Sarah Bennett – Get In Her Ears

ALBUM: THICK – ‘Happy Now’

Raging against the patriarchy by writing about their experiences of being women in what used to feel like a doomed music scene, Brooklyn-based pop punks THICK have forged their own path on their latest album, Happy Now. Filled with thrashy instrumentals and anthemic crowd-pleasers, the band – formed in 2014 and comprised of Nikki Sisti (guitar/vocals), Kate Black (bass/vocals) and Shari Page (drums/vocals) – embrace and further their potential throughout their most recent effort.

Upbeat guitars and energetic vocals characterise this concise yet assertive album, which tackles lighter topics compared to their previous record, 5 Years Behind (2020). The first single from the release, ‘Loser’, is a standout. The trio’s vocals are the defining feature of the song, particularly the fade between the solo yelling verses and the group harmonies in the chorus. Their trademark agro-punk overlaid with emotional honesty is blatant here. The single reclaims the term loser: “In music, it’s so easy to feel like a loser and a f*ck up”, comments drummer and vocalist Page. “We want people to know that it’s okay to mess up and that everyone’s a loser sometimes. It’s really the best way to live”. Page’s sentiment is embodied by the track’s lyrical wit: “I love when people tell me I should quit.”

Hints of the band’s early influences have always lent themselves to their releases. The vibrant introduction to ‘Her Chapstick’ wouldn’t feel out of place on a blink-182 record, while several other tracks feel riot grrrl-infused, especially the Le Tigre-esque ‘I Wish 2016 Never Happened’ and the Sleater-Kinney inspired ‘Your Garden’. The latter is a fast-paced song and the crux of the album, compounding the best of the swirling vocal rounds and roaring guitars that the remaining body of the tracks are dominated by.

‘Happiness’ is the perfect opener. The track is rapid in pace, complete with punk rant choruses and melodic collective verses. ‘Tell Myself’ expresses the group’s musical muscle in a slightly more stripped back way. End track, ‘Something Went Wrong’ is another highlight. Its well-paced bass riff is a moment of shine, which shows THICK are as strong instrumentally as they are lyrically. This finale is buoyant, leaving listeners on an upbeat note.

Ultimately, THICK’s sophomore effort is packed with moments of promise. It expresses viable growth from their debut, feeling less like a laundry list of things they’re exasperated at and more like a cohesive story, all without abandoning the perfect blend of guitar solos and layered vocals the group are celebrated for.

Follow THICK on bandcamp, Spotify, Twitter, Facebook & Instagram

Photo Credit: Jessica Gurewitz

Sarah Bennett
@sarah_benn3tt (Twitter)
@zasbennett (Instagram)

August 19, 2022August 21, 2022

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ALBUM: Petrol Girls – ‘Baby’

Released today (24th June) via Hassle Records, feminist punks Petrol Girls truly embrace irreverence on their new album, Baby. While time often mellows the sound and vision of many bands, here it has only re-fuelled the band’s politics with an ever-growing potency. The vital themes of pure political rage, speaking out against sexual violence and immigration that underscored Petrol Girls’ 2016 debut, Talk of Violence, are powerfully replicated on Baby.

Whilst the band maintain their feminist punk roots – especially on rallying pro-choice lead single ‘Baby, I Had An Abortion’ – Petrol Girls transcend their musical origins throughout their new record. The album opens with 28 seconds of noise produced from a mash of sounds on the album, acting as a vibrant nod towards shoegaze. Guitarist Joe York was influenced by everything from electronic music and hip-hop, to New Wave bands like Talking Heads during the writing process for the album and the playful intro to ‘One Or The Other’ encapsulates this, with ‘Preachers’ further setting the raw experimental tone for the record.

Vocalist Ren Aldridge continues to deliver her breath-takingly vehement lyrics throughout Baby. Her clear intonation and powerful projection become consistently more impressive with each track, and when the subject matter does get more severe, her cathartic cries and screams provide a much needed emotional release. Activist and DIY punk Janey Starling also delivers superb guest vocals on ‘Fight For Our Lives’ and ‘Violent by Design’, both of which act as visceral moments of furious relief for listeners who have been marching on the streets for equality in the wake of public violence against women in recent years.

While the issues handled on Baby vary in weight, they all ultimately follow themes of femicide, police brutality and toxic “nice guys” (‘Sick & Tired’). The record is a genuine effort to dismantle these pervasive tropes and elements of society, fueled by righteous rage and impressive resilience. Petrol Girls should be proud of their new collection of fast-paced, vital anti-establishment anthems.

Order Petrol Girls’ new album Baby here

Follow Petrol Girls on bandcamp, Spotify, Twitter, Instagram & Facebook

Photo Credit: Hanna Fasching

Sarah Bennett
@sarah_benn3tt (Twitter)
@zasbennett (Instagram)

Kate Crudgington
@KCBobCut

June 24, 2022

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ALBUM: Soccer Mommy – ‘Sometimes, Forever’

Inspired by the concept that neither sorrow nor happiness are permanent, Sophie Allison aka Soccer Mommy cleverly nods to synth sub-genres on Sometimes, Forever. From new wave to goth, the album broadens Allison’s repertoire without abandoning the compelling melodies she’s known for.

Throughout, Sometimes, Forever is informed by historic musical movements. It’s entirely plausible that the album has been described as “a moodboard of vintage touchstones”. ‘Unholy Affliction’ and ‘Following Eyes’ both echo the 1990s grunge scene, with the use of guitars in the latter particularly drawing inspiration from Nirvana’s ‘Heart Shaped Box’. Likewise, opening track, ‘Bones’ wouldn’t feel out of place on Alvvays’ eponymous 2014 album.

Thankfully, Sometimes, Forever falls short of simply recycling old sound as the album transcends its influences. Later track ‘With U’ and lead single ‘Shotgun’ both incorporate heavier synth notes. The juxtaposition between this sound and the previously mentioned tracks separates Soccer Mommy from a sea of grunge and indie-pop imitators. The synth notes should come as no surprise though – Sometimes, Forever was produced by Daniel Lopatin of Oneohtrix Point Never, most notable for the score of ‘Uncut Gems’ and The Weeknd’s chart-topping, ‘Dawn FM’. Lopatin has an unbounded synth vocabulary, which particularly shines through on ‘With U’.

Radiating an overwhelming theme of blueness, Soccer Mommy’s album is partially galvanised by the push and pull between Allison’s yearning to produce meaningful art and her scepticism about artless careerism. The echoey vocals on ‘Fire In The Driveway’ accompanied by nothing but acoustics certainly represents this disposition. Interestingly, the downcast lyrics depicting elitism on Sometimes, Forever follow Soccer Mommy’s past successes. Strikingly, her studio debut, Clean, is one of the most beloved albums of the 2010s lo-fi bedroom-pop scene. Similarly, her sophomore effort, color theory, was GRAMMY nominated. As explorations of artistic integrity go, Sometimes, Forever is a brave effort.

Sometimes, Forever will be released on June 24th via Loma Vista. Pre-order here