Alex Salisbury
Alex Salisbury

DIY Promoter. Sometimes anti-social, always anti-fascist.

Rating: 4 out of 5.

Label: Self Released

2020 has been a write off for lots of artists across the globe, but Hastings’ Kid Kapichi haven’t wasted this time, they’ve crafted a grimy garage-punk lockdown-masterpiece of a début album in ‘This Time Next Year’. The completely DIY self-release slaps hard, with huge guitar riffs, a cacophonous rhythm section and witty penmanship, that cleverly dissects modern British life.

The south coast four-piece have torn up the UK live circuit with their ferocious performances in recent years, supporting the likes of Frank Carter & The Rattlesnakes and performing at Reading & Leeds festival. But, with the stagnation of gigs (for obvious reasons) they have completely channelled their energy into getting their first full-length release out to the public.

Taking charge behind the desk is Ben Beetham (co-vocalist and guitars), and he’s delivered an excellently engineered and well-mixed record, encapsulating and distilling that Kapichi sound into an absolute haymaker of an album. It’s full of grit, grime and edge with amazing tone and crunch throughout.

“We had discussed producing something ourselves one day, but I don’t think any of us thought it’d necessarily be a whole album, and our début at that. Obviously we had two choices with the pandemic – wait it out, or find a way to do it ourselves,” says Ben.

Content wise, the band have taken a close look at the less than Great Britain we’re living in. From the petty hardships in our daily lives (‘First World Goblins’), the suppression and manipulation of the working classes (‘Working Man’s Town’) and the division and anger found in modern society between social classes (‘Thugs’).

Although the majority of the album is fast-paced, attitude-filled and intelligent garage punk it ends with the slow, personal and introspective ‘Hope’s A Never Ending Funeral’. It’s got a bit of an Elton John vibe. Just a man, a piano and some percussion ending the record in a huge fanfare of feeling.

Coming off the back of 5 excellent single releases, this 12-track record is a breakneck release. Hitting you thick and fast with big tunes one after another it’s a relentless listen, but it’s an absolutely enjoyable thrill ride.

Kid Kapichi’s sound is nestled somewhere between the garage-punk and lyrical style of Slaves, the riffs of Queens of the Stone Age with a tinge of Arctic Monkeys indie and Alex Turner-esque delivery at times. If any of these bands turn you on, then definitely take the time to tune in to this excellent release.