It seems as though Yak have decided to call time on the band after 5 years and 2 full length albums. I was first introduced to Yak as a 14 year old. To be completely truthful my music taste at the time was awful, mostly a load of American pop-punk nonsense. That all changed when I saw Yak at the Isle of Wight festival in 2016.

 It was the Friday night, my family had gone off to watch Stereophonics, I had decided to stay in the brilliant ‘This Feeling’ tent to watch whoever would be headlining there instead of the main stage. I looked at the line up and saw it was a band called Yak. I’d never heard of them, or any of the other bands playing the ‘This Feeling’ stage at the time but thought it would definitely be a better shout than Stereophonics. What I saw ended up changing the way I listened to music. It was my first introduction to punk. While it wouldn’t be accurate to call Yak a punk band now, they have always definitely had elements of punk in their music with the heavy, distorted riffs, the impassioned vocal delivery of front man Oli Burslem, and at the time a lot of their lyrics were political and anti-establishment with songs like ‘Victorious’, which is very punk inspired.

The first thing I remember about seeing them live was their sound check, because it was so good I (and a few other people) thought it was the actual show. It was so dynamic and passionate I couldn’t help mistake it for their set, I was so shocked when they went off again and I realised they hadn’t actually started their set yet. When they eventually started I was completely entranced. Hearing the filthy, distorted guitar and the screeching vocals, seeing the energy of the crowd, the passion in each member of the band whilst playing, something clicked in my head. I realised almost at that exact moment that the music I had been listening to was bullshit and this is what I could truly get into. Burslem bounded around the stage, shoeless, smoking, climbing onto the scaffolding of the stage, it was the first time I’d been exposed to a charismatic, rebellious front man at a gig and I loved every second, I was completely transfixed. It was also my first exposure to a mosh pit, I’d seen videos of them happening but having never been to a real gig I’d never really understood the point. I was dragged in against my will by the crowd and could only respond by matching their energy and I became completely immersed in this world. Being together with loads of people you don’t know, sharing this experience, listening to some fucking great music, it was such a visceral moment. That hour set that Yak played completely changed my outlook on music. From then on I knew I wanted to listen to music like that. Energetic, to an extent angry, but above all passionate. 

After seeing Yak that weekend I then looked into other bands that were connected with This Feeling, eventually finding acts like The Blinders, Cabbage and so on. I then delved into the origins of this kind of music, I wanted to know where punk came from and got into all of the stuff from the 70’s, the early days of punk, then consequently found myself getting into post-punk and art-punk of the 80’s like The Fall, Joy Division, The Slits etc. This makes up the bulk of what I now listen to, as well as all of the brilliant punk and alternative music coming out of the UK right now, Yak being a part of that. Without seeing that set, I wouldn’t listen to half of the music I do now and it goes without saying that they are certainly part of that.

Their second album ‘Pursuit of Momentary Happiness’ was released in February of this year and is definitely of the best I’ve heard in 2019. It’s at times beautiful, at times chaotic, at times incredibly melancholic but completely gripping from start to finish. Whilst their first album ‘Alas Salvation’ was fantastic, ‘Pursuit…’ in my opinion was a massive improvement, it showed them as much more ambitious, experimental and expressive. Lyrically it was dark and heartfelt, with no better example than the title track, beautifully haunting and nihilistic.

 Yak were not only an exceptional band but had a massive influence on the music I now listen to. If I had decided to follow my family to Stereophonics instead of staying for Yak, I might not have even stated writing about music. How much can you really write about vapid, cliched pop-punk? Yak were without a doubt one of the better bands to come out of the country this decade, and were the first band that inspired me to explore music more openly. They made me pay attention to underground music in Britain. They made me want to start going to gigs, and buying records. Although they might never release another album or play live again, I will always hold their music close to my heart, because without it I wouldn’t have the passion for music that I do.

Over the past few months Jools have emerged as one of the brightest sparks in Leicester’s emerging punk scene. Their debut single Hysterical, Starving, Naked is an extremely promising start for a band that could be the best sound to come out of Leicester in a long time.

Jools are a six piece made up from three guitarists, a bassist, a drummer and a vocalist. This allows them versatility that wouldn’t be possible with less members, each member of the band has their place and is integral in creating the bands teeth chattering, crunchy sound. Singer Mitch Gordon is the bands attitude, he is a natural frontman. Live he demands attention, and he is no different on the band’s debut single, talking his way through the verses before roaring into the choruses. The three guitarists play off of each other beautifully with a mixture of clarity and distortion, you’re surrounded by a screeching wall of sound. The bass and drums are prominent throughout the track, both sounding loud and grimy, helping keep control whilst the three guitarists work together to create both mayhem and harmony. Jools wear their influences on their sleeves, with both Shame and IDLES being two of the most prominent sounds in British punk and post-punk right now it’s no surprise Jools don’t sound dissimilar. However they still manage to sound fresh and original. They have their own exciting sound and their ability to adapt shines throughout the tune. They go from melodic and harmonious to gritty and angry in the space of a bar.

