Dinosaur Pile-Up

As we wait for Dinosaur Pile-Up (henceforth DPU, I’m lazy) to take to the stage, I cast my eyes about the audience, to get a sense of their demographic. It is actually a younger crowd than you’d expect give the grunge nature of their sound, but that just tells you how accessible this DPU are. An excited chatter fills the venue before they come on, which they do in a super relaxed manner. It soon becomes clear that this relaxed entrance is due to the fact that they’ve come on to soundcheck, laid back guys that they are! Once ready, they head offstage, then do come back on to much applause. Their entry song is one of the boldest and most unexpected choices going: Still D.R.E. They let this play for a decent length of time, and rightly so: you don’t cut a track before The Doctor has spit his bars (you are allowed to cut a track midway through Snoop rapping though, because he’s a genuine ex-pimp). From a wall of noise, they launch straight into Summer Gurl, a massive tune taken from their amazing new album Nature Nurture, and everyone is with them from the very start, singing every word.

What’s immediately apparent is how much DPU love playing these songs live, especially singer and guitarist Matt Bigland, playing every song with a huge smile on his face. And fair enough: he wrote these songs, and is rightly proud of them, so of course he’s going to enjoy playing them to 300 people who are singing every word back at him. His enthusiasm is almost capped by the fact he has to stand behind a mic stand, but he doesn’t let that stop him from rocking right out throughout the set.

They play a real blend of old and new tracks tonight, next ploughing through stomping tracks Heather and My Rock N’ Roll. Lots of people are singing along to both songs, showing that their fans are with them for both albums, not just one or the other. During these songs lasers and smoke machines come heavily into play, creating a hallucinogenic cloud above us, which rains down a steady fall of AWESOME. Between songs, Matt knows how to engage the crowd, giving us such insightful titbits as: “Damn, it is shit hot in here.” Everyone agrees by nodding, which creates a tidal wave of sweat as it flies from their dripping brows to the now-sodden floor.

People clearly love the new album, as when Matt announces “We’re gonna play a bunch of new shit off our new album Nature Nurture”, it is greeted with yelps of pleasure. Self-proclaimed ‘killer track’ Draw a Line opens the floor up, with lots of that good natured sort of moshy dancing – you know the type I mean, where there’s a bit of pushing and shoving but lots of ironic booty shaking and laughter going on too. As DPU smash straight from this in Peninsula, it becomes clear that the impressive laser show is here to stay, and everyone seems to be appreciating the mystical shapes that are cut through the smoke/haze of sweat. We’re then treated to Derail, a slightly lighter, more poppy sounding track, with a huuuuge singalong chorus, and sing everyone does. With the slightly depressing lyrics of ‘You, yeah you, you’re only gonna bring me down’, it seems that Matt is not always the cheery guy we see on stage tonight, but depth in a musician is a vital quality, and it pays off when you listen to DPU’s work. Somehow, their songs blend an immediate catchiness with the discovery of new parts as you give them repeat listens, an incredible feat to balance across as many tracks as they do this with.

But it’s not all about the new; when Matt then announces “We’re going to play a bunch of old stuff”, again, everyone cheers. What does this say about the fans? Are they fickle, and change their mind at the drop of a plectrum? Or do they just cheer at whatever Matt says because he’s cool and in a band? NEITHER! It just means that people love all their stuff! The earlier tracks they bash out are Mona Lisa and Birds and Planes. During these classic numbers, everyone is singing, and again, a huge but friendly pit erupts from nowhere, like a sweaty, fun Vesuvius. The energetic reaction of the crowd to the older songs indicates their more up tempo nature, and to be fair, the second album is generally more chilled and accessible.

At one point, Matt starts playing Lip Hook Kiss but only gets as far as saying “Cry cos you want to” before stopping, to admit “Oh shit I’ve fucked up, I’m not gonna play that”, and instead flies straight into the catchy, descending riff of Beach Bug, again getting people moving, with plenty of head banging and jumping about (which I was frankly in awe at, given the sweltering heat). He does then go into Lip Hook Kiss; clearly, the anticipatory tactics work, as everyone goes apeshit. Throughout the set, the drums are very Dave Grohl-esque, slightly loose but fucking sick, with a Teen Spirit style spotlight falling onto Mike Sheils’ crazy flailing limbs.

The set finishes strongly, with Matt announcing that “We’ve had a tough couple of years, I wrote this song about it, its called - Distorted Input

As we wait for Dinosaur Pile-Up (henceforth DPU, I’m lazy) to take to the stage, I cast my eyes about the audience, to get a sense of their demographic. It is actually a younger crowd than you’d expect give the grunge nature of their sound, but that just tells you how accessible this DPU are. An excited chatter fills the venue before they come on, which they do in a super relaxed manner. It soon becomes clear that this relaxed entrance is due to the fact that they’ve come on to soundcheck, laid back guys that they are! Once ready, they head offstage, then do come back on to much applause. Their entry song is one of the boldest and most unexpected choices going: Still D.R.E. They let this play for a decent length of time, and rightly so: you don’t cut a track before The Doctor has spit his bars (you are allowed to cut a track midway through Snoop rapping though, because he’s a genuine ex-pimp). From a wall of noise, they launch straight into Summer Gurl, a massive tune taken from their amazing new album Nature Nurture, and everyone is with them from the very start, singing every word.

