Oi oi! Welcome back to another album review on the blog; or if it’s your first time, just welcome.

We have some offbeat goodness to check out this time, to add to the blog’s collection of ska and reggae coverage.

Captain Accident, a South Wales-based outfit I’ve had the pleasure of seeing live several times now, and I’m excited to be reviewing their fifth full-length, ‘Sayonara Paranoia‘. According to the Captain himself, Adam Parsons, the self-deprecating band name represents “a lifetime of spectacular clumsiness”.

Active for over 15 years now, the band continue on the vein of portraying deep mental struggles with heartbreak and anxiety in an uncaring world. Having mostly focused on slower reggae tunes on previous album ‘Bad Press’, there are some visits back to the faster realm of ska in this one, along with some punk influences too.

Right, enough blabbering. Let’s get into it!

1. Slither On The Dashboard

The album is kicked off by the lead single ‘Slither On The Dashboard’, which is very much a ska ditty tailored for picking one’s knees up.

Jaunty with plucky guitar, the song brings real-life experience of a snake invasion to musical life. Making the best of the situation, the protagonist is determined to get him and “the slippery passenger” to the destination in one piece.

The haunting bridge focuses on keeping “eyes on the road”. With his fears persisting, the onward drive is portrayed by an increase in riff tempo, up to the conclusion.

2. Rise And Fall

We then advance into a slightly slowed-down ditty, complete with underlying keys bringing smooth melody. ‘Rise And Fall’ focuses on constant preparation for the worst, even through “Cheshire smiling”.

Na-na-nas abound in this one, as the protagonist navigates potential self-sabotage due to anxious overthinking and second-guessing. Indeed, the “rollercoaster ride” in one’s “cranial factory” plague everyday life, but there is determination to tough it out every time.

The bridge begins with continued keys and plucking, before evolving into a chunkier guitar solo and drum breakdown. This ends with what sounds like a vibraslap, to transition back to the final chorus, which as a Cake fan is delightful to hear.

3. Baby Slow Down

Third track ‘Baby Slow Down’ is very much entrenched in the reggae side of the spectrum of sounds in the band’s repertoire.

Continuing with a foundation of keyboard, there are some lovely harmonies throughout from the band.

The chorus is an immediate earworm (yes, it’s one word. Damn autocorrect for trying to split it up), expressing utter enamourment towards a romantic interest that constantly causes legs to wobble and one’s heart to tremble. However, there is a desire to “take my time while I’m discovering you”.

4. To The Sun

The predominant riff in ‘To The Sun’ sounds almost surf rock-inspired, as Adam’s vocals take on minor scale notes while waiting “for the storm to clear away”.

Bringing skanking guitar for the first half of the track, we are then treated to more chunky guitar noodling later on.

An interesting bridge transition comes in the form of plucky synth sounds. Then a more electronic-sounding, drum ‘n’ bass-style percussion pattern comes in as the protagonist decides “I’m getting out of here”.

5. Mistakes

Let’s strap in for some more sad times, as we conclude the first half of ‘Sayonara Paranoia’. ‘Mistakes’ brings back a more traditional ska baseline – and bass line, I suppose – with the main mistake dwelled on being “falling for you”.

Particularly poetic in lyrical makeup, there are woes about feeling like “just a stranger passing by”.

Unlike reggae scene peers Easydread, there is “no line, and got no hook”, as mental energy dwindles. And unlike Jaya The Cat (please bring some new tunes out soooooon 🤞), this was not a mistake that had to be made.

6. Chains (Falling into You)

A completely different situation befalls the protagonist at the start of Side 2, as a love interest is “holding me tight”. Despite friends warning to “stay away”, deep infatuation persists.

Style-wise, ‘Chains (Falling into You)’ continues on the traditional ska vein, which is never a bad thing if you’re into that kind of stuff.

More lovely vocal harmonies are present, including a cheeky falsetto in the chorus. The track is brought over the five minute duration mark by a chorus refrain accompanied by some gentle backing “coo-coo”s.

7. Mission To Mars

‘Mission To Mars’ picks up the pace again, bringing a mostly ironic take to the notion of going to another planet.

Unlike this venture, referred to as “a waste of time” in the song, this break from the romantic misadventures fits well with the space-themed album cover. There is a more general commentary around how people can become “a sucker for the latest trend”.

This is another track where the chorus is a lovely earworm (IT’S ONE WORD AUTOCORRECT, GET IT TOGETHER 🤬), with the melody behind it demonstrating some range.

8. Me and My Friends

Second single ‘Me and My Friends’ decreases the tempo again, and incorporates more reggae inspiration. In the search for good times to be had, instead what is found is “the pungent smell of sadness”.

Taking aim at ongoing conflict and global poverty, the song brings a guitar solo in the bridge that is very similar to Captain Accident’s 2013 single ‘Stompin Thru Twilight‘, before a final chorus drives the despair home.

I hope the band don’t take this the wrong way, as it’s not intended negatively, but the lyrics “rising sea of tears” reminded me of Band Aid’s ‘Do They Know It’s C*******s?‘ (censored as it is not the time yet, at time of writing).

9. Pick Up The Slack

Predominant track ‘Pick Up The Slack’ (hey, that rhymes!) attempts to put a brave face on things, and bring the “band of brothers” together to get through the bad times.

Vowing that “we won’t leave no one behind”, unity is the key goal in this one.

Fittingly, the song is among the fastest in tempo on the album, with ska sensibilities dominating the musical makeup. The inclusion of keyboard further forward in the mix alongside a swell of guitar makes for a satisfying bridge, ahead of a delivery of the chorus that is mostly just percussion and vocals.

10. Walk Away

Finally, we have ‘Walk Away’, which true to the rollercoaster of emotions portrayed throughout this release, brings a final dose of heartbreak.

Slow and reggae-styled, self-deprecation reigns in one’s psyche as the protagonist ponders on whether “I am gonna make it on my own”. While the breakup is “no surprise”, there is sad wonder around how the relationship can end just like that 🫰 (is that a finger-click emoji? If not, just pretend it is, alright?).

The guitar solos in this one are a bit more jagged and raw-sounding, as if to further emphasise the heartbreak present. Backing woah’s help wrap the album up.

Closing Remarks

As a long-time fan of the band, ‘Sayonara Paranoia’ continues the consistency of strong ska and reggae tunes with groovy harmonies and emotional lyricism. An album of contrasts, themes of optimism and resilience are interspersed with self-doubt and grief.

Perhaps live audiences will hear more faster songs in the band’s setlist going forward, after years of ‘Holding On’ being the token ska-specific song performed on stage at festivals (from my experience anyway – their more local gigs may well include more ska. And Slither On The Dashboard has been performed live already too, sooooo…).

‘Sayonara Paranoia’ comes out on the 23rd October, and they’re headlining the ‘Skalloween’ gig being hosted by Signature Brew Haggerston!

If you’re after music inspired by Toots and the Maytals, King Prawn and The Toasters, the album should be a good use of your time.

Cheers Adam and the band for kindly providing me early access to this bad boy, and of course to you for reading. Up the Posh, and up the Punx 🤘