SEMI-FAMOUS – Destroy Ourselves (Rare Bird/Duck! Records, rarebirdlit.com/rare-bird-duck-records-1)
No, Semi-Famous is not related to the movie, “Almost Famous.” It’s a new “super-group,” fronted by John “Jughead” Pierson, perhaps best known for co-founding Screeching Weasel, but also for his other excellent bands like Even In Blackouts, The Mopes, and Mitochondriacs. The album is a concept, based on his semi-fictionalized, semi-autobiographical 2001 book, “Weasels in a Box” (which is also the title of the album’s first track). To mark the book’s first time in paperback and audiobook forms, Pierson decided to bring the book’s pop punk band to life, and he worked with Ryan Rockwell (of Mixtapes) to begin writing. They recruited other friends to help bring the songs to life, including Scooby Don’t’s Tyson Cornell and Billy Brown, of Crash and Burn, Ashers, and Unseen. Poli van Dam, formerly of The Bombpops and currently of The Poli van Dam Band, filled out the lineup. The record marks Pierson’s return to writing snotty pop punk songs after a long detour through other creative endeavors. And, while he purposely wanted to avoid sounding like Screeching Weasel (he claims he doesn’t have the vocal talents of Dan Vapid or the dark humor of Ben Weasel), they definitely evoke the Screeching Weasel era of smart-aleck sassy pop punk. The first introductory track, “Weasels in a Box,” is a perfect example. The lyrics brag about being semi-famous, insincere, and having “a lot of problems.” Sound familiar? It could be a thinly masked description of Screeching Weasel. But the short song also talks about fallen friends and sullen feelings. “I don’t wanna be wanna be famous,” the song declares, either insincerely from the past perspective or very sincerely with a backward view of life. “Middle School Monster,” too, was written explicitly to sound like a Vapid song from the “Wiggle” era, “I Was a High School Psychopath.” They do a good job of it, too, matching the vibe and twisting the concept from the perspective of someone who’s bullied and snaps to that of a kid with emotional development and mental health problems.
The songs on the LP are generally exactly what you would expect: brash, flippant, rude pop punk. The 14 tracks are short mid-tempo blasts of punk rock with simple melodies and chord progressions and mischievous impertinent lyrics. Like “Pedestal In Hell,” about putting someone in the titular place of dishonor for “what you’ve done to us,” which the person can’t see because “the flames made it so hazy hazy hazy hazy,” in the king of bitter punk rock breakups. “What’s a Metaphor” is a humorous jab at silly punk rock lyrics that attempt and fail to describe the horrific condition of the world and humanity. It’s solid poppy Ramones-core with a handful of obligatory whoa-ohs. “Obvious” is a favorite, another loping track about the troubles with writing pop punk songs, throwing them away, trying again, getting older and sitting around “waiting for the world to end.” It’s also one of the songs on which van Dam takes some of the lead vocals, and her powerful pipes are a good match for Rockwell’s.
There are a couple of guest-written songs on the album. “Clown in the Window” is the darkest track of the album, and it was written by another pop punk luminary, none other than Dan Vapid himself. It’s a mysterious sounding track about creepers that lurk in the lives of semi-famous bands. And J. Prozac contributed “Not Ready,” a depressing song of the slow deterioration of a relationship and the denial that it’s happening.
Not everything on the album is pop punk. “Sun’s Waning Moon” is more like something from Even in Blackouts, as it’s a pretty acoustic instrumental, with guitars and gorgeous harmonized lyric-free vocals used as additional instruments. It’s a clear favorite of mine here. I’ve not read Pierson’s book yet, but this new paperback edition gives me the chance and reason to do so. Probably with this record playing on repeat.
LOS SAINTS – Certified (ENCI Records, encimusic.com)
Los Saints is an alternative rock band hailing from sunny San Diego – well, suburban Chula Vista to be precise. They may come from sunny climes, but their music sounds anything but. They’ve got a dreamier, more introspective quality, with thick reverb-drenched arrangements. The songs are danceable, but not dance music. Los Saints is more firmly rooted in the indie rock tradition, with buzzy guitars and thumping bass. But there’s a deliberate rhythm from the drums that makes your body want to move. There are ethereal synths and vocals that range from diaphanous to smoky. Some of the songs seem to mix 80s gloom rock (such as Joy Division) with modern dream pop, to great effect. Some highlights for me: “Where We Goin” has strong grunge guitars, huge fun gang backing vocals, fluttering synths, and deep baritone lead vocals; with such disparate elements it would seem on paper to be a confusing mélange, but it works really well. I enjoy the roller coaster that is “Never Said,” a song that ranges from shrill to smooth, from thin to lush, but always with a steady beat. It speaks to the ups and downs, the good and the bad of the dating experience, particularly in the Tinder age. “Stupid Move” has an unsettling dark sound and lyrics about making an error in judgment that could have catastrophic consequences. It’s got a sinister saxophone sound repeating an ominous riff and the whole track has a pall hanging over it. And “Doctor” is a favorite for its melancholy. It’s much slower and quieter than the other tracks, with a sound of profound sadness. According to lead vocalist Angel Mariscal, it’s a song about mental health, about a particularly bad year he had when he was in high school. It’s got a haunting quality, especially in the outro, when we start to hear a confusing array of voices in the background and some metallic hammering. It’s quite stunning. As is the whole LP.
CHRISTOPHER LEE LEWIS – They Haven’t Figured Out What’s Wrong With Me (Sweet Cheetah Records, www.sweet-cheetah-records.com)
Christopher Lee Lewis is a Midwesterner who made the move to Los Angeles, and though he started his musical life playing drums, his debut solo LP is just him and his acoustic guitar. The record serves a worthy cause, as all proceeds will be donated to The Trevor Project. The ten songs on this LP are subdued and relaxed; with just acoustic guitar and vocals there are definite folk influences, but more than that I can hear hints of psychedelia. The PR materials are spot on when mentioning Roky Erickson’s “For You” and Kurt Cobain’s “Do Re Mi” home demo. What immediately came to my mind was Erickson’s “You Don’t Love Me Yet,” because the songs have the same relaxed yet emotional feel. And even though the musical vibe is relaxed, the lyrics often are not. Such is the case with the album’s opening track, “Enmity.” The song is quiet and delicate, but the words are harsh and biting, about a hostile relationship between two people. “Palm Meets Pine,” too, has an easy sound, but the title references the palm tree that sways and moves with the wind, as opposed to a pine tree, which is hard and rigid and unmoving. Such are relationships where one person uses and abuses the good nature of the other, who accepts the abuse and comes back for more. Broken hearts appear often on this album, including “Sewing the Heart,” a simple song with lyrics mostly consisting of a plea to “Sew my heart back up.” Thoughts of suicide sometimes creep into some of the songs, too, such as “Pixel Debris” and “Did You Get a Chance to Look at the Moon?” Both talk about selling off or throwing away all belongings. The former repeats over and over that “It’s time to say goodbye,” while the latter speaks of a hurting heart and “All my problems / Sorted out so soon” and “All my solutions / Are silky smooth.” I particularly love the flowing sound of “Pretty Boy,” with hints of Latin folk and lyrics about dueling self-images: the one we portray to the world and the one we feel inside. This album is filled with quiet desperation, seething pain below the easy-going surface.
COASTAL CLUB – All the Things You Said (wearecoastalclub.bandcamp.com)
Coastal Club is an Ohio band formed in 2017, about a year after The Happy Fits and eleven years after Vampire Weekend, the two bands that most come to mind when listening to this, the band’s latest release. While the band has released a few EPs and a handful of singles, and despite the PR materials calling this an EP, I’m going to declare it’s the band’s sophomore full-length. At seven songs and 31 minutes, it meets that metric. Their first LP was an expanded version of the EP, “I Get Nervous Sometimes.” Coastal Club makes joyous pop music with an indie flare, the same sort of songs that endeared me to The Happy Fits when I was first introduced to them during the pandemic. They sound so sunny and warm, even when they’re being a little more introspective, like on “Are You There.” The song is pulled back in intensity from most of the rest, and you can hear the feelings being expressed. But the synths, drums, guitar, and bass are still bright and bubbly. It’s like when you’re sad, but you’re also happy and know good things are coming, and you can’t contain your excitement. Speaking of excitement, “Cigarettes,” the song that opens the album, is filled with it. It’s a song about youthful exuberance, and the song has that in spades. I love the production, mixing solo singing with harmonized backing vocals, and the cuts from quiet parts to massive ones. With songs like this, the band will surely be on a fast rising trajectory, should they want that. Alex Hirlinger’s lead vocals croon with vibrato, giving the songs a romantic feel and a devil-may-care swagger. When he sings like this, he reminds me a lot of The Happy Fits’ Calvin Langman. When his vocals smooth out they’re more like Ezra Koenig of Vampire Weekend. Besides sounding euphoric, the songs on this record seem breezy. You can practically feel the sun on your skin and the ocean breeze blowing through your hair when you listen. At the opposite end of the spectrum is the subtle “Too Close,” which feels more like watching the sun setting in a city than the beach day of many of the songs. The throbbing in the bass and synths and the mechanical guitar riffs give the song that urban hubbub effect. The lyrics even mention “sunlight fades away,” which I caught after the music had already given me that vibe. Of all the songs on the record I think my favorites are the first and the last. I already mentioned “Cigarettes,” but the album’s closer, “Lost My Head,” has the feel being out of time. It’s got the atmosphere of a 1920s or 1930s pop tune, but with modern production techniques and instrumentation. I love the way the synths are used to provide a mix of strings and flutes and how the track shimmers with romance, like the pop songs of a century ago. What a bright, fun record!
SAMMY KAY – July 1960 (sammykaynj.bandcamp.com; Sell the Heart Records/Engineer Records)
Take a large spoonful of Americana and another of Tom Waits. Mix together in the studio. Sprinkle liberally with acoustic and steel guitars, mix in some upright bass, and occasionally dust with harmonica. Serve with heartfelt lyrics. You’ve now got the recipe for Sammy Kay’s latest solo LP. The world has changed quite a lot since Kay’s last LP, “civil/WAR.” That LP was little livelier and more raucous, even though it was stripped back from earlier efforts. In comparison, “July 1960” is softer, gentler, and more introspective. There’s a sense of loss and melancholy in the songs, and in Kay’s vocals you can feel weariness from bearing the weight of the world. It’s a delicate record that, despite the palpable sadness, has a sense of hope. The opening track, “How Fast to Run,” sings of “the slim, slim chance that you’ll say yes,” and offers “the time to try.” It’s acknowledgement of life’s difficulties, but dares to dream of something better. You can hear the loneliness of the road in “Greyhound Bus,” a song featuring just acoustic guitar, vocals, and harmonica, and you can hear the pensive remembrance of better days in “Lovesong.” “Don’t Like Surprises” is even more stripped back, to just acoustic guitar and vocals, yet it’s got the sound of a spiritual. Kay’s guitar work is simple yet transcendent, and his vocals have the quality of a devotional. Another favorite is the gorgeous waltz, “Meet You in Mexico,” the steel guitar weeping, dripping tears, and the upright bass providing a deep rumble underneath. There’s a hidden track at the end after “A Better Way.” It’s a wonderful dirge with morose brass choir with the sound of a desperate plea, Kay’s vocals crying out in a forlorn appeal. You’ve seen my past reviews of acoustic material ad I know it’s not for everybody. But this is a beautiful record.
PALM GHOSTS – "Façades 2: Masks" EP (palmghosts.bandcamp.com; Sweet Cheetah Records/Poptek Records)
“Masks” is the second EP in Palm Ghosts’ ambitious plan to release four EPs this year, culminating in a double LP collection of all four. Like the first installment, “Façades 1: Escape,” this installment features five new tracks, but while “Escape” featured a genre-hopping ride, “Masks” has more consistency, with a mixture of bright pop and dark brooding post-punk pop. There’s a comparison to The Smiths to be made, with songs sounding brighter than the vocals and lyrics. Joseph Lekkas’ lead vocals are similar to those of Ian Curtis, the late front man of Joy Division, with a deep baritone croon. That croon borders on lounge singing (in a good way) on the wonderful “Hush the Beggars of Love,” as Lekkas’s singing effortlessly glides through the lyrics. “Wild in Every Way” is a standout for its huge anthemic quality, synths ringing out like bells, even as the vocals are more subtle than on other tracks. Guitars are pulled back in the mix, and have an Americana quality with sliding notes. Another solid effort from Palm Ghosts.
SMUG BROTHERS – Another Bar Behind the Night (smugbrothers.bandcamp.com; Anyway Records/Just Because Records)
The last time I reviewed a Smug Brothers release it was the “Emerald Lemonade” EP, at the end of 2022. In that review I commented that they were clearly influenced by power pop and British Invasion pop, that the music was enjoyable, but that the songs were awfully short and seemed to be fragments rather than fully realized songs. Several months after that, they released a full length LP, and nearly a year after that we have a new 6-song EP. The power pop and British Invasion influences are still there, but so are others. And though some of the songs are still quite short, at right around the one-minute mark, they feel more fleshed out, more complete. “Javelina Nowhere” opens the EP with a delicate pop tune that has a definite retro sound, with guitars jangling and a flute providing embellishment. The flute is particularly lovely, and the injection of surf guitar licks provides a Southern California beach sound. We get psych-glam pop in “Seamus and the Younger,” and “Alexander for Two” uses acoustic guitar and keyboards playing a rising chord progression to create something well suited for a stage production. But it’s “Shedding Polymer” that’s the biggest departure from the band’s usual sound. Though it’s still a power pop song, it has a grittier sound, mixing garage and grunge elements in. Good stuff.