What’s immediately apparent is how much DPU love playing these songs live, especially singer and guitarist Matt Bigland, playing every song with a huge smile on his face. And fair enough: he wrote these songs, and is rightly proud of them, so of course he’s going to enjoy playing them to 300 people who are singing every word back at him. His enthusiasm is almost capped by the fact he has to stand behind a mic stand, but he doesn’t let that stop him from rocking right out throughout the set.

They play a real blend of old and new tracks tonight, next ploughing through stomping tracks Heather and My Rock N’ Roll. Lots of people are singing along to both songs, showing that their fans are with them for both albums, not just one or the other. During these songs lasers and smoke machines come heavily into play, creating a hallucinogenic cloud above us, which rains down a steady fall of AWESOME. Between songs, Matt knows how to engage the crowd, giving us such insightful titbits as: “Damn, it is shit hot in here.” Everyone agrees by nodding, which creates a tidal wave of sweat as it flies from their dripping brows to the now-sodden floor.

People clearly love the new album, as when Matt announces “We’re gonna play a bunch of new shit off our new album Nature Nurture”, it is greeted with yelps of pleasure. Self-proclaimed ‘killer track’ Draw a Line opens the floor up, with lots of that good natured sort of moshy dancing – you know the type I mean, where there’s a bit of pushing and shoving but lots of ironic booty shaking and laughter going on too. As DPU smash straight from this in Peninsula, it becomes clear that the impressive laser show is here to stay, and everyone seems to be appreciating the mystical shapes that are cut through the smoke/haze of sweat. We’re then treated to Derail, a slightly lighter, more poppy sounding track, with a huuuuge singalong chorus, and sing everyone does. With the slightly depressing lyrics of ‘You, yeah you, you’re only gonna bring me down’, it seems that Matt is not always the cheery guy we see on stage tonight, but depth in a musician is a vital quality, and it pays off when you listen to DPU’s work. Somehow, their songs blend an immediate catchiness with the discovery of new parts as you give them repeat listens, an incredible feat to balance across as many tracks as they do this with.

But it’s not all about the new; when Matt then announces “We’re going to play a bunch of old stuff”, again, everyone cheers. What does this say about the fans? Are they fickle, and change their mind at the drop of a plectrum? Or do they just cheer at whatever Matt says because he’s cool and in a band? NEITHER! It just means that people love all their stuff! The earlier tracks they bash out are Mona Lisa and Birds and Planes. During these classic numbers, everyone is singing, and again, a huge but friendly pit erupts from nowhere, like a sweaty, fun Vesuvius. The energetic reaction of the crowd to the older songs indicates their more up tempo nature, and to be fair, the second album is generally more chilled and accessible.

At one point, Matt starts playing Lip Hook Kiss but only gets as far as saying “Cry cos you want to” before stopping, to admit “Oh shit I’ve fucked up, I’m not gonna play that”, and instead flies straight into the catchy, descending riff of Beach Bug, again getting people moving, with plenty of head banging and jumping about (which I was frankly in awe at, given the sweltering heat). He does then go into Lip Hook Kiss; clearly, the anticipatory tactics work, as everyone goes apeshit. Throughout the set, the drums are very Dave Grohl-esque, slightly loose but fucking sick, with a Teen Spirit style spotlight falling onto Mike Sheils’ crazy flailing limbs.

The set finishes strongly, with Matt announcing that “We’ve had a tough couple of years, I wrote this song about it, its called - Distorted Input

When talking about a Shoreditch crowd, the mention of sweaty rockers throwing the horns to dirty guitar music isn’t something that would be expected in conversation, and yet, stood in the middle of an overheated room in Cargo tonight, this is what there is to witness. It’s an atmosphere which in no doubt is produced by Max Raptor with their brand of post punk that whips the crowd into a frenzy. It’s an impressive set, and with their distinctly heavier sound, it seems like the faux pas of the support upstaging the headliner may have happened when Dinosaur Pile Up take to the stage to a distinctly more sedate reception.

As is the case with many bands like Dinosaur Pile Up who have been going for a while but only recently found notoriety, there’s always going to be the awkwardness of the earlier songs that the crowd knows but will not dance to. This is proven tonight more so than ever when a quarter way through, Matt Bigland announces a move to newer material and, like flicking a switch, the crowd comes to life. Thankfully it’s a lift that lasts throughout the entire set as the polite head nodding is left behind and a pit that spans the entirety of the stage opens up.

It’s no secret that this band have had a hard slog to get to where they are now. As Bigland admits to the crowd, they’ve struggled to fill rooms throughout their career, which makes tonight all the more heart warming, nor more deserved. It’s a slog that’s paid off. Despite the apathy that the band receives at first, their energy on stage is enough to rub off on the audience eventually. With leading riffs that make the devil horn’s appearance outside of the metal scene almost non-mockable and enough vocals hooks to keep the crowd’s need for a sing along satiated, they are a slick live act that only needs to smallest amount of feedback to turn something average into one hell of a good time.

