 
 ALECTRO
- School of Desire (Bepop Records www.bepoprecords.com)
If a tear comes to your eye whenever you see “Hang ‘Em
High” or “For a Few Dollars More”, then
Alectro is the outfit for you. Jeff Eyrich and Steve Kirkman
brings surf-country twang to life through eleven tales of
hard living, lonesome traveling, and trying to find an elusive
place called “home”. With a healthy application
of fuzz and distortion, School of Desire resonates with 60’s
fidelity from a pair of weathered vets with endless stories
to share. “Fork in the Road”, “Hard Travelin’”,
and “Take Me to the Highway” are just as one would
imagine; the songs conjure images of open roads and American
independence offset by a melancholy realism that individualism
has its sacrifices. “Shining Star” is nearly six
minutes of washed out surf guitar and Eyrich and Kirkman’s
poignant vocals, while “Sunset at County Line”
is sans vocals and merely pulls at one’s heartstrings
through a soulful, haunting riff. Some of the material here
is a bit too slow in tempo for my liking, but the story telling
of “Cross and the Switchblade” and “Whiskey
Water” is superb. The duo also do a faithful rendition
of “Tobacco Road”; one that is much more true
to the original of The Nashville Teens than some of the world’s
failed attempts. One need not be driving through a remote
section of the dusty Southwest to appreciate this, but if
listener closes their eyes, one can almost hear a lonely coyote
howling at the moon while Alectro performs.
 ENRAGE
- Gateways Vol. 1 (www.worldenrage.com)
Enrage is a scathing example of New York hardcore with a tangible
infusion of punishing metal, and Gateways is the first of
a three EP series which promises to explode this band onto
a world that needs more bands like this. “Godhead Murderer”
pays homage to classic thrash metal with a monstrous riff
that kicks in around ninety seconds into the track and is
a ruthless assault that fans of Agnostic Front and Sick of
It All will love. “Monday Morning Steamroller”
is a fist-throwing, spin-kicking juggernaut of a hardcore
anthem with chugging guitar, gang vocals, and the instantly
recognizable pipes of Sheer Terror’s Paul Bearer. This
is the most fun one can have while getting pummeled. The closing
“Folsom Prison Blues” is a tough-guy interpretation
of the legendary Johnny cash’s anthem, and covering
such an iconic song is a challenge. However, Enrage beef up
the song’s intensity and its tale of desperation rings
with even greater despondency and fury. I only hope the next
two releases follow quickly.
 MODERN
WARFARE - “Delivered” (UT Records ut-records.com)
Once one fights through all of the results that are connected
to video games, one can finally gather some biographical information
on this highly distinctive outfit. This early 80s punk gem
has been resurrected thanks to the geniuses at Buffalo’s
UT Records, and if you are like me and was too young for Modern
Warfare the first time around, this single is a primer on
what LA punk was like just before the hardcore scene took
control. Quirky, jangly, spastic guitar riffs cut jagged edges
throughout each track as Jim Bemis sings about “post-nuclear
fashion” (“Dayglo”), a menacing figure,
bullied by society, lurking in the dark (“In the Shadows”)
and the urban decay of America during the last moments of
the Carter era (“Delivered”). Surrounding Bemis
and his Richard Hell meets Jello Biafra delivery is Tim Gaines
and Steve Sinclair both on bass (!), Ron Goudie on guitar,
drummer Randy Scott and subtle keyboards from Tish Lucca.
The high pitched, rapid fire guitar riff of “Delivered”
sounds like Devo jamming with the Damned while “Dayglo”
is a hyperactive blast of apocalyptic terror that sounds quaint
in comparison to modern threats of global terror. Bemis ran
both the band and Bemis Brain records which ultimately morphed
into Enigma, a company that celebrated the unique in their
own right. This is both a fun and worthwhile blast of nostalgia
compliments of one of America’s best little labels.
 THE
MONOCHROME SET - Spaces Everywhere (Tapete records www.tapeterecords.com)
The Monochrome Set is the musical equivalent of the person
who you see waiting in line and you swear you know them but
you just cannot place them-everything about Spaces Everywhere
seems distinctive yet also maddening familiar. From Bid’s
vocals, a hybrid of Morrissey, Ray Davies, Mark Knopfler,
and torch song crooners, through the warm harmonies of “Fantasy
Creatures” and “rain Check”. There are the
morose elements of Velvet Underground, bubblegum pop energy,
and rock’s most visceral qualities. “Avenue”
rollicks with a keyboard riff straight from FM radio of the
late 70s, while “When I Get to Hollywood” is a
bouncing anthem that is quite effervescent in personality,
but like much of the record, the light-hearted nature of the
music defies darkness within. The turbulent emotions of the
protagonist in “Oh, You’re Such a Star”
and the eulogy of “In a Little Village” stand
in contrast to the flute that adorns the latter or the banjo
on “”The Scream”. Spaces Everywhere is an
eclectic, vibrant collection of songs that would be comfortable
in the confines of a 60s cooperative, but will undoubtedly
stun people in 2015.
 SCREAMING
FEMALES - Rose Mountain (dongiovannirecords.com)
There are c ertain bands for which there is no simple label
or genre that one can thrust upon them and be done with
it; for my money, no act embodies this more effectively
than Screaming Females. I know this trio is a pretty big
deal if you consider yourself among the living, but why
they are not ruling the world is beyond me after checking
out the first four efforts on Rose Mountain. The dark, angular
“Empty Head”, the aggressive “Ripe”,
and the boisterous “Burning Car” take Sleater-Kinney’s
finest moments and inject a level of angst that even Carrie
and her mates cannot quite match. Marissa Paternoster has
a voice that is wildly expressive and her guitar playing
matches her vocal intensity, even when she plays more delicately
on “Wishing Well”, or adopts an island vibe
on “Broken Neck”. Accompanied by bassist King
Mike and drummer Jarrett Dougherty, the band has the ability
to erupt violently and then recede with equal ease into
serenity, albeit usually quite short-lived. The rugged,
metal tinged riff of the title track gives way to graceful
versus in which Paternoster displays her rich, harmonic
range, a trait also found on the closing “Criminal
Image”. “Hopeless” captures its title
through the melancholy mid-tempo pacing and somber vocal
delivery, while “Triumph” rebounds with a kinetic
energy and a soaring chorus. This is a flawless record as
it alternates between abrasive and charming, punk fury and
pop hope with an adroitness few can imitate. I want to start
a petition to get Screaming Females on next year’s
Super Bowl halftime show.
 MAKE
DO AND MEND - Don’t Be Long (Rise Records www.riserecords.com)
There is scant information on this four-piece, Boston via
West Hartford, Connecticut outfit, but Don’t Be Long
says much more than any clichéd press release ever
could. Despite an existence that measured close to a decade,
this is my first exposure to the band, and their hardcore
roots occasionally appear on the title track or “Ever
Since”, but Make Do and Mend have clearly softened the
corners to produced a highly melodic record replete with huge
hooks and moments of heartfelt sentimentality. “Sanctimony”
opens with the line “what ever happened to the first
summer we ran away/ Hearing our hearts pound on 95 Southbound”
and gives way to powerful riff tempered with rich harmonies,
while “Begging for the Sun to Go Down” is a genteel
acoustic track that is mirrored by the equally reserved “I
Don’t Wonder at All”. Both of the latter tracks
allow singer James Carroll to demonstrate his emotive and
warm vocal skills. Other tracks such as “Bluff”,
“All There Is”, and “Sin Miedo” are
slightly more rugged in tone, but even when the band elevates
the bombast, there is always a pop sensibility that stops
any song from becoming overly aggressive. To their credit,
Make Do and Mend have put together a collection of highly
crafted, intelligent songs that rattle some walls as they
break some hearts, and they certainly have a sound ready for
prime time. I can imagine these guys getting thrown into a
“post-hardcore” blender, but there is much more
“post” than hardcore here; which is fine, as Make
Do and Mend are clearly leaving some of their younger angst
in the past and are focusing on more refined work. I believe
they have the potential to become a significant band if given
the right exposure, and there is an earnest quality to all
eleven songs without any filler. I just wish they would enhance
their online presence!!
 LIFE
EATERS (killinghorserecords.com)
The members of Life Eaters do not care what rock is “supposed”
to sound like in 2015 as these five New Jersey area vets,
including two members from the always incredible Rye Coalition,
strut and smash their way through twelve pummeling songs.
“I’m the One You Wanted” is a jarring opener
with its boundless energy and a hook-laden chorus, but before
the amps finish humming from that track, the guys shift gears
into the bluesy sludge of “Man Pain”, a tar pit
of an effort that nearly doubles the length of its predecessor.
Regardless of tempo, Life Eaters deliver the goods in the
form of no frills rock for those who may have forgotten what
that art form sounds like; “Look Out” and “Lock
it In” are among the finest one-two punches one will
hear this year, while the closing “Lie to Me”
is delivered with a wry sensibility and an underlying sexuality
that drives the song. Taking the energy of Night Birds but
exchanging the Dead Kennedys influence for some Monster Magnet
and a healthy dose of 60’s groove ( check out “Atom
Bomb”), Michael Sylvia leads his friends through twelve
blasts of sultry, hard-edged rock n’ roll bombast. Romel
Espinel (formerly of No Pasaran!) and John Gonnelli are a
ferocious guitar duo, buzzing through the rollicking “Animal”
and the blazing “Cut Above” with garage-punk intensity
and refined skill. The low end is handled by drummer Gregg
Leto and bassist John Feuerbach, who carry the rousing “Government
Kicks”, a track that drags the sound of the Damned into
the twenty-first century. The ability to import a wide array
of styles and angst into one cohesive knock out punch makes
Life Eaters a disc deserving of celebration.
 DWARVES
- Gentleman Blag (Fat Wreck Chords www.fatwreck.com)
Can it really be possible to be exhausted after listening
to a scant four song EP, including one track that is over
is thirty seconds? It is when one is discussing the mighty
Dwarves! The Gentleman’s Blag EP is the band’s
first release on Fat Wreck Chords and one has to wonder what
took this marriage so long to occur. For fans of this seminal
act, nothing here is a surprise-it’s fast, aggressive
punk that is dripping with sex, but not in a charming way,
and it also includes more legendary cover art. “Gentleman’s
Blag” is a celebration of Blag Jesus’ male apparatus,
while “Trisexual” is a blindly quick gem that
is over before it starts. (Some may relate to that problem)
However, lest one believe that there is limited substance
here, “Kings of the World” is one of the most
hook-laden songs you will hear this year, and “Stuck
in the Void” is carried by vicious guitar playing and
includes guest vocals from Rex Everything (Nick Oliveri) along
with pristine production from Andy Carpenter. The band sounds
huge on this EP, as each player is allowed to shine, particularly
on “Kings” and “Stuck”, the two more
complex anthems of the bunch. If you can handle huge harmonies
and like it little rough, jump in bed with the Dwarves again
for this one.
NOISE BY NUMBERS - High On Drama (Jump Start Records
www.jumpstartrecords.com)
After listening to “High on Drama”, the opening
title track of Nose By Numbers EP, I am furious with myself
that I had never heard of these guys pre viously.
This six -song effort is an impressive display from a Chicago
four-piece that uses the band as an outlet for fun, but I
for one would love to see this become a permanent project.
“Are You Still My Enemy” rattles and smashes its
way over the listener the way Mission of Burma’s best
work did, as Noise By Numbers injects poetic bombast into
each song without losing the intimacy that makes the record
so impactful. Their brand of Husker Du meets Superchunk power
punk hits its apex on “Southgate House”, a rollicking
song with an infectious hook and the impassioned vocals of
Dan Schafer, who clearly grew up inspired by the rugged honesty
of Paul Westerberg ‘s delivery. “Make up Your
Heart” is another soul-bearing anthem that resonates
with a warm guitar tone and celebrates the glory of a guitar
riff that fans will hum in their heads long after the song
finishes. Noise By Numbers plays sincere rock with an understanding
that catchy songs are increasingly rare commodities and all
of High On Drama is unavoidably memorable, including the slower
paced “Town of Hamburg” and their version of the
Lemonheads “Rudderless”, which is a fitting homage
to the song without simply recycling it. This may be the concluding
chapter of Noise BY Numbers career or it could inspire the
to continue to write full lengths together; regardless of
what happens in the future, no one should miss the opportunity
to check out High on Drama.
 LOW
FAT GETTING HIGH (Money Fire Records www.moneyfirerecords.com)
The rugged instrumental “Introduction” that opens
Low Fat Getting High encapsulates the band’s grunge
worshipping, noise-rock aesthetics by punching the listener
in the back of the head and then walking away laughing. It
is a thrilling start to a sterling record from an abrasive,
primal act that has rightfully earned high praise and a healthy
buzz around the NYC area. Drummer Kaleen Reading joins Artie
Tan and Michael Sincavage, and Reading steals the show on
the thunderous “Start All Over Again” and “No
More Feelings”, while the guitar acrobatics of “Bath
Salts” and “Mint Gum” are viciously beautiful.
“Hate Them All”, which opens the second side,
and “Gunther” possess a controlled aggression
reminiscent of a band like Titus Andronicus. Low Fat Getting
High clutches on to riffs with white-knuckle intensity as
the songs spin dangerously out of control in an exhaustive
listen. After eleven slabs of teeth-rattling, concussion-inducing
sludge, the band shows a sly wit by ending the disc with a
mid-tempo stomp in the form of “The Car is Waiting”.
I do hope this band gets out and slays the rest of the country
with the ferocity they are currently enjoying in the big City.
 P.R.O.B.L.E.M.S.
- “Hit and Run” b/w “45 Minutes”
(Doomtown Sounds www.problemspdx.com)
This Portland, Oregon five-piece brings high-energy fun to
their brand of punk rock on a highly enjoyable single. “Hit
and Run” displays an affinity for the early masters
of sleazy, gritty rock n’ roll, as the track borrows
heavily from Raw Power-era Stooges, particularly the guitar
work of Scott and Matty and the vocal intensity of Bradly.
This is not rewriting the punk manual, but no one is asking
P.R.O.B.L.E.M.S. to do that and listeners do not have to work
very hard here. They do fall back on another well-worn trick
by injecting some country twang into “45 Minutes”,
but like its predecessor, this is an entertaining ride.
 WIDOWS
WATCH - This Message Repeats (Toxic Pop Records www.toxicpoprecords.com)
This Baltimore outfit is comprised of long-time scene vets
who play harmonious, hook driven efforts that sound like 1993
never ended. With former members of Greasegun and Can’t
Say, among others, Widows Watch is a band that makes music
for the pure appreciation of writing good songs and their
passion shines on This Message Repeats. Because Widows Watch
is not a full time job for the members, as they all wrestle
with real responsibilities like families and jobs, this is
not an outfit that will tour the nation. While this is a shame
as the world needs more bands this pre and honest, their reclusiveness
adds to their mystique. If you are waving goodbye to your
twenties (or older), it is difficult not to find solace in
the laments of songs like “Bleeding Heart” and
“American Gulag” with their tales of the daily
hassles of life that bind many of us together. I was also
taken with “Lazy” and “Stumble” for
their ability to capture the challenges that can make each
day conquered a victory, (“It’s the lonely times
that drag on and on/ I Know it’s all in my head/A lot
of good that does in practice/ Because its where I’ve
go to live”-“Stumble”) or the importance
finding comfort in the people who truly matter on “Kindred
Company”. Ultimately, it was “Fake Smile”
that resonated most personally for me, and the poetic nature
of Andy’s vocals is the highlight of the record. With
a double guitar structure, the songs are each richly textured
and can hit with surprising force, such as the All-inspired
“Zero Sum”. This is a rewarding find and a band
worth celebrating beyond their occasional local club app
 SMALLTALK
III (smalltalkplus.bandcamp.com/ album/smalltalk-iii)
Smalltalk is best known as the side project of Pete Steinkopf
from the Bouncing Souls, but the band should be regarded as
a wholly independent entity worthy of respect solely based
on musical acumen more than name recognition. This three song
EP integrates 90’s pop jangle and Smith’s styles
harmonies for three richly engrossing anthems. The opening
“Spellbound” steadily builds with a structure
similar to that of the best moments of Siamese Dream, complete
with squalling guitar and rich melody, while “Like You”
could easily be a single from Meat is Murder. With a bouncing,
rollicking aesthetic, the song gallops along for a scant two
minutes before moving along to “Indecipherable”,
a smoothly delivered effort that drips with references from
Big Star to The Wedding Present with the biting line “every
time I need you to step up, you step down”. This is
another impressive collection from a skilled collection of
players (Zak Kaplan, John Chladnicek, Jamie Goldfarb and Tara
Jones round out the outfit), and hopefully a full length is
coming soon.
 EARLY
AND JUSTIN - Jonsing For Some Jones (https://earlyandjustin.bandcamp.com)
This five-song gem is the byproduct of a drunken 2am conversation,
and this only proves that alcohol fuels brilliance. Early
Gates and Justin Melkmann take a handful of soulful George
Jones anthems and play them as if it was open mic night at
CBGB’s in 1978. Their fast, fuzzy, and punky playing
takes country lyrics of alcoholism, loneliness, and general
exhaustion with life and injects a vivacious energy that makes
the tracks almost uplifting. “I’ve Got Five Dollars
and It’s Saturday Night” sounds like a fun night
out in the hands of Gates and Melkmann, while “Just
One More” and “The Race is On” are kinetic,
highly charged efforts that bounce with a joy that only emerges
when the homage is performed with true admiration. The finest
of the group is “Something to Brag About” with
the lush and sultry vocals of Mariann Salvato who is irresistible
when she coos lines about her ”hourglass figure and
her big brown eyes”. I know that country music can become
a caricature of itself and the same can be said of some punk,
but in the hands of true professionals, both genres are incredibly
expressive and deeply human. These qualities dominate this
EP that is more than just two friends having fun-this is sparkling
punk-pop.
 d.smith
- Groping For Luna Vol. 1 (Dromedary Records www.dromedary-records.com)
The d. smith in question here is Dan Smith who first gained
a level of prominence in the early through mid 90’s
act Shirk Circus, a band I distinctly remember through the
haze of my college radio salad days. Groping for Luna is sixteen
tracks of largely melancholy, sometimes aggressive, but always
introspective pop-tinged rock that brings one back in time
around two decades without sounding imitative of his earlier
career work. Smith is a bit of a unique character, never touring
and rarely granting interviews, so the songs here are glimpses
inside his thoughts and “So Long (And So Forth)”,
“The Ballad of Squeaky Fromme”, and “Ghost”
are among a trio of articulate songs that examine life in
a unique manner under the warmth of fuzzy riffs and rolling
bass lines. While some of the work becomes a bit too reserved
for my tastes, such as “Walk Through Fire” or
“On (and on and on and on)”, [although the latter
of those two features a lush backing vocals from a bevy of
talented singers] the majority of the record is pointed and
poignant, blending latter career Husker Du riffage with late
90’s pop harmonies. My greatest surprise here was the
warmth of Smith’s voice-never straining too far in terms
of range, Smith envelopes the listener and invites the person
into his world for a little while. One feels as if Smith is
sharing secrets that he will later wish he did not reveal
but the honesty is engaging. Along with drummer Bobby Diamond,
Smith concocts straightforward but not simple songs that offer
his distinctive worldview. Not only is this record worth picking
up because of the talent heard within, but it also marks the
final release for Al Crisafulli’s Dromedary Records,
a consistently impressive indie whose releases I have routinely
enjoyed since the company’s inception. The good news
is that while Dromedary closes a chapter, The Sugarblast Music
Company is now shaking off the afterbirth and will soon unleash
music that, according to Crisafulli, is “louder”
and “more obnoxious” than the work heard on Dromedary.
Sounds good to me.
 THE
GOOD GRACES - Close to the Sun (Fort Lowell Records fortlowell.blogspot.com)
The Good Graces is largely a one-woman show in the form
of Kim Ware’s delicate guitar playing and serene vocals.
The genteel nature of her work allows for her insightful
lyrics to shine. Her impressions and observations on the
complexities of relationships dominate Close to the
Sun and the emotions span a wide gamete. The lamentations
of better times are haunting on “My Own Grace”
(We went dancing and stayed out ‘til two/You held
me close and I looked up to you/And everything felt right/Now
all we do is fight”), while Ware boldly embraces loneliness
on “Cold in California” (I’ve been spending
all my days/Wondering hat might have been”). Ware
surrounds herself with the appropriately understated musicianship
of John McNicholas, Erik Ostrom, and Rob Dyson among others,
and these players shine on the lush “Standing in Line”
on which Ware is frustrated with a partner’s lack
of decisiveness (“If you could just make up your mind/
Make up your mind/Why can’t you just make up you mind?”).
The closing “Before You Go” celebrates the subtle
gestures that comprise true love with Ware’s voice
gracefully emoting “Before you go, please know that
I love you” with a profound sincerity. Ware is a highly
skilled songwriter with highly astute assessments of the
intricacies of human relationships.
 THE
MODERNS - “When She Gets Back” b/w “Escape
Velocity”/ “Run” (Ut Records ut-records.com)
There is a cool story to this one: This was originally recorded
in 1979 but Ut Records has unearthed it and released upon
a 21st century that desperately needs more bands like this.
The A-side is a standard piece of jangly pop fare with a slight
edge, but the record truly explodes when one flips the record
over to side B. “Escape Velocity” is properly
titled as the track is a speedy, punk-tinged effort that sounds
like it could crawl along the alcohol-stained streets of London
even thought he band was led by California’s Modern
Warfare mastermind Jim Bemis. The closing “Run”
has traces of what became grunge as the track blends fierce
intensity with soaring harmonies. This is a nice find, and
while the recording sounds a bit dated, the energy and emotion
is timeless.
 WHOLE
WHEAT - Songs From My Parents Basement (Mystery Circles
facebook.com/basementmold)
I was not sure if this was a joke, but Brian Austin, aka Whole
Wheat, has been actively recording music since the late 1990’s
and he kept the tapes stashed in his basement until last year.
I am uncertain if they deserved to be released from their
mildew and mold infested crypts. The songs range from primitive
beats with monotone deliveries (”Tragic Death”,
“Seaworthy”), to acoustic melodrama (“It’s
Alright”, “He Knew How to Smile””,
and “Spread Eagle”), to Beatles-esque pope delirium
(“We Can be So Happy”) to finally, the keyboard
laden moodiness of “Depression Days”. All the
while, despite the occasional moment of levity, for example,
“Tragic Death” does have some very sarcastic and
sardonic lines about suicide, the majority of the work is
monotonous and repetitive. For those who truly love a lo-fi
vibe, this is it, and while I know that recapturing a 90’s
aesthetic is quite popular right now, I think Mr. Austin is
best served retaining these memories for himself.
 THE
HARLEM DOWNTROTTERS - Don’t Panic (harlemdowntrotters.bandcamp.com)
In addition to having a great name, this Columbia, South Carolina
outfit has an ear for pop-punk harmonies and a willingness
to make their points quickly and then get out of your life.
With eleven of the fourteen songs here checking in at under
two minutes, and four of those at under one, the Downtrotters
do not waste the listener’s time nor do they care to
demonstrate technical dexterity. They simply unload a barrage
of guitar fueled, garage-laden punk with warm harmonies and
make songs like “Bipolar Bears”, “Will Never
Save the Day”, “40 Years”, and “Homewood”
both powerful and memorable. “40 Years” is also
reflective of the band’s lyrical prowess, writing with
a style that tempers bitter sarcasm with realism (You got
an MBA from USC/Now you're standing on the corner with the
guys on the street/If you had another chance you would do
it differently/But it's much to late for that). The shared
vocals of guitarists Kyle Cooley and Chip Duncan along with
bassist Kellen West give the songs resonance and depth even
in their brevity. Thousands of bands have and will continue
to steal the best moments of the careers of Ben Weasel and
Joe Queer and attempt o make them their own, but the Harlem
Downtrotters do not simply recreate Love Songs for the Retarded;
instead they succeed in making intelligently crafted hook-happy
punk that could stand out among the throngs of acts attempting
to do the same.
 DANIEL
LANOIS - Flesh and Machine (Red Floor Records www.redfloorrecords.net)
Daniel Lanois’ career as a producer is renown and overflowing
with majestic achievements. He is also a leader in the ambient
music genre as exemplified by Flesh and Machine; a staggering
achievement of beauty and elegance. Lanois first gained recognition
as the Aristotle to Brian Eno as Socrates, and Lanois revisits
elements of those early days on his latest work. Among the
sterling moments is “Sioux Lookout” as Lanois
merges what appears upon a cursory listen as a combination
of human and animal sounds, but in actuality, the songs transcends
the natural world as the composition of noises were created
by Lanois himself. “My First Love” strikes a fitting
tone that is less abrasive than “The End” or less
complex as “Two Bushas” as it both ethereal but
also hauntingly beautiful and hopeful. The irony of that is
that Lanois used the same instrument to create “My First
Love” as he did for the song “Apollo…”
made famous in the gut-churning toilet scene from the classic
film Trainspotting. Perhaps the most impressive aspect of
Lanois’ work is the humanity behind it; when one usually
contemplates ambient work, the connotation is a series of
keys and other machines being manipulated by one twisted madman
buried within his recording studio, but Lanois employs bassist
Jim Wilson and the punishing drummer Brian Blade to inject
real flesh into Flesh and Machine. The presence of these men
makes “Tamboura Jah” and “Forest City”
two more of the brilliant and confounding mesmerizing works
fond here. Daniel Lanois is a musical visionary and genius
who borrows from his past to present an entirely new future
on Flesh and Machine.
 THE
SAINTS - King of the Sun/King of the Midnight Sun (Highway
125 Records www.highway125.com)
The legendary Austrians punks The Saints continue to find
ways to reinvent themselves; this time they do so on the same
record. The wily vets have released a double album that is
the same collection of songs recorded in two different manners.
This obviously runs the risk of becoming redundant, repetitive,
and even disturbingly arrogant. However, none of those adjectives
fit here as the Saints simply offer fans a glimpse into the
diversity of their talents as the Chris Bailey and mates have
clearly matured and refined their sound over the many years
of the band’s existence. The first batch of songs that
make up King of the Sun are more reserved in nature, adopting
a less bombastic approach as well as slower tempos. This allows
for each syllable to be articulated with greater clarity and
each riff or chord progression to be appreciated with more
lucidity. While the title track and “Sweet Chariot”
are my favorite of the group, I am highly relieved that The
Saints increased the volume and the intensity on King of the
Midnight Sun. “Road to Oblivion Part Two” and
“Mystified” are lush, sweeping anthems on King
of the Sun and their beauty is unquestionable, but the crunchier
riffs and darker sensibility one hears on Midnight Sun makes
them more engaging. The Saints have brought Barrington Francis
back into the fold of the band for the first time in over
fifteen years, and the injection of spirit and energy is obvious.
The Saints have never been an outfit to do the expected and
this has unfortunately relegated them to a band that is not
immediately mentioned within the Pantheon of punk legends,
yet their position as leading punk pioneers cannot be doubted.
However, this overt eschewing of traditional path courses
and the embrace of individualism makes The Saints an act of
contemporary resonance and impact while the overwhelmingly
majority of their peers have long faded from recording studios.
Long time fans of the band will admire both sides but may
ultimately find themselves returning to Midnight Sun more
frequently. This is proof positive that there are musicians
out there still defying standard modes of operation and defining
their careers on their own terms.
 VORTIS
- Safety First (vortistheband.bandcamp.com)
In an age in which punk rock can be interpreted in a myriad
of ways, it is wonderful to have Vortis back. This Chicago-based
trio of Jim DeRogatis, Louie Calvano, and Tony Tavano play
short, sharp, and biting songs that truly deserve the moniker
of punk. Safety First is a 17-song exploration of
political hypocrisy and redundancy through the lens of three
gifted and unafraid social commentators. As a fan of the band
since 2003, I am thrilled to see the old gem “Free the
Detainees” rerecorded with extra verve and poignancy
here; sadly the need for the song reflects one of the failures
of the Obama administration as then candidate Obama promised
to close the doors to Guantanamo Bay. The band’s classic
style dominates the disc as the trio race through aggressive
anthems that often struggle to reach one minute in length,
but their brevity does not undermine their impact. “Raison
D’Etre,”“ All American Drones,” and
“Cosmos” are thought-proving efforts that combine
blazing speed, low-end bombardment, and unapologetic realism
in their lyrics. “Downtrodden” and “Know
More” are two of the brightest moments here, with the
latter acting as a sardonic look at the digital age. Throughout
the years, Vortis’ sound has not drastically changed,
but Safety First has a fluidity to it that allows
the band to sound like they are in their first rehearsal space
banging out abrasive noise. There is positively nothing to
dislike about this record and I do hope that the guys can
make their way to the East Coast.
