Whether approaching an early Mudhoney aesthetic (‘MTV’), adopting a sound that blends the melodic indie of early Franz Ferdinand with heavier, almost grung breakdowns (‘Always Here’), delving into something much moodier and channelling Pavement (‘Sausage’), or throwing themselves head first into a world of minute long, punky bangers (the bulk of 2021’s ‘Ten’ “long player”), Das Kapitans often guarantee their audience a good time. For those who’ve followed the band since near the beginning, it’s been interesting to watch them grow.
The bulk of ‘Get Up’ finds Das Kapitans sticking to what they do best, but there are a couple of surprises along the way, and it’s especially good to hear them returning to a sharper edged sound on the title cut. Following an atmospheric build up, the number introduces a repetitive bass drum, pounding out a rhythm for what feels like slightly too long. Having wound the tension, choppy rhythm guitars arrive and crank out an abrasive riff that would suit ‘314’ era Wire, under which a warm and buoyant bassline brings the all important sense of melody via an anchoring role. The introduction of a classic sounding post punk lead guitar adds to the sharpness, and a shouty vocal puts in some hard yards in terms of anger. Although its often hard to tear your ears away from the brilliant bassline, the simplest of hooks – a repeated shout of “Get up!” – ensures that a fairly rough idea creates a perfect earworm, certainly one that’ll please the fans and help pull them farther into the EP. ‘Hostage’ retains the same sharp guitar tone, but the rhythm section are afforded more space to set up a groove. Sliding effortlessly between Jesus Lizard and Gang of Four inspired riffs, peppered with a tone that’s distinctly Kapitans, the verse sets a great tune in place, but everything really springs to life when a punkier chorus hook shows off the band’s more aggressive side. Adopting the same approach as before, a reliance on repetition creates something catchy without feeling lazy, whilst another unashamedly sharp riff helps to push Stephen’s full on, shouty vocal further into a brilliantly angry performance.
Slowing down and presenting the bass higher in the mix, ‘Just A Dream’ immediately suggests something Pavement-esque, but an unavoidably British sounding spoken word delivery lends a familiar sound a very different feel. It won’t be deliberate, but the honest narrative feels like an extension of Max Rael’s universe, and certainly finds this band exploring a more unfamiliar musical path with some success. For those not into this unexpected twist, the chorus reverts to a solidly crashy, retro alt-rock sound when the band re-employ a Nirvana-esque riff and shouty hook, drawing more from Das Kapitans’ usual stock. This might be a little artier in its own way, but it’s actually a contender for the EP’s best track. It’s certainly its most distinctive.
As suggested by the title, ‘Swagger’ displays a huge confidence from the outset when a marching rhythm and dancing bass set up a great punchy indie/post punk hybrid sound, which acts as the perfect backdrop for a shouty vocal. Dropping into a massively rocky riff in for the chorus, at which point, the band sound like a hybrid of Royal Blood with guitars and a noisier These Animal Men, this quickly becomes one of those DK tracks that clears the cobwebs due to being more reliant on huge riffs rather than easy hooks, before ‘La La La’ attacks with shrill guitar lines and a gruff vocal that leans a little further into a Jesus Lizard-esque sound once more. In some ways, the band hit autopilot – you’ll certainly have heard similar material in their huge catalogue, even here – but the playing is tight, and the atmosphere built during a moody verse is very effective. It allows the flippant chorus to sound even more catchy, and in case that sounds too disposable, the end of the number takes a swerve into post-rock territory where a tight and almost proggy time signature allows for some rather pointed lead guitar work. Despite sounding a bit like a mash-up of different things, it works brilliantly.
Rounding out the EP, ‘Gold’ tries out something else that’s a little different when atonal acoustic guitars, minimalist synths and a programmed drum part take up the bulk of the performance. Sounding more like a deep cut from Guided By Voices or Robert Pollard’s Circus Devils than Das Kapitans – complete with off-key vocals – it won’t appeal to everyone. There’s an unsettling mood here that sort of works, but its marginal in terms of genuine listening pleasure, unless approached in the right mood. That said, if you can make it through, there are some very cool arcs of feedback dropping in at the close of this unsettling track, which build hopes for something a little stronger – or at least a massive climax – before fading into silence. It’s impossible to record as many songs as these guys have over the course of approximately four years and have every one of them hit the mark, but this loses an already short release some vital momentum. It might have worked better as the closing track, but sequenced as track four, it never seems to get much beyond being an odd distraction…
Das Kapitans may well have slowed their output in a post lockdown world – there’s no way they could keep up the relentless pace that saw the band release twelve albums and an EP in 2021 – but fans can be largely assured of the same quality here. ‘Gold’ aside, ‘Get Up’ is great. When it relies on the band’s signature brand of huge sounds and knockabout riffs – which is most of the time – it finds the lads brimming with confidence. If you’ve journeyed with Das Kapitans thus far, you know you want this. If these cult noise-makers are still new to you, this will be a decent enough first listen. If you like what you hear, circle back and try out 2022’s ‘Debut’ (technically not their debut) – you won’t be disappointed.
August 2025
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