“People say to me that guitar music is dead…well I’m telling them now to get the fuck down to Cargo because it’s alive and kicking tonight.” Bigland gushes towards the end of the set, sweat dripping from every pore. Looking around the room, it can only be said to be true. Whilst this music may never score high in the charts, as Bigland says, it’s a great experience to see a group of people gathered together who care about music to the core. Between the band and their audience, there is no posing, no cool points, only brutal honesty. The big finale of ‘Nature Nurture’ shows just this. With the crowd bellowing out the main hook for minutes on end without hesitation whilst the band continue to play, it’s obvious that the three members are skilled in improvisation and crowd interaction. These songs are meant to be played live and loud, and by Cargo’s reception, tonight can’t be seen as anything less than a success. - 7 bit arcade

Now that Dinosaur Pile-Up man Matt Bigland has moved from his native Leeds to the capital city, tonight’s gig in the almost-insufferable sweat-box that is Shoreditch’s Cargo is almost rendered as a homecoming for him and his band, having been touring latest album ‘Nature Nurture‘ fairly constantly since its release.

But there’s little in the way of sentiment or phoning it in, but plenty in the way of out-and-out ROCK, as demonstrated across tonight’s bill, firstly with Tigercub, a Brighton-based trio that mix a healthy dose of grunge, noise rock and indie influences, sort of like Julian Casablancas fronting a Nirvana reunion, if you will, and if the rest of the country were to rise up against the somewhat self-involved B-town movement, then these guys could easily spearhead the crazy idea of ‘Good Bands Not From The West Midlands’. Maybe.

Max Raptor are up next, bearing more sonic resemblance to the band they’re supporting than Tigercub, as their frantic energy translates itself into their sound, furiously pounding through the nifty surround sound-system that the venue have installed, leaving with a nice (un)healthy bout of tinnitus before the main act hit the stage.

Eventually, DPU take to the stage of the now-overflowing venue, performing the often-humbling act of being their own roadies, but nevertheless, it’s a heroes welcome, and as the opening double-thwack of ‘Summer Gurl‘ and ‘Heather‘ prove, there’s no stopping the mighty threesome as they smash through an hour or so of MASSIVE riffs, every squawk of feedback a rest from the inevitable guitar-chug that it’s resulted from.

Highlights of the set include a deeper revisit to the early days, with ‘Mona Lisa‘, ‘Love Is A Boat And We’re Sinking‘ and ‘Birds & Planes‘ all making appearances, while recent singles ‘Derail‘ and the HUGE ‘Arizona Waiting‘ also threaten to decimate everyone in the room (a collective that includes members of Pulled Apart By Horses, Hundred Reasons, and H&H favourites Tribes). Closing the gig is the title track from the latest LP, the unlikeliest of singalongs that also provides the literal platform for Matt to crowdsurf/stand in the unlikeliest of rooms. Peering down at his audience, the man can be sure that they’re in the palm of his hands (even though he’s stood on theirs at that precise moment), and Dinosaur Pile-Up really do look set for much bigger (and sweatier) stages than this, hopefully sooner rather than later. - Hooting and Howling Magazine

Pent-up, larger-than-life, obsessive riffs are still the name of the game for Dinosaur Pile-Up, and with Nature Nurture, frontman and songwriter Matt Bigland has certainly demonstrated with just as much panache as ever that he can reel them off with consummate ease. Some of us were already aware of this, though; 2010 debut Growing Pains didn’t burst onto as many sonars as it should have done, but it certainly shook those that it did invade. Nature Nurture has come along 3 years later and is a steadfast follow-up from the first installment, with no huge deviations from the simple but enviable strengths of Bigland. Elements of early-noughties post-punk, nineties-style grunge and mainstream alternative rock create a conglomerate of aggressive, enslaving energy to hook you like a fish, and this time it's arguably equipped with more potent, viral melodies, making for the most adhesive of hooks.

So, considering the blueprint, it goes without saying that the album wastes no time snatching at a hook that sticks. The fact that I spent the entire day that I first listened to Nature Nurture reciting "Screammmmmm/Scream at my reflection’' in my head is a testament to the addictive powers of album opener Arizona Waiting. It’s sensationally loud, with desperate, storming vocals and a pacey conveyor belt of big guitars. A retrospective breakdown allows for a certain amount of composure, and you think you may be getting off lightly before Bigland detonates an explosive, in-your-face arrangement that gives your ears another bashing. Tone set.

Nature Nurture definitely does stick by a relatively staunch blueprint, but I reckon the notably more magnetic melodies make the record slightly more accessible than its predecessor. In addition to this, Bigland’s songwriting, although still sustained by the same nucleus, explores a little bit more in the way of angst and apprehension in certain areas. Tracks such as Derail (which incidentally has a video that features Diana Vickers… Remember her?), are definitely more dynamic in their composition, and this allows for Bigland’s vocals to appear more translucent. Combine that with the addictive nature of Dinosaur Pile-Up’s mammoth hooks as standard, and it’s safe to say that this is a record that ticks more boxes than it crosses simply by playing to its members’ strengths.