 THE
SUCCESSFUL FAILURES - Captains of War, Captains of Industry
(FDR Label www.fdrlabel.com)
For fans of easily digestible soft, pop-rock., there are certainly
more success than failure on Captains of War, Captains of
Industry. With strong harmonies and a commitment to hook-laden
choruses, The Successful failures offer mass-market accessibility
on “Milwaukee”, “Hit the Ground Running”,
and “Falling Out”. “Navigation by the Stars”
has a slight Southern twang, while “1954” and
particularly “Ghost Around Here” takes 90’s
indie pop and integrates a modern sensibility to flesh out
well-rounded songs. Efforts such as “O Carolina”
and “Knew Me on a Sunday” would please fans of
the Florida-Georgia Line as both revolve around a pronounced
country aesthetic. The Successful Failures are solid songwriters,
but there is nothing truly memorable here-ultimately Captains
of War, Captains of Industry features songs that could movie
score fodder, but the band will struggle to separate itself
from the clutter of radio-ready pop-rock.
 THE
SATISFACTORS (Bongo Boy Records www.bongoboyrecords.com)
Make room in the garage for some of rock’s most primal
energy in the form of The Satisfactors-a gritty, gutsy, and
grimy act from Jersey that is what the world needs so desperately
right now. From the opening “woah-oh’s”
on “She Got Charm”, it is instantly apparent that
this is genuine, hard knocks rock n’ roll, and the very
next track, “I Love Girls” sums up all that American
music should be with its celebration of lechery through a
triumphant riff. This is a dream team of well-traveled, battled
scarred vets who eschew fads for authenticity and produce
majesty through simplicity. No overdubs, no samples, no tricks-just
loud amps, monstrous hooks, and lyrics that one can memorize
after a single listen. The bluesy, Stones-flavored one-two
punch of “Hey Mama” and “Sweet Sunshine”
shows off the skills of vocalist Bruce Ferguson, while “Johnny
Commando” is the stand out track here. It’s a
loving tribute to the legendary Johnny Ramone that sums his
life and personality up perfectly when Ferguson says, “You
broke down the doors with a buzzsaw slam/never gave in to
all the glitz and glam”, while Gar Francis captures
Johnny’s likeness with ripping guitar work. It is a
perfectly fitting salute to the godfather of punk guitar,
but “Hit Me, Hit Me, Hit Me” will make Chuck Berry
beam with delight as the guys invoke rock’s earliest
originators. Honoring the past while moving forward is a theme
on the record, as “Give Me My Rock N’ Roll”
is a sentiment to which many can relate today as the track
pays homage to Iggy Pop, Johnny Thunders, and Richard Hell
among many others as The Satisfactors decry, “there
ain’t nothing on the radio!” Rounded out by a
furious rhythm section of bassist Kenny Aaronson and Curtis
Roy, The Satisfactors are the real deal and prove that once
again, rock and roll will never die.
 TETHERBALL
- Whimsy (Silver Point Records www.tetherballmusic.com)
Upon an opening listen, one may inclined to label Tetherball
as another up-tempo, buoyant pop-rock band, but there is so
much more happening here due to the complex visions of Steve
Voss an friends. The opening “Bootss” and particularly
“Vegetarian” have elements of classic 70’s
rock, from Squeeze to ELO to McCartney’s post-Beatles
work placed through an indie rock meat grinder. Meanwhile
“Puzzles” and “Gilded Rings” may be
mid-tempo but both possess highly intriguing lyrics, particularly
the latter as Voss states, rather matter of factly, “You’re
all alone, father’s gone and left you here/By the water,
with a hacksaw”. The gentle “Hometown” features
lush backing vocals from Joshua Vaught and drummer Nathan
Wahlman, while “Spring Chicken” includes sterling
horn accompaniment from Ryan Tullock as Voss issues the following
gem: “Thinking logically will only get me so far”.
My favorite of the ten efforts here is “Absinthe”,
an energetic, bouncing song that summons Queens of the Stone
Age with beautifully dark lyrics about sniffing out a girl
and talking to a dinosaur with an English accent. It may be
difficult to follow exactly where Voss is going at times,
but Tetherball offers a profoundly mature and decidedly interesting
twist on standard pop fare.
 THE
TRANSMISSION NOW - White Night (thetransmissionnow.bandcamp.com)
This Pennsylvania’s four-piece bring together tightly
wound indie pop with a healthy dose of punk angst to create
an EP of passionate and acutely melodic pieces that will resonate
with a wide swath of a rock audience desperately craving songwriting
just like this. The opening “Time Bomb” is a menacing
song, from the guitar tone to the lyrics about emergency surgery,
tourniquets, morphine and pain. It’s not exactly what
I expect from former members of Digger and Weston, but I love
the juxtaposition of pop harmonies and disturbing images.
“White Night” is a quirky bit of splendid songwriting
about being on the road, driving recklessly and getting in
a fight. The unexpected point of view makes the song all the
more interesting: it is told through the eyes of nervous thirteen
year old, which is what vocalist Phil Milia remembers being
on the night this occurred while his uncle and his uncle’s
roommate drove like maniacs. “To the Sun” is powered
by Ben Stephens’ bass work and it rattles with intensity
before flaming out and giving way to the very heavy “Dressed
to Kill”. Matt Balikian shines on this rugged, aggressive
nugget of punk anguish that expresses pure disgust as Milia
spits “disguised like a fine faux fur/I despise everything
about her” while his band mates slam forth a bruising
groove. There is quite a bit to like here and if one reviews
the resumes of the men involved, it is not difficult to understand
why.
 AARON
and THE BURRS - “Release the Bats” b/w “Oh
No, More Bats”
( www.ut-records.com www.feralkidrecords.com)
To begin, a great name; this Buffalo three-piece has taken
one of the great rapscallions of American history (he killed
Alexander Hamilton is a duel in Weehawken, NJ-Hamilton did
not think Burr was serious so he shot into the air as Burr
shot Hamilton in the stomach) and turned his namesake into
a surf band. A surf band from Buffalo is a great concept in
itself, and “Release the Bats” is a fun, sunburned
surf gem that is as much Dick Dale as it is Man Or Astroman?
The B-side, “Oh No, More Bats” is a bit more abrasive,
but in both cases guitarist Nicholas Reynolds shines and he
is well supported by Carson Cain on drums and Biff Bifaro
on bass. The second track takes more liberties musically and
distinguishes itself slightly more than the A-side, for it
is a more punk interpretation of surf, while “Release
the Bats” is a traditionalist’s dream. I have
no idea where Aaron and the Burrs plan to go with this sound,
but it’s a fun single that I will certainly turn to
once the snow kicks in; something that has probably already
happened in Buffalo.
 BEACH
SLANG - Cheap Thrills on a Dead End Street (Tiny Engines
Records www.tinyengines.net)
Philly’s Beach Slang compress an impressive amount of
talent and musical diversity into a tightly played four-song
EP which will only make people yearn for a full length as
quickly as possible. The opening “All Fuzzed Out”
is fittingly titled, but the vocals are not lost in the guitar
haze, but rather they mesh perfectly with the surprisingly
thick riff that carries the track. Blending understated Teenage
Fanclub drone with reckless, Replacements style uninhibitedness,
“All Fuzzed Out” is a glorious homage to Westerberg
and Stimson through both verbal delivery and bass hook. “Dirty
Cigarettes” feeds on Catherine Wheel style indie rock
with an injection of pop aesthetics that distinguishes this
song from the other tracks, but Beach Slang is well on its
way to developing a distinctive sound as a band. There is
great energy on “American Girls and French Kissers”,
cleverly titled ball of compactly wound energy that is restrained
but not subdued. The song surmises in one articulate line
the lives of so many making music about which they care so
passionately: “Friday night and I’m in the basement/
screaming out my lungs with my best friends/ I hope when I
die I feel this alive”. “We Are Nothing”
is a great acoustic closer that instantly hooks the listener
with the honest reflection, “Sometimes I don’t
wanna try/ I’d rather just fuck up”. Powerful
and defiant, the song resonates strength with both warmth
and intensity. This is a great listen from a very promising
band.
 MERIDIAN
- The Awful Truth (Victory Records www.victoryrecords.com)
In a world shattered by war, oppression, and disease, there
is not much positive news or optimism to be found, and that
always sends me running to music to salvage some vestige of
sanity. Apparently, despite their young ages (all under twenty-one),
Poughkeepsie’s Meridian feels the same way. The Awful
Truth is a sharp, intelligent, and thrilling collection of
modern hardcore with a devotion to big riffs, soaring harmonies,
and passionate playing. The opening “Gloom” sets
up the record perfectly-at less then two minutes, Meridian
introduces itself briefly before launching head first into
“Everything That kept Me Moving” in which lead
singer David Mitchell laments viciously while guitarist Chris
Evanko delivers richly moving vocals creating a seamless balance
between fury and refinement. Each of the twelve songs reflect
a search for a more profound meaning in one’s life,
and “Slip Away” embodies this struggle with a
majestic chorus and tremendous lead playing from Juan Espinoza.
Seventeen-year-old bassist Chris Titer is a flawless counterpart
to the menacing playing of drummer Ronnie Scocozza, and the
band hits their collective apex on “Waves”, a
punishing yet unavoidably melodious anthem that captures the
best elements of this genre. “Piece of Mind” and
“Making My Way” are daring songs of independence
and emotional strength set to the backdrop of playing that
is suffocating in its intensity, while “Slither”
is an uncompromising assault that revolves around a heavy
low end groove and a malicious verbal thrashing from Mitchell.
Meridian understand how to balance the two varied vocal styles
without ever becoming redundant or predictable, which is an
impressive feat for a band of grizzled vets, much less a collection
of guys still adjusting to shaving regularly. This is an incredibly
exciting album because one can only imagine this band will
be doing in five years if it already this cohesive and skilled.
 COURTESY
DROP - Stabilize (Animal Style Records www.animalstylerecords.com)
This five song EP truly stands out in a world of repetition
and monotony. Nashville’s Courtesy Drop play intensely
visceral indie rock without utilizing the traditional musical
styles to articulate such disgust. The opening “The
Eighth Gate” speaks to this point beautifully with its
ethereal opening that evaporates before a wave of guitar fuzz
and raw, gut-wrenching vocals from Paul Chalos. “What’s
the point of living life if you live it when you get home?”
is a biting, sharp-tongued jibe that carries more resonance
when barked with the passion heard in Chalos’ strained
vocal chords. “Orion” ebbs and flows in both volume
and structure, creating a track that is uniquely melodic and
bold. The song weaves a convoluted musical path but never
gets lost within its own construct; it balances simplicity
and bombast with equal aplomb. The dream-like “Space
and Interaction” is a lush, expansive song that sounds
as if it was recorded within a black hole and includes majestic
backing vocals while “Beauty is in the Eyes of the Imperfect”
moves with a deliberate pace through a maze of guitar haze
and dynamic power as the furiousness of the messages intensifies
as the songs draws to a powerful conclusion. The last track
of the bunch, “Pegasus” is a soaring, expansive
effort that beautiful concludes a thunderously impressive
EP of sparkling, modern shoegaze.
 ENTROPY-All
Work, No Plagiarism (Say-10 Records http://www.say-10.com)
Raging out of Orange County, New York for another dose of
old-fashioned, blink and you miss it hardcore is Entropy,
and not a second too soon! America needs this desperately
and I am thrilled to hear this band return with such aggressive,
yet well honed fury. There is not a wasted moment to be found
on All Work, No Plagiarism, even when the songs do not reach
sixty seconds in length. I cannot get enough of “War,
on Drugs”, “Forever Unclean”, and the vicious
“Strange Things are Afoot at the Circle K”. Played
with a freewheeling sense of urgency, this is early 80’s
hardcore done in its purest form. What I admire about Entropy,
besides the ability to deliver sixteen songs in barely twenty
minutes, is how they tinge their anger with biting humor and
fun pop culture references. The hidden track, “Crazy
Eddie’s Business School” is a loving homage to
ska, but “There’s Always Money in the Banana Stand”,
“Dead Things, Mikey, Dead Things”, and “Choppin’
Broccoli” are all brilliant in their no nonsense approach
to traditional hardcore. Entropy is not a band interested
in style points, technical sophistication, or experimentation-they
know what they are and they are superb. If you claim to be
any form of hardcore fan, throw away the masturbatory act
of unnecessary subgenre assigning and start your own circle
pit to this gem.
 AP
MAURO - The Rebel in Us (Lamon Records www.lamonrecordscom)
AP Mauro employs a number of very talented friends on The
Rebel in Us and the finished product is a warm collection
of country pop songs with a smooth polish and sheen. The opening
“Unfaithfully” could be a crossover radio hit
on pop rock stations as much as any country station as Mauro’s
rugged voice is free of twang. However, “River Leave
Me Alone” is a honky-tonk ready piece, although is hugged
in a loose bluesy embrace. “I Fall from Grace”
and “Miami” could easily fall under an adult contemporary
label as the tracks eschew much of what one associates with
country music, and “Miami” features a subtle Caribbean
flair. While Marc Muller’s lap steel is featured prominently
throughout the record, Rebel is also buoyed by the soaring
background vocals of Deb Lyons and BethAnne Clayton, two dynamic
performers in their own rights. What AP Mauro performs is
not, and will never be, my type of music, but I am not ignorant
enough as to deny talent, and Mauro has an abundance of skill.
Even when “Sophia” begins to drag or “Cry
and Cry”, inspires a country-line dance to materialize,
the musicianship is excellent. I wish more of Rebel is cut
from the “Unfaithfully” mold, but the soulful
“Let’s Dance in the Rain” is a stand out
effort, as it the piano ballad “The Way I Look at You”,
a song more appropriate for a small jazz club rather than
a ribs and wings joint with the Alabama game on TV. The dark
“Dragon Chasing You” charts one’s suffering
as a friend wrestles with the agony of addiction, and “Tenderly”
bounces with a similar verve as the disc’s opener and
balances light rock and pop quite effectively. I will never
have any of this on my iPod, but AP Mauro is a strong songwriter
with an honest appreciation of Americana and downhome aesthetics
without allowing them to slide into caricature.
 O’DEATH
- Out of Hands We Go (Northern Spy Records www.northernspyrecords.com)
It is amazing to think that O’Death hail from Brooklyn
as their sound resonates from deep within the American South.
Bluesy, folk-inspired music played with occasional fits of
aggressiveness has been the band’s calling card since
first emerging over a decade ago and the same is waiting here
for those lucky enough to listen. Out of Hands We Go
is a pristine collection of rugged acoustic demonstrations
of angst and raw emotion, led by vocalist Greg Jamie. “Wait
for Fire” is a supremely beautiful in its haunting fragility,
while “Apple Moon” hums with a tangible kinetic
energy that is richly infectious. Fans of The Builders and
the Butchers and Murder by Death will adore this if they are
not already doing so. “Go Play with Your Dead Horses”
is as bleak and gripping musically as its title would suggest,
expressing a longing that is nameless in its depth, while
“Roam” and “Wrong Time” are driven
by a picking style that takes one to a back porch hootenanny,
only missing a jug band and gallons of moonshine. “We
Had a Vision” is a meandering, graceful song whose intimacy
is matched by the brief but lovely “When My Dog Gets
Out Let Him Run”. The gem of the disc for me is the
stark “Isavelle”, a rolling, engaging effort that
allows Jamie to flex greater vocal muscle. O’Death is
another of the gaggle of unabashedly unique acts that call
Brooklyn home.
 SCREAMING
HEADLESS TORSOS - Code Red (www.torsos.com)
The Screaming Headless Torsos, one of the world’s most
fascinating acts, finally remerges for the first time in nearly
a decade with a wild concoction of blues, rock, funk, soul,
jazz, and pop on Code Red. The eleven songs here make the
nine year dry spell worth the wait as the opening title track
features a muscular riff from guitar virtuoso and Guggenheim
fellow David Fiucyznski and is anchored by a thick, funky
bass line compliments of David Ginyard. “Brooce Swayne”
features both a great title and Maroon 5 guitarist Jimmy Valentine,
and one can certainly imagine his band performing this blend
of soaring pop and transcendent soul. There is an extraordinary
complexity to the music of the Torsos, as they feature two
drummers (Gene Lake and Skoota Warner), yet their talent is
so staggering that the final product is still accessible to
those without any musical acumen, i.e. guys like me. “Wizard
of Woo” includes bassist Bernie Worrell and the song
is a headspace, mind-melting fantastic voyage that brings
the Mothership into the twenty-first century. With innumerable
tempo and genre-shape-shifting, “Wizard” bounces
effortlessly between ‘70s funk, dark blues, and contemporary
anti-corporate rock, replete with a mooing cow and a reference
to a “purple kazoo” that somehow makes complete
sense in the scope of the song. A similar ride is provided
on the sprawling “Fried Tongue”, a rollicking
ride of harmonic gymnastics and musical dexterity that is
richly engrossing, experimental, eclectic, and stabilized
by a thunderous low end. “Tongue” steps aside
for “Sideways”, a jazzy ballad that is only given
two minutes of existence before quietly departing for the
arrival of the richly layered “Running Black Water”.
Delicate, beautiful, and lush, the longest track of the bunch
(it has one second on the closing “My Reasons for Silence”),
includes elements of jazz and soul, along with a spoken word
component, and profound bass playing; again seamlessly blending
funk and jazzy-inspired soul, the song takes the finest qualities
of Earth, Wind, and Fire and Steely Dan to construct a rich
tapestry of musical expression. The wah-wah pedal gets quite
a work out on “Almond Pear in Love”, a song whose
lyrics may be obtuse, but the seductive nature of the track
is undeniable, and when it reaches its climax with the refrain
“lust for life, life for lust”, the afterglow
is majestic. The sardonic “Dead Christmas Trees”
is my favorite of the bunch, with yet another example of remarkably
intricate percussion and a deeply emotive vocal performance
from Freedom Bremner. This could be for a very select audience,
but I am glad I am a part of that group.
 KING
GIZZARD AND THE WIZARD LIZARD - I’m in Your Mind Fuzz
(Castle Face Records www.castlefacerecords.com)
One may snicker at the name and dismiss this band before an
adequate listen, and that my friend, would be an act of unforgivable
ignorance and laziness, for King Gizzard and the Wizard Lizard
play fuzzed out garage rock that finally embodies the sound
Dave Davies was looking for when he experimented in the studio
on “You Really Got Me”. The seven members of this
outfit thrive on free form rock lawlessness and the ten songs
play out as nearly one continuous jam. The opening contradictory
duo of “I’m in Your Mind” and “I’m
Not in Your Mind” sound like a schizophrenic arguing
with himself both in title and in musical form-bathed in heavily
distorted guitar, the latter of the two is a wild voyage through
the musical unknown with a multitude of playful tricks without
a vocal to be heard. The initial single from the record, “Cellophane”
borrows trippy late 60’s psychedelia and introduces
it to punk energy and pop flair. It is a recipe that results
in disasters for lesser bands, but it works here flawlessly.
The may adore the Zappa-Beefheart school, but they have clearly
done graduate work at the Underground Garage for tracks like
“Ami in Heaven?” and title track rattle and shimmy
with a delicious disregard for technical arrogance and instead
teeter a line between exhilarating and destructive, always
managing to barely hold the sound together while flirting
with spontaneous combustion. Even when the band alters the
tempo a bit, as they do on the bouncy “Hot Water”,
the more deliberate and wah-wah happy “Slow Jam”,
and the nearly Sabbath style sludge of “Satan Speeds
Up”, I’m In Your Mind Fuzz still shakes with an
energy lacking in most bands. The disc closes with “Her
and I (Slow Jam 2)” and it the most conventional of
the tracks here, but it is also the most fully fleshed out,
including a guitar lead taken straight from Carlos Santana’s
playbook circa 1971, Steely Dan rhythms, and warm, richly
harmonious vocals. There is a little something for a wide
variety of fans here, and I find myself deeply intrigued by
this.
 MEATBODIES
(In The Red Records www.intheredrecords.com)
Chad Ubovich may be from Los Angeles, but he sounds as if
he grew up living on the dole in London. The self-titled effort
from his act Meatbodies is a celebration of the raw elements
of traditional punk rock angst, spruced up with cleverly crafted
harmonies. For fans of Stiff Little Fingers and the Buzzcocks,
“Disorder”, “Off”, and “Gold”
are speedy and pogo-inducing traditional style punk with savvy
guitar playing and Ubovich’s distinctive vocal delivery.
“Mountain” retains a classic style with the addition
of a thunderous bass line, while “Dark Road” is
a moody yet menacing effort that approaches slowly before
launching itself uponits prey. A similar vibe is heard on
“Two” and “Plank”, with the latter
carried along on a groove that is instantly infectious. Two
of the most interesting moments come on the brilliant “Tremors”which
employs dexterous, J Mascis style guitar playing to generate
an aggressive yet highly artistic experience and the closing
“Master” that bounces with a nearly funk-fueled
dynamism. Throughout the slight variances within the songs,
Meatbodies never fully surrender their adoration of punk’s
kinetic spirit and boundless energy, as heard on “Wahoo”.
Punchy, energetic punk never gets old and Meatbodies takes
a classic sound and injects a fury that makes them contemporary
and not solely beholden to the sounds of the past. This is
a soaring debut from a expert songwriter.
 PILGRIMS/GHOSTT
BLLONDE- Home and Home Vol. 2 (Negative Fun Records www.negativefunrecords.com)
The members of Pilgrims were clearly born too late as their
brand of indie rock has influences from their parents’
generation, if not earlier. “Blue Bloods” is a
shot of 70’s Southern rock swagger replete with handclaps
and a huge, piano-kissed chorus. Amazingly, as well worn as
this path is, Pilgrims play with a genuine fervor that is
the hallmark of any band that found its voice in a garage.
There is a level of devil may care sloppiness that keeps this
fresh and wildly interesting. Additionally, it is simply a
fun ride for three and half minutes. “Captain”
is a no frills slab of jangly guitar and sugar rush energy
with a penchant for harmony akin to that of Surfer Blood,
but with a subtle snarl in the same vain as Johnny Thunders
or Richard Hell. When contrasted with “Blue Bloods”,
this is band that has the talent to follow any musical path
they choose. Ghostt Bllonde’s “Dissonance”
is perfectly titled, for there is delicate, nearly fragile
beauty to the song as it approaches the listener sheepishly
before displaying moments of greater fury before retreating
once again. Marc Kuzio’s vocals are limitlessly passionate
while occasionally fighting for air in the midst of the fuzzy,
ethereal playing swirling round him. Incredibly, Ghostt Bllonde
has only existed for a year, but their future is gloriously
promising.
 CASSAVETES
- Oh So Long (Black Numbers Records www.theblacknumbers.com)
Oh So Long is a collection of straight ahead, driving rock
n’ roll with no pretense and no overdubs. “Follow”
is simultaneously harmonious and bombastic, converging two
highly admirable qualities into one package. “Like Ghosts”
has the jangle of 90’s indie pop with enough of a low
end punch to keep heads bobbing until a wall of guitar force
kicks down the door to a rousing chorus. “Realize”
and especially “So Loud” incorporate a highly
melodious loud/soft dynamic that was the calling card of Nirvana
and a scores of imitators, but these songs possess a vitality
that prevents Cassavetes from falling into the category of
some sort of post-grunge karaoke. The thick rumble of “Maribel”
invokes a darker, more Melvins-esque approach and is one of
the true standouts here, particularly the abrasive guitar
solo. The record closes with a highly subdued acoustic title
track that is slightly unfulfilling when contrasted with the
earlier pieces, but the majority of Oh So Long is a return
to the fundamental principles of rock played with intensity
and veracity.
 FAMOUS
LAST WORDS - Council of the Dead (In Vogue Records www.invoguerecors.com)
I normally shudder at the mention of a concept record, particularly
one that addresses the worn topic of life after death. However,
rather than construct a theological exploration of the afterlife,
Famous Last Words uses Council of the Dead to tell the tales
of seven individuals who find themselves in the Land of the
Deceased-a type of purgatory in which they await judgment.
While their eternities hang in the balance, listeners are
treated to the intricacies of their lives-their mistakes,
successes, and the manner in which all of the group are intertwined.
The title track lays the groundwork for the record as the
deceased are informed of their current condition by an anonymous
force who says “I’m not here to judge you and
I’m not here to preach/My role here is to guide you
as we search through your past”. The twelve songs are
pummeling metalcore efforts with unearthly keyboards accenting
the thunderous playing. Two delicate instrumentals (the opening
“Letter to the Council” and the beautiful “Entity”)
offset the raw intensity of “Hell in the Headlights”
in which Eric, a devoted father, is killed by a drunk driver
while his daughter lives and “The Killing Zone”,
a tragedy in which a young, misguided man joins a gang and
commits a murder in the hopes of someday earning the respect
of his father. In “The Uprising”, a young girl
named Aisha is caught in the midst of a war-torn city in a
story that all too well mirrors the violence the world is
witnessing in the Middle East, while “The Fog”
explores the death of Nancy, a woman who ultimately loses
her battle with dementia through the mixing of various drugs,
and her death sends her son Jake into a violent downward alcohol-infused
spiral that ultimately impacts the life of the aforementioned
Eric in the most nightmarish of manners. Vocalist JT Tollas
is the star here as his voice is able to capture the various
emotions connected with confusion, loss, and the feeling of
hopelessness that the death of a loved one can produce. There
is a legion of bands that share this sound, but Famous Last
Words is among he leaders of the class along with Adestria
and Capture the Crown. The band incorporates keyboards and
even a little dub step here but they never lose sight of their
ultimate goal of producing deafening, thought-provoking metalcore.
 HOAX
HUNTERS - Comfort and Safety (Negative Fun Records www.negativefun.com)
The twelve songs on Comfort and Safety are bathed in distortion
and feedback but the talent on display is still quite evident.
PJ Sykes has made quite a name for himself behind the camera
as an artfully stylistic photographer but fans of noise-soaked
rock will be happy to have him back on a stage. Starting with
a punk foundation Hoax Hunters builds an avant-garde monolith
on Comfort and Safety with songs usually clocking in at less
than three minutes, but there is certainly room fir unique
experimentation as well. The raw “Copy of a Copy”
is a thrilling ball of high-energy noise and while the Husker
DU comparison may be too easy, it does fit perfectly, particularly
as one hears the punishing playing of Tim Falen. “Volume”
and “Breathe” are two examples of brief tracks
that display subtle harmonic nuances before erupting into
a swirling din, while “Perception of Choice” takes
its cues from Mission of Burma with its low simmering rage
and impending bombast. Regardless of which path the band chooses
to follow, there is not a misfire here and not a moment wasted.
“Riskless Business” gains a running start before
hurling itself at the listener with endless sonic brusqueness
and ultimately collapsing from exhaustion. “Erase”
is among the longest tracks on the record and the five minute
long effort provides a broad canvas for Sykes, James O’Neill,
and Falen to merge into a precisely honed torrent of aggressive
and intelligent noisy punk. This is a sweaty, glorious mess
in the best possible sense and captures what music should
sound like when it is played by passionate and recklessly
brave souls not interested in following trends. The closing
“F.Y.T.W.” is simply two minutes of noise that
appropriately completes the record, for it is grating but
also acts as a calling card for future chaos. If SST Records
still existed, Hoax Hunters would be the leading act, but
since that is not possible, Negative Fun has a great release
here.