Having just played a packed co-headline show with fellow punks Earls at the O2 academy in Leicester, not to mention a DJ set with Joe Talbot himself afterwards, Jools will be riding a wave of confidence right now. Hysterical, Starving, Naked gives the impression that the confidence they have built won’t be wearing off anytime soon. Jools’ brand of outspoken, chaotic post-punk is impossible to ignore.

Hysterical, Starving, Naked is out now.

False Heads are one of the best live bands in the country. It’s said so much that it’s less opinion more fact these days.

The future is looking bright for the London based three piece. Recent radio plays, endorsements from the likes of Iggy Pop and a debut album earmarked for release in 2020, they have cemented themselves as one of the most exciting bands around at the minute.

Fall Around is the lead single from the aforementioned debut. It’s False Heads’ textbook blend of indie and punk, a sound that fans of the band will be accustomed to hearing by now. The lyrics, seemingly sarcastic, touch on themes of religion and death, contrasting to the optimistic riff that drives the track, laced with distortion and crunch. It’s no surprise that this is the song the band have chosen as their lead single from the album, it summaries the bands sound to T. False Heads always manage to mix catchiness with a distinctive grit. The vocals are delivered with snark bite, in some ways removed from their first EP, but retaining the energy and passion. Fall Around is sure to leave people eager to hear more and could be the song that pushes them towards the recognition they deserve.

Fall Around is released tomorrow, Friday 25th October. False Heads tour the UK this Autumn, supporting A in a number of major cities. 

Watching IDLES show at Glastonbury last Friday night I couldn’t help but feel inspired. How could you not after watching a performance so emotional, so passionate, so cathartic. It was such an intense, stirring performance that it was impossible for me to sit there and take in what I was seeing without being struck by a number of emotions.

IDLES aren’t a band who have been handed anything. As lead singer Joe Talbot said whilst on stage they have worked for over 10 years to get where they are. Having to go through a number of extremely difficult situations, whilst simultaneously battling addiction, it is admirable that Talbot had the willpower to keep going and help take IDLES to where they are now. In his role as the natural spokesperson for the band, being lead singer and lyricist, Talbot uses the platform he has built to spread a message. In a generation of bland pop music with nothing to say, IDLES demand to be heard. Their material engages issues head on, both political and personal.

Talbot has used his music to explore personal torment, with no better example than the track ‘June’, from IDLES second album ‘Joy as an Act of Resistance’. The track discusses the stillbirth of Talbot’s daughter. It is a heart-breaking, tortured track which is Talbot being as emotional and vulnerable as possible. Vulnerability is a key element in IDLES music. They’re not afraid to be emotional or show weakness or admit to flaws. In the modern day this is rare to see. Social media has everyone on a constant pursuit to display how good their lives are. To keep up a perfect façade. To show no vulnerability. IDLES smash down this door at every opportunity. Perhaps the most obvious example of this is the song ‘Samaritans’. The song comments on masculinity, specifically how toxic it can be and how men can feel as if they have to hide emotions. IDLES do not beat around the bush lyrically, they choose to take a real stand.

“I’m a real boy and I cry. I love myself and I want to try”.

 Talbot’s raspy, guttural voice bellows. While these words are simple they are powerful. They are not words that are commonly spoken by men. IDLES taking this stance is incredibly important. Not only are they spreading a message of love but they simultaneously reject the old fashioned, backwards machismo attitude that is drilled into the heads of men from a young age. IDLES are telling a generation of young men that it’s okay to be vulnerable, it’s okay to have emotion. In a time where the biggest cause of death in men aged 20-49 is suicide, creating a conversation around mental health is vital. IDLES aim to do that with this song

“I’m a real boy and I cry. I love myself and I want to try”.

 Talbot’s raspy, guttural voice bellows. While these words are simple they are powerful. They are not words that are commonly spoken by men. IDLES taking this stance is incredibly important. Not only are they spreading a message of love but they simultaneously reject the old fashioned, backwards machismo attitude that is drilled into the heads of men from a young age. IDLES are telling a generation of young men that it’s okay to be vulnerable, it’s okay to have emotion. In a time where the biggest cause of death in men aged 20-49 is suicide, creating a conversation around mental health is vital. IDLES aim to do that with this song.