This isn’t to say that the album is entirely absent of fillers. There’s no doubting that every track has a hook – some bigger than others – but the lack of evolution and scrutiny throughout the record means that, inevitably, the punch isn’t going to maintain the same magnitude of strength from start to finish. For example, by the time Draw the Line and Start Again come along, the effect is nowhere near as infectious, and the hooks are more for hanging certificates on a wall as opposed to towing a caravan. What they do achieve, however, is an opportunity for a riff-fiend to re-work up an appetite for Lip Hook Kiss and Nature Nurture; the former a genuine highlight that is strategically placed immediately after these ‘weaker’ tracks in order to set up a finish to the album that is every bit as strong as its start. The huge bridge in Lip Hook Kiss is Bigland at his finest - ferociously loud and far from clean, with the track not too dissimilar from Derail in its dynamism. The notion is efficiently astute in revitalizing Nature Nurture for a finale.

I have tickets to see this band in a few weeks time, and it’s safe to say I can’t wait to hear these tracks performed live. Nature Nurture is a procession of quick-paced, addictive bangers, and is perfect for those who fish for hooks. Bigland even manages to wedge in an acoustic guitar in The Way We Came, whilst it is also worth noting that the savvy core riff of Summer Gurl boasts one of the stronger doses of aural narcotics that the LP has to offer.

Ultimately, Dinosaur Pile-Up have followed up a very solid debut with another commendable effort that plays to their fundamental strengths, but incorporates a newfound translucency, a barrage of infectious melodies, and more hooks than a witch’s cloakroom. Inevitably, some tracks have larger hooks than others, and there are some weaker tracks punctuating the mid-section of the record, but the track listing allows this to escape relatively unpunished. Nature Nurture doesn’t deviate from the band’s forte, and this could be construed as a lack of ambition or an inability or unwillingness to show any evolution from their debut. The recurring motif, however, is one of an addictive, in-your-face hypothesis that assures admirably. Make sure the volume is turned up!
7/10 - No Ripcord

Pent-up, larger-than-life, obsessive riffs are still the name of the game for Dinosaur Pile-Up, and with Nature Nurture, frontman and songwriter Matt Bigland has certainly demonstrated with just as much panache as ever that he can reel them off with consummate ease. Some of us were already aware of this, though; 2010 debut Growing Pains didn’t burst onto as many sonars as it should have done, but it certainly shook those that it did invade. Nature Nurture has come along 3 years later and is a steadfast follow-up from the first installment, with no huge deviations from the simple but enviable strengths of Bigland. Elements of early-noughties post-punk, nineties-style grunge and mainstream alternative rock create a conglomerate of aggressive, enslaving energy to hook you like a fish, and this time it's arguably equipped with more potent, viral melodies, making for the most adhesive of hooks.

So, considering the blueprint, it goes without saying that the album wastes no time snatching at a hook that sticks. The fact that I spent the entire day that I first listened to Nature Nurture reciting "Screammmmmm/Scream at my reflection’' in my head is a testament to the addictive powers of album opener Arizona Waiting. It’s sensationally loud, with desperate, storming vocals and a pacey conveyor belt of big guitars. A retrospective breakdown allows for a certain amount of composure, and you think you may be getting off lightly before Bigland detonates an explosive, in-your-face arrangement that gives your ears another bashing. Tone set.

Nature Nurture definitely does stick by a relatively staunch blueprint, but I reckon the notably more magnetic melodies make the record slightly more accessible than its predecessor. In addition to this, Bigland’s songwriting, although still sustained by the same nucleus, explores a little bit more in the way of angst and apprehension in certain areas. Tracks such as Derail (which incidentally has a video that features Diana Vickers… Remember her?), are definitely more dynamic in their composition, and this allows for Bigland’s vocals to appear more translucent. Combine that with the addictive nature of Dinosaur Pile-Up’s mammoth hooks as standard, and it’s safe to say that this is a record that ticks more boxes than it crosses simply by playing to its members’ strengths.

This isn’t to say that the album is entirely absent of fillers. There’s no doubting that every track has a hook – some bigger than others – but the lack of evolution and scrutiny throughout the record means that, inevitably, the punch isn’t going to maintain the same magnitude of strength from start to finish. For example, by the time Draw the Line and Start Again come along, the effect is nowhere near as infectious, and the hooks are more for hanging certificates on a wall as opposed to towing a caravan. What they do achieve, however, is an opportunity for a riff-fiend to re-work up an appetite for Lip Hook Kiss and Nature Nurture; the former a genuine highlight that is strategically placed immediately after these ‘weaker’ tracks in order to set up a finish to the album that is every bit as strong as its start. The huge bridge in Lip Hook Kiss is Bigland at his finest - ferociously loud and far from clean, with the track not too dissimilar from Derail in its dynamism. The notion is efficiently astute in revitalizing Nature Nurture for a finale.