 REAGAN’S
POLYP - America Needs More Ass/Number Ones/Deadenator (Vetoxa
Records www.vetoxa.com)
I would like to believe that I have heard a wide variety
of musical styles in my four-plus decades on this planet,
but nothing prepared me for the genre-smashing, confusion-inducing,
mind melt that is Reagan’s Polyp. This ridiculously
talented outfit haunted the dives of Little Rock, Arkansas
from 1992-2006 and released thirty (!) records, most of
which on cassette or reproduced on CD-R’s, but through
the visionary actions of Vetoxa Records, twelve of these
masterpieces will be re-released upon an unsuspecting world
three slabs at a time. I begin with America Needs More Ass-firstly,
this is a position I can firmly get behind (sorry), but
it is also a brilliant cocktail of noise, punk, hardcore,
and grind that sounds like the unholy creation that would
result if Genghis Tron and the Boredoms molested Zappa’s
corpse. The nineteen pieces on America Needs More Ass are
frightful bursts of keyboard laden chaos with a thunderous,
nearly suffocating low end, splashes of skull-crushing guitar
force, and eerily digitized vocals spitting out perverse
lines about all varieties of sexual perplexities, one more
disturbing than the next. “Todd Y. Takes Facial”,
“Stop Sucking my Cock” and “Don’t
Fuck the Snack” (the lyrics instead tell the listener
to “fuck the fish”), make anything done by the
Meatshits look like a Disney production. However, this is
not just about grotesque shock and awe, that would become
very tired very quickly; instead, Reagan’s Polyp attack
the occasionally overly serious and myopic punk rock world
with a barrage of ferocity and sarcasm that is far more
abrasive than anything generated by the legions of tough
guy hardcore bands that one finds in every town in America;
with specific insults directed as Little Rock suburbs Benton
and Bauxite, the title track may be a bit too inside of
a joke, but the brilliance of the song makes its message
universal. One only needs to hear the dark humor of “Rich
and Horny” (I belong to the country club and I’m
17 years old/My daddy runs a bank or two and I’m gonna
put my cock in you”) or “Let Me Fetish Your
Jockstrap” to realize that this band hopes to shine
a light on punk’s hypocrisy and make people laugh
as they do so. To that end, the political nihilism of “Oink
and Die (Fucking Capitalist Pigs)”, “Vote for
Mondale”, and “54-40 Or Fuck” are among
my favorites, particularly the latter for one usually does
not hear the presidency of James K. Polk referenced in such
a manner. “Tina of the Warrior People!” and
“Pleasures of a Girl” are stunning in the breadth
and relentlessness of their sonic bombast. Although “The
Obscene “Anal” is Father of the Secret Father
of Enjoyment” is a blasphemous, terrifying work of
power electronics whose lifespan is barely over a minute,
it would lay waste to cities with its force, and after concluding
this indoctrination, I am excited for what comes next.
Number Ones is a “greatest hits” collection
with music spanning the career of Reagan’s Polyp from
the early nineties until the mid-2000s. Among the numerous
points of interest is the French horn laced “You Smell
Bad” (with the lyrics “I hate you, I hate you,
I hate you, you stink”). From the band’s debut
Facefuckingbatspermantidotepudding is “They Installed
Teeth in My Ass” and from fan favorite Cream Gun is
the amazing “Tunky the Talking Bear”, a tale
of pain, misery and violent sexual revenge that defines
the life of a science experiment gone wrong. While the scientists
promised that Tunky “will make you come like the San
Francisco earthquake” as a lush jazz standard plays
as accompaniment, the song quickly shifts tone and one learns
of Tunky’s rape of the scientists that created him
as a form of punishment for their actions before the song
concludes with an equally vicious barrage of blunt bass
pummeling. The jazzy, funk-tinged “Queen of Sados”
exposes the wealth of talent possessed by Krel and Astronaut
Body along with their supporting cast as the song lulls
the listener into comfort before ravaging the victim with
crushing wrath, while “Have Sex with Us” is
noisy and disjointed chaos backing a light hearted verbal
dialogue about being face down in cocaine and sex binges.
The live portion of the disc, “Reagan’s Polyp
in Concert”, recorded at a now defunct Indian restaurant
in Little Rock, must have completely frustrated and angered
the suburban teen punks in attendance as Reagan Polyp asked
“Are there any Beatles fans here” and then played
the intro to “Day Tripper” four different times,
spicing up their set with samples of Led Zep’s “Whole
Lotta Love” and even The Doobie Brother’s ubiquitous
70’s radio staple, “China Grove”. I can
only image the vitriol spat at these guys, but their bravery
and devotion to a fractured musical vision in a community
that either could not or simply refused to accept them is
impressive. “Take Off Your Pants” is simply
a voice and vocal beatbox attempting to coerce the removal
of one’s trousers because “there’s a nice
breeze blowing”, while “I Can’t Stop Fucking
Myself” closes the disc and is truly the oddest of
the bunch, and that is quite a feat-it is found on a “free
jazz” record called Polyp Ah Um from 2000 and the
constant refrain of the song’s title is heard buried
under a wall of keyboard trickery and electronic manipulation.
It is experimental noise at its finest that lasts for four
perplexing and exhilarating minutes.
The 1998 release Deadenator includes the first batch of
re-releases, and this true masterpiece opens with “Bridge
of Asses”, a song that borrows is musical styles from
stars ranging from Paul Simon to ELO to Japanese noise-core
before finishing with a ska riff. The English language lacks
the proper amount of adjectives to adequately describe the
wildly experimental, improvisational genius one hears throughout
these discs; Reagan’s Polyp must have befuddled most
and potentially thrilled a tiny minority during the course
of their careers, but like most who are truly ahead of their
time, the recognition they so richly deserved will arrive
posthumously (the band is over, but the guys live on and
I am calling for a reunion). However, for those who believe
that fearlessness is the primary component of artistic greatness,
then anything by Reagan’s Polyp is a mandatory listen.
The band’s ample use of jazz’s polyrhythmic
structures combined with their own atonal nature truly does,
in the words of the legendary Flying Luttenbachers, destroy
all music. The vicious, uproariously obscene “Tunguska
Blast of 1908” and anarchic breakdown of the sexually
disconcerting and psychologically unsettling “Pony”
carve permanent homes in one’s brain and Reagan Polyp’s
sense of twisted humor is my favorite trait of this band,
as they deconstruct arrogant intelligentsia with searing
satire and obtusely cringe-inducing concepts. Reagan’s
Polyp is wickedly subversive on “Rock and Roll ‘Music’”,
although their targets will most likely not even realize
that they are being humiliated, much like the audience at
the Riverfront Hilton as another brief live set is heard
on Deadenator. One woman in the third row is asked, “Who
dressed you? Spiro Agnew?” Does it make any sense?
No, but that is not the point-Reagan’s Polyp unhinges
the concept of musical structure and in their efforts to
obliterate commonality, spawn something wholly unique.
 TEENANGER
- EP LP (Telephone Explosion Records)
This Canadian outfit sounds as if they just finishing opening
up for Johnny Thunders as they play with an arrogant swagger
that defines the best of the late 70’s punk. While
Teenanger pays homage to the past they are not interested
in simply recreating it; the eight songs here slither in
the muck of a band frustrated with the world around them
right now, not the world of their fathers. “Fly on
the Wall” opens with snarling vocals from Chris Swimmings
and an elastic bass line from Melissa Ball, and I am instantly
hooked. “Sky Saxon” allows guitarist John Schouten
to shine as he captures a tone reminiscent of garage bands
of the sixties while drummer Steve Sidoli keeps a steady
and rollicking backbeat. The song morphs into a scourge
of Michael Jackson as Swimmings repeats Jacko’s name
with pure disgust. This is old-fashioned, ripping rock n’
roll with rough and tumble kinetic energy, best heard on
the hyperactive “Think About It”. Yet the guys
can still create full bodied grooves such as “Mild
Survival” and the brilliant closer “Hot Rods
at the Loser Convention”, a tune in which Swimmings
barked that “your name means zilch”. The fact
that a band this cool would drop the word “zilch”
in their put-down proves that these kids do not care about
what others think, another critical prerequisite for rock
authenticity. I do hope Teenanger get across the border
soon because this is among the most complete punk bands
to come around in the post-CB’s era.
 USELESS
EATERS - Bleeding Moon (Castle Face Records www.castlefacerecords.com)
Useless Eaters make rock n’ roll as if they had never
heard it before and were asked to create how they believed
rock should sound. Each track on Bleeding Moon is a raucous,
stripped down anthem of adrenaline and passion spat back
in the listener’s face with reckless abandon. These
are guys having a great time slamming through efforts like
“Out in the Night”, “Sitting on the Fault
Line”, and “Whip”. Why the world melts
over the Strokes and not these guys in incomprehensible
to me as Useless Eaters delivers a raw garage vibe with
far greater intensity than the now innumerable collection
of bands trying to do the same. Everything here seems to
shake with enthusiasm and unbridled angst, capturing lust,
disgust, and excitement of the unknown in the form of three-minute
(on average) nuggets of abrasively harmonious songs. Useless
Eaters are deceiving in the fact that they create music
that is both contrarian in nature to mainstream formulaic
bands but yet Bleeding Moon screams potential sweeping mass
acceptance. Granted, the muddied vocals and the serrated
edges of the guitar playing will alienate some, but this
is a band on the precipice of true importance. Check out
“American Cars” for a stunningly impressive
rhythm display and then jump over to “Aftershock”
if you like a little noise and experimentalism in your rock
soup. This is cool from start to finish.
 ILL
NINO - Till Death, La Familia (Victory Records www.victoryrecords.com)
Ill Nino has been kicking around for quite a while now and
has survived through the years of metalcore’s ups and
down and even nu metal’s desperate attempt at resurgence.
To that end, they have never fit snuggly into one label and
that trend continues on ‘Till Death, la Familia with
the opening “Live Like There’s No Tomorrow”.
In addition to sounding like some sort of teenage Facebook
message of naïve optimism, the song is a departure from
the expected-it’s nearly poppy and would be a bona fide
radio hit if Cristian Machado did not curse like it was his
only form of communication. Machado is a fascinating vocalist
as he can sing, harmonize, bark, and scream with equal aplomb
and the band crafts songs that allow him to demonstrate each
skill. There are qualities to ‘Till Death, La Familia
that may confound or even ostracize some hardcore fans of
the band, such as the keys heard on “Not Alive in My
Nightmare” and the richly textured but less hardened
nature of “Blood is Thicker Than Water”. I applaud
the guys for not simply making another traditional metalcore
record and for having the courage to challenge themselves
as musicians. However, Ill Nino is a band that also understands
its roots and appreciates its fan base, so the closing salvo
of “Dead Friends”, “Breaking the Rules”,
“Payaso”, and the rattling closer “My Bullet”
strip away and niceties and are vicious barrages of guitar
brutality led by Ahrue Luster, albeit accented by choruses
with which one can still sing along. The band has always included
traditional Latin instrumentation and this record is no different,
particularly with percussion thanks to Oscar Santiago and
even a bit of flamenco on “I’m Not the Enemy”,
so Till Death La Familia does stand out from the majority
of the metalcore crowd. Ill Nino is a band that is now seven
albums and over fifteen years into its career and is continuing
to refine and creatively enhance their sound.
 ISLANDER
- Violence and Destruction ((Victory Records www.victoryrecords.com)
With a title like Violence and Destruction I hope to hear
bruising, skull-splitting fury that has defined Victory’s
stable of artists, but instead, Islander steals the Deftones
playbook and makes hook-filled, hard rock with a few nu metal
touches, but nothing that will connote images of Fred Durst.
The twelve songs are well crafted, guitar heavy, melodic anthems
that interject elements of morbidity (“Pains”,
“Hearts Grow Cold”) as well as experimentation
(“Mira”). Nothing about Islander is revolutionary
but they are not redundant either. While I struggle to get
through “Coconut Dracula”, I am much more impressed
with the aggressive “Side Effect of Youth” and
the well utilized vocals of P.O.D.’s Sonny Sandoval
on “Criminals”, two efforts that are emblematic
of a band that does not hesitate to honor their influences
but is still working to truly refine a sound that is uniquely
their own. Andrew Murphy is a highly skilled guitar player
and his riffs march in perfect lock step with the melodious
voice of Mikey Carvajal, particularly on “The Sadness
of Graves” and the strong closing title track. None
of the work here is is particularly punishing, but Islander
brings back hard rock, a sound rapidly moving into extinction.
There is no need to add a hyphen to the type of music Islander
makes; while it may remind some of the mid-2000s, the band
has enough of a polished sound to remind listeners of the
better acts of that time period, particularly as they minimize
any rap delivery. I will watch this band with interest for
there is quite a bit of potential here and how Victory handles
Islander, an act that does not necessarily meet the criterion
of the typical Victory line-up, will be crucial. More growth
is needed, but Islander may stand on the precipice of actually
becoming rock stars.
 GASLIGHT
ANTHEM - Get Hurt (Island Records www.islanddefjam.com)
The Gaslight Anthem has been one of America’s darling
bands for a few years now and that is an immense amount of
pressure for anyone, much less a collective of humble Jersey
guys who somehow seem immune to the rock trappings that usually
befall young and talented acts. Get Hurt is a rock record
from another age - perhaps the 90’s, but in the midst
of contemporary music, the Gaslight Anthem sound as if they
have been dropped from another generation entirely. The sixteen
songs are well crafted, radio ready guitar rock anthems that
invoke Vitology-era Pearl Jam as readily as 70’s Cheap
Trick. “Stay Vicious,” “Rollin’ and
Tumblin’,”and “Ain’t That a Shame”
are majestically fashioned blasts of quick-hitting rock in
its purest form, while the title track is a gentle, ethereal
beauty, and “Break Your Heart” is a haunting,
folksy ballad that echoes of pristine Americana through the
prism of ragged angst. Brian Fallon stretches himself as a
vocalist, proving to be a singer of tremendous depth and emotional
range whether barking out lyrics in the sweaty “Helter
Skeleton” or sounding thoughtfully haunting on the deftly
poetic “Sweet Morphine.” Supported by a highly
adroit rhythm section of Alex Levine on bass, drummer Benny
Horowitz, and the multi-talented Alex Rosamilia, Gaslight
Anthem is a band comfortable in its own skin and proud to
expound upon their influences. The record closes with a triumvirate
of sparse efforts in “Mama’s Boy,” “Halloween,”
and “Have Mercy,” the last leaving the stage in
a beautifully minimalist manner. I am unsure if old time fans
will be thrilled or befuddled with what one hears on Get Hurt,
for the steady diet of pounding, punk-inspired anthems played
through Springsteen’s equipment circa The River is no
longer the only option on the menu; instead Gaslight Anthem
open themselves up as performers and writers, producing a
highly diversified record as resoundingly satisfying as any
of their earlier works. This is authentic American rock n’
roll played with a genuine level of integrity and authenticity.
 THE
BASTARDS OF FATE - Vampires are Real and Palpable (This
Will be Our Summer Records www.oursummerecords.com)
The Bastards of Fate could be the finest examples of indie
rock anti-heroes alive today-their brand of music is so
deliciously bizarre and wondrously off-putting that one
is unable to turn away but it is not due to some type of
desperate attention seeking exaggeration, but the irrepressible
intelligence on display. Shattering the conventional paradigm
of song structure is a goal of many bands, but it usually
defines power electronics, grind, or other more abrasive
genres. Roanoke’s Bastards of Fate are as mysterious
and confounding as the disappearance of their hometown’s
initial settlers; Doug Cheatwood sings, croons, rages, and
emotes feelings one did not even know were human throughout
ten twisted anthems that should be what indie rock sounds
like, but is far too daring for most bands to attempt. By
no means will this ever reach commercial success, hence
the limited knowledge of the band’s debut record,
but for those who appreciate distorted visions spun through
delightfully dissonant chaos, Vampires is a scintillating
listen. Gentle piano gives way to squalls of guitar noise,
shrieking explosions of anti-melody cuddles up to warm harmonies,
and waves of noise hold hands with pristine serenity as
a perpetual darkness permeates each effort. The opening
“Winter of Our Discontent” leads the listener
down a path of harrowing intrigue as the song grows increasingly
unbalanced and intimidating, setting the stage for a deranged
carnival of musical genius. The closing “Optometrist”
features barreling rolls of thunderous noise, while “Go
No Further” rivals anything constructed by Beefheart
or Zappa in their most inexplicable moments. “One
True Love “ is a swirling mass of heartfelt emotion,
constantly teetering on the verge of unraveling, hovering
effortlessly between the worlds of campy fun and deeply
unsettling depravity. Occasionally, bands emerge whose place
in music cannot be readily defined or explained, and their
contribution to society may be ignored but all but a select
few, but for those who are fortunate enough to embrace The
Bastards of Fate, their lives are enriched and their minds
are opened. I am lucky to call myself a fan of this band.
NICK OLIVERI’S UNCONTROLLABLE - Leave Me Alone (www.schnitzel.co.uk)
Nick Oliveri’s numerous abilities are well known
to anyone who has been conscious over the better part of
more than two decades through Kyuss, Queens of the Stone
Age, Moistboyz, and the myriad of other projects with which
he has been associated. However, Leave Me Alone is Oliveri’s
first true rock solo record, as he did release acoustic
products in 2004 and 2009. Nick Oliveri’s Uncontrollable
is largely just Oliveri-he plays every instrument on the
record-with some help from a few very cool friends such
as Phil Campbell of Motorhead, Dean Ween, and Stephen Haas
to drop a few impressive names. Aside from the quiet title
track, the primary objective of Leave Me Alone is to rattle
the heads of those who listen with thunderous and classically
driven rock bombast. Oliveri strips away all pretense on
“Luv is Fiction” and “Death Leads the
Way”, while “Keep Me in the Loop” is an
unfettered mass of noisy blunt power. Oliveri’s is
preeminently known for his bass playing and the low-end
is among the highlights of the record across all the tracks,
but it is the guitar work that carries the disc. From the
opening heavy crunch of “Human Cannonball Explodes”
to the groove-laded “Get Lost with Me”, Leave
Me Alone is a feast of high-powered playing that should
translate to a crushing live show. Oliveri is a man with
a colorful and somewhat convoluted past, but this is a straightforward,
exceptional burst of energy from a highly gifted player.
 SW/MM/NG
- Feel Not Bad (www.oldflamerecords.bigcartel.com)
There is quite a bit of depth to the music of Sw/mm/ng
but it is difficult to not imagine this Arkansas act as
the best Cure cover band ever. Brian Kupillas has his poignant
vocal delivery enveloped by luxurious guitar playing and
a majestically ethereal tone that makes “Some Dreams
Come True” a soaring achievement in modern indie rock.
Despite the band’s insistence in some interviews that
their playing is traditional and simple, there is a complexity
to the songwriting that makes Sw/mm/ng different from other
collections of upstarts attempting to simply imitate late
80’s/early 90’s haze. “We Do It All the
Time” celebrates one of the freak ice storms that
hit the Deep South within the past year and how this weather
anomaly provided a great reason to have parties and connect
with people. It’s a charming song with an equally
endearing story accented by lush guitar playing by Kupillas
and Jared Hennessy and ethereal keyboard playing compliments
of Jack Lloyd. Feel Not Bad is a collection of pristine
pop with subtle power behind it - none of the songs are
rollicking or overly aggressive in nature, but “Younger”
has an unexpected level of energy and antagonism I find
highly enjoyable. “Oils” comes across as the
best song The Church never recorded, driven by the rhythm
section of bassist Joel Paul and drummer JD Paul as flashes
of guitar cut through the track with surgical precision.
Although “Slow Den” is indeed a touch too slow
for my liking, the harmony is still striking and it gives
way to the slightly more up-tempo “All I Want”.
Although Feel Not Bad is only eight songs, there is is much
to enjoy within each, and I am impressed by the talent on
display here.
 EUREKA
CALIFORNIA - Crunch (HHBTM Records www.hhbtm.com)
Eureka California actually calls Athens, Georgia home and
features the sarcastic, snarky musicianship of Jake Ward
and Marie Uhler. The two have a penchant for capturing mid
90’s indie pop with subtle nuances that make eleven
songs on Crunch memorable and instantly relatable. Ward,
who labels himself “overeducated and underappreciated”
in the band’s bio sings of life’s general frustrations
for the twenty-somethings who will instantly recognize themselves
within his lamentations. “Oh, I’m a deep thinker/And
I know who Descartes is” he announces on the wryly-titled
“Edith (One Day You’ll Live in a Bunker)”
and declares, “You know Athens is dead” on “This
is No A-side”. Alongside simple but richly harmonic
riffs and a steady backbeat from Uhlie, Ward’s lyrics
tell tales of emptiness on “No Mas” (“Nobody
will remember your name”) and general apathy (“I’d
like to think that I still care”) on “There’s
No looking Back”, a song that displays a more rambunctious
side of the band, and while its never abandons its steadfast
pop sensibilities, the track incorporates more aggressive
punk aesthetics into its structure, a trait matched on the
brief “I Bet That You Like Julian Cope”. The
apex of the record is the self-reflective and self-ridiculing
“Art is Hard”. Ward is a clever wordsmith who
demonstrates a keen sense of acerbic introspection when
he states, ”Money, money is everywhere, but there’s
not a cent to spend/So what do I care? If I don’t
get my share?” The song bounces in a manner similar
to the A-side’s closing “#1 in the State”,
but it also retains a tangible despondency that makes the
track so intriguing. Ebbing and flowing in intensity, the
song encapsulates the talent and comradery shared by these
two skilled individuals. Some may claim that they have heard
this before, but only if one is of a certain age: the kids
just gaging the frustrations of a burgeoning adulthood will
find this refreshingly identifiable and those who appreciate
agitated pop will also find quite a bit to like.
 MUUY
BIIEN - D.Y.I. (HHBTM Records www.hhbtm.com)
What makes good punk rock worth listening to is its ability
to redefine what “punk” is supposed to be. Muuy
Biien is one of those young bands who simply do not care
about rules, expectations, guidelines, or predispositions:
they simply want to create angry, intelligent, hyper punk
and if you do not like it, then you were not supposed to
get it anyway. D.Y.I. is a throbbing, convulsing record
that stands on a ledge and dares itself to jump- a highly
kinetic explosion of force and sound accented by ambient
touches and the most unexpected of harmonies. After the
opening ethereal rush of “Cyclothymia I” passes,
vocalist Josh Evans leaps on top of the listener with “Human
Error”, an violent spasm of a song in which the words
“human error/its inevitable” have never sounded
so authentic. With a throbbing bass line, “She Bursts”
is a riotous slice of youthful frustration married with
a level of control that defies the ages of the members.
This could have been a song of blind rage, but it is instead
a smartly crafted anthem of gender relations set to a furious
and well-defined riff. Each of the members of Muuy Biien
took time to release solo ambient projects before reconvening
to create D.Y.I. and the three “Cyclothymia”
pieces pay homage to that interest without deterring from
the overall record-they actually allow for the listener
to catch a breath before being doused again with a relentless
wave of animated passion of “Virus Evolves”
and “Dust”. Clocking in at under one minute
each, Muuy Biien say much in a brief amount of time, declaring
in the latter that “It doesn’t matter to me/the
people say what they think/uneducated and vain”, while
a schizophrenic guitar riff swarms the track. The highlight
of the record for me is the pummeling title track that precedes
the closing splintered piano of “Cyclothymia III”,
as Evans orders with bile rising in his throat, “Be
a man/do yourself in”; a call to depart this world
rather to live by the naïve and empty standards set
by others. This is a call for purity rather than self-destruction
and is followed by a cacophony of angst-driven liberation.
The aforementioned piano that lingers only briefly concludes
an exhaustive journey through the staggering progression
of a gifted and incredibly exciting band. Get these kids
opening for Night Birds and you’ll have the greatest
tour in the world.
 SMALLTALK
– EP (smalltalkplus.bandcamp.com)
For many reading this review, the fact that Pete Steinkopf
of the luminary Bouncing Souls is a member of Smalltalk is
the band’s primary’s selling point; in full disclosure,
it is what certainly grabs my attention. However, in less
than several seconds, “Fountain of You” proves
that Smalltalk is nothing like Pete’s other job. Rather
than hook-laden, high energy punk, Smalltalk pays homage to
the darker, more melancholy acts of the 80’s and early
90’s. Blending Echo and the Bunnymen delicacy with college
rock jangle, “Kill Me Fast” is a sterling example
of a band that creates a new subgenre of “shoe-glancing”-there
is too much energy on “Go Love” to create a full-on
gaze, but the tendency is there on the other two efforts.
The opening “Fountain” is pristine and heartbreakingly
beautiful-it is a song of profound longing expertly delivered
by Zak Kaplan, and when he announces how he wants to “dive
into the fountain of you”, the emotion is genuine and
boldly raw. With an ethereal riff that could be co-opted by
anyone ranging from the Cranberries to Parquet Courts, Smalltalk
talks classic indie goodness and injects a modern flair. The
song hovers with a lush fragility and features layers of subtle
drone that envelopes the pop, while “Go Love”
is accented by gorgeous backing vocals from Tara Jones. Usually
a three song EP is too small of a sample size to make concrete
determinations about a band, but that is not the case here.
The talent on display is well tested and highly proven, but
a collection of great players does not always make a great
band. Once again, Smalltalk defies that fear by producing
a trio of intelligent, poignant songs that are both instantly
recognizable and obtusely unique. This is sure to be a highlight
of the summer.
CINEMA CINEMA - A Night at the Fights (Lumiere Label www.tunecore.com/music/thelumierelabel)
The relationship forged between Cinema Cinema’s Ev Gold
and Paul Claro with producer Martin Bisi began during a chance
meeting during the clean-up in the wake of Hurricane Sandy.
The devastation of that storm and the resilience it took for
the band to soldier forth is heard on the abrasive aggression
of A Night at the Fights. There is a visceral, primal quality
to the eight songs here as Cinema Cinema creates sinewy yet
furious slabs of punishing guitar rock. Gold has a vocal delivery
that is as thrilling and aggressive as his guitar playing,
yet he is not averse to writing songs with covert harmonies,
such as “Raging Bull”. The record opens with a
blast of precise bellicosity on “Broad Daylight”
and follows that up perfectly with “Decades”,
for when Gold screams “it’s 1994, now who’s
the whore?”, there is a maniacal quality to his voice
that is simultaneously engrossing and wildly intimidating.
However, the duo truly excels on the noisy, expansive “Boxcutter”
and “2010” as Claro’s thunderous drumming
anchors the experimental and wonderfully unrestrained guitar
playing of his cousin. The loud/soft dynamic of the former
track goes well beyond bending tempos; it is off-putting and
rattles the listener with its explosive transformation (“the
blade is out so shut your mouth”). The dark ambient
noise that opens “Gowanus Ghost” gives way to
an impenetrable low end rumble that carries the track through
seven exhilarating minutes, borrowing expertly from Fugazi
along the way. The closing “Shiner No.4” is a
splitting, fascinating soundscape of swirling clamor played
with a mechanical precision that reflects a terrifying sense
of detachment without ever surrendering its intimacy or humanity.
The entire record, but particular this song, takes the listener
into the heart of the band’s sound and one is perpetually
surrounded by a whirling mass of fiendishly exhilarating musicianship,
seemingly surrounding and even swallowing the listener. This
is an extraordinary record that covers a massive swath of
musical landscape in a scant eight songs, but with six of
the eight clocking in at five minutes or more, the band offers
ample room for their brand of fearless and intelligently crafted
hostility.
 BUENOS
DIAZ - The Love Balloon EP (www.buenodiazmusic.com)
Buenos Diaz plays music from a different era-specifically
the 1950’s, and while they do it well, this is too much
of a niche act for my liking. Nick Diaz is a talented crooner
and skilled blues guitarist, but The Love Balloon falls flat
for me. The title track sounds like a Richie Valens B-side,
and while “Out of My Arms” has soul, its trombone
and trumpet is more Blues Brothers than downhome blues. The
record explores various failed relationships, with “My
Love” best embodying this theme as Diaz wallows in the
pain of losing a girl named Roxanne, doing a fine Bobby Darin
impression in the chorus. “Santa Cruz” has the
coolest vibe of the five songs here; reminiscent of hipster
jazz clubs that would inspire Beat poetry, its porcelain guitar
work and smooth percussion is unavoidably infectious. I can
listen to a track of this nature all night, and perhaps its
finest aspect was its lack of vocals-not that Diaz is not
a good singer, for he is quite polished, but quality of the
musicianship can get lost in the overly fanciful vocal delivery.
