#269: Darwin & the Dinosaur - Remus (EP review)

Darwin & the Dinosaur

Remus

7^th March, 2014

7/10

In what is almost certainly a bid to distance themselves from the likes of You Me At Six or Paramore, Norwich's Darwin & the Dinosaur are purporting themselves as an alternative post-punk outfit. And while that may be true to a minor extent, they have more in common the aforementioned than they do, say, The Fall. Genre discrepancies aside however, and D&TD are a solid band that will undoubtedly go on to appeal to fans of the likes of Pierce the Veil or Deaf Havana; their most recent EP Remus feeling like a fusion of contemporary emo, pop-punk with lavish elements of post-hardcore ferocity. It's nothing we've not heard before, but when everything is wrapped up and tied off as neatly as it is here, it definitely doesn't have to be.

Comprised of five tracks and at fifteen minutes long, Remus is a perfect introduction to D&TD. Begining with the blistering 'I Said Goodbye', the record goes for jugular straight off the bat; an incendiary Alexisonfire-style intro eviscerates listeners before they know what's hit them, before slowing down completely into a melodic verse, again akin to Alexisonfire. It's an uncompromising way to start an EP, but it hooks you in instantly.

Following track 'Evergreen' is a less polished, more melodious track in which dual vocals bring to mind early Silverstein, the slightly out of key nature of them only adding to the tracks overall feel. This almost-punk feel is something that runs throughout Remus and is what lends the band their power-pop qualities. The record isn't without it's heavier side though, the final two tracks 'Forever May I' and 'Stalemate' both eschewing the punk vibe in favour of more emotionally charged, albeit mellow post-hardcore.

As mentioned previously D&TD aren't a band who have set out to break any boundaries and as such those of you looking for something a little more left field are probably best looking elsewhere. However should one be looking for a band who wear their hearts on their sleeve and who don't come across as a whiny carbon copy, then they needn't look any further. Will Darwin & the Dinosaur be gracing the pages of magazines such as NME anytime soon? It's doubtful. Will they, and they should be plastered across the pages of Kerrang! and Rock Sound however? Most definitely.

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#161: Only Shadows - Forest Fires (EP review)

Only Shadows

Forest Fires

September 2 2013 (self-released)

7/10

Having only formed in early 2013, relatively little is known about Midlands-based power-pop quartet Only Shadows. Drawing on a variety of influences including Biffy Clyro and Frightened Rabbit, as well as American indie acts such as Manchester Orchestra, the band have been honing and perfecting their sound over several months, and now, after a line-up change, Only Shadows are set to releases their debut record, a four track EP entitled 'Forest Fires' which they hope will signify the start of something special for Nick Ashby and co.

This article was originally written for Little Indie Blogs. Click here to read the full review.

#156: Introducing...Twister

As a genre, pop-rock is a double-edged sword. On the one hand, catchy pop-hooks and polished vocal work can really draw in an audience whilst maintaining a heavier edge will appeal to fans of more alternative sounds; the counterbalance to this is that keeping it too commercial (as opposed to accessible) could potentially damage a band's reputation and stop them from playing certain tours or venues that they might want to. Luckily for Durham's Twister, they bridge the gap perfectly, providing enough grit to balance out the pop production and coming off sounding like one of the most confident and energetic band's I've heard this year.

Following in the footsteps of similar pop-rock acts such as Go:Audio or Saving Aimee, Twister have already garnered support from the likes of The Joy Formidable and EMI and are well on their way to being signed. Fusing together universal sentiments with a melodic blend of radio-friendly guitar-pop and call and response vocal work that's back-boned by consistently tight rhythm sections and percussion; without a doubt Twister are one of the most solid bands on the unsigned circuit at the moment.

It goes without saying, however, that the pomp and the polish won't be for everyone and there is a fair degree of both, particularly on track's such as 'Fall With Me' and 'This Isn't Wonderland'. However underneath the theatrics is a legitimately well-rounded and ambitious group of musicians with a penchant for anthemics that works completely in their favour. Twister are a band that are destined for bigger things; stages, audiences and even aesthetics, exhibited perfectly in their most recent track 'Watch Over You' which is somewhat indicative of The Revival's 'Supercollider', is by no means a negative comparison.

Perhaps my personal favourite track in the band's repertoire (and possibly a guilty pleasure) is 'The I.O.P', a melodic affair that is particularly indicative of the aforementioned yet ultimately ill-fated Saving Aimee. The lyricism is both simple, yet with enough candour to keep it interesting whilst the lead guitar coming courtesy of Steve Stoker is perhaps his strongest performance yet.

While it's certainly not my personal preference, Twister's perfect balance of pop and rock aesthetics is impossible to deny. It's tight; it's radio-friendly; it's polished, doubtless to make teenager girls swoon and ultimately it's getting them noticed. It's also a testament to the nine years that the lads have be been playing together. Proof that dedication and hard-work do pay off. 

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This review was originally written for Ears On. Click here to check out what else they've been up to.

#150: A Few Too Many - Escape to LA (single review)

Pop-punk is a genre that has been maligned as much as it has been celebrated; even the most stringent of fans can come to blows over what can and can't be considered as such. Like most contested genres though, the idea of what is and isn't pop-punk, is purely subjective and thus it falls at the feet of any given listeners personal musical background to define what they consider to be an apt depiction of the genre. One band, however, who shouldn't have too much trouble in this area, is Essex-based A Few Too Many whose energetic and explosive blend of Anglo innocence and American self-deprecation is completely and unequivocally pop-punk.

2012 saw the band release their début EP Saint, Sinner, Winner, a record that was met with generally favourable reviews and was quickly followed up by a music video for the EP's eponymous title track. Now, almost a year after their EP release, A Few Too Many are back with their new single 'Escape to LA', a sun-bleached and upbeat affair that yearns for the Californian streets of it's namesake.

At three-and-a-half minutes long, 'Escape to LA' falls perfectly in to generic pop-punk territory and fans of bands such as New Found Glory or Simple Plan will positively reel with excitement as the first chords and cymbal crashes burst forth from one's speakers, whilst those who prefer their pop-punk with a little more snot and sneer will probably opt to dust off their Descendants or Ergs records than delve further. That shouldn't deter any interest one may have though; scratch away at the charm and the innocence, and what you'll find is a quintet of musicians who are harbouring barrels of potential. And while there are the occasional cracks in the band's youthful veneer, it's this potential, along with their energy, that plugs those cracks and keeps the good ship Many afloat. Further to this, whilst many of the UK's up-and-coming pop-punk acts are opting to move more towards the genres heavier elements (and we can thank You Me At Six for that), A Few Too Many are embracing the genre as it was fifteen years ago, and while it won't give you the same sense of frisson that hearing the opening chords of Green Day's Dookie or Blink-182's Dude Ranch did, there is absolutely every chance that AFTM will go on to put out a record that holds the same cultural impact as the aforementioned, albeit for generations yet to come.

Pop-punk is a genre that will always pull at my heart-strings and beg me to dust of my Converse and start up a circle pit, and I'm sure it's the same for thousands of others. The genre might not be basking in the limelight like it once did, but it will always have a place in the hearts of aficionados. This, coupled with the fact that the UK is still producing bands that want to make this kind of music, should assure both the band, and pop-punk naysayers alike, that the future of pop-punk, and the futures all those helping build it, AFTM included, are looking very rosy indeed.

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This review was originally written for Ears On, click here to see what else they've been up to.