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Copeland – Know Nothing Stays the Same

Copeland dish out a very good EP that can flicker up the wistfulness of the past, and I think that if Phil Collins, Carly Simon, and Stevie Wonder were to hear these songs, they would really be impressed.



Upon receiving Copeland’s latest EP, a collection of cover songs mainly pulled from the fantastic time period known as the 80s, I just had to roll my eyes. The thought of more shitty cover songs made me cringe. Would it kill a band to take some time and put some thought into a unique song to cover? Cover songs by indie and punk bands are usually extremely rushed and sound so in the recording. For the most part, they are nothing special; just some sort of gimmick. How many bands can possibly cover “Take On Me”?

Yet as I peeked through the track listing, my eyes were rolling no more; they were actually quite surprised. Copeland takes some classic sundry songs from the 80s and interprets them with respectability. The diversity in the selection of songs was definitely a positive entity for this reviewer. The mixture of songs also sparked some nostalgia for yours truly. I just then kind of had a feeling that maybe this assortment of cover songs was going to be different. The songs chosen reminded me of my early days of watching videos on MTV. Yes little ones, back in the 80s, MTV played tons of music videos. So seeing Phil Collins’ “Another Day in Paradise”, Carly Simon’s, “Coming Around Again”, Billy Joel’s “She’s Always a Woman”, Berlin’s “Take My Breath Away”, and Stevie Wonder’s “Part Time Lover”, took me back to those days of watching those videos on the tube.

The first track on the album is a rendition of Phil Collins’ “Another Day in Paradise”. Right away, Copeland altered my pessimistic views on this practice in general. Their adoption of a slightly more up-tempo version of this song felt really good. It sounded well thought out, and well played out – nothing rushed about this outing. Some of the nostalgia rubbed off here as well. My mother was a huge fan of both Collins and Genesis, so hearing this song reminded me of my days driving in the car with my mom and her Phil Collins and Genesis tapes. What sounded good was how the song truly reverberated like the original but with Copeland’s distinctively personal stamp on the track.

That same sort of nostalgia soaked their version of Berlin’s, “Take My Breath Away.” This song reminded me of one of my favorite flicks from the 80s, Top Gun. Back in the day, this song had me wishing I was hot shot pilot Maverick because even where you’re a little man, that Kelly McGillis was a sure sight for sore eyes. This song is really well played again, as Copeland doesn’t try to change the song into something it is not, they merely spruce it up a tad, make their mark on it, and run with it.

It was perhaps a mistake to casually dismiss this EP as the same old junk. After a full listen, I realized that a band can find some sort of uniqueness to cover songs without altering the tunes entirely. Copeland dish out a very good EP that can flicker up the wistfulness of the past, and I think that if Phil Collins, Carly Simon, and Stevie Wonder were to hear these songs, they would really be impressed.

(The Militia Group)


Pretty Vicious – Beauty of Youth

Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype



Pretty Vicious

The perils of industry hype and stardom have been unforgiving for many young bands. The brutal nature of the rock n’ roll whirlwind is both an inescapable thrill, and the overdose that has claimed the scalp of many. Welsh rock band Pretty Vicious are no stranger to the often destructive nature of record label glory and lofty expectations. The band members were mere teens (15-17) when they signed their mega-deal with Virgin EMI in 2015. What followed was a roller coaster ride of failed recording sessions and the burden of unmet expectations that come with signing big-money deals at such a young age. But the remarkable truth is, Pretty Vicious seem to have come out of the industry slog having survived their initial foray into the fire with an album that is quite a remarkable achievement.

Initially touted as the “next Oasis”, Pretty Vicious have thankfully shunned that tag and done away with writing the next Definitely Maybe for something more visceral. Beauty of Youth is what happens when raw talent and a knack for writing great songs finds itself surviving the hype. If Beauty Of Youth is a record signaling Pretty Vicious’ convalescence after their initial break down, then please, feed this medicine to all the bands.