“The Love Device” suffers from this affliction
as the song is anchored by a classic blues lick that invokes
the spirit of Stevie Ray Vaughn, but still comes across as
a lounge act-a very likable lounge act, but Buenos Diaz can
be more.
HEROES OF TOOLIK - “Aquarium School” b/w
“Dances with Elsa” (www.heroesoftoolik.com)
It is rare for a band to release a two-song single and have
so much happening within each track, but not many bands are
like Heroes of Toolik. This is an act that treats the accordion
as a pivotal aspect of their sound and not something used
for clever accents, and engages in shared male/female vocals
with a sense of powerful urgency and simmering sensuality.
“Aquarium School” is driven by trombone and the
aforementioned accordion while vocalist Arad Evans delivers
a subtlety sarcastic take on conformity through deliciously
deadpan vocals backed up by the hauntingly beautiful voice
of violinist Jennifer Coates. It is a song that demands multiple
plays, not only for the unique idiosyncrasies of the structure,
but the song becomes increasingly infectious with each listen.
“Dances with Elsa” has an old-timey feel to it,
but it is also gritty, harking back to both traditional American
music as well as the grime of bluesy rock n’ roll. Evans
and Coates again engage in a vocal dance, with Coates’
voice accentuating the despondence heard from Evans. With
the additional of original Moderns Lovers Ernie Brooks on
bass, Heroes of Toolik only continue to elevate the quality
of their work, and this is a tempting sample of what is to
come.
 IL
SOGNO DEL MARINAIO - Canto Secondo (Clenchedwrench/Org music
www.clenchedwrench.com www.orgmusic.com)
For those not familiar with Il Sogno del Marinaio (“The
Sailor’s Dream”), one name does instantly leap
off the page, and that is the ubiquitous and inexhaustible
Mike Watt. Watt and guitarist Stefano Pilia met in 2005 while
Watt’s opera The Secondman’s Middle Stand
was touring Italy and ultimately recorded a full-length
effort together, along with drummer Andrea Belfi in 2010.
The work on Canto Secondo is beautiful and challenging,
at the same time. With minimal vocals, and when they do appear
they are quite often monotone in nature, the record is a celebration
of three supremely gifted musical thinkers who master their
instruments with such command that they are free to generate
music with staggering fluidity. Much of “Alain”,
“Skinny Cat” or “Il Songo del Flenile”
may sound improvisational in nature, and perhaps it is, but
the trio’s interactions are so flawlessly intricate
as to lead one to imagine that each second was painstakingly
preordained. The three recorded the music for Canto Secondo
over the course of only eight days and literally emailed their
vocals in later, and the tone of the record reflects this
frenetic pace and explosion of musical visions. Canto
Secondo is incredibly intimate and warm, from the lovely
traditional structure of “Nanos’ Waltz”
to the more experimental, light-hearted and elastic “Stucazz?!!”.
The denser, guitar heavy “Sailor Blues” is a climactic
moment in a record that is a pure delight-one simply presses
play and is escorted to another place and time over the course
of ten extraordinary songs; the works reflect the beauty of
Italy where the tracks were recorded while always maintaining
a very modern sensibility. I am honestly surprised by how
much I enjoy this, but il Sogno del Marinaio make music simply
for music fans-one not need adhere to any one particular genre
to be able to find this engaging.
 DEAD
TENANTS (http://deadtenants.bandcamp.com)
Upon first listen, I am instantly taken by how seemingly primitive
the recording quality of this five song release is, but I
soon grasp that this is intentional, and I love it. Dead Tenants
wallow in the muck of noise, grime, and years of festering
filth that defines exciting punk rock. Their name alone captures
a sense of loss and unexplained dread; no one knows how these
tenants died or who found them, but there is an ominous sense
surrounding this EP. The Queens-based trio is most scathing
on “Syntax”, beginning with an ear-splitting guitar
squall from Doug Capraro before he lends his vocal talents
to the effort. Capraro is the ideal singer for an act of this
nature-he is aggressive and abrasive, yet he is not a vapid
screamer. There is authentic frustration being exorcised in
a mastery of cathartic release on “Soft Spot”
and “The Light that Broke the Vial” as bassist
Alex Capraro and drummer Alex McKendry flex their pronounced
low-end muscles. Woven within the tracks is also a concerted
devotion to psychedelia, but not in a traditional, stereotypical
definition of the word. The ethereal portions of the work
by Dead Tenants is more representative of a scary trip that
lasts far too long than anything soothing or passive. Additionally,
this juxtaposition of post-punk noise and experimental psychedelics
is extraordinarily liberating as the songs are both engaging
and punishing. This may not reach the same level of intimidation
of an act like Unsane, but this is a promising start from
a band that does everything right here-the packaging is as
primeval as the music and this is a band I will follow with
great interest.
 THE
JIGSAW SEEN - Old Man Reverb (Vibro-Phonic Records www.vinro-phonic.com)
I am hoping and expecting some old fashioned rock n’
roll angst with a title like Old Man Reverb, but instead of
blistering rock attitude, one hears a cornucopia of soulful
Americana. There is a great deal of old man here, but little
to no reverb. Dennis Davison is the mastermind of The Jigsaw
Seen, and his direction takes the band down numerous pathways,
from the acoustic “Idiots with Guitars”, a sardonic
look at selling out, to the spitfire “We Women”,
and the gut-wrenching “Grief Rehearsal”. Even
if acoustic guitars, piano, and the occasional Johnny Cash-style
song structure (“Abide”) are not for you, there
is much to admire here. Davison is surrounded by skilled players,
notably Jonathan Lea on guitar, and the record is a wildly
diverse swath of traditional American music. Not all of it
works for me, as I find “Hercules and Sylvia”
a touch redundant in its attempt to clone Magical Mystery
Tour-era Beatles a bit too blatantly, but the aforementioned
“We Women” is a smart-mouthed, snarky track that
crackles with guitar sparks and oozes sarcasm (“We women
are tired of taking all the blame”). “Your Mind
is Like Mind” and “Understand” are equally
beautiful in their sparse grace, highlighting Davison’s
warm vocals and lyrical chops, while “Madame Whirlgig”
utilizes the most subtle of psychedelia and strings the accent
the fragility of the title character as the song fades gently
into the good night. There are not many bands doing what The
Jigsaw Seen is doing and their work was even featured in Futurama,
and that is enough to earn my seal of approval. However, for
fans of folk, Americana, garage rock, and pop-flavored psychedelia
will find something to their liking on this vast musical buffet.
 SOTO
ST. - Lies (www.facebook.com/sotostofficial)
Soto St. is a much needed kick of energy and adrenaline as
the band plays classic sounding California punk in a style
reminiscent of the Adolescents or TSOL with a flair for modern
fury. The ten songs here are no frills punk rock with blazing
guitar, intense vocals, and traditional topics that are always
ripe for ridicule. Cops and politicians take the brunt of
the assault (“Police Brutality”, “Johnny
Law”, and “Two Party System”), but each
song is an incendiary gem. The title track takes one back
to the age of matinee shows, while “Regret” displays
a true penchant for hooks as vocalist Jeff eases off the aggression
slightly in exchange for a more rhythmic delivery. “Falling
Down” and “Going Nowhere” as they become
tracks to sing along with after only one listen. Soto St.
is what I hear in my head when I think of punk rock music-it
is fast, and abrasive, yet tinged with a level of intellect
that holds the attention of the listener. One hears years
of experience and deliberate thought on songs like “This
is Your Life” and “False Flag”; these are
not frustrated teens setting up shop in a garage, but the
angst and disgust harbored by those bands is still heard in
the work of Soto St. Lies is only the second release from
this band and it should quickly make this act more than a
California favorite.
 TWIN
FORKS (Dine Alone Records www.dinealonerecords.com)
The key component to any good Americana act is story-telling;
the band has to be able to paint images that, even if they
are not necessarily events to which the listener can intimately
relate, they are compelling enough to move people emotionally.
This is the strength of Twin Forks. Their classic Americana
singed with country twang and marinated in downhome folk
spice is not my first choice for musical expression but
damn if I do not find myself brought into the warmth of
the yarns being spun. “Kiss Me Darling” and
“Something We Just Know” are beautiful, fanciful
efforts while “Back to You” and “Done
is Done” are gritty, heartfelt anthems that celebrate
the vast talent of this four piece. The band excels lyrically,
painting stories both vivid and personal. The potential
success of Twin Forks is found in their ability to appeal
to a broad audience who enjoys a variety of traditional
musical styles. This is class American music played with
straightforward percussion, acoustic guitar, and some strings
supporting warm vocals. Twin Forks is not bringing anything
wholly original to this party, but they are instantly endearing
and that is more than most can do.
 NOX
BOYS (Get Hip Recordings www.gethip.com)
The sound of the Nox Boys is pure garage rock n’ roll;
it is testosterone and angst driven mayhem so desperately
needed today and it is being churned out by a line up including
three high school kids and a veteran slide guitarists in his
late fifties. The elven songs on the band’s self-titled
debut pay homage to everyone from the Count Five to the Zombies
with enthusiastic gems of ragged, fuzzed-out bombast accented
by supremely written harmonies. Bob Powers is the (very) old
man of the group and his slide guitar playing is the centerpiece
of the majority of the work and makes an instant impression
on the opening “Desperate Girl”. Powers, a fixture
in New York City performance art during the 1990’s and
uncle of drummer Sam Berman, brings well-honed sophistication
to the Boys’ wild-eyed energy. Leader vocalist and guitarist
Zack Keim may only be seventeen but he handles the delectable
pop of “Mrs. Jackson” and “Susie Lee”
and the more raucous “I Don’t Care Anymore”
and “Save Me” with equally adroit aptitude. “Take
My Heart and Break It” should delight Jack White while
“Novelty” and “Smilin’ Dave”
are both destined for heavy rotation within a certain Underground
Garage. Keim has a voice that defies his age, but that is
a quality found within each of the three teenage members,
rounded out by the bluesy bass playing of Zach Stadtlander.
What is most satisfying about the Nox Boys is their ability
to resist over thinking the rock n’ roll process-the
majority of the tracks hang around for less than three minutes
but it is enough to clearly grasp the gifts these kids possess.
The Nox Boys are not another band trying in vain to save rock
music; they are simply proving that it is doing far better
than what one may think.
 SECRET
PHOTOS - Layers (I Love to Hate Records www.ilovetohaterecords.com)
Layers is a fitting title for this release as Shaun Weeden
leads Secret Photos through a winding demonstration of finely
crafted indie pop. This is bold departure from the life Weeden
once led as the leader of New Jersey hardcore act Purpose,
but the music of Secret Photos is no less intense than his
hardcore efforts, just delivered differently. I am not a fan
of drum machines and therefore, “Spouses” or “Red
Lights” are not among my favorite tracks here, although
their energetic pop crackles behind the warmth of Weeden’s
vocals. For me, Layers hits its stride on the deeper tracks
that conclude the record, particularly a string of anthems
in the form of “Catch the Breeze”, “How
She Said It”, “and “Awakenings”. “Catch”
revolves around a complex time structure after an intriguing
opening sample that makes it a challenging yet fascinating
listen. “How She Said It” may be the most straight
forward rock song of the bunch with the trio (backing Weeden
is Mark Weinberg and Ernest Intorella) driving ahead with
aggressive drumming and a more pronounced riff. The dreamy
“Awakenings” is a supremely delicate work of haunting,
atmospheric pop detailing the struggles and euphoria found
within so many relationships. This song is a credit to Weeden’s
talents as a lyricist and Secret Photos’ ability to
capture human emotion in a memorable pop structure. The danceable
closer “Find Your Way” harkens back to the up-tempo
vibes that carried the earlier tracks and it concludes with
a soaring crescendo before quietly fading away in a wave of
droning noise and feedback to close a unique record.
 THUNDEREGG
- C’Mon Thunder (www.Thunderegg.org)
Thunderegg’s Will Georgantas is a wonderful storyteller;
the lyrics on C’Mon Thunder are personal pieces of highly
descriptive writing that captures life’s moments with
remarkable clarity, be them awkward, tender, or funny. However,
once placed to music, I lose interest. The playing of Thunderegg
is as perplexing as their name-the band simply does not know
what they want to be. Are they acoustic, folk-inspired rock?
Are they country-twinged pop? Are their mildly rollicking
rock? It is impossible to know for certain, but one receives
tastes of all of the above on their record and all of it is
delivered through Georgantas’ monotone vocals that,
while they are not fully without expression and emotion, become
overly redundant. The shame of this is that there is so much
potential here-“We Kissed Again, and Ran Some More”
recalls a majestic teenage moment when the protagonist stole
a car belonging to his girlfriend’s grandmother hoping
to escape with his love for a few stolen moments (“We
released the brake and rolled it down the driveway, and made
ourselves believe we would never see this place again”),
only to crash to car, but still managing to enjoy a few kisses
on his neck. It’s a poignant, wonderfully romantic tale
that captures the innocence of youth while “An Absolutely
Ordinary Date” sums up today’s digital relationships
with the words “He crafted his approach, hit the button
and then just hoped”. In both cases, the band taps into
heartfelt emotions of fear, exhilaration, and anxiety, but
the playing simply does not match the levels of emotion being
conveyed lyrically, as pedal-steel guitars and sitar guitars
leave me feeling flat. The band does score a pair of wins
with the lovely “Write Me a Caption” and the autobiographical
“Blazin’ in Princeton”, but these successes
are mired by attempts such as “The Richest Men in the
World Were Saying Nice Things About the Astronauts”
and “I’d Stay”. The former wastes nearly
two minutes in an atmospheric intro that does not push the
song forward and the latter is designed to be a song about
a man finally moving on and taking a chance with his life
(“I have been telling everyone I know either me or this
city has got to go”) but the lyrical delivery seems
more listless then restless. Ultimately, C’Mon Thunder
is a smart, albeit flawed record that will appeal to fans
of softened rock but I have to pass.
 DWELLERS
- Pagan Fruit (Small Stone Records www.smallstone.com)
The sophomore release from Dwellers opens with the lines “I
cut off my hair/ I sold it to a witch” from “Creature
Comforts” and one is off and running on a pummeling
trip through a world of heavy distortion, fuzzed out guitar
histrionics, and a thick, bubbly slow-boil groove. Pagan Fruit
recalls the finest moments of Sabbath, Spirit, Neil Young,
and a legion of other guitar-led acts, but Dwellers refuse
to rely upon a finite number of influences or limit the scope
of their sound. Dwellers play a different type of heavy music,
for none of the songs are vicious in nature; they simply repeatedly
hammers at the listener with a consistent force that includes
lush atmospheric riffs and pointed solos that balance the
blunt with the refined on “Return to the Sky”
and “Waiting on Winter” to name but two. This
Salt Lake City trio harkens back to 60’s psychedelia,
70’s acid rock, and contemporary doom-tinged bombast
to generate nine fully fleshed out visions of sludgy, stoner
glory. Vocalist Joey Toscano has a subdued but soulfully expressive
voice that works in wondrous tandem with his soaring guitar
work, while drummer Zach Hatsis and bassist Dave Jones fluidly
author punishing low end thunder. The seven minutes of “rare
eagle” are an extensive journey through atmospheric
guitar force that would delight fans of St. Vitus while “Son
of Raven” feels like the type of song that could be
played for a jam of unlimited tie mina live setting as Toscano’s
cry of “come home” reverberates with vibrant intensity.
The soaring “Devoured by Lions” includes perfectly
placed harmonica in the midst of warm hook and rolling drumming,
and the subtlety of this makes the song all the more engaging,
particularly as the solo startles a line between Iron Butterfly
and Mudhoney. If you worship at the altar of power chords
as I do, Pagan Fruit is an instant modern class-an emotional
expedition through the power of well-structured musical force
performed by artists with an ear and sense of dynamics.
 EX
FRIENDS - Animal Needs (Coolidge Records)
Despite only existing since late 2011, Ex Friends have been
remarkably proficient, and this four song EP is either a helpful
introduction to the band or a satisfying stopgap between full-lengths.
The four efforts here are quite quick and richly harmonious
with vocal duties shared by founder Joel Tannenbaum (you should
all remember/know Joel from Plow United) and guitarist Audrey
Crash. Crash carries the sly opener “Don’t Do
It Like That (Do It Like This)”, a bouncy sugar-fueled
gem that boldly flaunts its pop-kissed energy and she joins
Tannenbaum for the sixty-two seconds of the sardonic “Word
Police”, a song that says quite a bit in only a few
words and a simple, infectious riff. “Real Life”
and “Fadeage (City Inspector)” are far more fleshed
out, with the latter including understated saxophone to accompany
Tannenbaum’s forceful vocals and soaring backing assistance
from Crash. All the while, drummer JP Flexner, the second
mastermind in the formation of the band, is tireless in his
intensity and guitarist Jayme Guokas rounds out a collection
of musicians who insist upon precision in their quest for
pop-punk purity. If one wants noisy punk with a softer but
not inhibited edge, Animal Needs should be your early summer
soundtrack.
HOT BLOOD - No Kings (Little Dickman Records www.littledickman.com)
New Jersey’s Hot Blood are fast, angry, and loud-the
three key ingredients for any hardcore band. However, what
makes them sound a bit more refreshing than the thousands
of other testosterone fueled, politically and socially frustrated
bands out there is guitarist Alex Rosen. Rather than a continuous
buzz saw playing that is fun but ultimately monotonous, Rosen
punches up his playing with garage inspired, even surf-tinged
riffs that gives Hot Blood a more polished and finished sound.
Everything here rages with the ferocity one expects from Jersey
hardcore-it’s fifteen songs in under thirty-one minutes
so you do the math, but even the gone in sixty seconds gems
like “Your Band Sucks” or the more fleshed out
“The Wolf” possess a level of intellect then other
acts lack. The record includes a series of scorching pieces,
including “Scott”, “Class Warfare (with
the fist pumping refrain “they have the numbers but
we have the power”), “Hypocrite”, and “You
Can’t Hold Us Down”. Vocalist Matt Kiley really
can sing even when he’s shouting at you, and the low
end rumble of bassist Charlie Schafer is matched with equal
bombast by drummer Billy Straniero, making Hot Blood a complete
act. There is no filler on No Kings, and even when the band
interjects a little humor on “Don’t Be a Dick’,
it comes across as much more of a warning that a light-hearted
joke. I would love to hear these guys destroy a live setting.
MUSCLE AND BONE Peace and Light (Black Numbers Records
www.theblacknumbers.com)
Robert Travis’s voice overflows with heart-wrenching
emotion and his lament “I don’t want to feel blessed,
I just really want to feel perfect loneliness” on the
opening “XO” encapsulates Muscle and Bone’s
sincere appreciation for an emo sound some may believe is
long gone. Peace and Light intersperses pop and emo moodiness
accented by a bare honesty that makes the music both intriguing
and endearing. Along the way, the eleven songs include both
boisterous guitar riffs and moments of tranquil fragility.
“I am an Oak” is a majestic demonstration of the
band’s appreciation for various levels of rhythmic intensity
while the record’s title track is warm embrace of a
song that begins innocuously then gradually raises the level
of intensity before exploding into a cascade of soaring beauty
like a person surrendering to an onset of tears. There are
unapologetically pop-infused efforts here as well, starting
with the bounce of “Song for the Broken Road”
and later, the serenely textured “Direction”.
“Keep Sinking” bears a striking resemblance to
the ubiquitous radio hits of the Gin Blossoms, but I do not
know if the band appreciates the comparison. In a slightly
more indie-credible vein, much of Peace and Light harkens
back to bands like the Anniversary or Joan of Arc, and the
men of Muscle and Bone have a tremendous gift for crafting
angular pop that is both sweet and clever, best heard on the
beautiful “Neither the Vine, Nor the Branch” and
“Meaningful Things”. The former stops nearly completely
dead mid-song with only the faintest audible hum left to those
straining forcefully enough, and just before one assumes the
song is simply an unnecessarily short effort, it erupts into
a torrent of Travis’ haunting vocals, wraithlike guitar
playing, and jarring cymbal crashes. With no previous knowledge
of this Asheville, North Carolina four piece, I am admittedly
smitten with their dour world view and emotionally driven
playing.
 BEING
AS AN OCEAN - As We Wondrously Perish (InVogue Records www.invoguerecords.com)
Much of the post-hardcore/screamo/whatever term you choose
to use material out there can quickly grow stale and repetitive.
While I am consistently drawn to the earnest energy and often
hopeful worldview exposed by so many of the acts, the riffs
simply could not hold my attention for a full record. That
problem does not exist with Being as an Ocean, a band whose
hope for the world is obvious in their moniker, a name inspired
by a Gandhi quot. I have listened to As We Wondrously Perish
over two dozen times and what repeatedly leads me to return
to it is the diversity of the playing. Whether it is the subdued,
jazz-like conclusion of “Mothers” or the unbridled
intensity of “Death's Great Black Wing Scrapes the Air”,
the band consistently reinvents itself throughout the disc
in a manner sounding wholly organic and not the least bit
contrived. The alternating screaming/clean vocals are manifestations
of tempo shifts and work seamlessly within the context of
the songs and are not unnaturally forced upon the listener.
Lead vocalist Joel Quartuccio has an intimidating growl which
is superbly juxtaposed with the more refined efforts of former
The Elijah guitarist Michael McGough. There are moments of
spoken poetic lyrics on many of the songs here, such as the
opening moments of both “The Poets Cry for More”
and the exquisite “L'exquisite Douleur”, a track
with a sophisticated start/stop structure with a multitude
of abrupt shifts in both intensity and measure. The band’s
willingness to expand the boundaries of the genre is heard
on the concluding hum and noise of “We Drag the Dead
on Leashes”, and the greatly subdued closer “Natures”
which contrasts to the more straight ahead groove of “Even
the Dead Have Their Tasks” and the lush “Grace,
Teach Us What We Lack “, two tracks that come the closest
to pop than of any others on As We Wondrously Perish. This
is a unique and captivating record from band with less than
three years’ experience and two new members on board.
Being as an Ocean takes the best moments of post-hardcore
and combines them with an experimental streak to produce a
record of driving, heartfelt anthems.
 ONLY
CRIME- Pursuance (Rise Records www.riserecords.com)
While the term “supergroup” usually makes people
shudder as the results rarely live up to expectations (Killer
be Killed, anyone?), it is not much a stretch to use the term
here on Only Crime. This staggering lineup includes Russ Rankin
from Good Riddance, Aaron Dalbec of Bane and Converge, and
the legendary Bill Stevenson to name only three-fifths of
the band, and the style of playing on Pursuance is brash coagulations
of the different histories and styles of the members. One
can hear touches of the acts with whom these men first gained
notoriety, but within this cacophony of punk genius lays subtle
jazz influences and explosive bursts of deafening power. In
terms of lyrical themes, the record emphasizes the more distressing
elements of life, particularly on “No Truth in Love”,
“Emptiness and Lies”, and the closing “Bred
to Fail”. The pain that drives the lyrics is matched
by the power of the playing as “In Blood’ and
“Absolution” shower the listener with a vicious
cascade of guitar barbarism from both Dalbec and second guitarist
Matt Hoffman, while Stevenson is paired perfectly with bassist
Dan Kelly. Rankin’s vocals were always the centerpiece
of Good Riddance, but he shines even more brightly here, with
“Drowning” and “Find Yourself Alone”
emerging as two of the many high points on the records. With
adroit musical precision, this is a collection of songs that
cuts through both speakers and listeners with deftness to
the intensity that allows the band to generate a unique sound
but one that also gives each track a highly distinctive personality.
This is a majestically cathartic release from a collection
of proven, limitlessly talented players from whom young bands
can learn much.
 DIKEMBE/THE
JAZZ JUNE (Tiny Engines Records www.tinyengines.limitedrun.com)
This split release features one song each from two bands with
inimitable talent for creating lush music that balances serenity
and force. Dikembe’s “Healer of the Pride”
is driven by powerful drumming and warm vocals with guitar
playing that dances in and out of the song. The track slows
down considerably around the two minute mark and adopts a
stark, haunting aesthetic until gently fading away. It is
a style reminiscent of the band’s debut record and bodes
well for their new release this summer.
The Jazz June has not been heard from in over a decade but
“Over Underground” sounds as if the band never
left. Striking a chord that follows a direct line from Archers
of Loaf or Superchunk, The Jazz June still possess an uncanny
ability to craft pop harmony in the most unique of manners.
Richly melodious and sincere with a pristine guitar riff and
supremely placed backing vocals, this is a wondrous three
minute return. It is great to have this band back and they
plan to release a new full length before the end of this year.
 THE
HUNTERS - Art Electric (www.thehuntersmusic.com)
These four twenty-somethings from Quebec City play a smoldering
form of intelligent punk with a keen mind for harmonies. The
thirteen efforts on Art Electric have a whip-smart energy
and daring openness. The opening “Dave Grohl”
would make that individual quite proud as The Hunters balance
rage and melody with a skill as adroit as Grohl’s Foo
Fighters. While well-polished, there is nothing clichéd
about the work here, as “Connecticut” and “It
Had to Be You” are soaring tales of intense and genuine
passion constructed on the backs of anthemic choruses and
soaring guitar riffs. Even when a well-worn line like “I
love you more than I can ever say” is delivered on “Promises”,
it is so intensely passionate that one is drawn into the song
and one feels the immediacy of the sentiment. The synergy
of the rhythm section and guitar force on “Lighthouse”
is stirring as the refrain of “all I do is miss you”
cascades beautifully within a rollicking din of force. The
lyrics throughout Art Electric are quite emotional, loving,
and even pretty, yet they are funneled through a swirling
mass of punishing punk-tinged rock. There is an energy that
is tangible on “Hold On, Marci” and “Paranoia”
in which the songs are tightly wound coils of potency ready
to explode. It is extremely rare for a band to have a sound
that is both radio-friendly and raw, but The Hunters celebrate
their ruggedness as freely as their abilities to craft pop-inspired
hooks. Each of the songs shimmer with sentiments and are majestically
crafted. A disc like this gives people hope that meaningful
rock with a potential mainstream appeal is still being made.
 BROWN
PLAID - Chico’s Revenge (www.brownplaid.bandcamp.com/
album/chicos-revenge)
Long Island New York’s Brown Plaid claim to have written
this record while “drinking beer, listening to Screeching
Weasel, and watching cats poop in a dirty basement”:
while the amount of cat excrement and beer is unknown, the
Screeching Weasel influence is blatantly obvious. This is
fast, hyper-melodic punk played with an abundance of goofy
fun and obnoxious attitude. Nothing here lasts over a minute
and a half and the guys pride themselves on avoiding the trappings
of a famous punk act that Brown Plaid skewers on “I
Hate the Sex Pistols”. It’s strange to think that
the Pistols have become the Pink Floyd of modern punk bands-just
as Johnny Rotten once defiled musical royalty by hand-scrawling
“I hate” above Pink Floyd’s name on a t-shirt,
Brown Plaid rips Mr. Lydon and his mates for crafting “four
minute songs on a major label” and selling “shock
value like Marilyn Manson and image like Good Charlotte”
(Ouch! Really?! Good Charlotte?) The song is the centerpiece
of this nine-song effort with other highlights including the
Queers-inspired “Hippies” (imagine a sloppier
version of “Granolahead” with the lamentations
“why don’t you take a shower, why don’t
you get a job, put down the bong and shave your armpits”)
and “Guidos”. There are a few unabashedly silly
moments here such as “Flapjack Faceslap” and “Baby
Wants a Bottle”, a song detailing the moment when your
girlfriend tells you that she does not drink beer out of a
can. Every song is supremely harmonious, even if the harmonies
are gone after thirty or forty seconds. Brown Plaid is not
trying to change the world-they simply want to help people
forget about it for about it for a few minutes.