• 

‘Samaritans’ isn’t the only song in which IDLES discuss mental health. During their performance at Glastonbury IDLES played the song ‘1049 Gotho’ from debut album ‘Brutalism’. Before the song Talbot said –

 “I spent a long time feeling lonely and depressed and a drug addict. But I come here and feel a part of something bigger than myself. I think that’s one of the best things you can do for people who are in distress is make them feel like they’re part of something else, like a community”

IDLES do not just discuss issues personal to them. Often tackling important political issues, their lyrics are laced with stinging sarcasm. In the track ‘Mother’ IDLES address the way sexual violence is intrinsic within our society, starting from the bottom. The song also contains cutting critique of government. Talbot bellows out

“I know nothing I’m just sitting here looking at pretty colours”

 A comment on how the powers at be see the average person, as distracted from what is really important.

Aside from politics and personal trauma, the key message of IDLES music is undoubtedly one of love and unity. A key example of this is in the pro-immigration anthem ‘Danny Nedelko’ in which IDLES preach acceptance of immigration. The song, named after Heavy Lungs vocalist and friend of Talbot, discusses the importance of immigration to Britain. It is without question that our country would be a shadow of what it is without the benefits immigration has given to our nation and IDLES put this across excellently. However I think the key lines in this song discuss how hatred is spread. IDLES have no sympathy for intolerance but they show that they have somewhat of an empathy for it.

“Fear leads to panic, panic leads to pain, pain leads to anger, anger leads to hate”

This understanding of how people are indoctrinated into intolerance and hatred shows that IDLES music is not about attacking anyone but trying to understand other people’s points of view and create a dialogue. Something that is needed now more than ever. IDLES may not like to be attached to the label “punk” when it comes to their music but it is without a doubt that many of their listeners would consider themselves fans of the genre. Therefore IDLES creating an essence of conversation and understanding is important as even the most die-hard punk fan would admit the genre hasn’t always been great at dealing with things constructively. That is not to say IDLES don’t retain anger in their quest for love and acceptance. Anger is an extremely important emotion and IDLES use this anger as an outlet for frustration and to evoke emotion from their audience. In the days where bands like ‘The 1975’ are the biggest in the world, IDLES demanding passion from their audience is key.

IDLES blend anarchy and love in a beautiful juxtaposition. No more obvious than on the closing track ‘Rottweiler’ from their second album ‘Joy…’ As this track ends we’re met with a huge overpowering wall of sound, the crashing of drums, the pounding bass, and the two guitars competing to see which can be more erratic. Over this Talbot cries –

“Keep going, keep fucking going, fuck em, fuck em, smash it, ruin it, destroy the world, burn your house down. Unity.”

This tells you everything you need to know about the band. They want us to be angry at the situations we have been forced into and are out of our control. They want us to react with passion. They want people to keep going through difficulty periods. But ultimately, above anything, they want unity, tolerance and acceptance. To close an album, which reached the Top 5 in the UK album charts, with such a clear and positive message shows just how important IDLES really are.

All photographs used were taken by the brilliant Alan Wells during IDLES appearance at the Isle of Wight Festival in June. Follow him on twitter/Instagram @TheAlanWells

Punk music to me is about voicing frustration and anger. Whether that’s relating to politics or your personal life, it’s about being able to explore raw emotion in a cathartic release. In 2019 there is more frustration and division in the UK than at any point in my lifetime. People are disillusioned and pissed off at the current state of the world. Punk music has the perfect opportunity provide the youth of Britain with a voice, somewhere to vent their emotion without being afraid of judgement. A new era in punk music is beginning and the underground scene demands to be listened to.

The figureheads of this new punk revolution are IDLES. The band from Bristol perfectly encapsulate this new generation of punk. They certainly don’t shy away from political issues in their music. Social commentary on Brexit, toxic masculinity, immigration, class etc. IDLES are not afraid to wear their political views on their sleeves. The best part of all of this is that people are taking note. Their second album, Joy as an Act of Resistance, went into the British Album charts at number 5. To me this is unprecedented. It shows that there is a place within the mainstream for anger and real emotion, not everyone wants to hear the same generic pop music they’ve been force-fed for years. The distinctive feature of IDLES is that they have a clear message, fight hatred with love, the way forward is unity – not more hate. The album’s final cry, on closing track Rottweiler (after a good two minutes of guitars, bass and drums furiously smashing into each other) is “Keep going, fuck em, smash it, ruin it, destroy the world, burn the house down, Unity”. This gives you an insight into IDLES blend of anarchy and unity. They are saying be angry, get frustrated, be passionate about the situation that you are in, but don’t channel this anger into hatred. Unite, come together and try and see other people’s perspectives instead of an irrational hatred. This is the new mantra of punk.