I have tickets to see this band in a few weeks time, and it’s safe to say I can’t wait to hear these tracks performed live. Nature Nurture is a procession of quick-paced, addictive bangers, and is perfect for those who fish for hooks. Bigland even manages to wedge in an acoustic guitar in The Way We Came, whilst it is also worth noting that the savvy core riff of Summer Gurl boasts one of the stronger doses of aural narcotics that the LP has to offer.

Ultimately, Dinosaur Pile-Up have followed up a very solid debut with another commendable effort that plays to their fundamental strengths, but incorporates a newfound translucency, a barrage of infectious melodies, and more hooks than a witch’s cloakroom. Inevitably, some tracks have larger hooks than others, and there are some weaker tracks punctuating the mid-section of the record, but the track listing allows this to escape relatively unpunished. Nature Nurture doesn’t deviate from the band’s forte, and this could be construed as a lack of ambition or an inability or unwillingness to show any evolution from their debut. The recurring motif, however, is one of an addictive, in-your-face hypothesis that assures admirably. Make sure the volume is turned up!
7/10 - No Ripcord

If every mountain is unique, and yet still a mountain by definition, then surely the same can be said for rock LPs. And this album is one hell of a mountain, and one that lead guitarist and vocalist Matt Bigland decided to create on his own again, before gathering very capable musicians to help bring things together live. Climbing it is pure exhilaration.

DP-U have used a conventional style, their alternative rock influences shining through proudly, the songs all bursting at the seams with riffs and drumbeats that make you go, “I know this!!”, and yet still manage to surprise, amaze and encapsulate - perhaps it’s Bigland’s incredible and distinctive vocals that do it. This is a hyper talented vocalist indeed; he ranges from high pitch in tracks like ‘Arizona Waiting’ and low calmness in ‘White T-Shirt And Jeans’.

DP-U have clearly mastered the craft. There’s simplicity in the satisfying distorted chords. Chords that take surprising turns – just listen as they plummet entire octaves in ‘Summer Gurl’, and how in the same track, they jump into a guttural bounce sure to work a treat in the pits.

It’s pretty damn speedy during the first five tracks, but with tracks six and seven we get to put our climbing gear to one side, stop camp for the night and watch the sun go down, particularly with ‘The Way We Came’, a beautiful track full of acoustics and glorious melody, a tear-jerker for those who tend to truly immerse themselves in music. ‘Draw A Line’ on the other hand is upbeat, one of those that makes you feel damn good about life. It has the most surprises – the mitigated distorted guitars pull you in, you enjoy it thoroughly the way it is, and then – BANG – it kicks off full force. The crash symbols go to town during the choruses, and an addictive riff follows.

The ending brings the tempo down, the final three tracks each have their own offering; ‘Start Again’ has melody in the perfect places, ‘Lip Hook Kiss’ has both that, and an undisputed heaviness – the monster riff halfway through proves it – and the title track has a methodical steadiness and a catchy chorus – which is simply the title being serenaded again and again – that stays with you long after the final drum beat.

Once it ends, it’s near impossible to listen to something else. This album leaves too much of an impression, and not just for the music aficionados. DP-U’s influences don’t need mentioning, those are obvious, but the band has their own effective style – their unique mountain. Give it a go. There’s one hell of a view at the top of it.
5/5 - Soundsphere mag

Episode 2: The Return of Matt Bigland… Out Now on So RecordingsThe spectre of the difficult second album has taken plenty of choice scalps over the years but, thankfully, Dinosaur Pile-Up have just about escaped with ‘Nature Nurture.’ Due to the band’s history of spectacularly unstable line-ups both this album and its predecessor ‘Growing Pains’ were recorded and performed solely by frontman/driving force Matt Bigland, so while not everything hits home here, it’s an impressive achievement nonetheless.

Ostensibly Pile-Up’s ‘pop record’, ‘Nature Nurture’ might not shift the grunge revival tag, but it’s certainly more straightforwardly melodic and accessible. The emphasis here is primarily on sizable, festival-ready choruses and streamlined riffs, songs like ‘Heather’ and infectious opener ‘Arizona Waiting’ flying by in what seems like an instant: and while there’s nothing at all wrong with that, some of the ideas here seem underdeveloped. For example, ‘Summer Gurl’ is likeable enough on first listen, but drags on repeat spins, its hooks too rudimentary and its structure too repetitive to leave much of an impact. Fortunately these songs are the exception, with the likes of ‘Derail’ and first single ‘Lip Hook Kiss’ channelling the angsty and slightly ragged charm of the band’s finest moments so far.

There mightn’t be an anthem along the lines of ‘Barceloner’ or ‘Traynor’ on ‘Nature Nurture’, but as a package it’s pretty solid. Whether it’s enough to further raise their profile (a step up has been overdue for years now) is another matter. Pessimistic listeners might cite an uninspiring middle section as an example of the band’s invention running low, while longtime fans mightn’t be altogether enamoured with their new stylistic steps: the anxious energy of ‘Growing Pains’ has diminished somewhat here, and so perhaps has some of their initial appeal.