 PORCH
- Walking Boss (porch.bandcamp.com)
Originally forming the early 1990’s, Porch lay dormant
until 2011 when guitarist Todd Huth recompiled the band with
bassist Christopher Frey and drummer Michael Jacobs. Walking
Boss, a discordant, free-flowing, and musically complex
record borrows heavily from jazz and noise-rock dynamics to
produce mesmerizing efforts. While the blazing “Spider
Attack” is forty-three seconds of guitar wizardry, the
melancholy “Dark Corner” is anchored by thunderous
bass work and vocals that are haunting in their dissonance.
The instrumental “Bow to the Clown” epitomizes
the band with its ethereal riffs and start/stop interludes
that is terrifying in its beauty, while the opening “Heart
Attack” begins with sullen, simple notes before over
the course of several minutes gradually working towards a
coagulation of the trio’s combined fury and musical
dexterity. Huth had first made his make with Primus, leaving
the band before the mainstream MTV market found out about
them, but his adoration to challenging traditional song structures
is heard throughout Walking Boss as “Tourette’s
Class” is a rattling, thunderous machine of a song and
this is juxtaposed by the reserved “Manana” and
the plodding “Ballad of Cruelty”. This is a brilliant
celebration of non-conformity and Porch is a band desperately
needed.
 ICED
INK - Television Ears (www.icedink.com)
With the recent appearance of a “blood moon”,
some are claiming that the end may be upon us-if that is the
case, I can die contently having heard the work of Brooklyn’s
Iced Ink. Forming originally in the Minneapolis/St. Paul area
in 1998, Iced Ink calls New York City its current stomping
ground and NYC is one of the few places that can appreciate
and contain the monstrous amount of twisted brilliance this
act demonstrates. “Bob Forrest Relapse” begins
with a thrilling very loud/quiet song structure highlighted
by jazzy interludes that are too well played to be in jest,
while “Stupidface (v5.0)” is carried by a thunderous
guitar riff. However, as both songs are perfectly interesting,
they merely set the stage for a whirlwind of deliciously bizarre
anthems to follow. Each of the fourteen efforts one finds
on Television Ears are sans vocals and while many of the songs
stand alone, some, such as “These Aren’t’
the Drones You’re Looking For”, act as an introduction
for the explosive chaos of the subsequent song. This is the
case with the aforementioned “Drones” bleeding
into “There’s a Bee in Here”. These two
tracks are emblematic of the band: “Drones” is
a subtle, unsettlingly reserved soundscape that gradually
increases in intensity until “Bee” explodes in
the listener’s face, but even the latter includes moments
of bouncy, nearly cartoonish interludes before returning to
a crescendo of grindcore speed and skull crushing doom riffs.
“There’s a Bee in Here” manages to incorporate
nearly every form of contemporary metal into one glorious
work. To thwart those expecting a grand follow up, Iced Ink
offer “Ride the Dragon”; a majestic track only
six seconds in length. Television Ears has no set pattern
or flow, no level of predictability or formula, and therefore
is both immensely satisfying and the antithesis of the pop
culture swallowing us today. Clearly the members of Iced Ink
are devotees of all areas of the popular landscape, but their
homage to television and other forms of beautifully mind-rotting
activities is superbly crafted chaos. Rather than attempt
humor through campy sound effects or samples, the playing
of Iced Ink reflects an appreciation of super heroes, sci-fi,
and long hours spent basking in the serene glow of television’s
forgiving warmth, best exemplified through the whistles and
sheer goofiness of “Here Comes Gary”. (Gary later
returns on the record’s closing track) The band returns
to its more aggressive nature on “I’m Feeling
Good, I’m Feeling Great, I’m Feeling Wonderful”,
a song whose bombast may hide the fact that it is a tribute
to Bill Murray’s much-revered character in the semi-lost
classic What About Bob?. “Naan-Compliant” is a
lush but nearly silent work of delicate soundscape that says
very much with very little, while “Devonshire Tea”
is just a few seconds of uncomfortable sound effects. Although
Television Ears did not end in particularly convincing fashion,
this is a tremendous amount of fun and an intriguing listen.
 THE
KIMBERLY STEAKS - To Live and Die in West Central Scotland
(makethatatakerecords.bandcamp.com)
This Glasgow, Scotland trio produces bouncy, sugar-fueled
punk-pop perfectly designed for the short attention span-afflicted
among us. With the average track clocking around one minute
(only the closing title track alters this by delivering a
n impressive five minutes replete with acoustic section and
brilliantly placed Simpsons sample), the songs come and go
quickly, but each one does retain enough distinctive traits
to prevent this record from simply amalgamating into one repetitive
three chord parade. Greig (guitar) and Ade (bass) share vocals
and tales of loneliness and frustration, such as “Wrong
Exit” (“So I shut myself in my room and lock the
door /And write songs about watching TV and being bored /But
I don't think I can live like this anymore”), “My
Quarter Life Crisis” (“And I'm all wound up in
my feral thoughts and apathy/And this gradual but steady detachment
/Is what’s really killing me), and “Fear and Loathing
in Larkhall” (“Feels like my best years are behind
me now/Pretty sad when you're only twenty-five years old/I'm
not coping well at all”). These lyrics of depression
and sorrow are juxtaposed by effervescent, infectious hooks
and highly kinetic playing infused with energy of over-caffeinated
kids. This is certainly not revolutionary, but it is a wonderful
example of a contemporary act that is certainly inspired by
the legions of now classic punk bands of this style-The Kimberly
Steaks may not play with the same snarl as the Queers or with
the speed of the Ramones, but the spirit remains quite similar.
I am a fan of self-effacing, brutally stark tales of woe that
are funneled through three chords and a blissful delivery,
for I find the stories more unsettling. This is highly impressive.
 SPACE
WOLVES The First Year: The First Four Tapes on One Cassette
(UT Records www.ut-records.com)
With only eighteen of the fifty (!) songs hitting the two
minute mark, one may expect blazing, jaw-shattering hardcore,
but Space Wolves play upbeat, light-hearted songs about girls,
break-ups, bad relationships, and more girls. The Buffalo
duo have clearly struggled with the ladies in their past as
five of the songs have women’s names and “I Watched
You Go”, “I’m Pretty Sure (You Don’t
Want Me)”, “I Saw You (With Your Boyfriend)”,
and “(I Don’t Have the Nerve) To Talk to You”
surmises the emotional angst splattered for the listener’s
consumption. However, rather than scream about their fits
of despair, Space Wolves incorporate the most elemental components
of rock on “Die Trying” and “Halfsies on
a Rock”, playing with a style reminiscent of Buddy Holly
and the Crickets. There is nothing particularly flashy or
rambunctious about the musicianship here, as they meld innocence
and instantly catchy riffs into an easily digestible package
that can either break one’s heart (“Does She Still
Love Me?”) or make one laugh (“Here’s Pizza
{Do You Love Me Too?}”). “Too Short” utilizes
Dick Dale style surf guitar (“too short to kiss the
tall girls/too plain to kiss the pretty girls”), while
“Disjointed’, “I Watched You Go,”
and “Stay” provide a glimpse of what the Smiths
would sound like if only Johnny Marr and Morrissey played
together. The twelve second “Issue 363” is a lovingly
snarky crack at Maximum Rock N’ Roll while “(It
Broke My Heart) When You Forgot My Name” is another
celebration of rejection played in a austere fashion for ninety
seconds. The Space Wolves are talented songwriters for they
articulate sorrow with a knowing smirk and a sense of camaraderie;
granted, fifty songs of this is a bit much in one sitting,
but I do hope these guys get out of basements and take their
tales of sorrow on the road to the weary masses who should
undoubtedly relate.
 STREET
EATERS - Blood: Muscles: Bone (Nervous Intent Records www.streeteaters.com)
This Bay Area duo smashes through ten blistering songs on
Blood Muscles Bone that retain elements of punk pioneers
from the late 70’s as well as the riot grrl fury of
the early 90’s. Drummer/singer Megan March and bassist/singer
John No have remarkable symmetry with each other as the songs
rumble and rage with an infectious amount of harmonies. Their
shared vocals, quite often delivered in a call and response
style, are vastly different but mesh seamlessly. Not afraid
to incorporate a few “woahs” and “oh-ohs”
into their songs, Street Eaters deliver smartly crafted noise
brimming with unorthodox melody on “Dead Parts”,
“West”, and the soaring “Reverse”.
March’s voice is rich in tone and perfectly balances
the blood-curdling intensity of No’s impassioned yelps.
The two play with a sense of urgency and immediacy that is
only achieved from countless days spent on the road playing
basements and small clubs, while also existing in a relationship
on a personal level. “Running Dog” and “Null”
are sonic avalanches of musical force that defies what most
duos are able to achieve; there is no minimalism here as Blood
Muscle Bone has a monstrous sound in which one can able hear
the walls of the studio shake. Politically savvy and not afraid
of confrontation, “Waxwing” (“we must produce,
we must consume”) is a perfect primer on the band’s
personal stances as well as its musical prowess. Street Eaters
is described as a “truewave” band; I am not sure
of exactly what the term means, but if it is intended to represent
a great band, then it fits this gifted two-piece perfectly.
CHUCK RAGAN - Till Midnight (SideOneDummy Records www.sideonedummy.com)
Chuck Ragan was one of punk’s most intelligent and unique
voices when he was a member of the seminally brilliant Hot
Water Music, but he has reinvented himself as a voice of Americana
as he replaces blazing riffs and howling vocals with sweetly
delivered songs of love and introspection accented by folk
guitars and strings. We have seen this movie many times before
as the once flammable punk giant mellows out and becomes a
more subdued singer/songwriter. However, Ragan should be a
nationally celebrated hero for his current work. This is not
just an aging punk giant breathing easier; this is a superbly
gifted songwriter using another vehicle to express his emotions
as ferociously as ever. One need not scream to be passionate
and Till Midnight is a beautiful collection of heartfelt,
earnest songs and Ragan paints pictures with words with the
same blue collar clarity as Springsteen or Steve Wynn. “Bedroll
Lullaby” includes lines with which any transient heart
will identify as Ragan emotes “Somewhere I hear a lonesome
train burning in a direction I can’t name, I’ll
shut my eyes and lay these bones to rest, off the beaten path
we all know best.” His voice is gruff and exudes honesty
while his backing group is an enormously skillful collection
of players, particularly Todd Beene on pedal steel and guitar
and Jon Gaunt’s poignant fiddle. The brooding “Wake
With You” is stirring in its inspirational openness
as Ragan asks his love to “take me in, I’ll be
good to you babe, and I’ll do my damnedest to make my
mistakes but once” as lush harps and lap steel cascade
around Ragan’s poetry. On “Revved”, Ragan
describes a scene in which a woman stands “to the wind
as her hair blew back” with an equally romantic level
of passion as heard when a young Jersey troubadour sang about
Mary’s dress and a screen door on “Thunder Road”.
Ragan also appreciates the power of a great pop hook and “Vagabond”
has it when he sings about “waking up on the wrong side
of fantasy/waking up on the wrong side of you and me”.
The closing “For All We Care” is a genteel effort
that centers itself on Ragan’s brusque vocals before
concluding during the last minute and a half with the rumbles
of drummer David Hidalgo. This finishes the record on a soaring
note and marks the completion of a wonderfully played ten
songs that balance the finest aspects of Americana with daring
candor and brazen sincerity.
 BROKEN
DARLING - Dust (reverbnation.com/brokendarlingmusic)
Broken Darling may have recorded this six song EP in East
Brunswick, New Jersey, but the down home sounds would fit
quite nicely in Southern fried honky-tonk joints or front
porches throughout the heartland. The songs are pristine
gems of country-twinge pop flavored with just a sprinkle
of rock energy. Each of the six tracks is a radio-friendly,
instantaneously catchy effort overflowing with beautiful
vocals, particularly Lia Menaker. Menaker is an undiscovered
star-a performer with a soulful, haunting voice that shines
either exclusively on “Bones” (a track she wrote
as well) or with Mark Bodino on “Willow Tree”
and “Grains of Sand”. The closing “Nothing
That You say” has a darker riff bathing in distortion
subtlety buried within the mix under a wall of melodic vocals
and acoustic guitar. Reminiscent of the Decemberists, this
closing tune is my favorite moment of the disc. Blending
Americana with a sly pop sensibility, “Grains of Sands”
is stirring, while “Pass the Years” is screaming
for massive exposure-a buoyant track with a chorus accented
with hand claps and ideally balanced vocals, it is a supremely
well-constructed song. At times evocative but often cheerful,
Broken Darling is a band with authentic musical chops and
this release is a wonderful tableau for their talents. This
will certainly appeal to an adult contemporary style crowd,
so therefore I will never be found at a Broken Darling show,
but genuine talent is still easily distinguishable, and
this band possesses it.
 THE
FALLING BIRDS - Native America EP (www.thefallingbirds.com)
Despite playing around New York City, The Falling Birds retain
a sensibility of small town America. The five songs on Native
America wrap themselves tightly in a blanket made of blues
and country, but there is a garage component on “Arms
Out Wide” and “Dead Man Walking” that add
even more grit to an already rugged collection of tracks.
Stephen Artemis is the leader of The Falling Birds and his
fixation with the more primal elements of rock n’ roll
is discernable on three of the five pieces here. The wah-wah
pedal work during “Dead Man” is scintillating,
and the controlled aggression heard within the riff of the
opening “Darling” is equally impressive, harkening
to the foundations of rock with a nod to grunge and even a
little punk. Conversely, “If Time Allows” and
“A New York Love Song” are genteel in nature,
particularly “Time” which swaggers with a Wild
West aesthetic highlighted by rousing harmonica playing before
erupting into a full on hootenanny for the closing two minutes
that would make the members of the Charlie Daniels Band smile.
Apparently, a New York love song must be quite sullen in nature,
for the closing effort revolves around Artemis’ melancholy
vocals, understated acoustic guitar, sparse harmonica, and
even an appearance of triangle. I greatly enjoy the rowdier,
more guitar fueled songs here, and The Falling Birds are on
to something; I am curious to see how they fit within the
parameters of the New York Club scene, but this one is both
engaging and unique. And for a band still in its infantile
stages, its virgin release comes as a disc enclosed in the
pocket of a pair of Lee jeans (give them credit for understanding
their audience right there) and the stitching looks like it
may have been done by hand. This is undoubtedly a labor of
love by a three men looking to push a standard American music
form into new directions.
 IRIE
IDEA - Blues Like Sandpaper/Rocksteady Like Dirt (www.irieidea.com)
The concept of a two-man ska band seems highly unrealistic,
but Curtis Irie and Morgan Smith not only deliver a record
of tremendous depth and warmth but also one that incorporates
a myriad of styles. Granted, they do receive some musical
assistance and accompaniment along the way but Irie and Smith
are the heart, soul, and brains behind Irie Idea. I am not
and will never be a devotee of ska, but the varied genres
explored here prevent me from becomingly overly fixated on
one particular delivery. The more traditional ska vibe of
“Soul Vending” and “Smoke Signals”
coexist effortlessly alongside the bluesy, harmonica-driven
“St. Johns Alley” and the appropriately title
“Oregon Blues”. “Good on Paper”, “Portrait
of a Lady” and the closing “Hours” each
possess an infusion of pop energy to accent the warm harmonies.
“Han Shoots First’ is a wonderfully played rocksteady
instrumental that took me back to the finest moments of Madness
while “There Goes the Neighborhood” harkens back
to the duo’s earliest days as members of punk bands
with the song’s fast, rugged guitar, heightened intensity
and duration of just under a minute. Following this injection
of aggression, Irie Idea deliver a n island paradise soundtrack
with the wafting “What’s a Matter” whose
rhythms lazily float through the breeze. Both men are extraordinarily
talented and have enjoyed distinctive careers that have led
them from local punk scenes in New York, New Jersey, and Pennsylvania
out to the more serene Pacific Northwest hub of Portland,
Oregon. I am highly impressed with the skills on display,
even if efforts such as “Who” or “Machines
(Here I Am)” are a bit too slow for my liking. Irie’s
and Smith’s lives on the road and their devotion to
generating distinctly unique music has resulted in an eclectic
disc that will undoubtedly thrill fans of the Specials or
The Menzingers, but the references should not stop there,
for this places Americana, folk, punk, rocksteady, surf, and
blues into a musical blender and rather than pouring out a
discombobulated mess, Irie Idea create finely crafted anthems
of authenticity and charm.
 SAINTSENECA
- Dark Arc (Anti Records www.anti.com)
Columbus, Ohio’s Saintseneca play folk with a punk rock
spirit. It is not that every track on Dark Arc is a voluminous
explosion of anger and force, but there is a menacing quality
to the lyrics and ferocity to the playing that one does not
usually hear with Americana-inspired bands. “Happy Alone”
celebrates isolation and immersing oneself within personal
darkness, but the tune itself is deliciously effervescent.
This is a musical duality that has been used in the past,
but Saintseneca make it sound fresh. The more meandering “So
Longer” is played with a tangible intimacy as Zac Little
sounds as if he is sitting next to you, deftly singing in
your ear. This is a wonderful juxtaposition to the glorious
“Takmit” and “Falling Off’ which are
driven by shockingly powerful percussion. “Visions”
features majestic vocals and an interesting balance between
reserved country and more boisterous pop-oriented song structures.
It is Saintseneca’s ability to switch gears so effortlessly
that keeps Dark Arc intriguing. One can certainly imagine
Gordon Gano offering this his seal of approval, and like the
Femmes, who could shift from raw-nerve punk angst to country-tinged
darkness with equal aplomb, Saintseneca provide a multitude
of ideas within each effort without the songs ever feeling
too busy or disjointed. Each track tells its own distinctive
and occasionally oft-putting story with the natural ebbs and
flows that reflect any individual’s life. The concluding
“We Are All Beads on the Same String” is intensely
moving through the raw delivery of Little as he lays himself
out bare repeatedly wailing “don’t you let me
down again”, all the while utilizing his voice in a
such a profoundly unique manner that this phrase will undoubtedly
create various connotations, while the title track also prominently
features Little and little else before his bandmates join
in with lush group harmonies and a massive expanse of acoustic-flavored
musicianship. New interpretations on Americana are not an
easy sell, but Saintseneca bring a multitude of new ideas
to Dark Arc.
 THE
GENERATORS - Life Gives-Life Takes (Randale Records www.randale-records.de)
L.A. punk has a legendary reputation and The Generators have
been carving out their own unique niche for over twenty years.
Life Gives-Life Takes is a traditional punk record
in the finest sense of the word. Overflowing with rugged yet
free-flowing riffs, The Generators balance aggression and
harmony with pristine skill. Vocalist Doug Kane voices his
frustration on “Gotta Be a Better Way” while guitarists
Mike Snow and Teddy Schrader create a vicious assault that
envelopes him, particularly during the soaring chorus. The
majority of the dozen tracks here clock in around two minutes
and do not waste a second-“Critical Condition”,
“Goodbye California”, and “Neck and Neck
with Death” are simply blazing in both speed and energy.
While “So Sick of This” is a classic punk anthem,
“Heartbreak Beach” is touched by a flavoring of
ska and has a more lighthearted, even slightly experimental
atmosphere. Manny Murders (one of punk’s greatest names)
carries “Critical Condition” with a punishing
bass line, and along with Mando Del Rio’s drumming,
The Generators capture a late 70’s sound with a contemporary
aesthetic. It would be wise for upstart acts to listen to
both Life Gives-Life Takes as well as the entire Generators
catalog to better understand the purity of legitimate punk
rock. This is a band that eschews trends and relies upon a
sound that is true and always dependable; there is not an
empty riff here and The Generators should be celebrated for
refusing to cower to the emptiness of modern embarrassments
that attempt to pass for punk.
 PANTHER
MODERNS - Strange Heaven (panthermodernsnyc.bandcamp.com)
Not to be confused with a band of the same name from Rhode
Island, New York City’s Panther Moderns play a highly
melodic brand of modern punk with a strong adherence to hooks
that come at the listen from multiple angles at once and create
a sound that is sneaky in its infectiousness. The disc explodes
with the opener “In the Hills, the Cities” with
a mass of guitar force and thunderous drumming before settling
into a highly melodic anthem with strong backing vocals. This
energy is maintained throughout the disc, particularly on
“Disappear Here” and the rousing “Hog Heaven”.
With a series of local references, the closing “All
Ageis” is a classic homage to New York City delivered
by a band that truly loves the city they call home. The band’s
ability to write hooks is wildly apparent on “The Custom
of the Country”, as Oliver’s husky vocals spins
a sorrowful yarn (“I sold my soul to pay off the rent”)
above a rousing guitar riff, while “Whipwreck”
strikes with a subtle force that perfectly balances punk angst
and pop harmony. What makes this record so enjoyable is how
it can be played on repeat and there are multiple nuances
to each track that emerge with each subsequent listen. This
is an act comprised of deftly talented players that channel
frustration into honest, passionate anthems such as “One
for the Road” and “Nothing Short of Drugs”
(“I already miss you more than when the days when you
could smoke indoors”). Intelligent and ready for crowd-wide
sing-alongs, the songs on Strange Heaven are well honed modern
pop infused punk that still leaves enough rough edges.
 THE
BAD PARTS (www.thebadparts.com)
The Bad Parts are a perfect band for a party as every track
here bounces with the type of good-natured fun that only ska-kissed
bands can deliver. To that end, I tire of this quickly, but
my aversion to ska and reggae is well documented. However,
these four energetic kids from New Jersey have written a handful
of summer theme songs, including “Good Times”,
“This Song Isn’t About You”, and even “Bitch
Song”. The latter is particularly interesting, for while
one expects a vitriolic attack upon an ex-love, one is instead
treated to a light-hearted romp that even features a lyrical
tribute to Jimmy Soul’s “If You want to be Happy
for the Rest of Your Life”. The minute long introduction
“Oh Yeah” gives way to a sugar rush in the form
of “Shake it Off” and vocalist James Burns’
smooth delivery is juxtaposed with the kinetic playing behind
him, particularly of drummer Christopher Garcia. Jon Sequiera’s
horn work is impressive throughout the disc, and those who
have a more developed appreciation for this style will certainly
love “Aneurysm”, the spirited “Take Me to
the Movies” and the potentially anthemic “Beer
Song”. A cover of Muse’s “Starlight”
is both an interesting and adventurous choice that demonstrates
the willingness for this band to push itself outside of the
more conventional corridors of ska acts. The Bad Parts lack
the musically bombast of multi-horn acts like the Mighty Mighty
Bosstones or the genre-bending quirks of Fishbone, but there
is a vast amount of talent to be harvested. I can certainly
imagine them carrying a stage on the Warped Tour.
 HEENEY
- Demos (http://heeney.bandcamp.com)
I have it upon very good sources that Heeney is a band that
lit up the joint during SXSW and this three track collection
certainly lends one to understand how that is possible. Rugged
yet vulnerable, Heeney strip away pretentiousness and replace
it with innovation and an adoration of 90’s indie punk
on “Durge”, a pristine piece of guitar-punched,
pop-tinged rock that sounds like 1992 never ended. The members
of Heeney heard grunge in their cribs and now play with an
aggression accented by a love memorable harmonies. The quiet/loud
construct is very easily redundant, but “Infintfly”
gives it a makeover though the low rumble of Scott Andrews’
bass and an apparent appreciation for the Archers of Loaf.
“Tipsy” is a buoyant pop song infused with sugar
rush energy and sarcastic lines about getting one’s
strength through vodka. Max Kagan utilizes his voice to its
maximum potential, altering levels of intensity while possessing
a wonderful sense of melody and clear articulation of his
lyrics. Great rock n roll bands are difficult find, and Heeney
is one of those finds.
 PERFECT
PUSSY - Say Yes to Love (Captured Tracks www.capturedtracks.com)
Perfect indeed! Perfect Pussy play lo fi punk through a wall
of heavy distortion and relentless dynamism. Frontwoman Meredith
Graves captures the best traits of Kathleen Hannah in both
form and function, verbalizing her frustrations through heartfelt
and unapologetically honest lyrics and a fearless vocal delivery.
Her intelligence and ability to clearly express complex truths
found through self-exploration is evident on the opening “Driver’
(“I have a history of surrender/part of a certain set
of choices/found among the many paths/forged by lies I told
myself/lies like ‘I will be protected’). Despite
the brevity of “Bells”, “Big Stars”,
and “Dig”, Perfect Pussy is able to reveal various
musical personality traits. The songs are not brief slabs
of blind rage; rather, there is an ambience to each effort
that acts as intros and outros. Thesehaunting, swirling balls
of noise are occasionally benign, sometimes menacing, but
always gripping. For me, “Work” is the high water
mark of Say Yes to Love; a tightly wound ball of nervous energy,
the song twists and shimmies through two minutes of scintillating
disenfranchisement. (“We make love and fall so/And it
doesn’t feel good/It’s not magic, it’s work/But
it’s real and that’s cool”). The fuzzed-out
“Interference Fits” invokes a young Kim Gordon
fronting a brash Sonic Youth as Graves reveals the pain and
dissatisfaction felt by so many, referencing the record’s
title when she asks “When did we all decide to give
up?/Since when do we say yes to love?” The song stares
down the reality of growing up and growing older, watching
friends and ourselves change, and the moral and spiritual
ambiguity that comes when one reassesses what life should
mean. It is a fascinating journey through the mind and emotions
of a highly gifted young woman that is both fearless and almost
uncomfortably candid. “Advance Upon the Real”
opens like a kick to the face before morphing into an extended
soundscape that creates a sense of anxiety for the listener.
One wonders when the song will return; it does not, and therefore
the discomfort created is deliciously challenging. Simply
a low hum and a few subtle tones exist for rough four minutes
before giving way to the claustrophobic noise of “VII”.
Graves has a spoken word piece deeply buried in a mass of
churning distortion and quality headphones make this a brilliant
experience. The sense of independence and courage one hears
throughout Say Yes to Love is peerless in contemporary punk
and I absolutely love this.
 DIRECT
EFFECT - Sunburn (Tiny Engines Records http://tinyengines.limitedrun.com)
Direct Effect is aband existing within a time warp of 80’s
hardcore, 90’s grunge, and 21st century garage revivalism
and their lack of respect for any space-time continuummakesSunburn
one of the great albums so far this year. “Commit to
Memory” clobbers the listener with the subtlety of a
cinder block to the skull, but even its obtuse pummeling features
subtle nuances that help make this an album to revisit often.
The opening “Permanent Vacation” helps one forget
the dreadful Aerosmith record of the same name withthree minutesof
squalling guitar and dexterous low end gymnastics. Direct
Effect sounds like the bastard child of the Minutemen and
Mudhoney who now goes drinking regularly with the Night Birds.
The yelped vocals of “Unknown Disorder” claw for
survival in aural quicksand of suffocating riffs and thunderous
drumming. The title track is ablistering sixty-nine seconds
that channels the most ferociouselements of hardcore a la
Black Flag or Government Issue. The sludgy, bombastic “Thursday”
sounds like an In Utero B-side with its reliance upon feedback
soaked guitar, a trend that continues on “Moderate Rock”;
perhaps a nod to a sardonic quip on Nirvana’s “Tourette’s”.
Direct Effect is in the business of musical destruction but
the songs on Sunburn are shockingly nimble, imaginative concoctions,
such as “BMPV”; a Frankenstein monster of a track
with three distinctive ideas stapled into one terrorizing
figure. This gem eases smoothly from chaos to a controlled
detonation mid-song while “Nostalgia” opens with
a riff from Never Mind the Bollocks and is the closest example
Direct Effect has to a sing along anthem. There is limitless
talent on display here and Direct Effect is not going to remain
someone’s favorite unknown band for long.
