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Album Reviews

Twin Atlantic

Twin Atlantic

Meltdown

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TWIN ATLANTIC – MELTDOWN – ALBUM REVIEW

Twin Atlantic have long proven that they have a special ability to create soaring rock anthems in which you can lose yourself. Indeed, as they release their seventh studio album, ‘Meltdown’, they are well and truly past their discovery phase.

As the band released a run of four magnificent albums between 2009 and 2016, they were on a clear trajectory to the top. Big shows and huge festival slots followed but come January 2020 their upwards curve began to flatten… and that, despite the year, isn’t a pandemic reference.

Whilst the world closing down weeks after releasing ‘Power’ wouldn’t have helped, neither did the lacklustre response to an album which sought to expand the sonic palate of the band. Then 2022’s ‘Transparency’ came along and compounded the issue. Despite an obvious ambition to journey somewhere outside of their comfort zone, the band simply sounded lost, and that flattened curve threatened to head downwards.

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Twin Atlantic – ‘Sorry’

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That does put a lot of pressure on new release, ‘Meltdown’, to stop the rot. A steady series of pre-release singles has teased a fabled return to form and as you progress through these eleven new tracks, you’ll be reminded of exactly why you fell in love with Twin Atlantic in the first place!

The charm of frontman Sam McTrusty once again shines through and helps to elevate these songs to new heights. Their trademark guitar-led emotive rock sound is back in full force, but with the lessons of their past two albums making this their most mature and well-rounded collection to date.

The haunting ‘Snow In Texas’ is a stunning finale to an album which feels like a greatest hits effort in terms of the various strong points of Twin Atlantic being on full show. This is a battle-hardened band re-establishing what makes them special.

The lyrics “I wanna make you proud” close out the record and the band have certainly done themselves proud with this great collection.

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Magazine

Full Pelt Magazine

Vol. 48

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Album Reviews

Millie Manders and the Shutup

Millie Manders and the Shutup

Wake Up, Shut Up, Work

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MILLIE MANDERS AND THE SHUTUP – WAKE UP, SHUT UP, WORK – ALBUM REVIEW

It’s about time that any self-respecting punk rock aficionado has Millie Manders and the Shutup on their radar. Since releasing their debut album, ‘Telling Truths, Breaking Ties’ during the pandemic, the band have made full use of the reopened world, playing countless headline shows, notable support slots and a strong smattering of festival appearances.

Indeed, you’ve probably been living under a rock if you haven’t at least noticed their name on a poster of some sort. There has however been no better time than now to get onboard the good ship Shutup and take on the rewarding journey of their sophomore release, ‘Wake Up, Shut Up, Work’!

As Millie recently discussed on The Full Pelt Music Podcast, this record sees Manders and her cohorts enter into a much more collaborative writing process and the outcome is their trademark sound turned up to eleven.

A more expansive sonic palette is used to create a greater sense of depth throughout the twelve engaging tracks. The range of emotions evoked almost rivals the amount of different vital topics covered, with Manders’ lyricism again simple yet incredibly powerful.

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Millie Manders and the Shutup – ‘Can I Get Off?’

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There is fearlessness in calling out various toxic and unjust elements of society and some of the hypocrites that virtue signal without the willingness to speak out if it risks alienating their audience. Millie Manders and the Shutup certainly can’t be accused of failing to speak up, and this record is another call to arms for listeners to at least step back and educate themselves properly on subjects before arriving at any easy conclusions.

Of course, it’s important to pay attention to the topics highlighted across the album, but equally we’d be remiss if we didn’t spotlight the musical results of the groups shared inputs. The sometimes-heavy lyrics are perfectly framed by a mixture of brash punk and uplifting ska – all of which is designed to get your feet moving whilst your head is thinking.

The simple fact here is that this is an album which is made to be played live, and these songs will live forever on stage. With more dates already in the calendar, you’re sure to see the name Millie Manders and the Shutup on many more posters, as this album will undoubtedly act as a new springboard for the group.

Which brings us full circle to our main point – there has never been a better time than now to dive into the world of Millie Manders!

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The Full Pelt Music Podcast – Episode 53 – Millie Manders and the Shutup

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Magazine

Full Pelt Magazine

Vol. 47

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Album Reviews

Written By Wolves

Written By Wolves

THE LIGHTHOUSE

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WRITTEN BY WOLVES – THE LIGHTHOUSE – ALBUM REVIEW

New Zealand’s Written By Wolves introduced the world to their ambitious modern rock sound on their 2019 debut record, ‘Secrets’. A certain global pandemic made it hard for new artists to capitalize on momentum, but the quality of that release garnered enough attention to pique the interest of music fans around the world.

A concept record looking to open conversations on mental health, ‘Secrets’ explored why we don’t feel comfortable talking about something so integral to our wellbeing. Now with their sophomore release, ‘THE LIGHTHOUSE’, Written By Wolves delve into the idea of what can pull you away from the darkness and into the light.