Make no bones about it though… this is most certainly a record worth spending your time and money on. It might not be the quantum leap that some hoped for but this record still smokes the majority of nineties-flavoured UK rock out there, and can boast a handful of terrific songs. Under the circumstances it’s remarkable that this album’s seen the light of day at all, and we can all be thankful that it has; though we’ll have to hold out for album three for something (hopefully) mindblowing. - Subba-Cultcha

Episode 2: The Return of Matt Bigland… Out Now on So RecordingsThe spectre of the difficult second album has taken plenty of choice scalps over the years but, thankfully, Dinosaur Pile-Up have just about escaped with ‘Nature Nurture.’ Due to the band’s history of spectacularly unstable line-ups both this album and its predecessor ‘Growing Pains’ were recorded and performed solely by frontman/driving force Matt Bigland, so while not everything hits home here, it’s an impressive achievement nonetheless.

Ostensibly Pile-Up’s ‘pop record’, ‘Nature Nurture’ might not shift the grunge revival tag, but it’s certainly more straightforwardly melodic and accessible. The emphasis here is primarily on sizable, festival-ready choruses and streamlined riffs, songs like ‘Heather’ and infectious opener ‘Arizona Waiting’ flying by in what seems like an instant: and while there’s nothing at all wrong with that, some of the ideas here seem underdeveloped. For example, ‘Summer Gurl’ is likeable enough on first listen, but drags on repeat spins, its hooks too rudimentary and its structure too repetitive to leave much of an impact. Fortunately these songs are the exception, with the likes of ‘Derail’ and first single ‘Lip Hook Kiss’ channelling the angsty and slightly ragged charm of the band’s finest moments so far.

There mightn’t be an anthem along the lines of ‘Barceloner’ or ‘Traynor’ on ‘Nature Nurture’, but as a package it’s pretty solid. Whether it’s enough to further raise their profile (a step up has been overdue for years now) is another matter. Pessimistic listeners might cite an uninspiring middle section as an example of the band’s invention running low, while longtime fans mightn’t be altogether enamoured with their new stylistic steps: the anxious energy of ‘Growing Pains’ has diminished somewhat here, and so perhaps has some of their initial appeal.

Make no bones about it though… this is most certainly a record worth spending your time and money on. It might not be the quantum leap that some hoped for but this record still smokes the majority of nineties-flavoured UK rock out there, and can boast a handful of terrific songs. Under the circumstances it’s remarkable that this album’s seen the light of day at all, and we can all be thankful that it has; though we’ll have to hold out for album three for something (hopefully) mindblowing. - Subba-Cultcha

Dinosaur Pile-Up’s Matt knew in which direction the Britrock band wanted to aim their second album. “I wanted to write pop songs, because I love pop songs in their classic form, but pop songs that kick you in the face and wake you up, and I’m not sure we really have much of that at the moment”. To recap, the band broke out of the Leeds rock scene at the end of the last decade, their debut album was compared to the cream of some of the best 90s bands, including the fantastic Pixies. Of making the album, he explains: “This time, I saw everything on a bigger scale. I wanted people to connect with the songs, but not from my bedroom wall to their grubby indie disco. I imagined kids losing things on a massive scale, all feeling the same thing at once”. An intense period of creativity and self-discovery, has led to the making of this album – Nature Nurture.

We were very excited to get our hands on this album and were not disappointed when we heard the lead single from the album and the opener – Arizona Waiting, which is an anthem waiting to happen, it reminds us in parts of a young Ozzy Osbourne, with a part modern day rock classic sound all over it. What a belter of a song for an album opening, to set the tone for the rest of the album. Derail is a fantastic song, so many lush guitars complemented with the steady drum beat that go so well together, it is a cool indie inspired song. Peninsula opens up in a style which reminds us of a combination of Ash meets Oasis and continues in that fast poppy-indie-rock up-beat and fast mode until the song finishes! White T-shirt and Jeans is one of our favourite on the album, it is quite a simple indie-rock song, with the vocals dominating the tracks with some crashing guitars, which is one of the slowies on the album and reminds us of one of Stereophonics’ more mellow numbers. Title track Nature Nurture reminds us again of Ozzy in parts, perhaps it is the gravely and distinct vocal style appearing yet again, we love it! The tones and style of each song are very different to the next, but they are all very impressive.

Getting the record made certainly forced Matt to confront a couple of demons. The title track, he says, was in a roundabout way inspired by Marlon Brando’s character in Apocalypse Now. As he explains: “He’s gone from the height of the military regime to the most far-out, bare human instinct he can find. He’s a horrible weird person and he was that person all along, it was just hidden under all these layers. That’s what this album feels like it’s about to me.”

We seem to have name-checked a lot of bands in our review, but perhaps what we should say is that Dinasour Pile-Up reminds us of a time when exciting guitar bands dominated the music scene. This band belongs in that mould and we want more bands like this please!! This album is a fantastic release for those of us who love the sound of UK guitar bands and we really love this album! Dinosuar Pile-Up now emerge with one of the best rock records that has been released so far this year.
4/5 - Entertainment Focus

Leeds rockers Dinosaur Pile-Up return with the follow up to their critically acclaimed debut album. Lead singer and guitarist Matt Bigland said that he wanted their second album to be “pop songs that kick you in the face and wake you up”. He has certainly achieved this, right from the first few bars of opening track ‘Arizona Waiting’ the uplifting nature of the vocals and classic Americana style rock music grabs your attention and holds it for the entirety of this well crafted eleven track album.