 THE
FEELING - Boy Cried Wolf (BMG Management www.thefeeling.com)
The Feeling channels 70’s soft-rock in the vein of Bread
and Air Supply throughout the weepy, sob-fest that is Boy
Cried Wolf. I would never condemn anyone for expressing
emotions, particularly when the cause of those emotions is
a woman. However, Dan Gillespie-Sells whines and laments through
eleven tracks that just bleed into each other. It is difficult
to note when the longing of “Rescue” ends and
the whimpering of “Fall Like Rain” begins. Gentle
piano, falsetto vocals, and desperate attempts to generate
heartfelt loss results in the disastrous “Empty Restaurant”;
this is the story of Billy Joel’s “Scenes from
an Italian Restaurant” if Brenda and Eddie hated each
other. I just loath this type of music so much-I know there
is an audience for this, and at times, a band like The Fray
do not always offend me, but The Feeling is Bruce Hornsby
and the Range for the twenty-first century, and it must be
asked if this is needed. Gillespie-Sells grasps both hands
around one metaphor and chokes the life out of it on “Anchor”
and “The Gloves are Off”. As one can imagine,
the singer is no longer the “anchor” of the relationship
and his former love has now gone on to “sail another
shore” while the latter track refers to the failed relationship
as something other than “a fair fight”. Although
the songs on Boy Cried Wolf are reflective and introspective,
they are too often overly blunt in their symbolism and the
intent to be pensive morphs into clichéd. If one enjoys
elevators for the music or finds the latest artists through
the speaker system in the local supermarket, one will certainly
relish The Feeling. However, for those who prefer music with
a less geriatric approach, I suggest ignoring this feeling.
 GRIP
WEEDS - Inner Grooves: Rare and Under-Released Tracks (Ground
Up Records www.gripweeds.com)
I have found that “rare tracks” releases are often
compilations of throw away songs that are meant to appeal
to only the most devoted of fans of any band one cares to
mention. The polar opposite is true of Inner Grooves-if this
was released as a new record of fresh material, it would be
heralded as a brilliant display of Beatles meets Byrds harmonies.
New Jersey’s Grip Weeds sound as if they cut their teeth
at the Cavern Club and I am shocked that these songs are relegated
to the B-side category. The abundance of pop hooks is dizzying
throughout the eleven song collection, but “Nothing
Lasts”, “It’ll Never Be Me” and “Over
the Edge” are instantaneously infections. Kurt Reil’s
voice is buoyant on “She Don’t care About Time”
and the stripped down “Every Minute” while brother
Rick and Kristin Pinell deliver a guitar tone straight out
of Electric Ladyland studios supported by the bass work of
Dave DeSantis. I remember the Grip Weeds vaguely from the
earlier days in the mid-90’s but most of Inner Grooves
catch me as a wonderfully pleasant surprise. Granted, the
seemingly endless waves of psychedelic guitar fuzz on the
closing “Sun Ra Ga” becomes too much for me as
the song hits the eleven minute mark, but “Sight Unseen”
and “Love’s Lost on You” are pristine pop
gems played with a fierce dedication to soulful and classic
sensibilities right down to the use of vintage equipment.
With a sound more reminiscent of Mersey than Jersey, the Grip
Weeds proudly display their affinity for rock that relies
on harmony rather than fury to be expressive. This is like
walking back in time, both in terms of the Grip Weeds’
career and even through musical decades, yet there is an undeniable
authenticity to what this band does that makes their sound
so engrossing.
 IRON
BRIDGE BAND - Road Not Taken (Messej Media www.ironbridgeband.com)
I am simply the wrong guy for this band. As I listen to Iron
Bridge Band’s Road Not Taken, I can only imagine them
as the opening slot on a Kenny Chesney or even worse, Toby
Keith tour. Ripe with country influences, the songs are just
perfectly constructed for mainstream rock radio if that still
existed. Instead, this is the type of band that would appear
on America’s Got Talent or perhaps on the soundtrack
of a Reese Witherspoon movie. This is music for old people
or people who feel old-as a guy too far past my prime to jump
into the pit as often as I do, I simply had to fight my gag
reflect on “Best Wine”, “Petticoat Road”,
or “The Most Benevolent Wind”. Shockingly, the
band features three members from the New York/New Jersey area
which defies the small town, rural, backwoods feel to the
record, as only vocalist Chandler Mogel grew up outside of
a significant metropolitan area. The band does interject some
pop sensibilities into “Bittersweet” and “Smokin’
Gun”, but each track is so slickly produced that any
true humanity has been stripped away and one is left with
a collection of rock clichés that would make even the
Eagles or surviving members of Boston cringe. There is a poignancy
to “”Wildflower” or “Once Beautiful
(Love Like Rain)”, but Iron Bridge Band is specifically
designed for paunchy Boomers driving overpriced cars to crank
up as they drive to their second home in the Hamptons. Anyone
outside of this demographic is wise to move along.
 I
LOVE RICH - Respect the Rich (www.iloverich.net)
I love sophistication as much as the next guy-I am consistently
stunned by the dexterity and endless imagination of bands
like Between the Buried and Me, Animals as Leaders, or Dillinger
Escape Plan. Bands of that ilk play music to be thoroughly
analyzed, dissected, and studied as a means of truly grasping
their mesmerizingly complex approaches. However, there are
also times when one simply wants to drink a lot of beer, talk
about chicks, and listen to old Krokus. I Love Rich is the
band for those affairs. The Respect the Rich EP includes the
cornerstone “(You’re So Hot) I’m Gonna Fuck
You With the Lights On”, and the guys are kind enough
to provide both a radio-sanitized and Spanish version of this
gem. With riffs and attitude that make Kiss seems humble,
“Wake Up, Let me Rock You” and “If You Don’t
Take Your Clothes Off, Tonight’s Gonna Suck” are
as catchy as the Black Plague and nearly as filthy. If one
truly considers himself or herself a rock fan, this must be
owned. “We’re Here to Save Rock N’ Roll”
is more than just boasting; I Love Rich believes this mantra
and they are a band who could actually achieve this goal.
The monstrous riffs, the surprisingly harmonic vocals, and
the airtight playing coagulates perfectly on “Fight
the Fire”, resurrecting the glory of 80’s era
hard rock when music was the score to a glorious night of
hilarious debauchery back when people did not to worry about
drunken photos being posted for your employer to see online.
Pick up a six pack of the cheapest beer you can find, eject
your Manowar disc (or cassette, possibly) and put Respect
the Rich on repeat. I’m in heaven with this!
 AMERICAN
LIES/DUDES NIGHT OUT - Split 7” (http://radgirlfriendrecords.bandcamp.com)
Two young Southern California bands play together and offer
two songs each here. Both acts have a serious infatuation
with the Bouncing Souls, and for me, one can never go wrong
with a loving homage to those Jersey heroes. American Lies
demonstrates a penchant for rolling harmonies on “Groundhog’s
Day” with a bouncing bass line and tightly knit chorus.
“Glassbones” begins with a noisy mass of feedback
before launching into a melodious pop-influenced track with
lyrics that defy its rather warmly crafted hook. Dudes Night
Out has a slightly rougher edge to them, but the band is still
able to inject some sugar into their punk on “26th and
Alston”. The song includes gruff vocals with an aggressive
nature and an energetic bounce from a rousing rhythm section.
“Selling the Car for Gas Money” alters tempos
before kicking into a huge chorus that soars with effortless
refinement. There is a supremely crafted balance between punk
energy and pop refinement by both of these acts and both could
become potentially breakout bands.
 JUST
BREATHE/FORTY HELLS (7AM Vinyl www.7amvinyl.com)
Two California punk acts are captured in their raw and ragged
glory on this split. Just Breathe delves into a variety of
punk aesthetics here, ranging from rugged but refined “Better
Days” to a more traditional hardcore sound with burly
guitars, gruff vocals, and gang choruses on “Feel the
Light”, easily the strongest of their triumvirate. “Walked
Away” straddles a line between aggressive and melodious,
reminiscent of Pennywise or No Use for a Name. Conversely,
Forty Hells has a sound not representative of their more menacing
moniker. “Seven and a Half” is a classic tale
of a failed relationship (“we’re both just wasting
time”) played with grit bit also with a careful attention
to harmony as soaring backing vocals take some of the sting
off this song. “Down and Out” leaps with pure
youthful joy and adrenaline, projecting an infectious joy
despite ambiguous lyrics. Snippets of early Green Day are
apparent here and as Forty Hells are not afraid to celebrate
a spoonful of sugar in their punk medicine.
PEZZ/SET ASIDE split 7” (7AM Vinyl www.7amvinyl.com)
7Am Vinyl is a new label to my eyes and ears but they have
some impressive young talent on their roster as this split
demonstrates quite clearly. Pezz roars out of the gate with
the soaring “Don’t Walk Away”. Vocalist/guitarist
Marvin Stockwell channels an inner Mike Ness as he delivers
each syllable with relentless passion and authentic intensity.
The chorus features a sweeping hook that displays a great
appreciation of both melody and punk force tinged by an understated
bluesy swagger. “Til You Can’t Breathe”
is a blistering burst of a song that is gone in a flash and
leaves one feeling slightly underwhelmed. Much speedier than
its counterpart, “Til You can’t Breathe”
seems unfinished-Pezz is a band that should take its time
and flesh songs out as much as possible. I love what this
band is doing, but of the two, “Don’t Walk Away’
is far stronger and is the star of this split. Set Aside is
another rousing and impressive act with a pair of strong songs
but in their case, each track is fully developed. “Clear
of Disaster” and “Live Today” both bounce
with a level of energy worthy of a deal with Fat Mike. “Clear”
has a denser tone while “Live” displays more nimble
guitar playing. Both tracks are steeped in Southern California
punk-pop and represent a band with a very promising future.
In short, Set Aside has the more consistent pair of efforts,
but Pezz’s “Don’t Walk Away’ is the
best of the bunch.
BAYSIDE - Cult (Hopeless Records www.hopelessrecords.com)
Bayside can be a confounding band for some: If one is seeking
acerbic punk, this band is not it. But the Queens four piece
demonstrates substantial musical growth and a self-depreciating
sense of humor throughout Cult. Antony Raneri has
proven for years to be a skilled lyricist, both with Bayside
and on his own, but two of his finest gems appear here in
the form of “Hate Me” and “Stuttering”.
The latter is a sharp, self-critical examination of a song
writer who recognizes himself as “the voice of the depressed”
who would lose all credibility as well as his job if he ever
allowed himself to be happy. The reference to “Robert
fucking Smith” is magnificently delivered and this is
my highlight here as it emphasized the band’s tremendous
sense of melody. Raneri’s voice soars above the guitar
playing of Jack O’Shea throughout the first half of
the record, but as snarky frustration of “Stuttering”
fades, Cult takes on a pronounced softer sound on
“Bear With Me” and ”Something’s Wrong”
with both songs far too dependent upon the pop element of
“punk-pop”. None of the record will ever be confused
with circle pit inducing hardcore, but “Pigsty”
and the aforementioned “Hate Me” (“we’re
perfect as perfect can be as I hate you and baby, you hate
me”) possess an edge lacking the latter tracks. Christopher
Guglielmo’s drums offer an opening salvo on “Big
Cheese” before the song explodes into an aggressive
ball of harmonious force, demonstrating how, even after fourteen
years together, Bayside has the energy and passion of bands
half their age. Cult is the next logical step forward
for a band that has been perpetually refining its rough edges.
Cult is a crisply played,richly harmonious, and easily
digestible record that will please more than it offends. If
the members of Bayside are poising themselves formainstream
acceptance, Cult may be the ticket.
 THE
OFFENDERS - Endless Struggle/We Must Rebel (Norman Records
www.normanrecords.com)
Texas has played a substantial role in American punk rock,
from MDC and DRI to Scratch Acid and the Butthole Surfers.
Among the circle of fame are Reagan-era stalwarts the Offenders.
This compilation offers 25 scathing blasts of highly aggressive,
yet well-honed punk fury. Vocalist JJ Offender rails against
militarism, corruption, grotesque materialism, and other 1980’s
hallmarks with pure vitriol while surrounded by three talented
players. Guitarist Tony Offender utilized a beautiful Les
Paul in a manner that made him the hardcore equivalent of
Leslie West, with a massive sound and bombastic tone. Drummer
Pat Offender (now Pat Doyle in Ignitor) is a drummer who I
feel is terribly overlooked when one considers early pioneers
of the genre; one only needs to hear “Trials and Tribulations”,
“Get Mad”, “Wanted by Authority”,
or “Do or Die” to be completely overwhelmed by
his dynamic power and sense of timing. Bassist Mikey Offender
delivers a low end fury that pushes tracks like “We
Must Rebel” and “Like Father, Like Son”
along a breakneck path. The Offenders crafted a unique sound
throughout their career and while there are certainly similarities
to some of their aforementioned Austin-area contemporaries,
this collection displays the varied approaches the band could
employ, from the brooding “Endless Struggle” and
“Bad Times” to the hyper-active “Direct
Defiance” and “New Militia”. Selfishly,
this is music I can listen to on an endless loop, and a song
like “I Hate Myself” is simply an unparalleled
slab of emotionally driven self-loathing that is too authentic
to be created by Pro Tools. This is a brilliant history lesson
for those curious about hardcore legends who did not reside
in D.C., Boston, or L.A.
 NOT
AVAILABLE - No Excuses (Ant Street records www.antstreet.de)
Twenty years of writing, touring, and struggling has given
Not Available quite a perspective on the punk-pop genre and
these guys deserve credit for staying true to a sound in which
they firmly believe. It would be easy to alter one’s
sound in the name of momentary fads, but No Excuses is fifteen
songs of early 90’s, Green Day-before-Broadway punk
with unapologetic hooks and catchy choruses. The opening “Raise
Your Voice” bookends ideally with the closing “Hello
Boys and Girls” as both are calls to arms for the new
generation of kids who are just finding their collective way
into this type of music and feature lyrics of inspiration
and cautious optimism (“It is your choice, it is my
choice/Instead of being quiet, we better raise our voices”).
There are moments of reflection here as well, as “We
Won’t Let You Down” addresses the band’s
adoration for their fans and for the music they play, admitting
“a million brain cells died for you”, while “My
Name is Joe” tells a story of a small town boy and global
success like a punk-pop version of Foreigner’s “Juke
Box Hero”. Admittedly, by the time I reach the soulful,
much slower “Song For You”, I have had enough
of No Excuses as the sound becomes too redundant for my taste.
That should not be taken as a knock against Not Available,
for they do three chord punk-pop extraordinarily well and
with uncompromising heart, but just as some grow weary of
hardcore after thirty straight minutes, I feel the same about
bubbly punk. Tracks like “Leave Me Alone” and
“Yesterday Love” are instantly memorable and one
is singing along before the second verse, and once again the
band presents a sly sense of humor with their lyrics on the
latter (“You catch me with your eyes/your lovely face
and well, your boobs were pretty nice”). There is little
to dislike about No Excuses but those with a little silver
in their hair will already be very familiar with it; however,
for those still worried about acne and driver’s education
classes, this is worth grabbing.
 RISE
FROM ABOVE - Ain’t Like You (District 763 Recordswww.district763.com)
Perhaps I am being overly judgmental and stereotypical here,
but I believe that almost every word known to man seems more
frightening when said in German, so imagine combining German
intensity and hardcore; the result is the heavy, pummeling
sound of Rise From Above. In only ten songs, the band places
a Teutonic twist on Agnostic Front’s legendary sound
resulting in a record that will get hardcore fans of any era
up and moving in the pit. Jan Willert has a voice made for
hardcore as he barks with vicious vengeance but still retains
a sense of melody that elevates him above those who are simply
screaming themselves raw. There is not much room for subtlety
of “2 Faced”, the title track, or “Swimming
with Sharks”, but there is no need for any deviation
from a winning hardcore formula. What I most admire is the
concerted lack of “breakdowns” as the band simply
rages for two and half minutes, destroying everything in its
wake and then moveson to the next track. Tito Apaujo’s
guitar work is thunderous and void of solos, as Rise From
Above write thick grooves and rage through them with impressive
power. Each of the songs feature lyrics of unbearable frustration
and rage as Willert spits out vitriol in “Grave Dohl”
and “The Most”, discussing a “gruesome world”
and how “the world is dead to me”. Ain’tLike
You is a brilliant example of how hardcore has become a truly
international language in which individuals from limitless
backgrounds can have a commonality through an exhilarating
form of music. This is not reinventing anything, but Rise
From Above creates punk with an authenticity that cannot be
forged.
 SKA
SKANK REDEMPTION - Wicked Bees (skaskankredemption.bandcamp.com)
First off, great name, simply a great name! However, as a
person who can stomach ska for a maximum of two songs, I enjoyed
this as much as possible. Most ska bands come across to me
as a bit clichéd or gimmicky, but Ska Skank do a wonderful
job of crafting real pop songs that happen to include a horn
section and a reggae-inspired backbeat. “Hit N’
Run” is infused with a soaring amount of energy and
pure enthusiasm and captures the party atmosphere this music
can inspire. However, the band’s shining moment is the
more introspective and self-reflective “Minnesota”.
Playing out a drama of two people currently lost within their
own lives, the tempo is slowed and the horns are subdued,
but the craftsmanship is superb. This song emphasizes harmony
and a mature sense of structure, deviating from even traditional
ska to produce a highly fulfilling anthem. “Sheila”
and “Christine”may both be songs about women,
but are wonderfully independent of each other. The first is
a sultry, temperamental anthem that is riveting, but lacks
the energy of the latter which rattles with emotion. To help
illustrate how young this Fargo, North Dakota band is, “Age
Like Wine”, another sharply crafted, pop-infused nugget
that was the senior project of leader Dan Christianson when
he was in high school! To his and the band’s general
credit, Ska Skank defies their youth with sly sophistication,
and these five songs should only be the start of much larger
exposure for this band.
 STILL
BLEAK - Not Dead Yet (District 763 Recordswww.district763.com)
This young band injects life into a post-hardcore sound first
refined by angry kids in Washington DC as these four rising
stars take the best moments of early punk rage and smash it
together with angular and intricate guitar riffs. “Bleeding”
is a thrilling explosion of a song while “Kill the Day”
and “Vacuity” are given ample time to breath and
develop into sophisticated slabs of guitar-fueled sonic bliss
anchored by dual vocals and serpentine riffs. The songs ebb
and flow with equal parts harmony and wrath, cascading into
a surge of blunt force. “Failure” is scathing
and is matched by the powerful “More Rufulness”,
yet the closing “Come to an End” moves more deliberately
and cautiously, creating a heightened tension that never fully
explodes, but instead gives out like an athlete exhausted
from too much exertion, and that is a fitting metaphor for
how one feels when finished listening to this disc. The riffs
are monstrous ins cope and the vocals are not only democratic
in their distribution, but are equally harmonic; there is
no “good cop/bad cop” screaming vs. clean vocals
here which is refreshing and more in line with the influences
to which the band pays homage. For a group of young kids from
Germany, their sense of American hardcore history is impressive
and their manipulation of their instruments is even more notable.
The use of tone and tempo shifts perpetually keeps the listener
intrigued and curious and none of the ten tracks disappoint
here.
 TEEN
AGERS - I Hate It (www.facebook.com/Teen.AgersFL)
The name alone had me with these guys, but their music even
trumps their moniker. The four members of Teen Agers are decades
removed from their teen years, but this experience allows
them to meld the angst of youth with the perspective of age
to create intelligent punk rock that is both richly melodic
and energized. The guys really let loose on the brief burner
“Well Dressed”, but much of I Hate Itis a touch
more controlled, as “Moving Forward” and “Float”
indicate. This does not mean that any of the record is mundane,
for it is not; instead, Teen Agers balance ferocity with competency
and craft harmonies that sting with sharp playing. Mastered
by Stephen Egerton, there is a distinctive Descendents feel
to I Hate It which naturally makes this a great record, as
“New York, NY” and “Here We Go Again”
crackle with excitement as Justin Goldman and Jordan Shroyer
carry their tracks with their guitar playing. It is a very
demanding challenge to place a new spin on a style of punk
that is attempted by so many, but with a resume that includes
Go Rydell and Direct Effect to barely scratch the surface,
the four members of Teen Agers (also featuring Kyle Macdougal
and Nick Noble) are able to still be distinct in a highly
saturated market simply but the quality and crispness of their
playing. I Hate It is supremely well crafted but still retains
a humanity that too many bands eschew through the use of digital
enhancements. This band could be a group of supremely talented
fifteen year olds in a garage and punk should always retain
that sense of immediacy, even if played by guys with a few
years on the audience coming to see them.
 BRAIN
FLANNEL - Empty Set (Grave Mistake Records www.gravemistakerecords.com)
Modern life is incredible complicated; there is a feeling
among so many that the world is being swallowed up by ever
more rapidly changing technology and the calls for simplicity
are growing increasingly louder but heard by increasingly
fewer. It is with this fact in mind that I come to celebrate
the bare bones, stripped own, brutal honesty of Brain Flannel.
Screaming and squalling out of Charlotte, these distortion
junkies never met a song less than two minutes they did not
like and they bring affection for all things skull rattling
to their ten song gem Empty Set. The dual vocal approach of
Elise Anderson and Nick Goode works flawlessly here as the
two possess divergent styles that mesh together into one simmering
concoction of frustration and twenty-first century rage. Anderson’s
voice can be sarcastic or innocent while Goode simply growls
each syllable with a relentless contempt. The opening duo
of “Dry” and “Sicks” is a crippling
introduction for the uninitiated, but also displays an increased
command of the chaos introduced on Sleep Rough over two years
ago. “Fulcrum” nods to the Ramones for a second
or two, but the majority of the work here is brilliantly unique
in its chaotic din. In the band’s blatant disregard
for crafting easily identifiable melodies, they formulate
a new type of musical rebellion that is noise with a purpose.
The title track, a downright epic at two and a half minutes
long, celebrates the Anderson-Goode vocal alliance but one
cannot ignore drummer Bobby Michaud’s tireless work
and Goode’s blazingly fast guitar playing. The fifty-one
second “Headaches and Vomit” is an explosion of
power that harkens back to hardcore’s earliest days
when the goal was to be as bruising as possible sans any political
and social commentary, and the feedback that opens “Don’t
Tell Me” is a mere respite before all four member s
(rounded out by bassist Eddie Schneider) launch themselves
at your throat. If you claim to like punk, go get this right
now.
 RISK/REWARD
(riskreward.bandcamp.com)
New York’s Risk/Reward is an intriguing take on contemporary
indie rock. The majority of the songs on their self-titled
record are reserved in nature, gently bubbling beneath without
ever generating many ripples on the surface of the water.
If one enjoys serenity with one’s guitar playing, much
of this will be appealing, but I am not among that group.
I sit perpetually waiting for the energy to come forth-the
opening “Killer” was anything but its title. The
song carefully meanders at a measured pace while Patrick Walsh
and Jon Houlihan share vocal responsibilities but do not generate
any sparks. The band briefly perks up on “Easy on the
Heart” and “Honest Man”, the latter tipping
its cap to 90’s indie pioneers like Sebadoh or Archers
of Loaf. Although Risk/Reward record with a garage band aesthetic,
they lack a garage band intensity. The noisier, slightly edgier
“In the Sea” is my favorite of the bunch with
its refrain of “I’ve got a lot of things that
I wanna set on fire”, but at barely over two minutes,
the song disappears just as I fully immerse myself in it.
“B-Side” and “Addle Me” provide a
bit more bounce for the ounce, but I need more pep in their
step. Risk/Reward is quite skilled at controlling their emotions
and adroitly presenting reserved, emotionally tender songs,
but I look for three guys with a punk background to hit me
harder than this. Maybe this is punk for those quiet nights
when you just want to be alone.
 THE
MONGOLOIDS/BROKEN TEETH - Split EP (6131 Records http://music.6131records.com)
This split is a slab of neck-breaking perfection that crosses
international borders. New Jerseys’ Mongoloids are abrasive
and angry, delivering tough guy hardcore with a clearly defined
metallic edge. “Mountains of Misery” will undoubtedly
appeal to all those worship at the altar of all things Jamie
Jasta as the low-end breakdown simply crushes the listener.
“The Go Around” fits nicely with more recent Agnostic
Front and perfectly encapsulates East Coast punk with a teeth-rattling
punch to the face. England’s Broken Teeth may live across
the Atlantic but they sound as if they could live across the
Hudson from their EP partners. “My Law” is a thunderous
slab of power overflowing with testosterone and bravado with
deep, growling vocals and tuned down guitars. The breakdown
is punishing, but it takes second place when compared to the
relentless intensity of “Path of Conviction”.
With its combination of speed, gang vocals, and pit-inspiring
groove, it is a track that celebrates the finest elements
of American hardcore.
 THE
SMOKING HEARTS - Victory (Bullet Tooth www.bullettooth.com)
With comparison to bands raging from Bad Religion to Gallows
I am intrigued by the hype machine surrounding The Smoking
Hearts. What I hear is a band that is on the cusp of doing
great things but have a few wrinkles left to iron out of their
sound. The riotous opening “Off With Your Head”
is a smoking minute-long introduction to a chaotic, messy,
but incredibly genuine attempt on modern punk fury. Vocalist
Ben Mills howls with nearly inhuman intensity but his unholy
yelp gets lost in the mix among dual guitarists Nobba Green
and Simon Barker. Tracks like “Seatbelt” and “Stomper”
are furious efforts but due to an overly-thick production,
the riffs are not allowed to shine. One has to work with extreme
diligence to differentiate the various players here and the
rhythm section of drummer Matthieu Taylor and bassist Calvin
Roffey are rendered nearly indistinguishable from the broad
din that cascades from the speakers. The raw talent here is
inarguable, as one need only hear “Apefight”,
“Natural Disasters”, and the flesh-ripping “Smoke
and Mirrors, Baby!”, but The Smoking Hearts just have
to refine their sound to accentuate their various selling
points. These five Brits have the chops to create harmony-riddled
rage but there is almost too much happening on each song too
quickly-the tracks feel forced overwrought with a lack of
control. I love when a band is devoted to volume, passion,
and the desire to crush everything in its path, but The Smoking
Hearts must simply harness some of their ferocity. If I had
a punk rock draft, this band would be my number one draft
pick-if you are building for the future, get on this bandwagon
now.
 PAGERIPPER
– 7-inch EP (Sex Sheet Records www.sexsheetrecords.com)
The opening moment of Pageripper’s “You Don’t
Wear a Dead Man’s Pants” explodes with a shocking
level of force. The song is a fleeting piece of dark hardcore
that nods towards powerviolence in its intensity. While it
ultimately does not possess the same stamina or dexterity
of Magrudergrind or Coke Bust, it is an impressive introductory
statement. “Collarblind” ( a track highlighted
by the following lament: “I’m a breakdown away
from burning down this fucking place”) is equally punishing
but possesses a sound that is a bit muddier, harkening back
to the days before digital quality recording equipment was
available to anyone with a laptop. I find the primitive approachan
endearing quality and why my only complaint here is the brevity
of songs like “Patrick Swills” and “Real
Eyes/Real Lies”. With seething guitar and a stifling
low end, Pageripper makes contemporary hardcore for those
who love a vintage sound. What is more impressive is that
all of this chaos is churned out by only three players: vocalist/guitarist
Brent I s a beast of a presence on this single and his rage
is matched by Alden and Sean on bass and drums respectively.
Hailing from Portland, Oregon, Pageripper is continuing a
longstanding tradition of impressive Pacific Northwest hardcore.
 POWERBLESSINGS
- Quick Guide to Heart Attacks 12” vinyl LP (Manhattan
Chemical and Electric www.manhattanchemical andelectric.bigcartel.com
I know I am getting old when the “post-hardcore”
sound is now simply the 21st century punk rock sound. Powerblessings
has the ability to manipulatetheir instruments with wonderful
control as “Pickles” and “Administrative
Leave” both gallop with limitless energy reminiscent
of teenage basement shows while “Pale Teens” slowly
builds like an approaching storm, finally arriving as a combustible
slab of edgy, angered, and sophisticated hardcore. There are
four highly active and brilliantly creative minds in this
band, and one needs look no further than the blissfully eclectic
and at times quite thought provoking lyrics for proof. (“Pretend
they had it made, before the roads got paved/land of the grieved,
home of the chaffed” from “Administrative Leave”).