THE REAL NUMBERS – Thank You (Kool Kat Musik, www.koolkatmusik.com)
This is an album that almost never happened. After a 2015 self-released EP called “Wonderful,” the band began work on a new LP. But after much writing and recording, a hard drive failure caused all the work to be lost. Following this was the global pandemic, and it almost did the band in. But perseverance paid off, and as it became possible, the band reconstructed and re-recorded the songs anew. And the result is bright, bouncy, jazzy, folksy, and poppy. Much of it sounds like stage show music, in the vein of what you might hear on the old Prairie Home Companion show. You can hear this distinctly in the opening track, “Lucy’s In Love,” which has a cool beat, ska rhythms, and a horn section giving it a jazzy pop vibe, like sunshine pop of the 70s. Immediately after this is “I Love to Sing,” with glockenspiel, acoustic guitar, and lyrics about learning to love simple fun songs as a child. It almost feels like a song that Bob would have sung to the kids and Muppets on “Sesame Street,” complete with a down home harmonica solo. “You, Me, and the Sunshine” is another perfect example of the Prairie Home Companion-like material, with acoustic guitar and clarinet in the arrangement. The album also has 70s funky rock with a Beatles influence in songs like “Lydia Pinkham” and “News of the Day.” Some tracks try to be more modern indie, like “Sorry for the Mess” or “Spin,” and these don’t succeed, coming across like an older square white guy trying to be hip and current. And the cover of the “Golden Girls” theme, “Thank You for Being a Friend” could have been left out. The LP ends with “Souvenirs,” a song right out of a sentimental film soundtrack. It starts quietly and builds and swells with an arrangement that includes strings. It’s quite lovely. I really like those stage show and sunshine pop songs. I wish The Real Numbers focused on more of those songs rather than trying to be something they’re not, like indie rockers.
SNOW TRAIL – Abandoned Capsule (itselevenrecords.bandcamp.com)
Remember when some punk and hardcore bands in the mid-80s started experimenting with other styles of music? Remember some of them tried a Goth-like post-punk style, particularly TSOL? This is the sort of sound you’ll hear from Snow Trail, a band from Jena, Germany. The music is reverb-laden and the guitar tone has a treble-filled surf tone, with vocals emphatically spoken with great intention and ire. There’s a definite retro vibe going on here, and the bulk of the LP is this style. Hypnotic rolling bass lines, a strong snare and high hat dance beat, and big sustained guitar notes are de rigueur. It’s well done stuff, and if you’re a fan of the genre it’s a must, but for some people it may be a bit much. I like it, but the tracks I like best are the ones that deviate a little bit from the standard sound. The rolling bass and mesmerizing rhythm of “Fragments Repeated” are, well, mesmerizing. The most interesting track of the LP has to be “Murky Acrylic Windows,” which features saxophones in the arrangement, particularly strongly in the intro and on the bridge. The song ends with amazing jazzy keyboards and the saxes. I like the ethnic influence of the mainly instrumental “Global Village” (there’s some periodic spoken vocals), and “Gravity” is sort of a noisy ambient track. And I love the grandiosity of “Infinity,” another instrumental and the penultimate track of the LP. One great thing about this album is that upon first listen it sounds fine, but maybe too much of the same thing. But upon repeated listens, you can hear more and more interesting intricacies in the arrangements. That’s the mark of a good record.
THE SWINGIN’ UTTERS – Boots 'N' Booze Issue #4 (Pirates Press Records, piratespressrecords.com)
Pirates Press has published a new issue of their graphic novel series "Boots N Booze," and this one comes with a new Swingin’ Utters 7-inch. This time out the Utters give us two Cock Sparrer covers. The A-side is “I Got Your Number,” while the B-side has “Sunday Stripper.” They’re solid covers, true to the originals, the A-side being a great bouncy Oi classic about seeing through the lies of fake people and the B-side being more of a “novelty” sort of rock and roll song about a sexy woman. The A-side will always be relevant and always be a great sound, but that B-side is definitely a throwback to less enlightened days. Gimme more of that A-side! The Utters play the song at a sprightlier tempo than the original, making it sound more urgent. The B-side’s original track is much more stripped back and primitive sounding. The Utters’ cover features an arrangement that’s thicker and harder rock and roll. If you weren’t a Cock Sparrer fan already, this new record will make you one – and of course you’re an Utters fan already, right? Because they do a great job with both tracks.
BAD IDOLS – Popstar (Say-10 Records, www.say-10.com)
Bad Idols? I would never call them bad! They’ve got a casual pop punk sound, yet are incongruously tight and energetic. Their label likens them to Lookout Records bands like Crimpshrine or Fifteen, and it’s not far off – except Bad Idols are way bigger and tighter than those bands ever were. The same sort of pop punk snotty attitude exists, but the dozen songs are more expertly played, less sloppy. The comparison is best heard in the vocals, with a bunch of throaty swagger, and even extends to the occasional injection of ska into the punk rock, as heard toward the end of the song “So Bold” and throughout “Denial.” The album also contains a new version of the band’s song, “Grind Me Up Grindr,” which previously appeared on the LGBTQ+ compilation, “Never Erased.” I reviewed that comp, as well as the band’s four songs on “Get Stoked Vol. 2,” and this LP shows the growth of the band; as good as those earlier recordings were, this new LP is even better. Songs like “Scorn,” which opens the album, showcase this, with a tight performance and a mastery of dynamics, with the song ranging from quiet and simmering to huge and boiling. I love the huge hammering tone of “Hatred,” a song whose relentless music matches the intensity of its lyrics. And in the big punk waltz, “Former Friend,” you can feel the intense pain and regret. The one issue I have with these songs is they’re way too short, with many of them clocking in under a minute and a half. A lot of them seem to be just getting started when they end, and they leave me wanting more. If you like the late 80s and early 90s Bay Area sound, but amped up, you’re gonna love this. I know I do.
THE DROWNS – “Just The Way She Goes” b/w “1979 Trans Am” (Pirates Press Records, piratespressrecords.com)
The Drowns are just tireless, constantly touring and pumping out new jams. This 2-song 7” single is a preview of the new LP the Drowns will be releasing early in 2024. The A-side may be one of my favorite recent Drowns songs, with a decidedly power pop bent, loaded with great melodic hooks and riffs. It’s a bouncy tune sure to get your motor revving. Speaking of revving a motor, “1979 Trans Am” is a more straight-ahead rock and roll track with just the right amount of glam. The Drowns may not be the punk band or event the street punk they used to be, but they sure as hell are still a ton of fun and hella good musicians and songwriters. I can’t wait for the new LP.
LET’S GO – Smile (High End Denim Records, highenddenimrecords.com)
Hailing from Kamloops, British Columbia (that’s in Canada, ya hosers!), Let’s Go is a power-punk trio with a strong melodic skate punk streak. The songs on this sophomore LP are up-tempo and thunderous, with a bigger sound than one might expect from three people. Metallic flourishes make their way into some of the songs, and huge gang vocals are plentiful. Many of the songs feature themes of class struggle, rebellion against the elites, disgust at the corporate sponsored destruction of our planet, and unity in the face of oppression and exploitation. My favorite song has to be “Never Gonna Die,” because it reminds me of a mix of Naked Raygun, skate punk, and metal, with plenty of syncopated “Hey! Hey! Hey!” interjections. The lyrics are a love song to fans, with lyrics like, “Nights like this they fuel the machine / You are the power in our scene,” and “You make us feel ten feet tall.” And another favorite is “Our Song,” a bright hopeful anthem with fun lyrics about unity in the face of greedy oppressors and rounding up the rich who exploit our labors and lopping off their heads and/or eating them. “Pixels” closes the LP with a song very different from the rest, with a poppy opening before the punk spigot is turned on. Lyrically, it’s about the crazy thoughts and questioning the nature of reality that cross one’s minds as we lie in bed at night, halfway between wakefulness and sleep. With some decent sonic variety within the larger skate punk genre and with some lyrics that speak to urgent issues, “Smile” is a solid record.
SAM RUSSO – Mistletoe Pier (Red Scare Industries, www.redscare.net)
UK singer-songwriter Sam Russo is getting into the holiday spirit with a new single from our friends at Red Scare. And these songs are like nothing we’ve heard from Sam before, both heart-tugging ballads. “Christmas Under The Pier” features a twangy acoustic guitar and a saxophone to present a subtly bluesy song filled with lonesome nostalgia for better times. It’s got a retro jazzy doo-wop feel, and you can hear the heartache in Russo’s scratchy vocals. “Merry Christmas (Baby, I’m Sorry)” has a huge dream pop sound, with heavy reverb in the electric guitars and vocals, still with a very melancholy vibe. The fluttering flutes are a gorgeous touch, and the lyrics are dripping with regret over having hurt and lost one’s love, someone who has moved on and has a new lover. These songs may not reflect the joy the holiday season supposedly brings, but they do certainly represent the sadness many feel this time of year. These songs are destined to be underground holiday classics.
AUTOGRAMM – Music That Humans Can Play (Stomp Records, stomprecords.com)
Autogramm is a band that spans the North American continent, with members in Seattle, Chicago, and Vancouver. They play music that ranges from the power pop of the late 70s to the new wave of the early and mid 80s, with synth-fueled arrangements alongside guitar, bass, and drums. I hear the influence of bands as disparate as The Cars, Cheap Trick, Devo, OMD, and even Vangelis. All of these can be heard in varying ratios throughout the eleven tracks on this, the band’s third LP. On just the very first track, “Born Losers,” you can hear bouncy power pop, with subtle new wave dance beat that could have come from Kraftwerk, and when the synths get really big I hear the sweeping epic sounds of Vangelis. It’s a pretty unique mix of sounds and genres and it works remarkably well. “WannaBe” is the hardest, edgiest track of the album, with gritty synths providing the beat to this song that leans the heaviest into rock and roll and has the least new wave in it. The variety continues with “Hey Allie,” which is a sort of pep talk to the titular woman and has a 60s jangle to it, for the most part, but the synths in the bridge scream new wave. “Why Do We Dance” is a favorite. It starts with an eerie sound, but after the intro it’s got a cool minimalist Devo sort of sound (or, more precisely but more obscurely, a Richard Bone sort of sound). “Plastic Punks” is a fun one, reminiscent of early punk/new wave crossover music, with synth sound effects. And it’s got a great line in the lyrics: “Rock ‘n’ roll is for adults so what’s left for the kids? / Sex and drugs and video games just doesn’t have the same ring to it.” And “Always Gonna Be My Girl” has the sound of early OMD, deep synths and dark lonesome sounds, but the chorus has the sound of 50s rock and roll. The nostalgic sounds make this a fun record, and the variety in sounds keeps the nostalgia from sounding trite and boring. Good stuff!
DEATH CASSETTE – Get Rid of It (High End Denim Records, highenddenimrecords.com)
Whoa! This is some heavy, aggressive grunged up punk rock with a strong garage element right here. This is a six-song EP, and within that short span we get a variety of sounds. “Storm” opens the EP with some strong powerful punk-fucking-rock, with a thick arrangement and a surf punk vibe going on, The rhythm section veritably throbs, the vocals shout with incredible rage, and the lead guitar injects some of that East Bay Ray surf sound. “Reflector” maintains the big hard punk sound, drops the surf, and pummels you into submission. “Trapped” will submerge you in 1990s Seattle, and you’ll emerge needing a shower to rinse away all of the thick grunge. “Get Done” and “Leech” are a couple more solid punk tracks that pull no punches, and “Solstice” is the lone ballad of the bunch with a wistful 80s punk ballad meets goth-grunge sort of thing. It’s the only track of the EP that didn’t knock me off my feet. This gets a real “hell, yeah!”
DEECRACKS – 20 Years: A Frantic Effort (Pirates Press Records, piratespressrecords.com)
Is it possible that DeeCracks, the Austrian punk rock band, is twenty years old? Indeed, they are, and to celebrate, the band went into the studio to record new versions of a whole slew of songs that span their catalog, as well as a couple new ones. And just a casual listen to this new collection provides a very convincing argument for the continued popularity of the band. They play strong poppy street punk mixed with a Ramones-core feel. Solid musicianship melds seamlessly with powerful gritty lead vocals and robust harmonized backing vocals. And, since this needs to span a hefty two decades, there are a lot of songs here; 28 tracks in 51 minutes. And I am impressed with the level of energy brought to each and every song. “Burnt Out,” one of the new songs, opens the collection, and it’s a short, bright song about facing one’s demons. It opens with the satirical poem, “Roses are red, violets are blue, I’m a schizophrenic, and so am I.” The song has a huge bounce to it, with big shining guitars to go with the dark lyrics. “Where We Belong” is the other new song, and it appears near the end of the track listing, on the B-side of the third of three 10” records. It’s a twangy pop punk love song with more of a loping feel. Sandwiched between these are a multitude of tunes, with a lot of your favorites and more whoa-ohs than you can shake a stick at. The band do a remarkable job channeling The Ramones on songs like “Not Another Minute,” “Gimme Gimme Plastic Surgery,” “I Need a Nurse” (which includes the famous lyric from “Pinhead,” “D-U-M-B everyone’s accusing me,” and the anthem, “Adderall,” about the miracle drug that’s one of the most commonly abused. There are other songs with a more easy going pop punk sound like “Shambles” (from the “Sonic Delusions” LP), “We Can’t Help It” (from the “Serious Issues” LP), which has some great power pop chord changes, and “Valentine” (also from “Sonic Delusions”), a sweet sounding poppy punk song. The LP ends with a live recording of “Beach 90,” off the EP of the same name and also released on the “Totally Cracked!” LP. This collection is essential listening, not just for Dee Cracks fans, but also for fans of all poppy punk rock music.
DIAMOND HANDS – Cookie (Kool Kat Musik, www.koolkatmusik.com)
The prolific Diamond Hands has returned with their fifth LP in a mere seven years as a band. The duo of Joel Wall and Jon Flynn, operating out of Los Angeles, play a mix of 60s pop, 70s power pop and modern indie and dream pop, loaded with jangly goodness and hooks. The arrangements are quite lush and rich for a duo, and the vocal harmonies are done very well. An example of this sound is on display on the opening track, “I Want You,” which has 60s jangle, modern dreaminess, and a 70s dance beat. “Fruit Trees” has hints of psychedelic era Beatles, such as was found in some songs on Sergeant Pepper’s Lonely Hearts Club Band, complete with strings, tempered with 70s soft rock sounds. The song includes a lovely homage to the song “Lucy in the Sky with Diamonds” in the instrumental break near the end, too. I also hear Elvis Costello power pop in the song “Better Way,” primarily in the vocals and melody, while the instrumentals are filled with psychedelic twang. And interestingly, “Take You Home Again” blends George Harrison-like songwriting with John Lennon style vocals and a modern dreamy vibrato in the big guitars, the lead getting a bluesy solo. With such disparate influences and solid songwriting, this is a fine addition to Diamond Hands’ catalog.
