TEEF are a punk band and like all the best punk bands they deal in nasty, stompy music that will whip a club into a rampage that won’t end until the audience are pulverized by studded jackets. They’re the sort of punk band that live by a ‘no nonsense’ attitude which means their music is fast, loud and catchy. They’re basically everything you want a punk band to be and while they’ve sadly announced their split so early into their career, they’ve left behind one of the greatest UK punk records we’ve had the pleasure of listening to. It’s called Admit Defeat and not owning it should be made a crime.
Admit Defeat is everything you love about punk. It’s an abrasive, snotty, bouncy record that isn’t afraid to tell you to “fuck everything” in its opening track. While these ten tracks clock in at around eight minutes, TEEF take you on a whirlwind tour of everything that makes punk so hugely exciting and it’s an absolutely electrifying experience.
Every part of the TEEF puzzle is firing on all cylinders. The sheer amount of riffs stuffed into these eight minutes show an exhausting display of guitar talent that makes you wish you wrote every damn riff on the entire thing. The bass punctuates every massive chord and beat with stunning precision, the drumming performance is beautifully unruly and the vocals display a man who is so close to the edge that he’ll probably throw you off it. This is a seriously dangerous-sounding record.
Let’s talk highlights; opener Scum is a gritty mosh pit anthem with a riff so bouncy it’ll shake venues to their ashes. Cathartic Release rocks a riff so catchy you’ll be headbanging wherever you’re listening to it. The drums on Still Here are enormously fun and full of great fills that sound like they’re fuelled by the most insane caffeine rush. Let’s not forget about the vocals; the vocal performance is just so wonderfully disgusting throughout. The music is also complemented by a fantastic mix which is full of impact and is bizarrely clear considering how painfully raw the music is.
TEEF have put together one of punk’s brightest moments. Admit Defeat is a non-stop powerhouse of grotty violence that’s amazingly memorable despite its aggression. No band in the UK has managed to meld fury with song-writing this catchy nearly as well as TEEF have managed to here and it’s a massive shame that the band won’t be making anymore music. Admit Defeat might be the last TEEF record but as swan-songs go, this couldn’t be any better.
TEEF’s Admit Defeat is out now on cassette through COF Records and vinyl through Headless Guru Records.
Patrons are a 4 piece alt rock band from Plymouth who are clearly influenced by luminaries like Biffy Clyro and In Case of Fire. Their second EP The Momentary Effects of Sunlight sees the band’s sound expand exponentially, creating a truly satisfying slab of emotional rock music.
Patrons manage to prove that over these 4 songs that they have an unnerving talent for writing music that ebbs and flows with wonderful fluidity. Songs like Circus kick off with a brilliantly off-kilter twangy riff that opens up into a soaring chorus before driving the whole thing home with a massive riff that could shake a house to its foundations. The movement of Patrons’ music is so natural that it makes for bizarrely easy listening considering the sheer amount of action contained within.
The band also make use of some famous post hardcore tricks like the quiet/loud dynamic. This becomes one of the most satisfying elements of Patrons’ sound as they often follow up their more subtle and understated moments with an enormous explosion of guitar euphoria.
We haven’t even spoken about the vocals which are exemplary throughout. Melodies are incredibly memorable, heart-on-sleeve affairs and when the music steps up a notch then the vocals follow suit. There’s some satisfying screams in here that really help deliver the notion that these boys really do sing it like they mean it.
Patrons have a seriously accomplished sound for a band this early in their career. The Momentary Effects of Sunlight is an EP loaded with fantastic song writing and the emphatic choruses are coupled with a lovely melding of delicate yet abrasive guitar work. If you’ve been looking for your new favourite rock band then look no further because Patrons might just be the one.
Patrons’ The Momentary Effects of Sunlight is out now and available to buy on CD direct from the band.
Norwich post hardcore band Darwin and the Dinosaur have dropped their debut album A Thousand Ships. Fans of This City and Young Guns will be in familiar territory as Darwin and the Dinosaur deal in big riffs, memorable choruses and worship at the heels of the quiet/loud dynamic.
The band have some wonderful song-writing chops. Tracks like Theories, Making Friends With Strangers and Riff Town Population: You are loaded with chunky, bouncy riffs and bolstered by some lovely, glittery leads. The band always chooses a great moment to punctuate their songs with a huge power-chord and for the most part their music is thoroughly entertaining.
The album isn’t without fault though. The band relies too heavily on twinkly, acoustic interludes to flesh it out. This results in a record that only has 6 fully-formed songs on it. If the band cut out the chaff and released this as an EP it would be much better off. A Thousand Ships has all the right elements to be a no-nonsense slab of post hardcore but sadly there’s a little too much nonsense.
The other issue is with the band’s vocals. While the vocal performance is entirely serviceable, they often sit in a comfortable mid-range that means a lot of the songs on A Thousand Ships feel overly similar. Things really plateau with Make Believe which isn’t nearly as exciting as the rest of the songs on the album and the vocals do it no favours. A little more variety in the vocals could have really set some of these songs off especially when you consider how thunderously heavy the opening riff of Making Friends With Strangers. It would have been nice to have heard the occasional scream to accompany the record’s heavier moments.