Nick Pappas jumps out at the listener as a highly skilled
guitar player whose individualism shines throughout Quick
Guide to Heart Attacks, but he carries “Fetal Missile
Distance” with combination of buzz saw ferocity and
an innate sense of melody. While “You at Night”
is propelled by a frenzied, seething energy that sways effortlessly
from unbridled wrath to a measured ire, “SSS”
channels the finest qualities of Dead Kennedys to create a
classic example of sharply crafted punk with a shrewd song
construction delivered by highly adroit musicians. The challenging
time and tempo shifts that begin “Gag Order” give
way to a bruising anthem with rich harmony. The closing “Pizza
Party” concludes the record with the words “He’s
in the bed and she’s in the bed/Wrapped up tight all
night/With a hundred thousand dust mites/I just want to sleep
somewhere sterile and bright”. Wonderfully clever finale
to a stirring release.
 BAD
PEOPLE - The First Seven Inches (Bad People Records http://feebleminds.bandcamp.com/
album/bad-people-pearls-before-swine-ep)
This Buffalo, New York outfit plays raging, sexually-charged
hardcore with a nod towards grind and crust. Lacking the overt
perversions of porno-grind bands, Bad People do delve into
areas of depravity on tracks like “Piss + Shit”
and “Uncle Josh”. With a fusion of raw, flesh-ripping
vocals and musicianship that coagulates into a simmering mass
of chaotic noise, Bad People is an acquired taste. It is a
taste I happen to relish so this could not last long enough
to satisfy my twisted desires for musical sickness. Nothing
here has a duration of more than two minutes but despite its
brevity, these thirteen songs are exhausting. One is left
breathless even trying to play air guitar to “Blue Lines”
or “Talking Cat” and “Forgiveness”
is equally bruising. There is a progression from “Pearls
Before Swine” to the second “Mean Talkin’”
releases in the sense that the lattersounds grittier and demonstrates
greater musical dexterity. However, do not believe that any
if this is refined and polished; it is raw, furious and skull-crushing.
Not for the tame or the boring, I believe that the world needs
more Bad People.
 SAVE
ENDS - Warm Hearts, Cold Hands (Tiny Engines Records www.tinyengines.limitedrun.com/
www.saveends.com)
Christine Atturio should be world famous-the lead vocalist
for Boston’s Save Ends has a stirring voice and leads
a band that plays passionate guitar-fed rock with rounded
edges. Atturio shares vocal responsibilities with keyboardist
Brendan Cahill and the dual vocal structure makes “We
Are the Only Ones” sound powerfully immediate as they
cry “We hold each down, don’t leave anyone behind,
won’t let each other down” as precise riffs from
Tom Ciesluk ricochets off the rhythms from Sam Nashawaty on
bass and drummer Burton Wright. The band places a significant
emphasis on crafting pop-infused tracks that bounce and hum
with passion but not fury. Save Ends walks the line between
good-natured pop and grown up angst on “Always Knew”
(“Looking backwards, over shoulders, we crash, we burn,
before we know it’s over”), “Chasing Embers”,
and “Skeptical Sons/Curious Daughters” (“You
are the reason I’m alone, you block the stars that guide
me home”). There is a level of deceiving sophistication
to the music here as the songs cascade over the listener with
such ease that one may miss some of the intricacies. Therefore,
Warm Hearts, Cold Hands is deserving of multiple listens in
one sitting to best capture what these five Bostonians are
generating. With touches of early 90’s indie heart and
blissful affection for heartfelt harmonies, Save Ends is a
band with a limitless future.
 SECRET
SMOKER - Terminal Architecture (www.secretsmoker.bandcamp.com)
There was a time, many years ago, when the term “emo”
was viewed as a positive moniker. Before it became watered
down and twisted into a misguided joke, emo was a fresh, thrilling,
and invigorating brand of punk and Secret Smoker captures
that. Terminal Architecture is a sharp, aggressive, and loud
collection of tracks that feature lyrics that are quite brief
but are woven within the fabric of sophisticated playing.
There is a darkness that permeates the record, beginning with
the reference to “thoughts of suicide” on the
opening “Staircase”. The ten songs all churn with
a sinewy energy, particularly “Volume Diss-course”
and “Part-Time Retail”. Tales of sorrow, loss,
and frustration dominate the story lines and the playing matches
the anguish, producing a record of tangible intensity. Despite
only three members, Matt Hadden, Billy Thompson, and Mark
Waite make enough noise for a band twice that number. This
is emo with a sound leaning more in the punk vein than pop;
the guitar work is rugged, the vocals are gruff yet passionate,
and the low end rumbles relentlessly to unleash a wave of
sound that buries the listener on the title track and “Tides
That Bind”. Climbing out of the bayou in Baton Rouge,
Secret Smoker is a startlingly talented young act.
 SIGNALS
MIDWEST - Light on the Lake (Tiny Engines Records www.tinyengines.limitedrun.com)
Hailing from Cleveland, Signals Midwest is a band of delicate
beauty accented by moments of wonderfully harmonious intensity.
The dual guitar work of vocalist Maxwell Stern and Jeff Russell
(who is also credited with “humor”) ebb and flow
throughout the record and provide a stirring soundtrack for
richly textured lyrics. “In the Pauses” is a heart-wrenching
tale of a complex relationship (“we’ll break pencils
and dry up pens on letters we’ll never send”)
while ”St. Vincent Charity” includes dazzling
tempo shifts, including a rave-up that concludes the song.
Drummer Steve Gibson and bassist Loren Shumaker not only work
in tandem as a steadyrhythm section but their backing vocals
flesh out majestic efforts like “An Echo, A Strain”
and “Greater Planes”. The members of Signals Midwest
have a gift for poignant story-telling and the apex of this
is “Lowercase”, an honest and unflinching examination
of getting older and fighting off regrets (“So while
you’re talking about the next flight out, I’ll
be the one you’re forgetting about”) that also
includes stellar playing by all four members. With influences
ranging from Superchunk to Jazz June, Signals Midwest soars
on the bouncier “Caricature” and the ethereal
beauty of “A Glowing Light, An Impending Dawn”.
I am curious as to how this would translate in a live setting,
but Light on the Lake is a warm and exhilarating listen.
 DEATH
OF SAMANTHA - If Memory Serves Us Well (www.deathofsamantha.com)
Cleveland, Ohio’s Death of Samantha played indie rock
when it was still called “alternative” and actually
lived up to the moniker. The four-piece has reunited and released
a re-recorded collection of eighteen tracks played live in
the studio with minimal effects. Throughout the 1980’s
Death of Samantha played myriad of shows with luminaries of
the decade along with novice upstarts like Smashing Pumpkins
and Nirvana who went on to rule the world after Death of Samantha
broke up. What saves If Memory Serves Us from simply being
some sort of twenty-first century cash grab is the fact that
this is Death of Samantha’s original line-up and the
guys have excellent résumés with stints in bands
like Cobra Verde and Nada Surf. Additionally, by rerecording
the songs, original members Doug Gillard, David James, John
Petkovic, and Steve-O (not the one you may be thinking of
right now) give new life to eventheir oldest tracks. The pop-infused
“Coca Cola and Licorice” is juxtaposed with the
slower, more bluesy “(Now It’s Your Turn to be
a)Martyr”. “Savior City” is the blueprint
for what indie rock eventually became and is everything the
Replacements aspired to be. Death of Samantha demonstrates
a broad array of skills as they shift tempos and texture on
“Good Friday”, a song that reveals an imaginative
younger act that has evolved into a well-polished band of
seasoned vets. The eighteen songs are supremely varied, as
“Amphetamine” is majestically delicate and nearly
fragile, but “Yellow Fever” and the concluding
Blood Creek” revolve around thunderous low end power.
This is a fascinating piece of indie rock history resurrected
for a new audience.
 ACID
FAST - Rabid Moon (www.acidfast.bandcamp.com)
Acid Fast is a band for those who enjoy a great backstory:
The band’s name comes from a drug-riddled three days
for drummer JaspenTamero and vocalist/guitarist Hannah Conda
(yeah, awesome name, too) who somehow went nearly seventy-two
hours without food; their bassist is a high school guidance
counselor who escaped a cult; and second guitarist and vocalist
Frank Mann practices black magic as a form of protection.
At this point, I do not care what Rabid Moon sounds
like, I am telling everyone I know about this band. Luckily,
the playing matches the bizarre, yet fascinating nature of
the members. There is a tangible 90’s affinity here,
particularly for anything involving Lou Barlow or if one can
imagine Velocity Girl using a distortion pedal then one gets
a sense of tracks such as “Old Ideas” and “Tease”.
Every band has their influences and Acid Fast should not be
judged too harshly for they incorporate a ferocious sense
of intensity in to their sound that makes “Breaking
Down the Door of the Law” so impactful. Its well-placed
George W. Bush quote leads to a thunderous low-end pummeling
that is matched by the equally sardonic “War Goes On”.
The two aforementioned tracks are shrewdly political and the
band’s lyrics are worth exploring both for their intelligence
and clever word play that is enhanced through the male/female
vocal dynamic of the band. The rousing opening track “tangle”
begins as a bit of a fuzzy mess before launching itself at
the listening with a wave of more streamlines guitar force.
This order from chaos song structure is also found on “New
Paradigm Mind Reading”, but I enjoy the fearless abrasiveness
one hears on “Rupert”, “Triangle Park”
(featuring a priceless line from an old Cheech and Chong routine),
and the closing “Enough Already” which bombards
the listener with an outburst of coarse fury. Hailing from
the East Bay Area makes Acid Fast another branch on one of
punk’s most significant trees, but this is a young band
wise enough to recognize the past but still defiant enough
to sneer along their own path.
 EVERGREEN
TERRACE - Dead Horses (Rise Records www.riserecords.com)
In metalcore years, Evergreen Terrace are grizzled, battle-hardened
veterans as they have over ten years of recording and touring
to their names and Dead Horses reflects a band
that continues to evolve musically. My primary criticism
of this style of playing is the repetition and predictability
of too many of the bands and perhaps the title of Evergreen
Terrace’s new record is a sly nod to that very fact-too
many hardcore-flavored metal acts repeatedly beat the same
proverbial dead horse for two or three records and then
fade away. What has separated Evergreen Terrace, and continues
to do so, is a willingness to branch out beyond the preconceived
boundaries of the genre. The ten tracks here are not revolutionary
but with a greater commitment to the clean vocals of Craig
Chaney, the band is able to articulate mature lyrics and
themes that get lost in the muddled screams of less competent
acts. Not that Andrew Carey is out of a job, for his malicious
vocals still punctuate the finer songs here, but the members
of Evergreen Terrace are evolving as musicians and asking
their fans to come along with them. Tracks such as “The
Fortunate Ones”, “Browbeaters Anonymous”,
and “It’s All Over but the Cryin’”
include well defined riffs and bruising rhythms that emphasize
melody along with a devotion to a heavy delivery. The apex
of the disc comes with the title track, as its gang vocals
and soaring chorus offer a blueprint for a future anthem.
This track is the perfect marriage between the aggressive
death growl of Carey and Chaney’s more traditional
and wonderfully harmonious delivery as they as collectively
ask “I wanna know what exactly what keeps me hanging
on?”, and their two voices reflect anguish and rage,
discontent and confusion in the midst of a massive wave
of forceful guitar beauty. There are a couple of misfires
here, specifically “Lacuna Inc.”, a track on
which the band attempts to become too pristine, and “Mike
Myers Never Runs, but he Always Catches Up” which,
in addition to an unnecessarily lengthy and lackluster title,
included fury that comes across as forced and prefabricated.
More successful efforts include the opening “Crows”
and the bruising closer “That Dog’ll Hunt”,
as both tracks reach out to purists who want to the band
to retain their teenage punk-inspired intensity but also
celebrate their love of descant song structures as well.
The wasteland of melodic hardcore is littered with bands
that formulate one idea and recreate it until their expiration
date arrives but Evergreen Terrace prove that there are
acts with the courage to ignore hype and trends and produce
music with a level of sophistication to match their fury.
 NASHVILLE
PUSSY - Up The Dosage (www.nashvillepussy.com)
All hail the return of a true American treasure, the mighty
Nashville Pussy. Being a dedicated Pussy lover for over fifteen
years, having first fallen for the band when they nearly,
literally, set the roof on fire in the long lost Philly club
Upstairs at Nick’s, I am thrilled that Up the Dosage
captures a band that is still rugged and unapologetically
sarcastic yet also, dare I say, maturing as well. The opening
“Everybody’s Fault But Mine” revolves around
a dirty, blues-drenched riff that would have been played a
breakneck speed in the band’s past, but is here slowed
down to a mid-tempo pace oozing with the grease and grime
that are the residual effects of years spent refining a unique
Southern-fried style. Speaking of that geographic section
of this great nation, I do not know how pleased people below
the Mason-Dixon line will be with Blaine Cartwright after
they catch “The South’s Too Fat to Rise Again”,
as Blaine deadpans, “we’re having heart attacks
when trying to wipe our ass”, but the riff is better
than a bucket of ribs and cold beer so I think all will be
forgiven. Guitar work has always been the calling card of
this band, and while Blaine sounds incredibly inspired throughout
the disc, the playing of Ruyter Suys carries the record in
her highly capable hands. The slinking “When the Meat
Falls Off the Bone” or the boogie of “Beginning
of the End” sound like Motorhead jamming with ZZ Top,
and Suys is the centerpiece of these anthems that harken back
to the days of authentic rock n’ roll with their bombast
and swagger. The most significant shift for Nashville Pussy
comes in the form of the unadulterated country tracks, “Before
the Drugs Wear Off” and “Hooray for Cocaine, Hooray
for Tennessee”; both songs are laugh out loud funny
but are fairly substantive musical departures as the rough
edges have been smoothed and the finished products are front
porch, hootenanny sing-alongs. However, for those who still
want to see this furious four-piece, rounded out by long time
drummer Jeremy Thompson and powerhouse bassist Bonnie Buitrago,
rage with youthful passion, “Spent”, “Rub
it to Death” and Ruyter’s forty-seven second screaming
musical orgasm “Taking it Easy” should more than
satisfy. Up The Dosage may also spawn the next great Pussy
anthem in the form of “White and Loud”, a thick
stew of Sabbath-inspired riffs and gloriously sardonic lyrics.
Is it too early to nominate my favorite record of 2014?
 TIDELAND
- Lull (http://tideland.bandcamp.com)
Sterling, Virginia’s Tideland plays incredibly warm
and harmonious shoegazing rock with hints of subtle pop aesthetics.
If one is old enough to appreciate this style from its inception
at the dawn of the 1990’s, one instantly recognizes
Ride and My Bloody Valentine, but the bounce heard on “Get
Lost” and “Dinosaur” prove that this band
is not just melancholy and meandering sorrow. The flashes
of guitar force on these two songs, also a driving factor
on “Carved in Mine” and “Edinburgh”
elevate this band beyond the realms of 90’s revival
act, although one does not have to work too hard to detect
the Cobain meets Moore aspects implemented by this trio. There
is a sense of immediacy to Tideland that many bands of this
style do not have, despite the waves of reverb that seemingly
bury the vocals at of John Hand at times. The sonic power
of the George Crum’s drumming is what impresses me the
most here, for his cymbal crashes seemingly erupt from nowhere
and bludgeon the listener before he, Hand, and bassist Chris
Wright relieve some of the pressure for a moment and allow
their songs (and the listener) to breathe. One shining example
of this is “Miless” which alternates between dreamy,
ethereal guitar fuzz and roaring punk-fueled angst. The latter
is my favorite component of the band and while Wright has
acknowledged that the band did decide to turn the volume down
for this record in comparison to their earlier releases, it
is obvious that this material would rattle the walls of any
club attempting to contain Tideland. The serene opening of
“Desolate” slides into a smooth riff that would
bring Teeange Fanclub fans to their feet and “Way to
Die” borrows from latter day Replacements before erupting
into a Pixies-esque ball of force. Yet, despite the abhorrent
use of name-dropping references here, Tideland possesses enough
musical dexterity to make this record their own and not simply
an amalgamation of the best of college radio from the Clinton
years; this is rousing and compelling playing that is as pastoral
yet beautifully rugged as the suburbs from which the band
hails.
 POW!
- Hi Tech Boom (Castle Face Records www.castlefacerecords.com)
San Francisco’s POW! goes back to the future with Hi
Tech Boom although I doubt strongly that any of the members
were alive when that film was released. With an 80’s
vibe and a distinctively basement tapes ascetic, this trio
make gothic pop gems that are best when they are a bit longer.
There are a few songs here that end too quickly (and this
is coming from a guy who adores thirty-second blasts of grindcore)
and I feel that there was much more that can be done with
“Vertical Slum” and “Cyber Attack!!”,
as I am riveted by the spastic guitar playing on the former
and the droning low end of the latter. However, that small
critique aside, I love the challenging nature of this act
as POW! interjects elements of off-kilter noise into their
concoctions beginning with the ear-splitting “Glitch”,
alerting listeners within twenty seconds that this is a departure
from the tired redundancy of contemporary rock, while “66”balances
flare ups of chaos around a well chiseled guitar riff. With
droll vocals lost in a sea of effects and song structures
that bounce riffs from a multitude of angles, this is a defiant
punk record for the modern age by returning to a sound reminiscent
of three decades ago. “Switchboard Scientist”
or “@the Station” could have POW! opening for
Wire or Tubeway Army while “Hope Dealers” reverberates
with an unbridled energy akin to that of the Undertones or
Buzzcocks. The title track is the stand out effort of the
bunch, a statement about the sorry state of the larger world
but the band’s also beloved San Francisco, which according
to Castle Face’s John Dwyer (also of SF’s rightfully
adored Thee Oh Sees), is being overrun with wealthy twenty-first
century yuppies who are quickly stripping the city of its
legendary individuality and replacing it with hallmarks of
the mundane such as “specialty shops and parklets”.
With a chorus that includes the warning that “there
will be no future for the hunted”, POW! is issuing a
warning and I know I am listening. This is a band with a unique
vision and a rare ability to beautifully mesh the serene and
the foul into one impressive sound.
 THE
TYE TRYBE - Word is Born (www.thetyetrybe.bandcamp.com)
The Tye Trybe prove that there is hope for the upcoming generation
as three young guys from the South Bronx play blues with a
swagger and pomposity reminiscent of young English lads in
the early 70’s. Joseph and Jonathan Hernandez, who deliver
the goods on lead guitar and vocals and drums respectively
along with bassist Desi Joseph clearly grew up inundated by
mind-numbing dance pop and nondescript posturing posing as
rock and decided that there has to be a better way. Their
collective desire to celebrate rock’s more base and
primal elements shines on this four song EP, beginning with
the blaring force of “Shine Them Shoes”. The song
slithers and grooves like early Zeppelin and unabashedly offers
a loving homage to garage bands everywhere with its reckless
joy. Joseph’s snarl, here fuzzed out in a wall of overdubbed
distortion, is the perfect complement to his brother’s
airtight drumming. The cynical may simply hear a Jack White
fixation on Word is Born, but Tye Trybe go beyond an attempt
to “save rock” the way White was once saddled
with having the hopes of doing; instead, these kids inject
wild swings of tempo, rousing blues riffs, and Latin flavor
into a style more sophisticated than their years would normally
expect. The sultry “Pachyderms” includes all of
the above and “Bang Shogun” has the subtly of
whiskey burn as the trio bash their way through an anthem
that puts George Thorogood in AC/DC’s rehearsal space.
The closing “Spanish Romance” takes elements of
Cuban flamenco clubs and marries them with classic rock riffs
to place a fitting bow on a record that is inspired from beginning
to end makes Tye Trybe a band worth watching quite closely.
 MAN
MAN - On Oni Pond (Anti Records www.anti.com)
I just do not know of a band more difficult to categorize
than Philly's Man Man. On Oni Pong is another collection of
musically dexterity performed by highly skilled players Honus
Honus and Pow Pow, but I struggle at times to wrap my arms
around the atmospheric pop haze of "Deep Cover"
and "Head On", the old-time piano sensibility of
"Curtains" or the bouncy soul-tinged "Pyramids".
Honus Honus, one of the visionaries behind the band refers
to this record as "strange and beautiful" and his
definition is perfect. The band uses a multitude of instruments
to redefine pop music with a distinctive style and majestic
beauty. "Loot My Body" has an infectious beat that
will undoubtedly be sampled for decades to come, while "Sparks"
bobs and weaves with effortless agility. Honus has a vastly
under-appreciated voice, for as one sits in befuddled admiration
of the musicianship, one can overlook just how warm the vocals
are on "King Shiv" or the poignant "Fangs",
which includes some very sneaky and effective guitar playing.
Borrowing liberally from jazz structure, pop aesthetic, rock
primal energy, and hip hop swagger, On Oni Pond is a cross-cultural,
interdisciplinary gem of a challenge. This is not an easy
listen, but should be done in one sitting. Despite the highly
distinctive personality of each song, the record flows seamlessly,
yet another credit to the band's ability to borrow and improve
upon preceding ideas. I have spent hours listening to the
record and I am still uncertain of my feelings about it; however,
I believe the best suggestion for those like myself who sit
on the fence concerning Man Man is to stop thinking and simply
allow the band to wash your ears and soul with some of the
most unique musical visions available today.
 TWO
COW GARAGE - The Death of the Self-Preservation Society
(Last Chance Records www.lastchancerecords.com)
Micah Schnabel, guitarist for Two Cow Garage, may be my
new favorite musician. In and interview with 614 Magazine,
he raised a vital question when he said "who has time
for a five minute song?". Yes, preach on Brother Micah!
Two Cow Garage does not use any trick plays on The Death
of the Self-Preservation Society; this is old fashioned
rock n' roll played by three gritty Ohio natives. The pervading
theme is dealing with the realization that life, while never
perfect, may not always be as bleak as one may believe.
This can be a frightening and difficult concept to accept,
and this shaky emotional ground shines through on the hardscrabble
opener "The Little Prince and Johnny Toxic" which
is a rough and tumble punch of guitar force. Other highlights
include the slightly more polished "Stars and Gutters",
the haunting "Van Gogh", and the rollicking title
track closer in which the aforementioned "Johnny Toxic"
character makes a second appearance. This is not punk as
how one may generally conceptualize it, but there is nothing
pretty or delicate about the rambunctious noise of "Lost
on Youth". The only stumble was the distortion soaked
crawl of "Mantle in '56". Despite a great title,
the song is just a meandering mash of ideas that did not
truly reveal the power possessed by Schnabel and his mates
David Murphy (drums and other assorted skills) and bassist
Shane Sweeney. There is a darkness that permeates the playing
accented by a subtle sense of uneasy hopefulness that is
almost tangible on "Spiraling Into Control" and
"Hey Cinderella". Once again music has a way of
proving just how many great bands are out there if one looks
fiercely enough-Two Cow Garage have been kicking around
these great states of ours in a beaten up van for over a
dozen years and this is their sixth record, so go find this
because this is a treasure of earnest rock played with a
fearless honesty.
 BOSTON
- Life Love & Hope (Frontiers Records www.frontiers.it)
Years ago Lard wrote a song called “70’s Rock
Must Die” in which they lampooned the larger than life
arena rock sound that dominated the decade of self-indulgent
narcissism. One of the worst culprits of that era was Boston
and their songs were ubiquitous. In the name of full disclosure,
I grew up in Providence, Rhode Island, a child of the 80’s,
and therefore I was force-fed a steady diet of “More
Than a Feeling”, “Don’t Look Back”,
and the inexcusable “Amanda” throughout my formative
years which makes this release all the more perplexing for
me. The question is not really “how did Boston produce
a new record”, but a much louder wail of “why?”
Who was clamoring for a new Boston record? The tragic suicide
of Brad Delp in 2007 was a sad manner in which to close to
book on the band, but releasing new material only stains what
is a proud legacy for many. Five of the songs here include
the term “love” in the title including such original
names as “Didn’t Mean to Fall in Love”,
“Love Got Away” and “If You Were in Love”,
and the playing is as derivative as the lyrics. Tom Scholz
has clearly not left his recording studio in decades, for
Life Love & Hope sounds like the best Night Ranger album
ever made; obligatory guitar histrionics are intertwined with
delicate piano, hushed vocals, and rousing choruses that are
designed for rock radio if rock radio still existed. “You
Gave Up On Love” actually makes me laugh out loud-one
can only imagine a poofy-haired MTV VJ proudly introducing
this one, but since MTV is as dead as rock radio, I have no
idea into what abyss this will find itself. Naturally, the
quality of the musicianship is beyond reproach, but this is
so painfully dated that it is more embarrassing than poor.
From the hollow drum sound to the Nelson-twins style vocals
to clichéd keyboards, this is heartbreaking in its
feebleness. Scholz boasts of using the same amps and equipment
to record this material as he did for Boston’s classic
period: while this may be endearing for some, it only solidifies
the outdated and simply unnecessary nature of this monstrosity.
 GHOST
THROWER (Broken Circles Records)
There is an undeniable nod to 90’s emo and indie rock
within the work of Ghost Thrower, but this band retains a
punk aesthetic that allows them to escape the trappings that
can so negatively impact bandsof this ilk. Ghost Thrower are
not out to dazzle the listener but to engage and enthrall
through raw, passionate playing. The riotous “Lemons”
is an explosion of guitar force and limitless energy, match
inits fury by the scathing “When Are You Coming Home?”.
The latter is an angry slab of low-end heavy, blissfully fuzzed-out
punk that combines the finer moments of Husker Du and early
Dinosaur Jr. with wonderfully acerbic lyrics. The record waivers
between the aforementioned rugged gems and more controlled
nearly pristine tracks such as “Halloween in Brooklyn”
and “The Unexamined Life”, with both songs featuring
rich harmonies and a refined pop sensibility. “The King
of Louisiana” includes a sweeping musical tableau that
cascades with a shimmering radiance and is the apex of the
band’s musical aptitude. The concluding trio of “Young
Luck’, “Apple”, and “Worry Addled
Brain” include guitar-rich goodness with a knowing homage
to the high water marks of 90’s indie punk without simply
mimicking the Get Up Kids and calling it something new. This
is a band worth celebrating.
 TIM
KASHER - Adult Film (Saddle Creek Records www.saddle-creek.com)
Tim Kasher’s first solo record, The Game of Monogamy
had me hooked instantly and the same is true of Adult
Film, yet for different reasons. Monogamy was
quite stark and deeply introspective, and while Kasher’s
latest effort includes his typically brilliant and often self-deprecating
lyrics, the disc has a different approach musically. The ten
majestic songs here are hook-filled pop with synth dominating
the opening salvo of “American Lit” and “Truly
Freaking Out”. At this point I am a bit concerned for
while these songs are both intriguing, there was a bit too
much bounce for my liking. Kasher returns to my favorite form
of his on the lush “Where’s Your Heart Lie”:
replete with tales of his personal faults and failings, Kasher
delicately explores his own shortcomings with subtle humor
undercutting the unembellished sorrow accented by the gorgeous
voice of Laura Stevenson. (“God damn what’s wrong
with me?/I’m ruining your love”) Kasher employs
a multitude of instruments on Adult Film, including vibraphone
on “The Willing Cuckold”, a song that has a bubbly
personality that perfectly accompanies the tongue in cheek
title. The disc takes on a darker persona at the mid-point
of the disc with the mesmerizing and moody “Lay Down
Your Weapons”. Its partner in crime is “You Scare
Me to Death”, and this duo both revolve around heartfelt
tales of struggling relationships and misshapen hopes. At
one point during “Scare”, Kasher thinks about
getting married and having “two lovely children and
a ranch in the ‘burbs where we’ll be murdered”
as a whistling omnichord strikes a frightening tone. “A
Raincloud is a Raincloud’ is a return to more straight
ahead indie pop as Kasher laments his life, realizing that
“English lit is essentially horseshit” and how
he “is done pining for a silver lining”. Seething
with relatable frustration, Kasher is a marvelous wordsmith
for he vents about where life has been less then what he hoped,
but he never whines. Instead, he is a friend simply letting
the listener know that he or she is not alone in being angered
and confused about where one finds oneself. “A Looping
Distress Signal” is a bit noisier and therefore among
the most fascinating moments on the disc as Kasher introduces
a rollicking piano riff at the center of the song and reminds
people that “the world’s a perfect place when
you don’t know what’s swept under the rug.”
Those words ring true, as does much of what Kasher says here
as he proves himself to be among the sharper and more daring
songwriters in contemporary music.