It’s not just IDLES gaining popularity however. There are a number of bands building passionate followings across the country, with all of their fan bases being built organically. A perfect example of this is post-punk band Shame. Shame released their debut album Songs of Praise last year to critical acclaim. Whilst not as politically driven as IDLES album, Songs of Praise still had a lot to say and a lot of emotion. The album was raw, the band held nothing back and produced and absolutely brilliant debut album. Shame are also a further example of Punk music being able to break back into the mainstream, they were featured on the front cover of the NME, before the publication stopped printing. This was massive exposure for the band and proof that there is still a place for punk and the genre is as relevant as it’s been in decades. Off the back of their album Shame embarked on a UK tour, playing a number of o2 venues around the country. I had the pleasure of seeing them in Leicester, in late 2018, and it was one of the most special gigs I’ve been to. The energy that the band played with flowed into the audience, the mosh pit raged on for the entire show. Cathartic energy bounced around the room. What struck me while I was there was the diversity in the audience. The spread of race, gender and age was so even, this was unity. At one point one of my friends was on the shoulders of a random 50 year old man, both of them singing along. This was a crowd of completely different people coming together to bask in the joy of releasing frustration into something productive.

Supporting Shame that night were Fontaine’s DC from Ireland. Since I saw them that night at the o2 they’ve sold out a UK tour, announced their debut album, had plays on a number of huge radio stations of their single ‘Big’ and even made their first TV appearance. Fontaine’s will release their debut album ‘Dogrel’ on April 12^th and it is highly anticipated due to the reputation Fontaine’s have built themselves over the last couple of years. The band have amassed tens of thousands of followers on social media and their Spotify has over 165,000 average monthly listeners. Fontaine’s DC’s growing success (which is certain to grow even more after the release of their album) is further proof of the growing audience for punk and alternative music.

Another band with influence and a growing reputation within the genre are Doncaster trio The Blinders. They released their debut album ‘Columbia’ last year again receiving mass praise from critics and fans alike. The album took influence from dystopian novels such as 1984 and Brave New World and related the themes of warped, corrupt government explored in those books to similar issues we have today. The Blinders music is politically driven but accessible. Like IDLES they do not hide their politics but contrastingly tackle the issues in  more of a symbolic and poetic approach, such as in the song ‘ICB Blues’ which challenges police brutality from the perspective of the corrupt law enforcers. Like Fontaine’s DC, The Blinders have also made their debut television appearance and been given plays on major radio stations such as BBC Radio 1. The things all of these bands have in common is are raw sound, meaningful lyrics, and exhilarating live performances, you will not attend a gig where any of these bands play that there is not a pit flowing throughout the performance.

 All of this and I’ve not even mentioned Cabbage who have been breathing life back into punk music for the last few years. Another band whose debut LP was released in 2018, another band that achieved massive praise and success with their debut LP, another band known for incredible live shows. These are just the most well-known bands at the forefront of the genre right now, all with massive social media following, all having gained attention from the mainstream music press, all of which are gaining more relevance and new listeners every day.

Behind this core of bands beginning to burst into the mainstream is strong underground scene of fresh, new punk bands, not afraid to say what’s on their minds, not afraid to be controversial and not afraid to put on some of the most insane live shows in the country right now. Strange Bones from the North West have a growing reputation as one of the best live bands in the country, if you see clips of their shows they always look genuinely deranged, I’ve never seen so much energy in a band or an audience for that matter and I hope I get the chance to experience one of their shows in person soon. Their music blends punk with a hint of a hard-core influence and again they use their music perfectly to prevent political frustration. Then there’s False Heads who I mention again and again in anything I write because they have such incredible potential. Their music is so raw and gritty, for me it has everything I want from punk, it’s angry, loud, has attitude. When you listen to a False Heads song you know you’re going to get a chunky bass riff, screeching guitars throughout and absolutely pounding drums that create such a wall of sound. The lyrics often tackle political issues or delve into the mind of lead singer Luke Griffiths, often having poppy choruses reminiscent of the way Nirvana’s lyrics came across. Not to mention that live they are one of the best, if not the best, bands in the country right now. Luke’s growing reputation of throwing himself off of amps into the drums at the end of gigs looks as painful as it is incredible. Finally there’s Calva Louise, blending pop and psychedelic noise into the fundamental punk sound of their music. Their debut album Rhinoceros was released in February, with every blog you could imagine looking on the LP extremely favourably. When you listen to Calva Louise you never know where each song is going to go next, they’re so unpredictable, one second you’re listening to a poppy psyche hook and then lead vocalist Jess lets out a chilling scream and the song takes you in a completely different direction. I’m not even scratching the surface with those 3 bands, there are twenty more could list.