Regardless, Darwin and the Dinosaur are very close to having a seriously accomplished sound. For the most part, A Thousand Ships is a seriously exciting post hardcore record that’s stuffed with great riffs and choruses. If the band can make a record with a little less padding and some more variety in the vocal department then they’d be onto a winner. It’ll be interesting to see where they go from here.
Darwin and the Dinosaur’s A Thousand Ships is out now and available to buy on CD and vinyl direct from the band.
American desert rockers Karma to Burn have joined forces with Kent prog rockers Sons of Alpha Centauri and the result is a double dose of instrumental rock that’s big on groove and not much else.
KARMA TO BURN
Karma to Burn’s contribution is a spacey, 4 minute track called Six that hammers home a pretty satisfying groove but does little else to hold your attention. The track ends up playing out like a very long album opener which would be fine if the band had a stronger track to follow it up but they don’t as each band on this split only contributes a single track.
4 minutes, one riff; that’s all you’re getting. Fingers crossed Sons of Alpha Centauri have a little more to offer because this is an inconsequential opening on a 7” that costs seven of your British pounds.
SONS OF ALPHA CENTAURI
Sons of Alpha Centauri thankfully put forward a song that has a little more meat on its bones. Their contribution is a song called 66 (get it? Six66? GROAN) and the song is a somewhat proggier affair than Karma to Burn’s effort. The off kilter guitar work brings back memories of classic earthtone9 which is certainly a compliment compared to Karma to Burn who brought on feelings of boredom.
Unfortunately while this composition actually bothers to move and progress into different riffs, the band’s sound really needs something else. The instrumentation just isn’t interesting enough to hold your attention without any vocals and this is where Sons of Alpha Centauri fall down. Sons of Alpha Centauri are making the sort of alternative rock that bands like Tool have been so successful with, but while bands like that include all the elements needed to flesh out their sound, Sons of Alpha Centauri don’t feel like they have enough in their repertoire to hold your attention.
Instrumental rock is a difficult genre to deal in because as both bands on this split have proven, missing an element as important as a vocalist can end up making your music sound sparse and uneventful in the process. Both Karma to Burn and Sons of Alpha Centauri need to spend more time making their music move in interesting and engrossing ways if they are to continue as instrumental acts.
Karma to Burn and Sons of Alpha Centauri’s 7” split is out now and available to buy from H42 Records and direct from Sons of Alpha Centauri.
What were your dreams as a teenager? Could you see yourself achieving those dreams? Could you continue to follow them into adulthood or would you lose interest in them? Is what you dreamt of doing as a teenager the same as what you dream of doing as an adult? InMe are a band that delivered on the dreams of two young men in the form of Dave McPherson and Simon Taylor and twelve years on from their debut album the two men have recruited two other men to continue their dreams into adulthood. It’s an inspiring tale but also an amazing story of knowing what you want to do with your life at such a young age.
Five albums later, InMe are now ready to drop their sixth and it’s the first part in a mammoth three album project. Each album in this trilogy is linked thematically and each showcases a signature part of InMe’s sound. The first album of the project is called Trilogy: Dawn and it showcases the more song-driven, anthemic side of the band that they previously explored in their earlier days. Unlike InMe’s earlier days, the band’s dynamic has changed dramatically with the inclusion of Greg McPherson and Gaz Marlow and while the band showcase moments of rock radio glory on Trilogy: Dawn, a lot of the songs feel bloated and lacking choruses as strong as those in songs like Crushed Like Fruit and So You Know.
There are also some bizarre choices in regards to the album’s running order. Instead of beginning with a song that sets things off in an explosive manner, opener Creation: Amethyst sounds like a mid-album ballad and it’s a very limp and underwhelming experience. In fact, it feels like Trilogy: Dawn takes quite a while before it gets into its stride and starts to deliver the sort of anthemic rock that InMe are so good at.
Four songs in we get Loss: Children of Exile and it finally feels like InMe have arrived. The angular riff that carries the beginning of the track is one the band’s best and it reminds us of Far Reaching from Daydream Anonymous. It isn’t long before the song opens up into a chorus that demands to be sung by a legion of fans and InMe are finally firing on all cylinders.
The second half of Trilogy: Dawn has some of InMe’s best work with the electronic-tinged Amnesty: Bonsai Forest being a real highlight. This is one of the most interesting things InMe have created so far and the beat in the chorus gives the song a trap music vibe. Then there’s the double dose of Chrysalis: Lone Dance on an Empty and Hymn: Ivory Elder which are future InMe classics. InMe have seen fit to make Hymn the lead single but it’ll be a massive shame if that wonderfully uplifting guitar hook in Chrysalis doesn’t get the radio play it deserves.
On the whole Trilogy: Dawn does a lot to showcase how fantastic InMe are and songs like Chrysalis feel almost celebratory. Unfortunately, a lot of Trilogy: Dawn feels unnecessarily drawn out and quite a few songs suffer from a lack of truly memorable melodies. InMe have all the capability to create amazing rock albums and they’ve proven that with their last effort The Pride, but Trilogy: Dawn feels overindulgent and bloated in comparison.
InMe’s Trilogy: Dawn is released on May 4th via Pledge Music.