‘Arizona Waiting’ sets the tone with its catchy chorus, heavy guitar riffs and thundering bass. Bigland has mixed the pop element he desired with dark tones creating a nostalgic look back at the work of Nirvana, early Foo Fighters and Weezer but with a unique edge. Where many grunge bands focused on depression and angst Dinosaur Pile-Up highlight the joy derived from the passion and anger this style of music can evoke. The chorus in second track “Derail” is sung in a joyous celebratory fashion whilst the feelings expressed in the lyrics completely contradict that. It’s these contradictions and changes in style and pace which make this album so engrossing.

After such a strong opening there is no sign of the energy relenting as ‘Peninsula’ kicks in with its frantic, uplifting, and breathless chorus. The addition of the punchy, tumbling, drum fills and electrifying guitar licks produce a moment of real euphoria. ‘Summer Gurl’ is also a highlight for the same reasons.

Bigland demonstrates his dexterity with tracks like ‘Wet T-Shirt and Jeans’ and ‘The Way We Came’, proving he is also more than capable of producing slower numbers with the same aplomb.

The variety and sheer quality present in Nature Nurture make it, not only an improvement on Growing Pains but also a one of those albums which would add to any party and a great album for in the car. It would make traffic tolerable and add to the ecstasy of hitting the open road. - Counterfeit mag

Hailing from Leeds, West Yorkshire (forever a corner of Seattle, Washington) Dinosaur Pile-Up return with their second album Nature Nurture, an up-tempo blast of good time indie rock. No-one should come in looking for deep excursions into the human condition. Balls are on the table - and they're staying out.

There was a time when the three minute single was the art form of the pop industry. Somewhere, with CDs and digital formats it could be argued that getting to the point, musically, has been lost. Not here. DUP have filled this album with eleven (count 'em) singles with few even staying around long enough to hit the 180 second mark. By no means will you feel short changed. Like an overcharged American open top sports car they rev up to full speed in seconds, get where they need to go and then stop. It might be disingenuous for a band from Leeds to sound so American, but by freeing themselves of the shackles of the usual “it’s grim up north” antics and instead delivering a more globally identifiable upbeat blast, they smell a lot like teen spirit. If you still mourn the loss of the Foo Fighters you once adored, Nature Nurture will ease the pain.

8/10 - The Digital Fix

It hasn’t been an easy road for Dinosaur Pile-Up since their 2010 debut ‘Growing Pains’. With a revolving door policy that would make Spinal Tap weak at the knees, frontman Matt Bigland could have been forgiven for throwing in the towel long ago.

His second album, 'Nature Nurture', like the first recorded entirely by himself, is a display of his natural musicianship and songwriting ability. It's almost too much just for one young man.

Opener Arizona Waiting sets a high benchmark for the album. Musically, it’s a kickback to 1990s grunge but with plenty of guile and Bigland’s powerful, piercing vocals are reminiscent of the Smashing Pumpkins' Billy Corgan. Derail, arguably the album’s stand out track, then highlights Bigland’s nous for writing infectious pop hooks. It retains the heavy guitars but the lighter verses and a delicate lead riff, in harmony with the vocals, are simple but effective.

Peninsula marries the qualities of the previous two songs. Grunge-inspired guitars drive it forward while catchy vocal melodies make the song a certainty for heavy summer radio play.

Bigland really displays his talents as a guitarist with some delicious Thin Lizzy-style mid-verse riffs and a blisteringly good solo.

The opening trio of songs epitomise the intelligence of the writing. Knowing when to play and what to play is as important as knowing when to hold back, and Bigland has nailed the balance to create some well-constructed music.

Heather and Summer Gurl keep up the pace and are very much along the same track as Arizona Waiting, before White T-Shirt And Jeans changes the tone. Staccato guitar riffs and a laid back rhythm give it a different twist compared to the previous songs, but it still retains a catchy chorus and a casual nod back to American pop-punk of a decade ago.

The Way We Came confirms there’s more than fast paced rock songs in Bigland’s arsenal. An acoustic guitar replaces the heavier tones, but great lyrics and his ear for a melody remain constant. The respite is short lived as Draw A Line recaptures the pace and attack of the first half of the album.

By the 10th song of an album, many bands ease off with filler but there’s no let up here. Start Again and penultimate track Lip Hook Kiss continue the pop rock assault on the ear drums. The former, like Derail, employs a simple but effective lead riff to accentuate the vocal melody, while the latter makes use of some emphatic drumming to thump its way to a climactic finish. Nature Nurture is a strong closer with a beautifully simple but no less effective chorus hook.

As much as there are references to and similarities with Bigland's influences, Dinosaur Pile Up have gone a step beyond simply replicating them. He's taken aspects of each to create his own style. With Band of Skulls producer Ian Davenport, Bigland has taken his desire to write “pop songs that kick you in the face” and made it a reality. Throughout, the album is finely balanced between the pop ideal Bigland strove for and the heavy, guitar driven rock that seems his natural style. - Stereoboard

If there’s one thing we love at HTF it’s a good band name. Leeds’ Dinosaur Pile-Up have one of the best. Couple that with the fact that the name came from a moment of inspiration from founder and guitarist/vocalist Matt Bigland whilst watching the awful remake of King Kong.