DROP NINETEENS – Hard Light (Wharf Cat Records, www.wharfcatrecords.com)
Drop Nineteens were a short-lived band back in the early 90s, releasing only two LPs, two EPs, and a single in the few years they were active. They played quietly gorgeous shoegaze/dreamy alternative pop music, and then dissolved in 1994. Guitarist/vocalist Greg Ackell gave up on music, and moved on with his life. That is, until 2021, when Ackell was contacted about making some music. And instead of automatically shutting it down, he gave it a go. And the result is this new LP, the band’s first in thirty years. True to form, they pick up where they left off, playing lovely understated pop music that’s lighter than typical shoegaze and focuses on guitar, bass, drums, and vocals rather than on the big synths of modern dream pop. The songs waft and whirl and there’s a wonderful introspective quality to them, with lightly jangling guitars and plenty of reverb. Backing vocals swirl around and the songs seem to cuddle you with comfort. The eleven tracks are just so smooth and easy going, and they’re all so nice it’s hard to pick favorites. But “Gal” does stand out with hints of Eastern music and gorgeous backing synths. It’s almost epic, but in a very elegantly restrained way. Drop Nineteens never get raucous and rowdy, but “Tarantula” is the closest they get. The song’s got a brighter sound and quicker tempo than most, stepping away from the dreaminess toward a more animated pop bounce. I love the somber tone of “Rose With Smoke,” a melancholy instrumental interlude around the halfway mark of the album. And the penultimate track, “Policeman Getting Lost, featuring acoustic guitar and what sounds like somewhat processed vocals, is the sort of soundtrack for that period between wakefulness and sleep, when you’re not quite dreaming, but the mind wanders freely. Welcome back, Drop Nineteens, and keep on being gorgeous.
TURN N FIRE – Dying on This Hill (turnnfire.bandcamp.com)
Turn N Fire, Chicago’s self-proclaimed “Midwestern spilt beer despair rock” band, join a host of others who spent the pandemic lock-down writing songs, passing demos back and forth, and adding their parts. They say the baker’s dozen tracks represent who they’ve become as people, for better or worse, and call it “campfire rock.” As vocalist/ guitarist Jon Kelly puts it, “It’s sad songs over happy chords you could play around an open fire with cheap beer and the best of friends.” There are even songs that reference this: The chorus of “Happy Hill” sings of “whiskey and cheap beer” as a panacea to cover up the ills of life. And “Good Drinks & Goodbyes,” which has hints of Celtic punk and western rock in it” also has references to sharing drinks with friends when parting company. Musically Turn N Fire can be categorized with those bands that play emotionally charged pop punk, with dark lyrics over happy melodies, featuring angsty lead vocals and big gang vocals. It’s a solid sound, the kind I enjoy hearing as I hang with friends in tiny dive bars that have bathrooms that smell bad and are falling apart. These are the kind of songs that will find you crowding to the front and shouting the lyrics with the band. It’s good time/bad time punk rock at its best. A couple of songs stand out among this solid release. “F.O.M.O.” has a huge broad sound, more indie than pop punk, and I love the darkness and the big throaty vocals of the wonderfully titled, “D.I. Why?” “Montezuma” has a big indie jangle in the guitars, and I particularly enjoy “America, Goddamn,” which starts with a humorous instrumental, and when the song gets started in earnest, it’s got a bit of dark twang and beat-poet spoken and shouted lyrics, and it speaks to the many ills we’re experiencing in our country, such as wages that are too low to live on, rampant drug abuse, high bills we have to pay, and the general difficulty of “making it” today, particularly when employers who shut down during the pandemic welcomed employees back with a pay cut. The refrain, “Hang the bastards” sums things up nicely. Then there’s the closing track, “Everybody’s Favorite Bar,” an acoustic tune with a singer-songwriter feel, completely different from the rest of the LP. It’s a song about the struggles with substance abuse, rehab, and trying to be a better person. I was not familiar with this band prior to receiving this record, but I’m now a fan.
WOOLWORTHY – Electric Heartbreak (Boss Tuneage Records, www.bosstuneage.com)
Woolworthy? With a name likely taken from a now defunct five and dime store, Woolworthy are, themselves, defunct no more. “Electric Heartbreak” represents the Chicago alternative band’s first LP in some 25 years, and their first release of any kind since their retrospective collection, “Recycler,” released way back in 1998. Now reunited, Woolworthy continue with their 90s brand of alternative rock with a pop aesthetic. The music is broad and expansive sounding, with the same influences from emo, grunge, and pop punk that’s common for the genre. I like “Break the Law with You,” which leans more into the pop punk side of things and has some nice rhythmic angularity. And the opening track, “Hand Grenade,” has a bright guitar sound that contrasts well with the darker emotional feel of the song. But some of the songs are a bit generic alternative rock. “Where Have All The Glad Girls Gone” fits this category, with a very repetitive melodic line, and vocal angst that feels forced. “The Hard Goodbye” is the hard rock end of the alternative rock spectrum, with a heavier guitar sound and an arena rock guitar solo. The album concludes with the obligatory acoustic number, “We Are Ruined.” And I’m always a sucker for acoustic, because I think when you strip a song down you expose the emotion more fully. And that’s the case here, in a song about loving someone who’s broken and loaded down with baggage, wanting to fix things and make it work, but it just can’t. If you enjoy the alternative rock sound, check this out, but I find most of it to be average.
40 REPS – Heads Up (Say-10 Records & Skateboards, www.say-10.com)
40 Reps, hailing from Richmond, Virginia, play that familiar sound of emotional “pop punk” with gruff, gritty vocals. After releasing their debut EP a couple years ago, “Heads Up” represents the band’s debut full-length LP. When I mention “emotional pop punk with gruff gritty vocals,” you know there’s a very distinct sound I’m talking about. And, while the band is extremely able, and taken individually most of the songs are pretty solid, put together as a whole the LP comes off as somewhat generic, particularly with many of the songs sounding too much alike and blending into each other For example, as you listen to the ending of the first track, which is the title track, and then the opening of the second track, “Looking for Trouble,” they sound nearly identical, with the same rhythms same tempo, same guitar tone, same dueling lead guitars, and so on. Of the ten tracks, “Nail & Tooth” probably is my favorite, because though it is played at the same tempo and with the same tone as all the other tracks, it does change up the rhythms and riffs somewhat, making it stand out as the most different from the rest. A couple of other tracks are a little bit different, too; “Judy” and “White Pickett Fence” both have a country pop vibe dressed up as punk going on, making them my least favorite tracks of the album. I mean, I bet I would enjoy seeing 40 Reps live at some dingy dive bar with friends, but listening to these songs back to back on a LP isn’t doing it for me.
CHICKEN HAPPEN – IV (chickenhappen.bandcamp.com)
Chicken Happen is a clever band name. It’s also a band that’s hard to classify, and that’s a really good thing. It’s also hard to pinpoint why I enjoy this album so much. Maybe it’s Lilly Choi’s lovely yet matter-of-fact vocals that remind me of many of my favorite indie pop bands of the 90s. Maybe it’s the gorgeous keyboards used throughout the dozen songs, both electric organ and acoustic piano. Maybe it’s the varied genres explored or the clean production from Meatwave’s Chris Sutter, who also contributes some guitars and vocals. Whatever it is, this is a wonderful glorious listen. The album starts out with “Turn,” a soulful spiritual. “When’s it my turn?” the song asks, “When’s it my chance to live the life that I want?” The solemn song is all about asserting a sense of self, becoming your own person, and breaking away from the rules others impose. And when I say the band is hard to pin down and moves through various genres, I mean it. We get bright poppy songs like “Easy” (a song about taking the easy way out difficult situations). We get the ironically smooth flowing pop song, “Rage” (about anger at the selfishness of others). There are various retro sounds here, too, including the 70s soul sounds of “Matter” and the 50s doo-wop of “Fly.” And I love the dreamy waltz, “Use,” a song about trying to keep focused when all you want to do is daydream about possibilities. “What’s the use in dreaming when dreams never come true?” asks the chorus, in a despondent surrender to a depressing reality. Despite the genre hopping going on here, the songs all remain unmistakably Chicken Happen. This is a wonderful record.
FINE DINING – No Reservations (finediningpunkrock.bandcamp.com/)
Fine Dining, out of the Los Angeles metro area, play speedy, crunchy, metallic punk rock in a 90s vein. The dozen songs on this LP are as aggressive as they come, with fast ‘n’ loud tracks that will pound and pummel you, and gang vocals that will make you want to sing along. Imagine mixing 90s skate punk, metal, and youth crew hardcore and you get an idea of what Fine Dining sounds like. Lead vocals are belted out with power in a higher tenor range with a good deal of rasp and grit, drums walloping away, smashing you to the ground, and the guitars and bass provide an impenetrable wall, occasionally embellished with metallic licks and flourishes. The aggression extends to the lyrics, too: “Reprisal” is a song about exacting revenge, and has lyrics including “I grit my teeth and I knock you out.” But the reprisal is in the form of music, rather than actual violence, as the song says, “With all this pain I play my guitar.” The melody and arrangement are relatively simple, but quite effective, and this may be my favorite track of the album. Some songs add in bits of variety in the sound, even though the basic formula remains the same. For example, “Rinse, Repeat” has a soaring quality in both the lead guitars and the lead vocals. And I love the bass on “Vacant Parts,” with its deep rich tone. The track is a bit slower and has the feel of a sweeping epic, the guitars still raging and keeping up that wall of sound. While this isn’t the sort of stuff I listen to on a regular basis, I can appreciate the execution here, and fans of this genre won’t go wrong checking it out.
HOOPER – Swim the Races Nobody Wants (Snappy Little Numbers Quality Audio Recordings)
Hooper’s been around awhile, for over a decade. In that time, though, this is only their third full-length LP (though they’ve released a number of EPs and singles), and all of their releases have been with Snappy Little Numbers. Musically, the band plays the sort of indie rock that hardcore bands started making in the 80s and 90s, as they “matured” and “outgrew” hardcore. The music is more melodic than hardcore, edgier and more complex than power pop, less chaotic than the emo of the day. When this sort of music was being made back in the day it was labeled “college rock,” because a lot of college radio stations were playing it, and it was championed by publications like CMJ – College Music Journal. The members of Hooper acquit themselves well in the genre with this new LP, eleven songs in 34 minutes, with music that shows some great dynamic range, mastery of guitar tone, and some excellent choices in arrangement. Some tracks are just nice and melodic, while others make effective use of dissonance. A couple of good examples of the latter are “List of Don’ts” and “This Song Is Fake.” Both have some cool heavy unresolved chords, with the former resolving into a more melodic song with some noisy guitar jangle and the latter devolving into controlled chaos. Another standout track, possibly my favorite of the LP, is “Good Grief,” with more bounce in it and alternating some awesome guitar noise and cleaner sounding parts. I also love the opening track, “Latitudes,” particularly for the guitar sound on the intro. The song has a lovely melody and shifts from big and melancholy to introspective indie to folk-pop. It uses being out in the sea and GPS tracking as metaphors for feeling lost and like your drowning. At one point in the song it speaks about finding a landmark in some glass on the coast and having the ability to point the raft home, and asks the question, “When does it start to count as lost if it happens slow?” as if to ask, if your life slowly drifts out of focus, when do you become a lost soul? If you miss the “college rock” of the late 80s and 90s, check out this new LP, I think you’ll enjoy it.
ODD ROBOT – Deathmates (Wiretap Records, wiretaprecords.com / Bearded Punk Records, www.beardedpunk.com / Bypolar Records, bypolarrecords.com / Disconnect Disconnect Records, disconnectdisconnect.co.uk)
It’s finally here, the long-awaited third LP from Odd Robot! And, though the perfectly crafted pop songs and wondrously crooning vocals are still there, the overall sound is somewhat different. In the interim since their sophomore full-length, “Amnesiatic,” was released they’ve added two more members: First Logan Barton took over bass duties from Mike Doherty, who moved to guitar, and then Nate Phung joined on keyboards. Guitarist/lead vocalist Andy Burris and drummer Damian Monroy, remain. Sometimes Phung’s contributions come in the form of a warm electric organ, other times it’s in the form of buzzy new wave synth. And we’ve got guest vocals from Poli Van Dam (formerly of The Bombpops) on “Anti-Revolution,” too! Odd Robot has been slowly evolving its sound since their first LP, “A Late Night Panic,” which owed so much to front man Andy Burris’ love of Alkaline Trio and The Smoking Popes. And while “Amnesiatic” played around with more complex melodies and arrangements, “Deathmates” simplifies the songs’ melodies even as Nate’s addition makes lusher arrangements possible. A perfect example of this is “Lost Inside Yr Ocean,” one of the lead singles released in advance of the LP. The melody is much simpler and straightforward than many on previous LPs, but the arrangement is thicker and richer than before, including not only the keyboards, but also the harmonized backing vocals made possible by the increasing size of the band. The one song that seems the most like those from earlier LPs is “You’re a Fucking Nightmare,” with a driving power pop punk feel, but even this one includes keyboards, a technical guitar solo, and backing vocals. The songs feel just right, but peeking at the runtimes shows they’re impossibly short, with most under the two-minute mark and a precious few reaching past three minutes. As a result the LP has a whopping seventeen tracks but still manages to clock in at a mere 37 minutes. This LP definitely mixes up the sounds a lot more than the previous LPs, too. We get some country and western sounds in both “Secondhand Noose” and “California Emptiness,” the latter of which has a really dusty sort of vibe. And we get strong retro sounds from “Let’s Start This Over” and “Take a Look at Yourself Sinner,” the former with a great R&B ballad feel, the latter with a doo-wop thing going on in the melody, mixed into the gloriously intense wall of guitar noise going on. The title, “Snakes! Snakes!” might make you think the song would be crazy and raucous, but instead it’s delicate and lovely.
I like the way the riff at the end of “Death Mates” is repeated in the intro to “Alone Together.” Not sure whether it’s intentional, but it works well. And the trombone on Along Together heightens its sense of grandness, already both lovely and epic with the inclusion of strings and multi-tracked trombone in the arrangement. This third Odd Robot LP slots nicely into their discography, and it’s nice to see them working to distance themselves from past influences and honing their own sound.
