Since Dublin’s Sprints burst onto the scene with the remarkable ‘Letter To Self’ at the beginning of last year, they have consistently made their mark on the live touring circuit. Their intense and unconventional sound is complemented by an equally moving and forceful performance, recently culminating in an afternoon set at Glastonbury, where their politically charged punk resonated against visually engaging backdrops that inspired the enthusiastic crowd. Their time spent on the road has seemingly intensified their sense of outrage, coinciding with the release of ‘All That Is Over,’ their second album in as many years, which encapsulates much of the raw frustration introduced by its predecessor, released at a rapid pace. A notable change in their lineup is the replacement of founding guitarist Colm O’Reilly with Zac Stephenson, a shift that they claim has revitalized their sound. This renewed energy is most evident in the latter part of the album, where Sprints hits their stride with a series of gritty garage rock tracks, particularly the standout closing duo of ‘Coming Alive’ and ‘Desire,’ which are their most melodic and minimalist offerings to date. ‘Better’ also showcases their experimental side, contrasting with the ongoing intensity of ‘Descartes’ and ‘Beg’—both of which hark back to their earlier work. This isn’t a drawback—the formula that propelled the four-piece remains robust, driven by the formidable presence of guitarist and vocalist Karla Chubb, now a key figure in the local punk scene. The anger is still palpable, the lyrics relatable, and ‘All That Is Over’ adds enough creativity to keep Sprints firmly at the forefront.
A completely developed, fictional universe where hope and vulnerability intersect.
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Table manners were overlooked as models paraded in period drama armor marched across the dining table at 180 Strand. Fortunately, the open bar was located separately.
A heartfelt affirmation of recognizing one's own value.
The anger is still tangible, and the lyrics continue to resonate.