A person, a place, a song, a tv show… what can help you to overcome the brutally relentless pitfalls of our mental health. Over the course of the album, you are taken on a journey of discovery through the insightful and thought-provoking lyrics and expansive sonic onslaught.

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Written By Wolves – ‘PLEASE JUST BREATHE’

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You can feel the genuine belief in the idea of a lighthouse as the band get incredibly personal on this stunning collection. A standout moment comes from the incredibly powerful, ‘PLEASE JUST BREATHE’, which details the day when vocalist Michael Murphy’s dad died and everything he went through to try and be at his bedside before he passed.

Indeed, the entire album will get you right in the feels and illicit an internal conversation which will hopefully lead to you understanding your own lighthouse. Our ability to discuss our own mental welfare has seen progress in recent years but remains lightyears away from true enlightenment. Records like this therefore remain so important!

Take away the importance of the themes of the album though and you’re still left with a musically sublime set of tracks and that’s what helps to elevate this album to new heights. Hopefully this time the band can capitalise unhindered.

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The Full Pelt Music Podcast – Episode 52 – Written By Wolves

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Magazine

Full Pelt Magazine

Vol. 46

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EP Reviews

Gigi Gold

Souvenirs

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Gigi Gold

Watch Episode 69 of our ‘Discover’ New Music Podcast with guest Gigi Gold!

‘Discover’ New Music Podcast – Episode 69 – Gigi Gold

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Album Reviews

Soft Play

Soft Play

Heavy Jelly

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SOFT PLAY – HEAVY JELLY – ALBUM REVIEW

Given the regular criticism for modern punk’s over-reliance of cliches, it’s either fitting or ironic depending on your viewpoint that we are going to reel out a few in this review for new Soft Play album, ‘Heavy Jelly’.

The first cliché is that of reinvention, after all your probably still acclimatising to calling the band formerly known as Slaves by their new moniker Soft Play. Credit apparently goes to Bob Vylan for pushing the band over the line on a decision talked about for years – that of changing their troublesome title.

After an extended period of inactivity which saw many questioning the future of the duo, Isaac Holman and Laurie Vincent reconvened and announced their return in December of 2022, before returning to the stage last summer.

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Soft Play – ‘Punk’s Dead’

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The rebranding of the band saw polarised opinions from fans which is addressed brashly in the albums second track, ‘Punk’s Dead’. Whilst delivered with tongue-in-cheek vitriol, the track acts as a palate-cleanser for the band and resets the relationship with the fans still on board – the next cliché being that this track really kickstarts this new era for the band.

That raging swagger continues into the likes of ‘Act Violently’ and ‘Isaac Is Typing…’, as the band reminds us that they’ve got teeth to go with their playful sound. Indeed, another cliché to pull out is that this feels like a back-to-basics approach from the duo which sees ‘Heavy Jelly’ become the closest release in terms of visceral energy to their heralded debut, ‘Are You Satisfied?’.

You could say then that this is a much-feted return to form, but the cliches are wearing a little thin now! Unlike this spectacular album, which is just half an hour long, with only finale, ‘Everything and Nothing’ breaching a runtime of over circa three minutes. The slimline approach helps to increase the feeling of vitality which exudes from your speakers as you take in this thoroughly enjoyable record.

It’s great to see Vincent and Holman working together again and with ‘Heavy Jelly’, they’ve put down a significant marker for their future output!

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Full Pelt Magazine

Vol. 45

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Travis

Travis

L.A. Times

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TRAVIS – L.A. Times – Album Review

‘L.A. Times’ represents the tenth studio album from Scottish indie heroes Travis and it finds the band in fine form, instantly reminding the listener why they fell in love with the band in the first place.

Releases from the group may be more sporadic these days but the songs crafted by messrs Healy, Payne, Dunlop and Primrose still captivate as distinctively as ever. Indeed, over the course of the ten tracks on this album, you’ll pick up on elements of their best work alongside a stronger feeling of showmanship.

Those added bells and whistles help to ensure that these songs, recorded as per the title in Los Angeles, feel fresh and different whilst maintaining that reassuring familiarity. Lead single ‘Gaslight’ being a good example of how the foursome have taken their standard sound into more ambitious sonic territory.

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Travis – ‘Gaslight’

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Described by Fran Healy as their most personal album since, ‘The Man Who’, you can genuinely hear how these tracks mean that little bit more than most their recent output. Healy in particular sounds more present with his trademark voice able to infiltrate your own consciousness with renewed gravity.

There is an interesting cross-pollination of the meaningful and the light-hearted both musically and lyrically over the course of the album and that makes for an engaging listening experience. The title-track which closes out the record is probably the most interesting song that the band have created together, and shows that they still have the ability to amaze.

The likes of ‘Alive’, ‘Bus’ and ‘Raze the Bar’ will stand the test of time and the album as a whole is up there with the likes of ‘The Man Who’ and ‘The Invisible Band’. It’s a pleasant surprise to know that some three decades into their career, Travis can still create a little magic.

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