PALM GHOSTS – I Love You, Burn In Hell (palmghosts.bandcamp.com)
Imagine blending today’s dream pop with 80s synth pop and the moody post punk of Joy Division or early New Order and you get an inkling of what Palm Ghosts is going for. Guitars mix with synths that subtly soar as the baritone lead vocals intone with melancholy. The band mixes equal parts jangle and wistfulness to create something quite pleasing to listen to, and it’s even something you can dance to at the club. Some highlights: the album opens with the somber sounding “Tilt,” Joseph Lekkas providing some glorious Ian Curtis inspired singing. “She Came Playfully” is a favorite, for its minimalist rhythms and riffs and great chugging feel. Conflicting emotions in relationships make for a good song topic in “I Love You, Burn In Hell,” its bright dance beat contrasting with the angry guitar injections and morose synths. “Automating for the Modern Age” is a brighter tune than most, with a spryer rhythm and more hopeful sounding vocals, drums pounding emphatically and guitars and synths providing a lofty feeling. And I love the sweeping cinematic quality of “Disassociate.” However, my favorite track may be “Enemy Mine,” which has a very strong 80s sound, and the higher pitched harmonized vocals remind me a bit of The Police, while the guitar and synth work sounds somewhat like the stuff Wire was doing in their more experimental phase. While there’s a strong streak of nostalgia in Palm Ghosts’ music, there’s more to it than that. Good stuff.
TRASH KNIFE – Weird Daze (Big Neck Records, bigneckrecords1.bandcamp.com)
Trash Knife, a band from Philadelphia, are finally releasing their debut full-length LP after more than seven years as a band (though “full-length” is stretching it a bit. It’s ten tracks, but only spans 19 minutes!). They play old school punk mixed with early hardcore, but also have a somewhat tuneful melodic sensibility in the songs. The vocals, however, careen uncontrollably all over the place with an intense fury. The result is a collection of tracks filled with controlled chaos. It’s hard to tell through the noise, but there’s either a sax or a guitar with a really interesting tone in the mix, and it works extremely well. Song topics range widely from keeping some people you spend time with at arm’s length (“Party Friends” chorus lyrics include “They are just my party friends / They are not for real / They are just my good time buddies / They are not my ride or die”) to people who don’t fit in (“Weirdo”) to the supernatural (“Zombies”). “Somedays” is a favorite for its melody and the vibe in the vocals that seem to be half asleep/drunk/high. And I love the chorus of “Zombies.” Remember: “You cannot escape! Zombies everywhere!” And even more tuneful than the rest of the LP is “I.i.l.” which stands for I’m in Love.” Well-done, if overdue, LP.
THE YOUNG ROCHELLES – Kicked to the Curb (Sounds Rad, www.soundsradical.com)
The Young Rochelles ain’t so young anymore! They’ve been a band for ten years, but they still sound young! They play a brand of pop punk that’s heavy on the pop, with smooth silky vocals that glide like butter and gorgeous multi-part harmonies. The tunes here aren’t particularly aggressive, but they’ve got a nice punk edge in the guitars to contrast with the beautiful singing. And though the melodies are deceptively simple, the arrangements and chord changes sometimes contain unexpected surprises. The album opens with gorgeous a cappella vocals that ring out clearly like bells before launching into a wonderful pop punk tune that clearly demonstrates The Young Rochelles’ sound: poppy, a little punky, with amazing vocals that put nearly every band to shame. “The End of Us” leans more heavily toward the punk side of the equation, the vocals adopting a bitter tone in this anti-love song about a breakup. Immediately after is the next chapter of the story in “Today is a Beautiful Day,” about surviving and thriving after the breakup. I love how the lead and backing vocals play off each other toward the end of the song, tossing the lyrics back and forth to each other. “Fractured Fairy Tales” is a song that likens the intricacies of love and relationships to the pitfalls fairy tale princes and princess encounter on their journey to love, and there are some great chord changes here leading into the chorus that really emphasize the unexpected sadness when things don’t work out. Also, the song takes its name from the hilarious J Ward Productions cartoon series, so it has that going for it. “He Says” is a favorite with both a harder punk side and more unexpected parts in the arrangement, plus more of those fantastic harmonized vocals. This album seems to get better and better with every listen. Highly recommended!
EMPTY COUNTRY – Empty Country II (emptycountry.bandcamp.com)
Joe D’Agostino, best known for his stint leading the storied Cymbals Eat Guitars, began making music under the name Empty Country a few years back, releasing their debut self-titled LP just as the pandemic paralyzed the world. An album of demo recordings, mostly from the debut LP plus a few others, shortly followed. And then silence for more than three years, as the world slowly clawed its way out of the clutches of the virus. Now D’Agostino and company return with their sophomore LP, simply titled “Empty Country II.” And while the songs still have an aggressive edge like CEG (D’Agostino received the moniker “Joseph Ferocious” for his vocals in that band), these songs have richer arrangements, more sophisticated melodies, and a stronger range of variety. For instance, after an eerie ambient opening, “Pearl” brings us a somewhat soulful R&B flavor that could have been performed by a 70s Motown group, except it’s performed with indie guitars, bass, and drums that range from quiet and delicate to huge, dreamy, and epic. D’Agostino’s use of falsetto works well, a stark contrast from “Pretty Years,” CEG’s final LP, in which my review decried his changes in vocal style. The arrangement is lush and gorgeous, and the lyrics dark and dismal, about dysfunction in daily life and a cycle of drug abuse to escape the pain. “Erlking,” on the other hand, is even darker, with a bigger rock sound. It’s a song that uses European mythology about the evil king of the elves that stalks and kills children who linger in the woods too long as a metaphor for the dark forces that entice us in the modern world. By saying that “Erlking stowed away on wooden ships” it implies that the evil spirit followed migrants out of Europe and to the New World, where young people still face the dangers of an evil that lures them to their doom, where people who seem friendly and the kind of person “you wanna crack a frosty beverage with” are more likely than not to send you to an early grave. The variety continues with “David,” a soulful and funky tune, with more than a bit of 70s R&B, complete with fluttering piano, funky bass, strong syncopation, and angelic backing vocals. “Dustine” is a huge epic song, and it shows D’Agostino is still at the top of his game, both vocally and as a songwriter. The song has huge dynamics, ranging from subtle indie rock jangle and fuzz to huge wall of noise that mixes dreaminess and grunge in an incredible way. “Syd” is, without a doubt, the most raucous track of the LP, faster and louder with a simpler melody and beat; if not for the melodic content it would almost be a punk tune, but instead it’s a rowdy indie rock song bursting with energy. Next up is “Bootsie,” a track with a cool post punk vibe mixed with dreamy pop. This one has a big of an experimental edge to it mixed with an 80s new wave vibe that has a nice groove. “FLA,” a song about the state of Florida, is both delicate and epic, another showcase for Empty Country’s mastery of dynamic range. Starting with just piano and vocals, the song takes a journey from introspective melancholy to passionate, huge, and epic, a harmonica, of all instruments, piercing through the mix, screaming out and sending a chill down my spine. “Lamb” starts with a lovely pastoral feel, guitars jangling quietly, and grows to be a smooth pretty indie tune. And the album closes with
Cool S,” a big emotional track that ranges from quietly soulful to a big rocker to dreamy masterpiece. At nearly an hour long (it’s released as a double LP), D’Agostino makes up for the lengthy gap in releases with a sweeping epic of an album here. While it’s not as explosive as Cymbals Eat Guitars, the writing and arranging are superior, and I think it’s some of D’Agostino’s best work yet.
ENDEARMENTS – It Can Be Like This (endearments.bandcamp.com)
Endearments are a Brooklyn-based trio that play 1980s synth-pop, with smooth vocals, guitar and synths, and with a disco beat in the drums. It’s very retro stuff. “It Can Be Like This” is a five-song EP that has songs about love, lust, and rocky relationships. The music is somewhat dreamy, in that 80s synth-pop way, but to my ears it’s just too slick and early MTV sounding. The opening track, “Hazy Eyes,” is about the intensity of feelings and emotions on molly and wondering if the person you’re with feels the same about you as you do about them. This seems to be the nicest lyrics of the EP, because other songs seem to be about awful people. “Open Hand” has a bit of a dark edge and lyrics about rejecting someone to chase after someone else. “Selfish” is about someone who uses another for sex: “You could be who I adore / But in my bed and nothing more,” as if to say I could never actually love you, but let’s fuck. And we get the closing track, “Sober,” about the ending of a relationship and a protagonist who isn’t sober enough to be sincere and hides his true feelings. Between the slick synth-pop and the outdated attitudes about relationships and love, Endearments seem like the sort of people I would avoid associating with.
BILLY LIAR – Crisis Actor (Pirates Press Records, piratespressrecords.com)
Scottish folk-punk performer Billy Liar went big into the full band thing in 2019 with his Red Scare Industries release “Some Legacy,” and continues with this new LP on a new label, jumping over to Pirates Press Records. This latest LP is bigger and brasher than past releases, and even though the arrangements are a bit thicker than in the past, the raw emotion still punches through to your gut. The eleven songs feature great street punk renditions of Liar’s personal singer-songwriter fare, with a raucous feel and honest lyrics. The album starts with “Oblivion,” a powerful self-affirming declaration that, despite struggles in life, Billy is determined to remain: “The only way I win is by not giving in to oblivion.” But it’s not easy, as he sings that he’s got one pack of cigarettes left from the night he gave up, just in case. He sings about having enough pills stashed away to do himself in, and how he’s come close to giving in. The closing track, “Troubled Mind,” brings us back to Billy Liar’s acoustic roots. It’s just Billy and his guitar, emotions pouring out, as you can hear him literally break down as he’s recording. He sings about his struggles with mental health and questions whether it’s time to stop trying to fake it and get help, about how someone slipped something into his drink in a green room one time and instead of picking him up it sent him spiraling down. It’s gut-wrenching stuff, hard to listen to, as he struggles to keep it together and finish the song, and we hear someone ask him if he’s OK. In between these bookends we get nine more powerful songs with the full band. The guitar, bass, and drums, are joined by electric organ, helping give the raw punk songs and personal lyrics some warmth and soul. This is an excellent album that will make even the most stoic punk shed a tear, and it makes me want to give Billy a hug and tell him everything is going to be OK.
RID OF ME – Access to the Lonely (Knife Hits Records, knifehitsrecords.com)
Rid of Me is a “melodic noise punk” outfit, according to their bio, and they hail from Philadelphia. It’s a reasonable description. I hear plenty of post-hardcore in the eleven songs on this, their sophomore full-length LP. I also hear plenty of emo influence and a bunch of metal, too. The whole package is very depressing, with the band name, album title, and many of the song titles conveying themes of isolation and sadness. The track that opens the LP, which shares its title with the band name, is very spare in its arrangement and slow in pace, providing a suitably somber beginning. Following is a throbbing track called “I’m So Lonesome I Could Die,” with a Hot Snakes sort of sound, including lead vocals that channel the late Rick Froberg, which may be my favorite of the LP. We get heavy songs like “Cut,” which pound and pummel with a 90s Melvins sort of aesthetic. This particular song is about lead vocalist Itarya Rosenberg’s experience as identifying as a trans man, about the confusion and feelings of isolation that are part of the process, the feelings of being judged. And “Hell of It” is a pounding start-stop dirge with angular melodic jabs. “Libertarian Noise Rock,” besides having a cool title, is another heavy one with a strong post-hardcore vibe, though I could have done without the metallic arena rock guitar solo. “How You Say It Is” has a smoother style that blends post-hardcore and indie rock, in the sort of way that Jawbox did/does, but somewhat heavier. I hear a crossing of Pearl Jam and 90s emo in “Gutted.” And “Feel You” channels early Black Sabbath mixed with post-hardcore. If you’re a fan of heavy, emotionally charged, post-hardcore metal hybrid music, check this out.
TEARJERKER (Sell the Heart Records, www.selltheheartrecords.com / Little Rocket Records, littlerocketrecords.co.uk)
This is not the dream pop band from Toronto. This Tearjerker hails from Sunderland, in the Northeast of England, and they play emotionally charged 90s melodic punk. This LP is the band’s debut, and it’s a solid effort. The opening of the LP, “Done & Dusted,” which was previously released as a single, hooked me right away with its scratchy guitar jangle at the very start. When the full band comes in we get powerful vocals, throbbing bass, chugging guitars, pounding drums, and lyrics about recognizing and escaping from a toxic relationship. It all adds up to a mighty start to a strong debut. Mick O’Brien’s vocals really make this album, as he’s able to morph them to fit the song. For example, while “Done & Dusted” features big angsty singing, “California Dreaming,” which comes next, has much lower key grittier vocals. And in “CPP” the verses are sung in a much smoother voice with less grit. The other band members, Christopher “Frenchy” French (lead guitar), Marty “Jacka” Jackson (rhythm guitar), and Brent Copeland (drums) all contribute backing vocals that are slickly harmonized and emphasize the 90s punk sound, and they do a fine job of it, but that sound isn’t my thing, to be honest, and the record could have reduced the amount of that. I love the dark melodic jangle of “Love Being Alone,” especially the instrumental breaks in the song, and the dichotomous lyrics of missing and wanting to be in someone’s life but also enjoying being alone. The repeated line at the close of the song is a little creepy: “I’ll see you in your nightmares,” a line which is repeated in “CPP.” “Dear Malcolm” speeds things up, taking the band closer to a hardcore sound, though there’s still a strong melodic content. Toward the end of the album we get two tracks are a little different from the rest. “You & Me” is quieter, more subdued, starting with acoustic guitar and melancholy vocals on a song about a breakup, and while the full band comes in and while the chorus is explosive, the verses are very understated. And the album ends with “Heart of Darkness,” a very introspective song with acoustic guitar and crooning vocals (and lonely whistling!), something very different from the rest of the LP, and another example of O’Brien’s vocal versatility. As I said, this is a solid debut and not just for fans of the 90s melodic punk sound.
TERRITORIES – Colder Now (Pirates Press Records, piratespressrecords.com)
I’ve previously reviewed a couple of releases by Calgary’s Territories, and this new LP, the band’s second full-length, does not disappoint one bit, and indeed is their best record yet. The band plays strong poppy punk rock that’s not pop punk, with catchy melodies, great gang vocals, a great tone, and great messages. My favorite tracks are probably “Pacific Ghost,” which opens the album, and “7 Lbs. of Hope,” appearing toward the end. They both have a similar sound to early Naked Raygun, a Chicago band near to my heart. It’s got soaring melodic lines and wall of guitar sound, like hardcore that’s been poppified, if you will – just like the sound Naked Raygun and other early Chicago bands pioneered. “Pacific Ghost” even incorporates some great whoa-ohs. “7 Lbs. of Hope,” too, uses similar melodic lines and tone, but the faster pace and rapid guitar strumming has echoes of Radioactivity, as well. This being released by Pirates Press, there are street punk tunes, too, including “Hello Outsider,” “Powder Keg,” and “The Company,” all with great loping and working class vibes and lyrics. Some tracks include an electric organ that injects a sense of warmth and personality on songs like “10A Street,” a track that straddles the line between old school Chicago melodic punk and modern street punk. The energy level, powerful guitars, big gang vocals, and emphasis on equal parts gruff punk and great melodies make this record a true winner.
