose members appear in the video. Youth Man will be releasing a new EP early this year which follows up last year’s ‘Wax’ EP on Venn Records. They will also be going on a UK tour with Cassels via the following dates.