“There was this part in it where all these huge dinosaurs trip up, roll down this hill, and it just ends up in this massive pile up, and everything in between them survives. I thought it was ridiculous, and as a joke I said, I have to start a band called Dinosaur Pile-Up.”

Forming in 2007 from the ashes of his former band Mother Vulpine, Dinosaur Pile-Up combine crunchy rock riffs and smooth vocals with a crushing backing on bass and drums from the remaining members; Mike Shiels and James Sacha. Their sounds transgresses their Britishness and you’d be forgiven for categorising them into the American stylings of Weezer or their (semi) namesake Dinosaur Jr. And let me tell you, they make a hell of a racket for a three-piece.

‘Nature Nurture‘ is the second studio album from the band and from the first few bars of opening track ‘Arizona Waiting‘, Dinosaur Pile-Up signify that the intention with ‘Nature Nurture‘ is to get your attention and keep you hooked.

The crunchy distorted guitars take a break for the haunting melodies of ‘Derail‘ and ‘The Way We Came‘ which act as the perfect foil to catch your breath from the relentless nature of the rest of the album.

‘Heather‘, ‘Summer Gurl‘ and stand out track ‘White T-Shirt and Jeans‘ should all make your playlist this summer and are probably the best 10 minutes of an album we’ve heard this year. We defy you not to air guitar, drum or just jump around like a loon at some point listening to this.

If there’s one thing that Dinosaur Pile-Up do well it’s break downs. Dropping the pace right down before unleashing a thrashing riff that should tear the roof of venues bigger than the places they’re playing at the moment. Look out for an epic one in ‘Lip Hook Kiss‘.

Dinosaur Pile-Up are touring extensively this year, so look out for them, they’re sure to be a blast.

9/10
- Hit The Floor

I think the word that best sums up an album like this is 'wow'. Change has always been at the heart of Dinosaur Pile-Up - the band has lost no fewer than three members since its formation, and to call their current line-up stable would be jumping the gun a little - but the line-up is not the only thing about the band that has changed drastically in the time since the Leeds band released debut album Growing Pains. In just over two-and-a-half years, DPU have gone from having the role of torch-bearers of the grunge revival foisted upon them, to tightening their sound considerably and becoming an alt-rock act of jaw-dropping melodic precision. Their two albums bear contrasting titles: Growing Pains came out of a period during which Matt Bigland wanted to form a band around him. He wrote the debut by himself, out of choice, and DPU grew from there, but Nature Nurture found him forced to write and record everything on his own again; his drummer and bassist quit the band within days of each other, so it was back to square one. Did the project need the nurture of a full band's input, or was it in Bigland's nature to take the considerable weight of birthing the follow-up?

He decided that it was the latter, and with a new mission statement in mind - he says of the album that he "wanted to write pop songs" - he set to work. Six weeks later, his polymath instincts having resurfaced, the album was sketched out and ready to go. With a singularity of purpose driving him that was immediately evident when lead track 'Arizona Waiting' surfaced at the start of the year - an absolute gem of a track: just over three minutes, short and to the point - the record was soon complete. Six months later, it's ready to go, and it's a thoroughly impressive album, packed to the brim with effervescent hooks and choruses, filled with enough power to punch through brick walls. 'Derail' has a particularly nagging palm-muted riff, the sort which will compel you to listen to the track on repeat. 'Peninsula' tips its hat to Foo Fighters, while 'Heather' brings to mind Blood Red Shoes drafting in a third member and giving the garage-punk of Box of Secrets some spit and polish. The serrated power chords and booming drums of 'White T-Shirt and Jeans' (which features the sort of chorus you could see from space if it had a physical form) are the clearest indicators of Bigland's ambitions. He's said that he "imagined kids losing their shit on a massive scale, all feeling the same thing at once," and the new material sounds like it will do just that.

At the same time, he knows just when to rein it in, doing so at a crucial point - 'The Way We Came' is as stripped-back as the forceful album gets; it hints at the conflict and state of near-constant flux that the album was created amidst ("Let's go back the way we came / We made a pact to stay the same / Don't lose your way / Don't ever change") and has seemed to come to define it. The album was born out of internal and external conflict for Bigland - whether it's been resolved, I can't say, but the whole Dinosaur Pile-Up project really feels like it's back on solid ground. "I feel like people are always living in these boxes that they think they should be, when they’re not really like that at all," he says when discussing the album's lyrical themes, and by the time the title track brings things to a close - after the Deftones-influenced 'Lip Hook Kiss' stakes its claim for the title of the best song on the album - Bigland's given into both musical and lyrical reckless abandon, closing the album on a high and proving that he's still got it. He ended up making this album on his own, just like the first one? Is that the way things are meant to be? Perhaps not, but an excellent album has been made out of difficult circumstances, so why stop there?
Rating: 7.5/10
- TheFourOhFive