TIME SPENT DRIVING – Estrangers (Negative Progression Records, www.negativeprogressionrecords.com)
Time Spent Driving may be a familiar name to fans of the late 90s and early 2000s emo scene, the sort of music that’s dark and melodic, not the angsty post-hardcore stuff that came out of Washington, DC in the mid 80s or even the screamo sort of stuff that was prominent in the late 80s and early 90s. This stuff is much smoother, more indie sounding than punk, with somber music and melancholy vocals. This is the band’s first new LP since 2015’s “Passed and Presence,” so they’ve got some time to make up. And they do so by providing ten songs that are wide and expansive, with room to breathe. The opening track, “Trust No One,” announces the band’s return to studio releases with several bars of explosive guitars before the song settles into a smoother more flowing dark sound, with lyrics about keeping your guard up at all times and, well, trusting no one. The song sounds angrily lonely, befitting a song about keeping people at arm’s length. This is a common sound through the LP, but there are others, too. The music flows and swirls on tracks like “Under the Weather,” with a smooth gliding sound, more delicate guitar riffs, and ambient keyboards that rise and fall in the background. And “Wake up and Smell the Daisies” has a harder edge in the instrumentals but remains smooth in the vocals. This one has an even darker tone than most other tracks, with a deep sense of foreboding. “Closed Circuits,” on the other hand, has a slightly brighter, almost poppy sound, but the vocals still retain a pensive quality. Though this era of music was never my thing, the band executes these songs quite well, and fans of the genre will enjoy this immensely.
THE WIND UPS – Happy Like This (Mt. St. Mtn., www.mtstmtn.com)
The Wind Ups s really the work of one Jake Sprecher, who, operating out of his Northern California bedroom, writes, records, and performs all of the tracks himself. The songs are noisy, frenetic, power pop meets garage meets early punk, and it’s a cacophonous wonder. Most tracks aren’t speedy, per say, but they’ve definitely got a manic thing doing on. The opening track, “Petri Dish,” is only played at a moderate loping tempo, but it’s got a real head-bobbing retro rock and roll feel buried under the noise. The mostly instrumental track spends its first minute and twenty seconds this way before the scant few lines of lyrics come in for the last fifteen seconds: “Close your eyes and make a wish / Living in the petri dish!” The title track which follows reminds me somewhat of Ohio’s Vacation mixed with The Ramones; it’s got the distorted garage pop of the former and the pop punk sensibility of the latter. Some tracks slow things down, but don’t take away any of the distorted punk goodness. “My Rene” is one such track that sounds like a lo-fi Ramones under the influence of barbiturates. And there are some real punk gems on the LP, such as “Oh I Know,” “Tell Me Again (How Pretty I Am),” and “Starting to Lose You.” This last may be my favorite track of the LP, with a mix of familiar punk riffs and simple minimalist spoken lyrics. “Tell Me Again” has a retro rock and roll sound mixed with a strong punk twist. I could go on and on – all of the songs are pretty worthy. The bad news? The whole eleven track LP flies by in only twenty-one minutes, and it feels like the record was just getting started.
CATBELLS – Partly Cloudy (SQFT Records, catbells.bandcamp.com)
Soft, dreamlike vocals over relaxed acoustically based indie pop runs through the thirteen songs on Catbells’ debut full-length LP. These are quiet, melancholy tunes, perfect for a cold rainy day, curled up in front of the fireplace with your cat and a good book (the opening track, “Fade,” even has “Rainy Day Demo” in its title). The arrangements are fairly spartan, with acoustic guitar and quiet electric guitar, bass, and subtle drums. On occasion the electric guitar gets faintly noisy, with grunged distortion, like on “Gone Too Far,” a particularly moody sounding song with lovely layers to the arrangement. And there are a couple of songs with a subtle bounce, such as “Same As You,” with a stronger, brighter beat, the layered arrangement still providing a rich varied backdrop to the smooth ethereal vocals. Keyboards show up sometimes, too, providing an added dimension to the songs. “Distant Star” is one, using spacey synths and retro doo-wop melodic styling to give the song a wistful, faraway feel. The closing track, “Riding Tides,” uses ukulele, scratchy production, and band-limited vocals to give the track a vintage sound, and it’s the most different track of the album. One piece of constructive criticism is that, as lovely as the sound is, there’s too little variety across the three quarters of an hour length. But it’s a nice fall record.
GRAVE SECRETS – Til Your Lungs Fall Out (Wiretap Records, www.wiretaprecords.com)
Based out of LA, Grave Secrets pays homage to 90s and 2000s music with their blend of post-hardcore crunch and melodic pop sensibilities. The trio has an impossibly big and expansive sound, and they demonstrate mastery over the big dynamic range of some of their songs, going from raging to a whisper at the drop of a hat. The guitar wails and screams as passionately as the vocals, and the bass and drums pound mercilessly, on the opening track, “Mood Ring,” whose lyrics provide the album’s title. But beside the massive post-hardcore instrumentals, the band has a penchant for modern pop music, and one could imagine that with different instruments and arrangement some of these songs could be preformed by today’s pop artists. “Drugs” has a cool 90s melodic emo sound, guitar melodies gliding over crackly bass and drums, vocals going from matter of fact to intense unease, and with a cat meow to end things. I really like the bounce in the guitar line and rhythm of “Preacher’s Nightmare,” and “Fuck Shit Up,” one of the lead singles, is a powerful angry post-hardcore track. The two tracks, which are adjacent, couldn’t be more different, demonstrating the band’s ability to excel in different sub-genres. The latter track is an explosion of anger from the point of view of a frustrated youth who lashes out in defiance of all societal constraints. While some of the tracks do feel a little like 90s/2000s generic melodic hardcore, there’s enough good stuff here to recommend this, not only for fans of melodic hardcore, but more generally.
JOHN HINCKLEY – “Neverending Quest” b/w “Majesty of Love” (Rad Girlfriend Records, www.radgirlfriendrecords.com)
Yes. That John Hinckley. The one who attempted to assassinate Ronald Reagan in order to impress child actress Jodie Foster, thus inspiring Arizona skaters to form a hardcore band called Jodie Foster’s Army, or JFA. Besides being a former psychiatric inmate (he was released in 2016), he’s also an artist and musician, of sorts. Up until 2020 he wasn’t permitted to release his works under his own name, and had to do so anonymously. Since then, however, he’s been releasing music on his YouTube channel, and now Rad Girlfriend is giving him a vinyl release of two new songs. These are folksy singer-songwriter affairs, with just acoustic guitar and vocals. The B-side is the better of the pair, with a more interesting melody, more akin to indie music, and a bridge with a little more going on. The songs are rather basic, though, and the appeal seems to be more the novelty of who the performer is rather than the songs themselves.
OLD CALIFORNIO – Metaterranea (oldcalifornio.bandcamp.com)
After slumbering for more than a decade, Old California awakened a few years back and started recording again. “Metaterranea” is the band’s third LP since restarting back in 2020. True to form, the band remains a stalwart of Americana, with country-tinged rock and roll, with plenty of twang mixed with rock and roll soulfulness. The songs range from light and folksy to down home rocking, from the twangy warmth of “Old King’s Road” (listen to that electric organ rock out!) to the melancholy acoustic of “Timeless Things.” “Weeds” is a lovely acoustic affair, a delicate waltz with light picked guitar, upright bass, brushed snare drum, and Rich Dembowski’s suave smooth vocals. There’s a wonderful jazzy quality to the song, and the fluttering acoustic guitar is gorgeous. The song is about the freedom to roam where one will (“I am a drifter / I come on the wind / I know no fences / And no fences keep me in”), and finding beauty everywhere (“I’m a weed in the garden / We’re all weeds in the garden / But weeds are all wildflowers / Where no gardens are”). I think this may be my favorite song of the LP. Some tracks have hints of the softer side of 70s classic rock, like “Destining Again,” with a variety of textures in the song, from rocking guitars to soulful electric organ and sweet intertwining harmonized vocals. Or “The Seer,” which blends power pop, soft rock, and Americana. The album ends with “Just Like a Cloud,” a song which is alternately an easy jazz tune, a down home Southern rock tune, and a spiritual. It gets bigger and bigger over the course of its five minutes. This isn’t my usual musical fare, but it’s a nice one for a change of pace.
PSYCHOTIC YOUTH – Happy Songs (Kool Kat Musik, www.koolkatmusik.com)
Swedish power pop band Psychotic Youth was active from 1985 to 1999, making waves internationally before breaking up. They reunited in 2016 and found the reception to exceed expectations, so they’ve been going at it ever since. This new LP contains fourteen songs that span thirty-seven minutes, loaded with power pop goodness, with hints of Elvis Costello and The Buzzcocks influence lurking in there on a few tracks. “A New Plan” starts the album with a bang on the Ramones meets Elvis Costello sounding track. The simple melody screams Ramones-core, while the smoother sound, the electric organ, and vocal stylings are clearly influenced by Elvis Costello. It’s one of the strongest tracks of the album and an example of great track sequencing. Some of the more enjoyable tracks are in the front half of the LP, including “Can This Be The One,” a hard-driving tune with some top-notch guitar work and a peppy bouncy melody. “She’s Gonna Do You In” puts the “power” in power pop, and “Teenage Itch” is a raucous favorite. “Out Of This World” has the sounds of The Paul Collins Beat in its fun chorus. But parts of the back half of the album leave me cold. For example, we get ordinary hard rock from “Can’t Talk To That Girl,” while “I Don’t Wanna Go Now” tries too hard to be a Ramones tune and doesn’t quite work. And “Go” sounds too much like a Cure cover band. The bulk of the album, though, is pretty solid stuff.
CUT PIECE (Dirt Cult Records, dirtcultrecords.com)
Dirt Cult may have relocated across the country, but their connection to Portland remains strong. Cut Piece is a new band that formed there last year and this self-titled four-song EP is the band’s debut 7”. Dirt Cult seems to go through cycles in the type of music they release, and Cut Piece is part of their old school hardcore revival period. The band plays music that’s fast and loud, simple and abrasive, with angry shouted vocals. Three of the four tracks are like that, with one having more a more melodic feel (though the vocals are still shouted). “Life Goes Dark” has a cool 80s goth-punk tone in the guitars and a strong back beat. The other three tracks have a sharp, thin guitar tone, and the bass and drums pound emphatically to go along with the enraged vocals. Of those, “Accept Defeat (Don't Sabotage Me)” may be my favorite. It goes through a couple of shifts in tone; it’s faster and louder, and definitely more furious than the most of the EP. Except maybe for “Mind Regression,” which closes the EP. Its mix of speedy hardcore and angular melodic line reminds me a bit of some early Descendents material. Solid debut here.
THE INCITERS – Bring Back The Weekend (Pirates Press Records, piratespressrecords.com)
The Inciters are a long-standing 10-piece outfit out of northern California. And in the best tradition of cinematic R&B bands like The Blues Brothers and The Commitments, The Inciters play music with soul. The songs don’t just ooze soul, it’s pouring out everywhere. The vocals are smooth and suave, but it’s the instrumentals that really make this LP. The full band includes a trumpet, trombone, tenor sax, baritone sax, guitar, bass, drums, and electric organ, so it’s got a full, rich sound. And if these tunes don’t inspire you to get out onto the dance floor, you must be dead inside. The Inciters have played with a variety of ska, punk, and Oi bands, and I get why Pirates Press scooped them up for their first new full-length LP in a long while. There’s energy and exuberance galore in the eleven tracks, and it’s got a “live” quality to it, likely due to the method used to record it. The rhythm section recorded together in one room, and the horns together in another, with a large window so they could see each other. This ability to play off each other increases the spirit and strength of the music, and the songs seem to get bigger and better as they evolve. It’s hard to pick out any favorites, because every damn track is a banger. We’ve got soulful stormers like “Bring Back the Weekend, “If I Didn’t,” and “Boot N Soul.” And we’ve got the passionate burning tunes like “Love Comes Around,” and smooth, gliding pop like “Always, Sometimes, Never.” “Up in a Puff of Smoke” is more bouncy pop with an injection of soul, making it a fun one. The mix of classic R&B and modern soulful pop makes this a standout LP.
DAVE KUCHLER – Love + Glory (Kool Kat Musik, www.koolkatmusik.com)
New Jersey born and bred Dave Kuchler, formerly of Soul Engines, found himself sitting at home with nothing to do in the spring of 2020, like a lot of us. So he began writing and recording new songs. The result is a bit of a mixed bag, with some good power pop tunes, some classic AM pop, some Bruce Springsteen inspired music, but also some bland southern rock. The best tracks come early on, with the opening song, “In It With You,” being one of the best. It’s a solid power pop tune with hints of Elvis Costello influence, quite bouncy and hook laden, and Kuchler’s vocals are belted out with power and passion. We get Beatles-esque AM pop in songs like “She’d Rather Be With You,” a song that has the same rhythm and very similar vocal styling that one would hear on early Beatles songs. I like the acoustic-based “This Old Car,” even though it’s got a bit of old-timey feel, with mandolin and piano in the mix. But then there are also twangy tracks like “All I Need,” “Lovers Talk” (which has a country blues feel to it), and “Prequel (Maggie),” which just don’t do it for me, sounding a little too white bread. And then there are a couple of very New Jersey tracks, like “Slow Day,” and especially “Chasing Glory,” with The Boss seeming to be in residence. It’s strange, it’s like there are three different bands playing on this record. Like I said, a mixed bag.