There is no Oasis, but rather the furious, feverish unpredictability of rock music that we had seen with early Biffy Clyro, early Idlewild, packed with the dangerous uncertainty that came with The Libertines. It’s immediate too; from the raucous riff-heavy opener “These Four Walls” to the vagabond “What Could’ve Been”, much of the album channels frenzied palettes of distortion and beautiful noise. “Force of Nature” is a little Josh Homme, while “Someone Just Like You” is what Dave Grohl sounds like when he’s trying, but the album’s best moment is perhaps the gorgeous, slow-burning “Playing With Guns”. A song that’s composed of great wistful melodies that slowly incinerate the ears with infectious songwriting that makes Beauty Of Youth sound massive while being personal at the same time.

You can’t go past songs like “Move”, with its buzzsaw guitars and wall of energy, without thinking of all the best rock bands we’ve heard over the past decade. It’s got it all- to a T- but its urgency and hectic nature make it feel all the better. “Something Worthwhile” has got the bright lights and big stages of Glastonbury written all over it. And while their 2015 stint at the festival saw them on the “Introducing…” stage, this song is headlining main stage material.

It is quite an achievement to be as accomplished as Pretty Vicious at such a young age. Even more remarkable that they’ve survived the industry machine to release such a damn good debut album. Beauty of Youth is a composed, compelling, high energy debut that answers the question, “what became of the likely lads?”. They went on to write one of, if not the best, rock records of 2019.

(Big Machine / John Varvatos Records)

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Sum 41 – Order In Decline

Long gone are the days of All Killer, No Filler



Canadian pop-punkers Sum 41 have been remarkably consistent over the course of their last few albums. And while we have never stopped calling Sum 41 a pop-punk band, their last few albums have been less about being fun and bouncy, opting instead for a far more serious flavor of rock music. Long gone are the days of All Killer, No Filler, replaced instead with songs that do their best to mimic Muse’s big stadium anthem feel while not forgetting their penchant for metal licks and hefty solos. Truth is, it’s quite a shame because when Sum 41 were more about being fun and silly, their songs had this incredible likeability to them. Forget All Killer, No Filler, they were at their most fun with their often silly 2000 debut Half Hour of Power.

So what to expect with Order In Decline, their 7th full length? Well, if you like easy-to-digest pop-punk anthems, you best look elsewhere as much of the album spends way too much time taking itself too seriously. Not that the results are bad; songs like “A Death in The Family” and “Out For Blood” do the faux-hardcore/melodic punk thing really well. The chugga chugga riffs, toe-tapping melodies, and Deryck Whibley’s snotty vocals continue the band’s well-refined sound. Opener “Turning Away” doesn’t shy from being a little metal, a little rock, a little punk, and sets the high energy tone for the album. The return of Dave Brownsound for 2016’s 13 Voices has solidified the album’s two-pronged guitar attack, and Order In Decline’s production helps on that front- it’s a loud album, it just doesn’t seem to say a whole lot at times. “45 (A Matter of Time)” is the band’s anti-Trump song, and while it tries to provoke, sounds loud, its cheesy protests of “You’re something to few / But nothing to me / Someone so twisted and sick as can be / It wasn’t the plan / We gave it a shot / You’ve proven a real man is something you’re not” won’t exactly inspire a raging fire within the listener. I suppose if you’re turning to Sum 41 to change the course of the future, we’re all in trouble.

Sum 41 love their ballads too- and Order In Decline’s lighter in the air moment (phones in the air for you kids) is the piano-strewn ballad “Never There”. It’s OK, but doesn’t quite reach the heights of effective balladry they showed with “With Me”. The album’s best moment is the blitzing “The People Vs…” which trades the stadium rock for more melodic hardcore/thrash that a little akin to some of the goofy stuff they did on Half Hour. The meaty riffs, a great solo and the soaring chorus pumps much needed old Sum into Order In Decline, and it’s only a shame there isn’t more of it on the record.

As the album closes with the radio-ready “Catching Fire”, listeners are left with one of these two thoughts. For those who enjoy Sum 41 when they’re trying to be the best big band they can be, there is plenty to like on Order in Decline. They’ve found a consistent, polished, and well-produced sound they first hinted on with 2002’s Does This Look Infected?. For those who found their juvenile, snotty attitude on Half Hour of Power and All Killer to be the quality they most enjoyed will respond to Order in Decline with indifference. At least I don’t hate it.

(Hopeless Records)

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