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MOD SUN: “Internet Killed The Rockstar” – Album Review

Seeing as we’re on all time pop-punk high at the moment, what better segway than to discuss Lavigne’s boyfriend MOD SUN and his movie of longing conversation, Internet Killed The Rockstar.”

With another artist debunking their favourable genre of hip-hop for the ever-eclectic tastes of pop-punk, it’s showing that the revitalisation is really picking up traction. But is it any good?

With moments of bitter-tastes from Karma to lost lust with Bones, finally driving into the lead single of Flames featuring the unaltered companionship with Lavigne herself, it is an emotive album full of compassion as MOD SUN plays homage to the cathartic self-reflection of addiction, love and sorrow that features so heavily in pop-punk works.

Although the tongue-and-cheek drivel of Rollercoaster and Pornstar lands somewhat flat, these are sidelined when the self-titled work comes into full force rounding off the album on an all-time high.

Although not familiarising himself with his well-known accompaniments of hip-hop, MOD SUN has upped his game spiritually and musically with a monumental return etching himself into the world of pop-punk.

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Back to the 2000s: Avril Lavigne’s “Bite Me”

For this week’s singles review, it seems we are discussing the fashionable return of Avril Lavigne. In a bid to stay majorly relevant among the revitalised punk scene that is happening right now, Sk8er Boi punk-queen has since signed with Travis Barker’s DTA Records, and released snap-and-heel single of “Bite Me” in quick succession.

Since becoming more than acquainted with rap-punk protege Mod Sun, Lavigne has since eclipsed her days of bittersweet melodies – which comes with growing up – and entered the territory of angsty pop-punk yet again because it’s come full circle and returned in emphatic fashion.

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Nothing says the revitalisation of a genre than rekindling one of the old flames that was at the forefront of it all at the start of the 2000s. Certainly, the combination of Lavigne and Barker is a worthy team to bring it all back. Nostalgia for the ages.

Anyone up for sticking on MTV again?

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IDLES – “CRAWLER” Album Review

The fourth studio release sees IDLES in a brand new texture – with all the colours we’ve come to love already.

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With a striving lunge forward, CRAWLER strives for a stronger indulgence of reflection. It hones in on a more inclusive approach to delivering songs with moments of interlacing beauty and anger within one another.

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IDLES have never been one to take a step back and reflect on their angsty actions – especially from that of an idled punk band. But ever since frontman Talbot left therapy, he realised he was angry at all the wrong people. Since then, he has been able to create more thought-provoking dramatic ballads that certainly have more depth and feel to them. Forerunner pre-single, The Beachland Ballroom is a prime example of this. Understanding where they are as a band – rather than running through the motions and living in it – they’ve been able to create an album with vivid stories, wild imagination and a sense of escapism into their ever-fixing worlds.

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“It was writing selflessly that helped make it possible. Reflecting. Telling my own story. Not trying to tell everyone else’s story. Not trying to fix the world – just talking about how I am fixing mine.” -Joe Talbot

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Although not featuring the usual raucous rock anthems that shake the walls like we saw in Ultra Mono, it is a refreshing texture to a band that seemed far too brazen-faced to change. It puts the band in a better – and far stronger – place as a sharply-dressed outfit in the world of punk rock music.

You can catch IDLES perform their fourth album works as they strive for a mega UK/Ireland tour in January 2022.

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Travis Barker’s House of Horrors: Halloween Special

In all to celebrate the works of pop-punk, punk and alternative rock/rap collaborations, Barker brings along a list of punk confidantes including Machine Gun Kelly, Avril Lavigne, Mark Hoppus and Iann Dior.

Happy Halloween folks! You can grab it on stream afterwards until midnight tonight only if you wanted to share the live experience.

This show didn’t certainly do things by halves either – with mass projections brought into costume and make-up, lighting rigging, set props and camera work. With Barker adhering to many costume changes during the night – including a Squid Game-inspired performance set with Blackbear – it is certainly worth all the spooky twists and turns it takes throughout the hour and half or so length.

ENTER IF YOU DARE: https://nocapshows.com/artist/houseofhorrors

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POORSTACY – “Party at the Cemetery” Album Review

Cathartic works of the devil, POORSTACY’s latest stitch-in-the-vest is beautifully timed, and themed, all in time for Halloween weekend.

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Tilted and crooked in places, Party at the Cemetary has moments of heretics of the well-versed punk anthems with the self-titled and Jump. But then jumps to moments of gelatinous mess as walls of sound take over the mix. Although not nearly as rehearsed or thought-out as other comrades in the genre of punk, it still packs a mighty wallop and as always, is fun to listen to.

As if it is perfectly written for spooky season, the theme of album is perfectly poised around dancing demons and celebrating amongst the Day of the Dead. Although a disappointing result with some stand-out tracks awash amongst fillers, I figured it as a good blog discussion as any, considering it’s October!

Have a blast of this bad boy below and let me know your thoughts. *Also, don’t dig too deep into the lyric side of things … *