MUTAGÉNICOS – El Cuarto (Dirty Water Records, losmutagnicos.bandcamp.com)
The fourth LP from this Spanish band comes some four and a half years after their third, titled “3.” The band plays music that’s loosely garage rock and roll, with mixes of power pop and classic rock. He tracks are generally played at a loping mid-tempo pace, with no slow ballads or speedy burners. A couple of the tracks include some cool sci-fi synths, including the opener, “Cruella de Vil,” and “La Virgen.” I love the bouncy garage power pop of “Hermano Siamés,” with a bit of 60s Beatles feel and some great vocal harmonizing going on. “Arácnidos Ibéricos” (Iberian Arachnids) is one of the most pure garage tracks of the album, but even this one has its own genre bending, including some cool 80s new wave guitar minimalism and some 60s surf pop guitar riffs. Another track of note is the retro doo-wop sounds mixed with big Americana surf guitars and warm R&B electric organ on “3 Lustros,” making it one of the more unique songs of the album. Like their previous LP, “El Cuerto” is an enjoyable listen for all fans of poppy garage rock.
SEAGULLS – The Rapture and Resurgens (Say-10 Records and Skateboards, www.say-10.com)
This is not the shoegaze pop band Seagulls I reviewed a few years back. This one is an emotionally charged pop punk band from Atlanta, Georgia. They play raucous rowdy street punk rock, with plenty of poppy riffs and melodies, scads of gang vocals, and plenty of gritty emotion. Lead vocals are gruff and tough, and the whole album makes the sweaty dive bar aesthetic come alive through the speakers. As the LP opened, with “In the Beginning,” I thought this was going to be a crunchy hardcore record, because that short track starts with an intoned “prayer,” followed by speedy hardcore, followed by slowed down huge emo. But then “Four Long Years” started up with its loping tempo, big melody, and huge, brusque, crusty vocals, and I knew I was in for a treat. The ensuing 34 minutes is filled with the sort of music you crowd into a tiny space to hear, pressing to the front of the crowd with all your friends and crowding around the mics to sing along, beer sloshing all over the place. The pinnacle of this style on this LP has to be in the big, broad “Antedilluvian.” It’s veritably epic and expansive. “Brand New World” is a bit different, with a hint of Celtic punk sounds, accentuated by the gang vocals in the chorus. I love the bright melody and the topic of the cleverly titled, “Sinners in the Hands of a Non-Existent God.” Clever song titles abound on the LP, including also, “Symphony for the Righteous Destruction of Humanity in E Major,” “HellHoleBoob,” and “A Tale Told by an Idiot.” “Symphony…” is a great up-tempo tune with a fun broad chorus, “HellHoleBoob” is one of the bouncier, poppier tracks of the album, and “Tale…” closes the album with the perfect broad anthem. While there are plenty of bands playing this style of music, it’s always a good time listening, and especially seeing this sort of band live. Seagulls do a fine job here.
SUPERDOWN – Return to Sender (Count Your Lucky Stars Records, cylsrecords.com)
Superdown, hailing from Boston, have hooked up with the musically reliable Count Your Lucky Stars for their debut LP, “Return to Sender.” And I can safely say I won’t be returning this to sender, because it’s an enjoyable LP. Superdown play emotionally charged punk with a pop-influenced melodic edge (I can’t bring myself to lump it in with pop punk, because that’s not what it is). Think about 90s bands like Samiam or Hot Water Music for one point of reference. Songs have a sense of gravitas to them, distorted guitars providing a stoic support for the gritty vocals to lean on. Those vocals drip with sincerity, while belting out catchy melodies. While the ten songs have not a single stinker over the course of their thirty-three minutes, there are a few highlights that stand out above the others. “Wasted” is the album’s nod to grunge and pop, and gives the guitars the room to noodle around with some cool riffs over a simple melody loaded with fuzzed up sounds. I love the gliding feel of “Backbone,” while “Ships” remind me a lot of classic Jawbox, with its 3/4 waltz time emphasizing the off-beats and mixing in hints of post-hardcore heaviness with a lighter, airier sense of dreaminess. One thing I wish for on this album is a bit more variety in tempo; the songs are generally all at the same mid-tempo clip, with the exception of “Patterns,” which picks up the pace somewhat, injecting more energy and a brighter sensibility to the proceedings. And “Stare” slows things down to ballad pace. As the song starts, the guitars quietly jangle behind the subtly pleading vocals, but as the song evolves it gets bigger, the guitar jangle turning into a quiet roar, the vocals growing to a snarling accusation. It’s a great way to close a great LP.
TEENAGE HALLOWEEN – Till You Return (Don Giovanni Records, www.dongiovannirecords.com)
Teenage Halloween, a band formed nearly a decade ago, waited until the pandemic to release their debut LP, three years ago. They now return with their sophomore full-length, and there’s no sophomore slump here! This LP is even more urgent sounding and energetic than their excellent debut. Part of this may be a change from the band’s rotating lineup of its early days to the solidified roster of Luke Henderiks (vocals, guitar), Eli Frank (guitar, vocals), Tricia Marshall (bass, vocals), and Peter Gargano (drums). Part of this may also be the personal lyrical content; The LP opens with “Supertrans,” a song about gender identity, perceptions, and misunderstanding (Henderiks identifies as non-binary). The tracks which follow are powerful, exciting, and compelling, never letting up a bit over the ensuing 31 minutes. “Takeaway,” the second song of the LP, may be my favorite. The gang vocals, bright hopeful melody, and insistent lyrics remind me somewhat of the late great RVIVR. Another change: Henderiks isn’t the only lead vocalist anymore. Tricia Marshall also takes the lead on some songs, including “Getting Bitter,” and “Say It,” with a sound that, while less manic than the Henderiks fronted songs and maybe a little more jangly, bouncy, and poppy, are no less powerful. I love the bubbly and aptly titled “Good Time,” as well as the angst-driven anthem, “Armageddon Now.” The two songs feel like complete opposites, but they’re equally essential. The albums closes with two massive songs with a big dreamy edge, “Lights Out” and “Oh the Drama” are a lot more introspective sounding than the rest of the LP, even as that closing track alternates between ballad and barnstormer. What a great record! And even better, as you read this, Teenage Halloween are embarking on an extensive nation-wide tour to support it. I highly recommend this record, and I highly recommend you catch them at their nearest stop.
THE VILLAINTINOS – Come and Get It (www.thevillaintinos.com)
The short review is: Hard driving rock and roll that sounds like it comes from Los Angeles, but it comes from Columbus, Ohio. A longer review: Imagine late 70s LA rock, mixing the urgency of punk bands like X with remnants of the 70s hard rock and garage scene and you get a feel for what The Villaintinos sound like. Their debut EP consists of four songs, three of which lean more toward hard rock vibes and one that’s got more of an early punk attitude. That punker tune is “Come Closer,” and it’s got a faster tempo and more insistent sound than the other tracks. Leah Hanson’s vocals sound both smoother and angrier here, and the instrumentals feel more visceral. The other three tracks, “Bitch,” “Hands Tied,” and “Irish Goodbye” are raucous good fun, in a black leather jacket over faded torn blue jeans sort of way, and they would be right at home in a playlist with bands like Motorhead or AC/DC.
BENJAMIN JAYNE – Broken (www.benjaminjayne.com)
Benjamin Jayne is a solo act performed by the head of psychiatry at the nation’s smallest hospital, Benjamin Wright. The album is moody folk-rock loaded with experimental and ambient electronics. The PR materials accompanying this release say that he’s been compared to Nick Drake, and I can see that. The music is subtle and understated, and Wright’s vocals are sung almost in a whisper. The lyrical content of the album deals with how we change over time, and how we sometimes don’t recognize who we’ve become. The songs have a dark melancholy to them, too, just as Nick Drake’s songs do, but where Drake only had his guitar, Wright uses acoustic guitar and plenty of electronics, giving these songs an even deeper sense of foreboding and sadness. Some songs focus more on the electronics and others on guitar. One of the former is the opening track, “A Million Miles,” one of my favorites. The deep bass electronics at the start of the song provide a menacing feel, while the acoustic guitar tries to brighten things as much as it can. At places in the song, the music stops and we hear what sounds like the wind blowing on a desolate post-apocalyptic landscape. Toward the end of the song we get a refrain that’s brighter and more hopeful sounding, with string synths swelling and the vocals lifting up in a major key. It’s a very evocative track. An example of the latter is “Don’t Give Up,” which follows, with fluttering acoustic guitar, subtle electronics, and pensive vocals. I hear hints of Pink Floyd in the bridge of “Somewhere Far Away,” a song that’s otherwise a straightforward easy pop tune. I love “(Numb) I Can’t Feel a Thing,” a song that showcases Wright’s baritone vocals, coming out a bit more, bending notes, and veritably soaring on the chorus. The title track is probably the most somber of the album, a song of self-reflection, with the refrain, “I think I’m broken” and “I think it’s all broken.” The lyrics reflect a life out of control, needing “something to go my way.” This is a wonderful album, and perfect for listening to on this cool, cloudy, misty day I’m experiencing today.
THE DOLLYROTS – Night Owls (Wicked Cool Records, wickedcoolrecords.com)
For those who aren’t familiar with The Dollyrots (have you been living under a rock?) they’ve been around since 2000 and have released records with Lookout, Panic Button, and Joan Jett’s Blackheart Records. They’ve released a grip of LPs and EPs and played over 2000 shows, including on TV, on “The Price is Right.” Their latest LP is their second for Wicked Cool Records, and finds the band in fine exuberant form. They’re sort of halfway between the sounds of top pop artists of today and that of pop punk of bands like Bad Cop/Bad Cop. Some of the thirteen songs on this new record could even be slightly rearranged and become big pop hits. My favorites are the songs that lean more heavily into the punk side of things, like “5+5,” the track that opens the LP. It’s a bright love song about the every day, loving someone even when they just woke up a mess, and about loving without having to try. Loads of bounce and big gang vocals on the chorus make it a standout. “Hey Girl,” too, is more pop punk than just pop, and the guitars growl while the vocals are delivered with a snarl. “The Vow” is a favorite, easily the loudest and most raucous tune of the LP. It’s a song about everlasting love, throughout all of the ups and downs of life, and it exudes pure joy. Some of the songs are punked-up arrangements of straight-up pop tunes that could be performed by Taylor Swift or someone similar. The title track, “Night Owl,” is one such tune. It’s got edgy guitars and vocals with loads of attitude, but a simple pop melody right out of the top 40. Another is “Hot Mom with the Skinny Pants On,” an ode to all the cool moms who play drums, smoke weed, been in the pit, and listen to Rancid. And “Tonight With You” is another; the instrumentals are hard and gritty, as are the vocals, but the melody and lyrics are pure pop. Then there’s a song like “When We’re Sober,” which is in between, with softer verses and a punkier chorus, but always with sweet pop. “Trees Sway” is an outlier, a lovely, melancholy acoustic number with violin and cello, completely different from anything else on the record. And the album closes with a cover of “New England,” a song that was a huge hit for Kristy MacColl back in 1985. The Dollyrots trade in MacColl’s new wave jangle and angelic vocals for something edgier, but the melody is timeless. This is a little poppier than the stuff I normally listen to, but The Dollyrots sure are a fun and accomplished band.
RINEHEARTS – Full Bloom (Kool Kat Musik, www.koolkatmusik.com)
Rinehearts have been toiling away making music in their native Australia for the past seven years, and even longer than that when you consider that the members have been playing in bands going a lot further back than that. The music they make isn’t flashy, but if you’re a fan of 70s power pop, this is a record for you. The ten songs are solid power pop, the kind that used to rule the airwaves back in the day. They put a workmanlike effort in here; the band is tight, the sound is pleasing, there are earworm riffs and pop hooks galore. On some of the songs the guitars jangle furiously, on others they growl, as the song needs. While the whole album is a stalwart representative of the genre, there are a few standout tracks. “Power Lines” is an outstanding example of what power pop can be, with great vocal harmonies, jangly guitars, and a poppy melody that’ll instantly imprint on your brain. I like the loping feel of “Blue Jeans,” while the ballad-like “Falling Down,” with its harmonizing and dueling vocals and acoustic guitar is just lovely. “Piling On” to me sounds like the kind of song Mission of Burma might have done if they were a power pop band. It’s got a bit of minimalism in the melodic line, and just listen to that big repetitious chorus! Really, there isn’t a bad track on the album. If you’re a fan of power pop you need to check this out.
BRADLEY RIOT – Dark Side of the Road (bradleyriot.bandcamp.com)
I saw Bradley Riot live at a recent show, and was immediately taken with this passionate performer. He was playing solo acoustic, and the angst came through clearly and honestly. So when I was told he had a new LP coming out today, I was anxious to listen to it. There’s more than solo acoustic here, though acoustic guitar is the primary instrument (besides Riot’s vocals). Backing arrangements include piano, electric guitar, strings, and more. They’re there to support Riot, subtly adding to the background rather than taking the forefront, leaving the acoustic guitar and vocals to shine. The topics of the seven songs on this mini-LP are fairly somber, particularly the opening track, about writing one’s own obituary and planning one’s own demise. There’s an ironic lyric, too, where Riot sings, “Well, the words on the page all bleed, makes me envious / Remember me when I’m gone,” as if to say that life is better than we sometimes realize. The song lists all the loved being left behind and decries the wasted time. “I know I should fight,” Riot sings, “But I’m leaving here at midnight.” I love the backing electric guitar of “Don’t Say Goodbye,” giving the song a dark dusty sound, the acoustic guitar being strummed ruthlessly to give the song a raucous edge. Even more raucous is “Falling Down,” which adds drums and bass to the mix, and is an ode to all the bad mistakes we make in life. The hey-heys in the chorus remind me of something Naked Raygun might have done back in the 80s and leave a warm feeling. The closing song is a rousing number that bookends the record with “Obituary.” It’s called “RIP” and though it’s a lively song, it’s about suicide, too, and a belief that “it won’t matter much.” This one has an ironic line, too: “You know I’d say I’m still afraid to die / But I just want to get there quicker / And take this pain off of me.” Yes it’s an acoustic album, but it’s so much more. I’m really glad his other show that night was cancelled and he jumped onto the one I was attending. Recommended.