The growth of this underground scene has been massively helped by the people at This Feeling. The work they have done to develop not just punk music but so many different alternative genres of music has been incredible. They put on fantastic gigs with great line-ups all over the country, have stages at festivals with ridiculously stacked line-ups that make you forget about the main stages at times and promote so many exciting new bands in an attempt to give them a platform. The work they have done is massively contributing to these bands gaining new audience, including myself.

Punk in 2019 is possibly more relevant and important than it has been for the whole of the 21^st century. The political environment is a mess and people need an outlet to vent their anger. Punk is offering that. Punk gives people a voice. It allows people to release their negative energy. It makes people see that they’re not the only one’s feeling disheartened. It is even spreading messages of Love and Unity which shows how far the genre has developed. 2019 could be the year punk makes a real cultural impact again.

2018 was a fantastic year for music. I found a tonne of new bands that I love and saw some of the best live music I’ve had the joy of listening to. 2019 proves to be even better, here are the artists I’m most looking forward to hearing from in 2019.

Yak

In 2016 Yak released their debut album Alas Salvation. A mix of psychedelic rock, old school Velvet Underground influenced rock and roll and rousing post punk, Yak’s first album showed their versatility and potential and I’ve been looking forward to a follow up since and in 2019 Yak will release the follow up to their debut, entitled ‘Pursuit of Momentary Happiness’. Towards the back end of 2018 Yak released tracks ‘Fried’ and ‘Bellyache’, both of which showcased their talents and got me very excited for the second albums release in early February. This along with a UK tour in march mean that this year is going to be huge for Yak, who are again known for extremely energetic live performances.

False Heads

London trio False Heads made waves in 2018, getting various radio plays and releasing their second EP ‘Less is Better’. Their poppy lyrics mixed with angry, punk influenced guitar, gritty bass riffs and pounding drums give them a unique sound mixing elements of post-punk and grunge. Couple this great sound with their exhilarating live performances and False Heads have the perfect recipe for success. The band recently announced their signing to Wipeout Music, teasing big announcements for later in the year, 2019 is sure to be a massive year for this incredibly exciting band. A full length debut and a tour would be great to see from the band this year as I can’t wait to hear new material or see them live again.

Calva Louise

Calva Louise release their debut record Rhinoceros on February 1^st, riding a wave of momentum from an incredible 2018. Last year the band released three tracks – ‘Tug of War’, ‘I Heard a Cry’ and ‘Outrageous’ – all three combining screeching distorted guitar and fantastic vocals which range from melodic to screams of pure rage, along with fantastic rhythm constantly changing created by the drums and bass. When you’re listening to a Calva Louise song you’re never quite sure where it’s going to go next, their adventurous tracks take you on a journey whilst listening, making you simultaneously uncomfortable and engaged. I saw the band live back in June, their energy on stage is infectious and they looked like they enjoyed every second of performing, creating a real atmosphere with their music.

Anoa

Anoa are a punk four piece from my hometown of Leicester and they are without doubt the best up and coming band coming out of the city right now. 2018 was a quiet year for Anoa not releasing any new tunes and playing only a few live shows locally and some outside of the east midlands. However their 2017 single releases ‘Glorious Nuisance’ and ‘When in King’s Norton’ are definitely stand out tracks taking on pretentiousness and pompous attitudes with humour and teeth chattering, noisy punk rock. The real excitement comes from seeing this band live though, with mosh pits guaranteed to start within the first couple tracks, due to the sheer energy the band emit into the audience. I’m hoping Anoa come back with some new tunes this year and hopefully another string of local live shows.

Fontaine’s DC

Irish five piece Fontaine’s DC came out of nowhere for me at the end of last year. I saw shame at the o2 in Leicester and Fontaine’s DC were the first support act and blew me away. They’ve since become one of my favourite bands. Vocalist Grian Chatten paces around the stage whilst not singing with massive nervous energy, similar to that of a young Ian Curtis. The band combine indie and punk to create noise as melodic and flowing as it is chaotic and angry. Vocals are often delivered with a snarl but then other times are sung beautifully. The band released a load of material in 2018, the highlight of which being the impactful ‘Too Real’ which is full of attitude and bite. The band embark on a sell-out tour across the UK this spring before supporting the brilliant IDLES. I would love to hear an EP or other singles from Fonataine’s DC this year as listening to them just leaves you wanting more.