WIMPS – City Lights (Youth Riot Records, youthriotrecords.com)
The PR for this record calls Wimps “slacker punk,” and that’s probably a pretty apt description. The music is right on the edge between indie rock and punk. The arrangements are fairly minimal, with guitar, bass, drums, and piano. The guitars are distorted and fuzzy, the bass is given opportunities to step to the front, the drums are solid, and the vocals are stoically matter of fact. It all adds up to music that’s pretty bouncy and enjoyable. Wimps have garage rock tendencies without going full on delinquent. It makes for a very even, balanced, and enjoyable sound. The band ranges within those parameters from 60s pop to 90s indie. For example, “Animal” has a 60s pop beat mixed with a 70s Rolling Stones aesthetic and a 90s post-grunge garage tone. Getting even further into the 90s post-punk garage sound is “Fits,” which immediately follows. I love the introspective sound of “Lake Washington,” with a sparer arrangement, a gliding melody, and the warmth of electric keyboards. Lyrically we get songs about the mundane things in life, like living on automatic in “Doing It.” The chorus sings “I don’t know what I’m doing but I’m doing it” on repeat, and verses sing about being a parent when you’re still just a kid, doing what others expect of us, laughing at jokes we don’t understand, and so on, living life on others’ terms instead if our own. “Mind Reader” is about the difficulty in communicating with others, because no one really says what they mean and we all need a mind reader to help us understand others. “Never Leave the House” is a song many of us can relate to, especially after a couple of years of a pandemic. It’s about staying home, letting yourself go, never washing your hair, never changing clothes or making the bed, and so on. “Rut” is about living life stuck in a rut, and liking it because the routine is predictable. Wimps have been compared to bands like the Breeders, the Pixies, and even the B-52s, and I can hear the influence, especially B-52s, though Wimps are less quirky and not new wave, but I can hear some of them in the melodies. All of these seemingly disparate elements blend together into a really good record.
BURNER HERZOG – Random Person (burnerherzog.bandcamp.com)
I didn’t know anything about Burner Herzog going into this review, but I love the name. Reading through the band bio, it appears that the band is the brainchild of Jasper Leach, who had a band with this name in the San Francisco Bay area for years until relocating in 2019 to New York City. There, he found like-minded musicians, including another Bay area transplant with whom he had previously played music, and a new Burner Herzog lineup was born. This new LP is hard to categorize, which is fine by me. Leach’s vocals are quirky, in a good way, sounding very casual and matter of fact, while the music ranges across and in-between various genres, from the bombastic rock and roll of “Lucky Girl” to the grunge-folk of “Sometimes It’s Hard to Break Free.” There’s the mix of retro folk-rock and modern indie in “Nobody Sees Me Like You Do,” which reminds me somewhat of the late great Chicago singer-songwriter, Steve Goodman. I’m not a fan of country, but the subtle twang of “Memo to Persephone,” and its alternating between smoothness and grittiness is lovely. And “Bliss of Love” may be my favorite track of the album; it’s got a David Byrne/Talking Heads sort of thing going on. One of the best things about Burner Herzog is the fascinating variety of textures in the instrumentals, with all sorts of different sounds showing up in the mix. I can’t give you “RIYL” type references, because, like I said, this is hard to categorize. But I will tell you it’s a good listen.
MIRRORS ON THE MOON – Whiskey & Wine (www.mirrorsonthemoon.com)
Mirrors on the Moon, a new New Jersey band, presents a curious mix of classic rock, psych, and Americana on their debut recording, a five-song EP. Upon initial listen, I couldn’t get into the opening track, from which the EP takes its name. It reminds me a lot of those 70s smooth jams that were dominant back in the day, and I swore I could almost smell the patchouli oil wafting through my room. But the EP got better from there. “Marigolds” has a bit of a funk and soul thing going on, mixed with Pink Floyd-like hazy psych rock. And “Waking Up” is absolutely gorgeous, a quiet folk-rock tune with beautiful strings, gorgeous melody, and wonderfully harmonized vocals. “Get Lost” takes us back to the 60s and 70s, this time to an acid rock jam sound. And “Don’t Panic” closes the EP with some classic chill out 70s stoner rock. Mirrors on the Moon are not the kind of band I normally listen to, but they do a good job at what they do, and I really do like “Waking Up” a lot. If you’re into this sort of genre, check this one out.
THE ROUTES – Reverberation Addict (Topsy-Turvy Records, soundflatrecords.de)
What would have happened if The Buzzcocks had appeared on the music scene a decade or so earlier and were an instrumental surf band instead of the influential power pop and proto punk band they were? That’s the question The Routes endeavor to answer on their latest LP, featuring covers of the beloved band’s songs. The album title, of course, is a takeoff of “Orgasm Addict,” one of their most famous songs, and the cover art is even a reworking of the original single’s cover and was put together by longtime Buzzcocks graphic designer Malcolm Garrett. The album starts out strongly with the wonderfully arranged version of “Ever Fallen In Love (With Someone You Shouldn't've),” one of my favorite Buzzcocks songs, and though it’s almost note perfect, the tone gives it that great gliding surf sound. Departing from the original more emphatically is the surf version of “Orgasm Addict,” which eschews the simple punk melody for a more complex, flowing, and technical Dick Dale style version. I love how the rhythm and melody of “Something’s Gone Wrong Again” are retained, but the whole tone of the song changes from manic punk to easy-going surf jam. There’s a similar transformation for “Whatever Happened To,” though this time out the cover is a little edgier, but not nearly as high-strung as the original. It’s a cool sound. And the classic, “What Do I Get” is reimagined as a spaghetti western sort of anthem; you can even hear the horses galloping! There are fifteen reinvented Buzzcocks tunes here, and the concept is so fun and it’s really well executed.
YOUNG HASSELHOFFS – Dear Departed (Mom’s Basement Records, www.momsbasementrecords.com)
As they approach the quarter century mark as a band, these “young” musicians from America’s heartland return with their fifth full-length LP. The band has been called “pop punk for grown ups,” and that may be reasonably accurate. They tend to lean a little closer to the power pop end of the spectrum, but definitely come from the DIY pop punk scene. The ten songs here feature bouncy poppy fun tunes filled with vocal harmonies and hooks. The arrangements and production are thoughtfully done, and some songs feature horns, electric keyboards, and/or piano, contributing to the nice sonic texture. It all adds up to an unexpectedly slick package. Some of the songs almost feel like they could have been radio hits from the late 70s or early 80s, when guitar-driven pop filled the airwaves. The album starts out strongly with “Hold Me Now,” a track fills with awesome hooks and shifting sounds, from staccato piano to lush flowing guitars and vocals. The title track is easily my favorite, with a big power-pop-punk sound and an arrangement that uses bright horns with dissonant chords at various intervals. The use of single lead vocals in places (instead of the usual harmonies) gives the song an appropriately lonely sound. “Something Wicked” opens with an electric organ, making it feel like we’re about to hear a sermon. The song is a little slower and a bit melancholy sounding. And I love the gorgeous strings and acoustic guitar on the closing track, “Still Got Time.” In between these are other songs just as worthy, though “You Belong to Me” does seem to stray too closely to the commercial pop sounds of the AM radio of my youth. But this is a good LP, especially for fans of power pop.
KURT BAKER – Rock ‘n’ Roll Club (Wicked Cool Records, wickedcoolrecords.com)
Kurt Baker, one of our era’s foremost proponents of power pop and keeper of the flame, returns with his latest album chock full of rock and roll goodness. The music is essential listening for all fans of power pop and rock. Baker uses this album to expand his musical horizons somewhat, too, leaning into other genres to dress up these new songs. For example, the opening track, “Hittin’ Rock Bottom,” takes some cues from the era when power pop was bleeding over into the burgeoning new wave scene and when hair metal bands were taking center stage. And the title track features some bluesy hard rockin’, paying homage to the dive bars at which we all congregate to hear our holy music. I enjoy “She Don’t Wanna Be Alone,” a power pop ballad of sorts, a little slower than typical, with a melancholy jangle and a hint of Elvis Costello influence. “Love Express” is way different from usual Kurt Baker fare, leaning into a disco beat and funky guitar and backing vocals. We get what sounds like a brighter blending of Oingo Boingo and the Buzzcocks in “Missed Connection.” The album is a veritable tour through the music that shaped many of our lives back in the 1980s. I really love the standout track, “In Love Alone,” which mixes earlier pop sounds of the 60s with an Elvis Costello style song, and the warm organ, piano, and harmonica in the arrangement give it so many different textures. “Not Right” is a great slow burner, with an insistent rhythm, and the electric organ provides some cool tension. All this said, there is one track I couldn’t get into, and that’s “It Was You,” the song that ends the LP. It begins as a nice acoustic number, but then adds strings and full band, and it transforms into just another sappy adult contemporary song. Excluding that, though, this is another solid outing from Mr. Baker.
THE JULIES – Always & Always (Lost In Ohio, lostinohio.com)
90s indie band The Julies had a short career, releasing two EPs before splitting, and never getting to the all-important full-length LP. Until now. The band reunited, wrote some new songs, and finally are releasing their debut full-length LP. The ten songs offered here are softer and smoother than the band’s original output, which was a mix of gritty guitars and poppy melodies. This new LP shows the core members of the band, Alex Yost (Guitar, synths), Patrick Zbyszewski (Guitar, bass, synths), and Chris Newkirk (vocals) have aged gracefully, presenting songs with just as much pop, but with richer sounds and melodies and more mature arrangements. The songs are bigger and dreamier, slower and more deliberate in tempo. I hear strong hints of 80s Goth-influenced pop of bands like The Cure, Joy Division, Killing Joke, and Depeche Mode running through these tracks. The guitar tone on songs like “The Weight of Your Hand,” a very pretty ballad, has a shimmering underwater quality to it. In combination with the synths, the song has a wonderfully glossy sound to it. I also love the spiritual feeling of “Angels of the Underground,” particularly on the bridge, which sent shivers down my spine. The Julies also save the best for last. “Hope Is Hard,” the track that closes the LP, with the feel of drifting down a river on a lazy summer day. Overall, this is a welcome and long overdue record, and while it’s not going to shake the musical world, it’s a solid listen.
SADLANDS (sadlands.bandcamp.com)
Sadlands is a new band out of NYC that features members of Answering Machine, Choke Up, and Ellen and the Degenerates. This four-song debut EP was recorded with none other than The Bouncing Souls’ Pete Steinkopf, and they’re universally bouncy indie pop meets pop punk. One great feature is the dueling vocals of songwriters Samantha Campanile and Jess Lane, seeing them trade off on songs and uniting to provide some pretty harmonies. Their amazing vocals smooth out the grit in the instrumentals, giving the songs a nice polish. The first two songs, “Mclellan” and “After Tonight” are a little more up-tempo, a little more raucous, a little more fun. “Flowers,” which was the lead single, slows things down a bit, but injects a ton of passion in both the vocals and instrumental performances. The lyrics reference forgiveness and healing of old wounds, and the emotion is palpable. Closing things out on this debut is “With Friends Like These,” and it’s got less punk and a little more indie rock, with a richer more epic sound. This is a solid debut, and I look forward to hearing more from Sadlands.
SEABLITE – Lemon Lights (Mt. St. Mtn., www.mtstmtn.com)
Seablite has been around since 2016, formed over a shared love of 80s and 90s Britpop. If you were listening to Sarah Records sort of music back in that period, you’re going to love Seablite. They’ve got that exact sound: part pop, part dreaminess, part shoegaze. In some ways, too, they remind me of a lighter poppier Stereolab. “Lemon Lights” is the band’s sophomore full-length LP, containing twelve ethereal pop tune, with harmonized vocals that ring out like soft celestial chimes, guitar, bass, drums, and beatific keyboards. Listening to these songs is almost a spiritual experience. I love the gliding feel of the opening track, “Smudge Was a Fly,” and it takes me right back to my days listening to bands like Blueboy, Ivy, Northern Picture Library, Aberdeen and more. It’s hard picking out standout tracks because they’re all so lovely. But I do love the bright sounds of “Hit the Wall,” and the slightly edgy “Blink Each Day.” And “Hold My Kite” trades the fuzzed guitars and bass for a cleaner tone, but it doesn’t give up an iota of gorgeous gauziness. And one thing I adore about these songs is that as bright and poppy as they are, there’s always a hint of melancholy, particularly on a song like “Monochrome Rainbow,” but really on all of them. Recommended, because it’s so nice.
AMERICAN TELEVISION – Scars (Smartpunk Records, www.smartpunk.com)
“Scars” is American Television’s second full-length LP, following “Watch It Burn,” which came out a mere two months before the global pandemic changed everything. And you’ll be excused if you feel you’ve heard this before; it is somewhat derivative and generic poppy punk, but no more so than most poppy punk bands releasing music these days. The songs are raucous and crunchy, loud and obnoxious, which can be a great thing. But they’re also all played at the same mid-tempo pace, all with the same general feel. To their credit, the band manages to make the songs sound bright and catchy, so fans of the genre will certainly enjoy them. What the band lacks in originality, they make up for in energy. I can imagine the live shows are sloppy fun affairs, with inebriated audience members crowding to the front, jumping around, fists waving in the air, singing all the lyrics. Best song: “Moments,” for its dark tinged feel that makes it stand out from the rest of the tracks, and its insistent pounding drums and bass.
CINEMA HEARTS – I Want You (www.cinemahearts.com)
Former beauty queen Caroline Weinroth returns with a second EP of lovely indie pop, mostly inspired by 50s and 60s girl group doo wop. She continues, too, to write songs that touch on personal experiences and aspects of her life. For example, the first track, “Fender Factory,” was inspired by a tour she took with her family. She was excited because he played a Fender. But the tour guide discounted her because she was just a girl, quizzing her about guitars throughout the tour, trying to trip her up. Weinroth says of the song, “It's since become an anthem to subvert the machismo of rock music.” Musically, it’s Weinroth’s modern take on those doo-wop groups, with a distinct retro sound, filtered through modern amps, pedals, and production. I love the title track, which includes the subtitle, “But I Don’t Need You.” As such it’s turnabout on the way some men treat the women in their lives, and a reminder to guys to work harder at making relationships a two-way street. Musically it falls into the same retro camp as most of Weinroth’s songs, with a surf-guitar tone on this one. It’s a perfect song for the sock hop, and perhaps my favorite of hers so far. “Loose Love” has less retro and more of a modern indie sound, making it stand out from the rest, and “All My Life” is half way between modern and retro. Like the first EP, there’s no new musical ground being broken, but the songs are great and the topics on point. Solid EP, even better than the first one.
GARMENT DISTRICT – Flowers Telegraphed To All Parts Of The World (HHBTM Records, www.hhbtm.com)
Well, the PR materials say this is Garment District’s second full-length LP, but Discogs says the Jennifer Baron fronted band has previously released three LPs, making this their fourth. Go figure. The music is a pastiche of styles, just as a garment district contains a wide variety of styles of clothing and materials. Baron and company blend a variety of influences, including indie pop, garage, psych, power pop and more, as well as a variety of instruments, including guitar, bass, drums, synths strings horns, and vocals, creating something unique and eclectic. The music is alternately and simultaneously bouncy and dreamy, smooth and crunchy, poppy, jazzy, and experimental. We get songs like “Follow Me,” with a subtle folk-like song played on electric guitar and sung with gorgeous crystal clear vocals, but noisy guitars interject, fuzzing things up mightily, casting a dark shadow over the song. We get a song like “The Island of Stability,” with a bouncy power pop melody, ethereal synths forming the backdrop, and bubbly mod pop riffs. And there are quirky songs like “Moon Pale and Moon Gold,” with a deep bass, celestial harmonized vocals, and discordant synth interjecting. Or the eerie, funky “Cooling Station,” which takes it queues from classical music and R&B. (and the whistle that appears alongside the martial rhythm conjures images of a marching band at halftime). These are types of music that should never work together, but somehow they do. We also get, though, lengthy dreamy jams called “The Starfish Song” and “The Instrument That Plays Itself,” which are heavy on rock and roll guitar clichés, but tempered with immense lush arrangements. Notwithstanding these two tracks (I’m not a “jam” kind of guy) this is a fascinating record.
GONE STEREO – "I’m So Sick" EP (Negative Progression Records, www.negativeprogressionrecords.com)
Long Island’s Gone Stereo’s sophomore release is a two-song single featuring 2000s style pop punk, a la MxPx, Ataris, or even Sum 41 or Blink 182. The songs are slick and heavy on the pop, with the B-side, “Cool Kids,” being a little more punk than the title track, with lyrics about high school cliques and wanting to be an individual and not have to conform. The songs are hooky and guitar-fueled, but they may be a little too commercially oriented for my tastes.
GREY GARDENS – Into the Sun (Setterwind Records, setterwindrecords.bandcamp.com)
Grey Gardens is a five-piece alternative rock band out of southeast Michigan and “Into the Sun” is the band’s recorded debut. It’s a five-song EP, and the songs are emotionally charged in the 1990s and 2000s vein of alternative emo. And the title track, which opens the EP, is fairly standard fare for the genre. But the songs build as the EP goes along, peaking in the middle. “The New Normal” has some big riffs, jangly guitars, and a huge sing-along chorus. And I think “Hum Along,” the middle track, has to be the best of the EP, especially for the creative guitar riffs and technical flair that fill in the space between the lyrical lines. The song starts very quietly and builds and builds, until the very end when it goes out quietly again. So lovely. The other two songs, “The Wire” and “Unglued,” return to standard alternative emo sounds, but are still solid. Not the sort of stuff I listen to regularly, but a good listen, nonetheless.
GRRRL GANG – Spunky! (Kill Rock Stars, killrockstars.com)
This is the debut full-length LP for Indonesian trio Grrrl Gang, a band who chose a wise title for their record. The songs are exactly that, full of energy and verve. There’s lots of bubbly indie pop, but mixed in are some crunchy guitars, too, and fun enthusiastic vocals. The opening track, “Birthday Blues,” immediately caught my attention with a Mission of Burma like momentum, the bass throbbing, the melodic line pulsating with the rhythm section, vocals emphatically spoken and sung. The only drawback to this song is it’s miniscule length, at a mere 1:19. Immediately following is a somewhat lengthier “A Fight Breaks Out At A Karaoke Bar,” a near perfect indie pop song that clocks in at a more reasonable 2:22. The effervescent instrumentals are matched by the boisterous vocals. Some songs feature lo-fi production, like the punk adjacent “Cool Girl,” one of the edgier tracks of the album, with lyrics displaying envy, with a frequent refrain, “I wish I was a cool girl.” The song ends with a single eerie guitar pulled way back in the mix, with deadpan vocals stating, “I want to tear my skin apart / And never glows in the dark.” Other songs are variations on these themes, with varying levels of the titular quality. “Mother’s Prayer,” by contrast is standard indie-rock reminiscent of the more commercial bands that were birthed by Seattle’s grunge movement, with a mid-tempo pace, classic rock meets dream pop vibe, and jangly post-psych guitars. To my ears it’s the least successful track in an album full of solid pop hits.
MORNING EAGLE – Something Will Find You (Setterwind Records, setterwindrecords.bandcamp.com)
Hailing from Long Beach, California, Morning Eagle have released a plethora of EPs and singles over the past couple of years. “Something Will Find You” is their latest, a four-song affair filled with dreamy alternative grunge. The music is alternative and grunge, but smoothed over with pensive shoegaze qualities. Listening to the title track transports me right back to the 1990s and the grunge-influenced alternative rock that was all over the airwaves (yes, airwaves, long before internet streaming!). The song has a hazy film over it, giving it an ethereal quality. “War of Roses” picks up the tempo and the guitar intensity, but the glossy production and the easy relaxed vocals transform the song into something that seems unreal. “Royal Ivy” trades some of the smoothness for technical flair in the form of short guitar solos. The backing guitar and bass are deeply fuzzed and grunged here, and even the vocals seem a bit grittier, though they still have a dreaminess. “Monarch” closes the EP with a song that starts out quietly, with clear guitar tone and vocals, almost a ballad, but it builds, adding bass and drums, then getting bigger and grungier as it evolves. Fascinating four songs.
THE SLACKERS – Kill You (Pirates Press Records, piratespressrecords.com)
The Slackers return with a new two-song single. The A-side title track blends reggae, dub, and Hip-Hop! The song’s lyrics are about wanting to kill the white supremacists and those who want to impose a fascist dictatorship, explaining that it was what America did (back in the Civil War and World War II), but it’s not allowed now. The song decries how the system is rigged in favor of rich white men, with the poor paying more taxes. It speaks to the contradictions around guns, with people wanting stronger gun control to stop the killing, but wanting guns for self-protection and to fight back. It’s quite a strong social and political statement. The B-side, “Statehouse” is a reworking of the song they released on their LP, “Don’t Let the Sunlight Fool Ya.” It’s a walk through the history of the Civil Rights movement and contrasts it with the resurgent right wing in America that led up to an insurrection, something no one thought possible here. The Slackers are still killing it.
TEENAGE FANCLUB – Nothing Lasts Forever (Merge Records, www.mergerecords.com)
There are certain bands with staying power. One such band is Scotland’s Teenage Fanclub, who formed way back in 1989 and have spent that past 34 years entertaining fans, teenage and otherwise, with their alternative rock music. “Nothing Lasts Forever” is the band’s eleventh studio LP. It comes a mere two years since the band’s last LP, “Endless Arcade,” which is an anomaly that fans will welcome. They slowed down on new recordings during the 2000s, going five or six years between albums. What hasn’t changed, even with a lineup change in 2018 that saw co-founder Gerard Love depart the band, is their sound. This latest record still features Teenage Fanclub’s brand of easy, soothing alternative pop and rock. And I know there are a lot of people who love this sound. The songs are relaxed and subdued, so don’t plan on going crazy jumping around at a show. But if you like more “normal” dancing, you’ll be able to do that. Songs like “Foreign Land,” the opening track of the record, have an easy loping tempo, perfect for bobbing your head and tapping your toes or maybe shuffling around on the dance floor with your main squeeze. It’s got a hazy lazy vibe, blending some acoustic guitar into the mix, with hints of psych lurking in the electric guitar tone. Some songs are a little too much like 70s soft rock for my tastes, coming across as a little bland, with hushed harmonized vocals, simple guitar solos and uncomplicated melodies. “Tired of Being Alone” is one such track, and “I Left a Light On” is another, complete with stringed accompaniment. There are a couple of standouts. I kinda like the power pop jangle of “See the Light;” its strong backbeat and bright keyboard jangle will make it hard for you to not bob your head, and the subtle use of saxophones in the arrangement is brilliant. “Self-Sedation” has a retro 60 pop feel, which is fun. And the ending track, “I Will Love You,” is a lovely extended spacey track with a minimalist riff running through the entirety of the song. If you’re a Teenage Fanclub follower, you’ll appreciate this album. It’s them doing what they do best. If you’re looking for something with a higher level of energy this may leave you wanting.
DEWEY DEFEATS TRUMAN – Cover Your Ears (deweydefeatstruman-sd.bandcamp.com)
San Diego’s Dewey Defeats Truman, who were primarily active in the 2000s and who resurfaced a few years ago to release an excellent new EP, “The Way We Shatter,” went back into the studio to have fun with a couple of covers. The result is the two-song digital release, “Cover Your Ears.” The A-side covers The Buzzcocks’ “Why Can’t I Touch It,” and I think it’s the better of the two tracks. It starts out sounding pretty true to the original, but as the song evolves it begins to sound more and more DDT-like. Covers can be fun when the band makes an attempt to give it their own spin. And this one is really well done. The B-side is “Kidney Bingos,” a Wire tune. In this case the cover might be a little too “on the nose,” with a strong 80s synth-pop sound and nothing of DDT in it. It’s still a good song, but adds nothing new to the original Wire track. Still, it’s always good to hear new DDT recordings.
MUSTARD PLUG – Where Did All My Friends Go? (Bad Time Records, www.badtimerecords.com)
Mustard Plug, by now, needs no introduction. They’re a ska band, or more precisely a ska punk band from the so-called “third wave” of the genre. The band formed in 1991 and they’ve been making music to skank to for more than 30 years now. And having been around so long, working to perfect their craft, Mustard Plug are experts at what they do, and have produced a solid example of the genre. As a former trumpet player myself, I appreciate the prominence of the brass instruments on many of the tracks, and the fantastic melodies they get to play. The album opens with the title track, which has a lush, rich arrangement with a strong skankin’ backbeat. Harmonized backing vocals are subtle and effective. A song I really enjoy is “Fall Apart.” It’s got a great melody and the arrangement is pretty cool, with some of the horns pulled back in the mix to sound distant. I like how there are moments when the trumpet growls, and the bass has some stellar riffs. Really, the arrangements on all of these songs are top notch, especially “Another Season Spent in Exile.” The dark tone is great, and the interplay of the horns, especially against the big backing vocals and guitars/bass/drums is pretty damn spectacular. Most of the songs are pretty standard ska punk, heavy on the pop, but “Why Does It Have to Be So Hard” and “Rebel Youth Face” are straight-ahead third wave ska without the pop punk, with the former bordering on rock steady, with a slightly slower loping tempo. If you’re a fan of ska and ska punk, get on this.
THE SUBJUNCTIVES – Let’s Try This Again (Top Drawer Records, tdrecs.com)
The all-star Seattle pop punk trio of Ean Hernandez (Sicko), Jeff Mangalin (Four Lights), and Wendell Howell are back with a brand new LP chock full of bouncy, poppy punk tunes! The LP contains fourteen new musical tracks, one Sicko cover (“Believe”), and one studio comedy track for our listening pleasure. These are short blasts, too, with the entire album clocking in under 30 minutes. And song topics range from silly and funny to serious and sentimental. Every song is a banger, with mostly up tempo paces, crunchy guitars, and harmonized vocals. Even so, there are some real standouts. One such song is “I Don’t Have the Time,” a loping poppy track that sounds like a blend of the early Green Day and Mr. T Experience catalogs of the 90s, complete with the MTX “ba ba-ba-ba-ba” lyrics. My only complaint is that at less than 90 seconds it’s too short! I love the message and melody of “Smart Punks,” too, with a chorus that sings, “Punk rock doesn’t have to be dumb!” The touching song, “It's a Shame We Didn't Get More Time, Lance,” is a beautiful ode to Lance Hahn, the musician from Cringer and J Church who tragically died too young from kidney disease. Another one that’s sentimental is “What’s Up Fuckers?” about growing old and not wanting to be alone. The vocal harmonies intertwine wonderfully. “I don’t want to be alone again / I don’t want to be without my friends / I don’t want to be the lonely man that sits at home…” The song has a strong 60s power pop feel to it, too. “The Henry Rollins School of Menacing” is a humorous tune that starts out a familiar old hardcore guitar riff, and then goes through all the different ways to be intimidating, based on Henry Rollins’ public persona. “If We Ever Get Out of This Mess I'm Going to Do Something With My Life” has some fantastic chord changes and riffs making it a real standout track of the album. “So Glad You're Here” has the makings of a pop punk anthem, with personal lyrics about Ean’s punk rock life. The Sicko cover, “Believe,” is pretty much a note for note redo, which is to be expected since Ean fronted that band, too. The only difference is the harmonies work better on the cover. And that comedy track? The final track, “High Comedy at Chez Albini,” contains studio banter and the guys fake farting and laughing about it. High comedy indeed. But a fantastic pop punk album. Highly recommended.
WORRIERS – Trust Your Gut (Ernest Jenning Record Co, www.ernestjenning.com)
After the home-recorded solo LP (“Warm Blanket”) that Worriers’ Lauren Denitzio released at the start of the year, Worriers are back as a full band. With Denitzio having made the move cross-country from NYC to LA, there are some personnel changes, with Atom Willard replacing Mikey Erg on drums. Also joining are Franz Nicolay (of The Hold Steady) and Allegra Anka (of Cayetana). Still with the band is Frank Piegaro (The Love Songs). Though it’s a return to a full band, “Trust Your Gut” still has the more intimate scaled back sound of “Warm Blanket.” There’s less punk and more pop here. The arrangements are more thoughtful, less simplistic, with some songs featuring piano, synth, electric organ, and/or strings. What hasn’t changed is Denitzio’s ability to craft excellent songs that are both pretty and thought provoking, with themes of heartbreak, gender expression, identity, and love. Listening to the title track feels like listening to an anthem from a 1980s John Hughes film, with fluttering synths and a bright new wave pop bounce. It’s all about uncertainties in life and the anxiety that can cause, trying to figure out who you can trust. There are songs, too, like “I’m Not Mad,” which have a pop ballad quality, despite not being slow. This one is mid-tempo with a big warm sound from the electric organ filling the background. The arrangement is otherwise somewhat spare sounding, letting Denitzio’s vocals shine with a plaintive quality. And we get delicate folk-pop in songs like “Waste of Space,” with acoustic guitar and piano in the mix. The string choir used in “Backyard Garden” is gorgeous, and “Top 5” starts out solemn and mysterious, with sustained bass synth tones and a minimalist feel, with insistent vocals. Worriers have gone in a completely new direction since their first two LPs. I like both sounds, and I love these new songs.
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