 CHROME
- Half Machine From the Sun (King of Spades Records www.helioschrome.com)
This gem from the Jimmy Carter era finally sees the light
of day and the wait is well worth it. Chrome was the creation
of Helios Creed and Damon Edge largely, and this double
record of lost pieces recorded in 1979 and 1980. Having
missed this the first time around thirty years ago, I was
inspired when I listened to swirling noise, punk angst,
and memorable harmonies found within. Chrome is exactly
the type of band that needs to exist today, for they take
rock in a variety of directions without ever sacrificing
the basic elements of sweat, lust, and fury that drives
rock. The eighteen songs found within includes the menacing
proto-punk of "Anything" and "Fukishima",
two songs that any industrial tinged band should fall to
their knees and worship. Half Machine From the Sun reeks
of the end of the 70's; the sense of confusion and general
societal burnout is tangible on the synth-infused noise
on "The Inevitable" and "Charlie's Little
Problem". The baby steps of 80's synth pop are also
prevalent, as are the finer elements of Joy Division style
darkness buried within warm layers of harmonious hooks.
There is no obvious "Love Will Tear Us Apart"
here, but "Sound and Light" should have been a
hit, and anyone who appreciated Lou Reed's brilliance with
the Velvet Underground should fire up "Looking for
Your Door". The etherial "Ghost" is appropriately
intimidating and disconcerting, while "Something Rhythmic
(I Can't Wait)" even smacks of the foundations of indie
pop. Innovative, distinctive, challenging, and majestic
in scope, Chrome is an act that was decades ahead of its
time.
 VOICE
OF ADDICTION - "Modern Day Meltdown" EP(www.voiceofaddiction.com)
Chicago's Voice of Addiction are an amalgamation of various
punk influences ranging from Dead Kennedys to Bad Religion,
and the four tracks on "Modern Day Meltdown" are
intelligent,crisply played blasts of richly harmonious punk
fury. "Daley Struggle", a less than veiled shot
at Chicago's mayor Richard Daley, is both inspirational
and fiercely sarcastic due to the impassioned vocals of
Ian JohnnyX Tomele. The most significant experiment is "Same
Old Song" as it features a much more progressive chord
structure during the intro and outro, defying traditional
punk song arrangements. With lyrics "Do what you're
told/buy what you're sold", Tomele chastises a population
numb to conformity and lacking an ability to formulate truly
distinctive ideas. The closing "Juvenescene" is
a rousing call to arms for punks of all ages, and allows
those who are getting long in the tooth to remember that
energy and enthusiasm, not one's age, is what makes punk
music so vital. This is a nice hold over until Voice of
Addiction's next full length.
 JANE
EYRE - With Our Thoughts We Make The World (A Landfill of
Records www.janeeyre.bandcamp.com)
Much like Charlotte Bronte’s 1847 work that shares the
band’s moniker, Jane Eyre takes work on the part of
the listener, but upon completion one is a better person for
the effort. The band, led by Jesse Rifkin, whose previous
act, The Wailing Wall, was as equally intriguing as his current
outfit, uses a cornucopia of technology to craft songs that
include audio snippets of television commercials alongside
much more traditional instruments such as sax and harpsichord.
The finished product is a collection of songs that indulge
in blues and folk (“Boy King Island”) but is not
averse to more straight ahead rock “Hazel Motes 1”.
Rifkin utilizes a deep bag of musical tricks to consistently
switch gears through seven thoughtful songs, but does flash
a wry sense of humor by titling one effort “Home Alone
2: Alone in New York”. It struck me as ironically funny
that a band this musically intelligent would borrow an otherwise
forgettable film for a song tile, but this is the nature of
Jane Eyre-like the band itself, the song is complex and engaging.
Live snippets of the band are interspersed with recording
session which are then married to moments of impromptu recordings,
all done in an unfettered manner to capture the honest and
fearless nature of the band. Lovingly constructed with the
finest DIY aesthetic, With Our Thoughts We Make The World
is not for those looking for tap-tapping, simplistic beats,
but if one is up for the challenge, this is a fascinating
musical experience.
 PLACES
TO HIDE - Almost Nothing (www.placestohide.bandcamp.com)
The days of the world not fullyappreciating the talents of
Deborah Hudson should be over. Hudson, the lead vocalist for
Places to Hide, is a Kim Gordon for the 21st century; a brazen,
snarling, fragile, and fierce singer who is the centerpiece
of a band who lovingly recaptures 90’s era fuzzed-out
indie rock and make sit their own. There is a youthful naivety
and blessed recklessness to Almost Nothing that harkens back
to anything on the Simple Machines roster, but this is not
some cloaked tribute band. Each song is played with a punk
immediacy, and while there are moments when the tracks blend
together a bit musically, the lyrics so fearlessly delivered
by Hudson separate each piece into a highly distinctive world.
“Love Song” begins with the lines, “This
Summer is so hot and I just want to have sex with you/We’ll
never pay these students loans off and I just want to spend
my money on you”, while the raw nerve of “Ecotone”
is all too relatable for many as Hudson laments, “I
cried myself to sleep again, I know that’s not very
punk.” The artwork that accompanies the record is ghostly
images of people whose visages are too faded to recognize
and acts as a metaphor for many of the themes here. The band
tells tales of hopes and loves left unfulfilled ina world
that is perpetually disappointing, one in which happiness
is as fleeting as a fading memory and the past is all one
has to truly cling. “Get Me Clean” captures this
sense of hopelessness and desire for escapism as Hudson resigns
to a fate a says “I Miss the old you/Come home and we
can have the saddest sex”, and while “Michael
Jordan” does reference basketball, the song truly addresses
a relationship struggling to survive (“Sorry if I’m
hard to live with/This is me at my best”. Get to bandcamp
and make this a part of your life for it is the perfect addition
to an impending winter of depression.
 THREE
MAN CANNON/LEE COREY OSWALD - Split EP (Black with sap www.blackwithsap.limitedrun.com)
Three Man Cannon is a complicated band from New York that
is rarely seen but greatly appreciated. The five songs on
this split are hazy pieces of guitar rock in which moments
of quiet are suddenly smashed by bombast. None of the five
efforts hang around very long, but each of them retains a
subtle strength, particularly through the vocals. The playing
of Three Man Cannon is straightforward without ever becoming
redundant, and I was taken by the imagery detailed in “Wonderful
Lungs” and the frantic tale of “Los Ruiz”.
This is not revolutionary, but five efforts that do hold one’s
attention. Lee Corey Oswald was the winner here for me, as
the band alternates between bursts of garage style punk angst
and subdued intensity. “We’re Not on the Basketball
Team” has a guitar riff as great as its title and captures
the band’s unadulterated appreciation of Stooges-style
energy, while “Because I Can and You’re Willing”
is almost menacing in its sullen unobtrusiveness. The story-telling
on “Boulevard” and “Bullshit Stories”
is impeccable, particularly for a band as young as LCW. This
split has its moments, but the majority of them belong to
Lee Corey Oswald.
 CLOSE
YOUR EYES - Line in the Sand (Victory Records www.victoryrecords.com)
My initial exposure to Close Your Eyes is the underwhelming
“Deus Ex Machina”, and I am ready to yawn through
a collection of rather standard hardcore; thankfully I do
not give up easily, because when the chorus of “Burdened
by Hope” punches me in the face I am a convert, at least
briefly. Speaking of converting, Close Your Eyes is a Christian
band and I usually hide myself away from such acts fearing
holier than thou preaching coming down from on high, simply
exchanging priestly arrogance and hypocrisy with gang vocals
and guitar riffs. Yet again, I am at least temporarily wrong,
for vocalist Shane Raymond has a voice that is emotionally
charged and stirring, particularly on the warm title track
and “Higher Than My Station”. Unfortunately, there
are more than a few missteps here, notably “Kings of
John Payne” and “My Way Home” which are
too slick for their own good, existing in the land of the
desperate for a teen anthem rather than more authentic hardcore.
The band is both engrossing and frustrating, for while some
songs are grossly overproduced or too sanitary, there are
others, such as “No Borders!” and the crippling
“Skeletons” that are soaring and scintillating
explosions of force. Upon the completion of Line in the Sand,
I am still uncertain about Close Your Eyes. Their energy is
undeniable and this is a band with musical prowess and a penchant
for catchy hooks and choruses, but this may appeal to a younger
set. Of course, that is ideally what the guys would want rather
than appealing solely to bitter old codgers, but I need a
bit more fire with my brimstone please.
 SEEKER
- Unloved (Victory Records www.victoryrecords.com)
Could it really be time to christen a band retro metalcore?
If so, Seeker is it. The Texas four piece certainly love death
metal, but not in the early 90’s, Floridian swamp style.
Rather, the band incorporates elements of AmRep noise into
their aural stew to produce a raw, vicious attack that is
pummeling without becoming overly repetitive. “Pale
Death”, “When Hope Fails” and the title
track are meticulous slabs of contemporary extreme metal with
vocalist Bryce Lucien unleashing a style that is less death
metal cookie monster growl and more hardcore punk emotion;
the integration of unfettered aggression with above average
technical competency makes Unloved a record that will stand
out in a musical landscape with thousands of bands attempting
this style of playing. Guitarist Justin Edgerton does the
work of three men by himself while the rhythm section of bassist
Chris Keasler and drummer Dustin Weaver are shockingly efficient,
particularly on the relentless “She” and the crushing
“There is Nothing”. With themes of suicide, sorrow,
and desperate isolation, this is a dark record made with unrelenting
intensity; however, Seeker’s most endearing quality
is their ability to generate tech-savvy metal without become
unnecessarily esoteric. The guitar work is enchanting and
challenging, but not to the point where one gets lost within
the song; essentially, this is sophisticated yet still grounded.
Fans of Dillinger Escape Plan will hungrily devour this, but
more simplistic types like me will also be drawn to a thunderous,
monolithic anthem such as the closing “Escape”.
Metal has been a part of my life since I was nine years old
and it is always inspiring for me to discover bands that continuously
have the courage to refine the sound, and Seeker is one such
act.
 MOTORHEAD
- Aftershock (www.udr-music.com)
There are few names in any sphere of music as rightfully iconic
as Lemmy, for the Motorhead leader is a model of consistency
and excellence. Lemmy famously takes the stage and barks to
the audience thathe and his mates “are Motorhead, we
are rock n’ roll”, and those words should adorn
the headstone of this man except f or the fact that Lemmy
will never die. Aftershockis easily the fiercest release from
Motorhead in the past decade, and there is not a clunker among
the fourteen pieces of guitar fueled, blues-soaked metal fun;
that’s right, this stuff is fun! Lemmy and the boys
craft massive riffs that have inescapable groves, whether
it is the bad boy boogie heard on “Do You Believe”
and “Crying Shame” or the slow boil of “Lost
Woman Blues” and “Dust and Glass”. Aftershock
is emblematic of Motorhead as a band; it could be a perfect
starting point for those new to the planet or to metal, yet
it will also satisfy long-time fans as well. “Heartbreaker”
and “Coup de Grace” is a roaring pair to start
the disc with both songs highlighting Lemmy’s instantly
recognizable growl over the top of monstrous guitar hooks
and airtight rhythms. Both songs are classic example of well
formulated, tried and true metal power; there is nothing fancy
about anything Motorhead does, and that is exactly how their
fans want it. Motorhead ‘s loving tribute to the Ramones
years ago was always appropriate,for both bands are cut from
the same cloth. Just as the Ramones remained steadfastly committed
to pop-infused punk energy, Lemmy has refused to follow trends
and has kept his band traveling down a path of guitar-charged
metal accented by homages to the original primal roots of
rock n’ roll. “Keep Your Powder Dry” has
a structure that borrows from the London clubs of the 1960’s
only with the amps turned into the red, while the speed of
“Queen of the Damned” and the closing “Paralyzed”
will remind anyone foolish enough to have forgotten that the
name Motorhead need be spoken of with reverence when discussing
the most significant contemporary bands, and not just nodding
to their greatness of the past. Motorhead will never be found
in the bullpen in Yankees Stadium saluting a retiring baseball
player, nor will they ever be featured in a car commercial,
and for that, the world is a better place. There is a legion
of angry boys and men out there who think that throwing punches
and spin kicks in a pit make them tough-those guys would not
survive an hour with Lemmy.
 YOUNG
TURKS - Where I Rise (www.animalstylerecords.com)
The four songs on this EP are incredibly speedy and heavy
slabs of contemporary hardcore. There are chugging breakdowns
and gang vocals, but the band has a genuine control of their
instruments that moves them beyond many of their peers. The
opening “Territo(royally) Pissed” is a scalding
mass of pummeling punk and politically charged lyrics. Vocalist
Matt Koenig is relentless in his delivery, and guitarists
Bryan Zurek and Jason Soejoto write thick hooks that will
undoubtedly get the circle pits moving, yet I could not help
but smile when I read the title “Row vs. Wade vs. Westbrook”
(NBA geeks will grin, undoubtedly). “Zone K” is
a flesh eating disease of a song as it rips the listener to
shreds with a break-neck pace a punishing low end from bassist
Andrew Arellanoand drummer Mason Juve. It is unfortunately
over in a scant minute and twenty-seven seconds, but within
that anthem lays all one needs to know about the band. The
slightly longer “Old Gods” closes the EP with
more impressive guitar playing, but Young Turks is a band
for whom less is more. The kids capture classic Pacific Coast
hardcore virulence without simply rewriting anthems from the
90’s. From all I have read, this is a band that loves
tour and record, and these four songs have certainly increased
my anticipation for their next release.
 ISOLATED
- This is Q-Town, Not LA (District Records www.district763.de)
Isolated play furious German hardcore that does not vary greatly
from their American brethren, but, the German language makes
anything being said sound far more scary and intimidating,
so This is Q-Town has a menacing quality about it. The twelve
songs here range in length but not intensity-the twenty-seven
seconds of “No School” are blazingly fast, but
its fury is matched by the noticeably lengthier title track
and “Chaos is God” (the only song of the dozen
whose lyrics are printed in English). The men in Isolated
are certainly not new to the scene and their technical proficiency
is celebrated on the pummeling “Nur ‘Ne Phase”,
“Alles Schon VerPackt”, and especially “Hardcore
Polizei” as they channel their inner Terror. This is
designed for those who appreciate hardcore that emphasizes
a heavy bassline and is not afraid to find a groove and stick
by it. This is Q-Town is not flashy by any stretch and can
become a bit clunky at times, but it is a fun ride with a
foreign voice. I see this for the purest of hardcore collectors
or those with an interest in niche bands, but it is a solid
release from one of our European allies.
 MOISTBOYZ
V (www.moistboyz.com)
The Moistboyz have a twenty-plus year history and a collection
of four records of raging, grizzled punk and metal. Therefore
it only makes sense for the guys to produce V, an album of
classic, blues, and country-infused rock. It is entirely logical
if one appreciates the career of the enigmatic Mickey Melchiondo,
most famous for his presence in the seminal college radio
deities Ween. Pairing himself with Guy Heller, the two churn
out bouncy, deceptively dark rock n’ roll on “Paperboy”,
while just as adroitly delivering huge helpings of rural goodness
on “Down on the Farm” and the hilarious “Chickendick”.
Rounded out by guests Joe Kramer (guitar) and drummer Chuck
Treece, there is a wonderful divergence of styles throughout
the record. Heller’s lyrics range from the ridiculous
to the philosophical, all the while spinning glorious yarns
of stream of conscious style verbal purging. A significantly
pleasant surprise was the delicate and folksy “My Time
to Die”; this is a track that Hank Williams would have
been comfortable singing, and the song takes on an added poignancy
as it follows a soaring blast of 90’s style indie noise
on “Garbageman” and gritty, angular punk of “The
Fury”. These aforementioned tracks are songs more akin
to what one expects from Moistboyz, but this is not a band
interested in catering to expectations. The intricate, bluesy
“High and Mighty” sits comfortably next to the
honky-tonk, beer-soaked rock of “One Cut” and
the groove-oriented “Medusa”. This is fascinating,
musically liberating record for the members involved and a
tremendous listening experience for those lucky enough to
grab this.
 TRC
- Nation (No Sleep Records www.nosleeprecords.com)
TRC are lighting up London right now after eight years of
recording and playing. However, the band has a sound more
appropriate for the nu metal revolution of nearly two decades
ago as they combine metal riffs, hardcore breakdowns, and
hip-hop vocals. Granted, bands such as Emmure and Stray From
the Path utilize hip-hop into a metalcore sound, but the vocals
here take too much away from the playing that surrounds them.
Many of the songs on Nation have a big hook and a low end
heavy enough to satisfy metal fans but I cannot get past a
lyrical delivery that smacks of caricature more than authenticity.
“Motivator” and “We Bring War” are
two of the promising efforts on the disc as both songs are
furious in their delivery and spare the tired hip-hop delivery
for a more straight ahead approach, as “War” revolves
a monsoon of a riff and features a crushing breakdown accented
by gang vocals. Granted, this is a battle-tested formula but
it works here. Unfortunately, much of the record is bogged
down in either the rap-metal buffoonery of “Gold Metal
Music” or the unnecessarily ambiguous instrumentation
of “Between Bridges” and “Weekend Walls”.
In short, there are highly likable moments here, but TRC employs
too many gimmicks for my liking. There is nothing wrong with
integrating various genres into metal, but not at the cost
of watering down the original intent of the band. Nation sounds
like the product of a band working too hard at gaining mainstream
acceptance by overly catering to the kids. I hope they do
not give up on the band all together, but simply tweak the
vocals and devote themselves fully to crushing people’s
skulls musically.
 STAND
FOR NOTHING - Demonstration of Frustration (http://standfornothing.bandcamp.com)
This could be the best band Long Island, New York has ever
offered. The five blasts of raw, incredibly energized punk
on Demonstration of Frustration are laced with biting sarcasm
and self-deprecating humor. The bandmembers offer a scant
amount of information about themselves, but the music speaks
for itself; this is for fans of authentic, straight ahead
hardcore without any pretentious. This has early 80’s
written all over it, but not any one particularly scene-this
is a band that could have shared a stage with Negative Approach
as easily as Government Issue or Circle Jerks. The lyrics
address a variety of topics, ranging from missing friends
who have passed in “Act II” to the scathing take
on hipsters in “U.R.M.T.” (“Are you really
anti-religion /or just pro-pseudo-rebellion? /Either way,
there are more than Christians” and “Fuck off,
tumblr activists and all of your P.C. shit/Freedom and equality,
but just for you/ Fuck life shaming and fuck Doctor Who”).
The greatest amount of vitriol is saved for elitist punks,
or at least those perceived by the members of Stand for Nothing
to be elitist on “Hardlycore”, as hopefully this
message does not apply to you: “Don’t care about
Youth Attack /and I prefer my vinyl black/ Collecting plastic
in limited runs/ is not my idea of fun”. My favorite
of the bunch is the harsh reality check of “Mother’s
Day” in which a frustrated millennial sums up the anger
undoubtedly felt by many in this country: “Nothing that
I want to do /two times I’ve given up on school/ I am
still living at home/one day I’ll move and die alone”.
I am not sure if Stand for Nothing want to be anonymous, but
this is a band whose name should become more than just a download
on bandcamp.
 WAR
GENERATION - Start Somewhere Never Surrender (Rise Records
www.riserecords.com)
Jon Bunch first made a name for himself in a string of adored
acts, notable Further Seems Forever and Reason to Believe.
His warm, occasionally soaring vocals were the calling cards
of those bands and his voice is as strong as ever on Start
Somewhere Never Surrender. Unfortunately, War Generation is
a band that will get lost in a sea of other acts producing
a safe, albeit skilled, form of “modern rock”.
The guitar playing is quite impressive, particularly on the
opener “Nobody” and the hook-laden “Wake
Up” and Dead and Gone”. Even when the band attempts
to shake up the normal routine on the slightly more aggressive
“New Noise”, one is still overwhelmed by the ennui
that comes when former punk-inspired players smooth the edges
and baby-proof their music. The songs throughout the record
are poppy, catchy, and radio-ready fare but they are not notable.
This is the conundrum of most contemporary rock acts; how
does one generate music that is both exhilarating and challenging,
but still available to the masses? War Generation produces
the type of song structure that produces hits but not memories.
There is no grime, no spots on the carpet here; War generation
comes across as a band that has micro managed their sound
in to a pristine hue devoid of real passion. The playing is
quite good and the members are each uniquely talented, but
the guys need to lose the sheen and inject greater intensity.
This could come across more effectively in a live setting,
but getting people through the door could be the struggle.
 BELLS
- Solutions, Silence, or Affirmations (www.bellstheband)
If one has been paying attention to indie music of late, the
city of Brooklyn has gained wild acclaim for the vitality
and originality of the acts calling it home. Add BELLS to
that mix, despite having to jump through technological hoops
to include that little math symbol after their name on the
CD cover. Normally, anything that triggers memories of attempting
to solve for x would anger me to the point that I would ignore
the music, but Solutions, Silence, or Affirmations
cannot be ignored. The seven pieces of, in the band’s
words, “mostly non-improvised instrumental music”
range wildly in intensity and tone. The common link among
each song is the sterling talent of the members. One could
falsely assume upon dropping the needle on “Apostatic”
that the ride will be fairly easily manageable. However, by
the completion of the inspired drumming ofZach Barocasthat
closes “Metatron” on the first side, the band
leaves the listener exhausted but undoubtedly interested about
what lies on side B. The four songs on the second side are,
I believe, stronger than their cousins, only due to the guitar
wizardry of Chris Ernst and Stephen Shodin. The haunting “Brothers,
Sisters” and the soaring closer “No More Water”
mark the pinnacle of this band’s mighty aptitude. Playing
this type of music automatically limits a potential audience,
as people look for lyrics and a frontman, and therefore it
requires superhuman skills to capture a listener and hold
that individual for an entire sitting. Like Animals as Leaders,
BELLS= are so gifted that one must succumb to their charms.
To their credit, no song even spins out of control or seems
sloppy by nature; rather, this incredibly gifted foursome,
rounded out by Tom Broucksou on bass, generate swirling masses
of intricate and riveting sound.
If one needs an introduction as to the musical concoctions
of Melt Banana, well, pal, where have you been for the past
twenty years? This Japanese gem of a noise-core, spazz-crust,
punk-disco hybrid have been blowing minds and speakers with
their blasts of futuristic, blindingly quick chaos. Yasuko
Onuki is once again the centerpiece of this latest assault
upon convention, and her screeching, high pitch wail of a
voice rips through one’s head on “Vertigo Game”
or “Schemes of the Tails” while blips, beeps,
pummeling basslines and drops all run around and seemingly
through her. This is a remarkably unique listening experience
and there is simply nothing else on Earth quite like Melt
Banana. They take the unrestrained fury of the Boredoms and
the relentless energy of Arab on Radar, add a drum machine
for an increased sense of inhumanity and slam it all together
with a splash of Merzbow to punish anyone with the courage
to listen. However, unlike the majority of earlier releases,
Fetch is not a collection of quick hits; several songs hang
around for over three minutes (“Missing Link”
and “Zero”), while “Infection Detective”
hits the previously inconceivable four minutes. This extended
time allows the band, now just a duo with Ichirou Agata, to
explore their majestically warped ideas to a greater degree.
What I always appreciate about Melt Banana is how they do
not make noise, but music. The guitar work throughout the
record, but certainly on “Lie, Lied, Lied” and
“Then Red Eyed” is outstanding; a buzz saw of
force that would make any devoted metal fan head bang himself
into a coma or fire up the most explosive of circle pits.
“The Hive” is my pick as the track of the bunch-a
grinding ball of pummeling power with a hypnotic dance beat
layered just beneath the surface. The dichotomy of pop and
brutality I find exquisite and acts as a perfect summary of
why this band is worthy of your blind adoration.
 REDBUSH
- Milkmaid
(www.whoaboatrecords.com)
With one of the most troubling album covers I have seen in
years, Laramie, Wyoming’s Redbush prove yet again that
it is the quiet towns that produce some of the best noise.
The trio of J.D. Korpitz on guitar and vocals, bassist Ian
Mckillip, and drummer EvBruhnkclearly love big riffs and rich
harmonies, but there is an edge to this band. When Korpritz
spits the lyric “I’m fucking bar trash just to
get you off my mind”, one knows that this is not punk
with a grin, but rather a scowl, as songs furiously call for
revenge or consider escapism with numerous violent images
(“everything has gone as planned/snap that baby’s
neck before it learns to stand” from “Confessions
of a Butcher”). Although the tone of the story-telling
is dark, Milkmaid overflows with highly impressive guitar
hooks, with the combination of “Industrial Morale”
and “Lonely Soul” as my favorites. These tracks
close the opening side of the record on a soaring high notes;
two slabs of grunge flavored punk that retains the best qualities
of each genre. Redbush certainly do not shy away from pop-inspired
riffs, and there more than a few Descendents style moments
on Milkmaid, which is a trait to be celebrated, but there
is a menacing nature to the material here that elevates Redbush
above the clatter of small town kids making cool music. “Polar
Creep” kicks off the second side with a wanton tale
of sexual depravity from the perspective of an older man (a
conversation from a father to a son perhaps) that is also
singed with a permeating sorrow that gives the song incredible
depth even as Korpritz says “what you doing son/hoping
that you can still get it up but I can’t get it up.”
When the trio slows the pace dramatically on “The Stoker”
or channels their inner 90’s indie spirit on “Should
I Stay?”, they never fully abandon the kinetic energy
and great sucker punch qualities that define the record. Milkmaid
is available in a limited pressing so fire up the credit card
and buy this right away.
 STATE
LINES - For the Boats (www.tinyengines.net)
Long Island’s State Lines craft intelligent, passionate
indie rock, and the band is equally adroit at utilizing snarling
guitars as gently, cascading musicianship. For the Boats is
a record of raw emotion and unflinching honesty; an album
with lyrics that will make one cringe, for the situations
are all too relatable. When Jonathan DiMitri sings of building
a small boat “to find the youth from those days that
we seem to have left behind”, he is not a man mourning
the passage of time, but something far more profound and intimate.
The immediacy of the playing on the title track or “Shit
for Brains” makes For the Boats intriguing, but the
staying power of the album, and ultimately, undoubtedly, of
this band, is the multitude of layers displayed here. “The
Same Mistake” tells a well-worn tale of allowing a friendship
to fall apart, but rather than scream over the top of roaring
guitars or sounding unnecessarily hushed, State Lines plays
the song somewhere in the middle; it is not a genteel listen,
but the intensity comes through quite clearly. This is band
that wants to make you think and feel as you listen, not just
sing along. Yet, before one is ready to write these kids off
as dowdy, (too) old souls for their age, there is the recording
miscue at the conclusion of “Tuesday Morning”
prior to the beginning of the closing “Where it’s
Warm”. The laughter is infectious, and the playing,
particularly on “Warm” is stirring; however, the
highlight in my opinion is the chilling “Kids”.
An understated piece of brilliant story-telling, the song
leaves the “consequence” referenced at the conclusion
open-ended. With lines about drinking “a constant diet
of cheap beer-whatever we could get our hands on” and
being “just kids”, the song is gripping anthem
from an immensely promising band. Some bands need to drastically
alter their sound as proof of growth; State Lines annihilates
this theory as they remain true to their musical history but
have simply enhanced their acumen.
ENTROPY
-Out Of Spite (entropyhardcore.bandcamp.com)
Whenever a record opens with a thirty-two second blast of
flesh-ripping hardcore speed, (“Atriums and Exists”)
I know I am home. Entropy’s Out of Spite comes and goes
very quickly, but the stay is exhilarating. Does Out of Spite
do anything to truly move the needle of hardcore forward?
No, but that is not why I love bands of this ilk. Rather than
worry about pseudo-intellectualism or over analysis, Entropy
rage with a fury reminiscent of bands found on early 80’s
compilations. “Intention Tension” includes the
lyrics “fuck your American dream/do you want to be a
wage slave like me?”, and they are barked with a sober
intensity that cannot be feigned. The thirty-eight seconds
of “Principles of Intermediate” and the forty-seven
seconds of “This is Comedy” will undoubtedly generate
pits that could be life-threatening as Pat Bradford’s
guitar playing is the musical equivalent of a machete slicing
through the scream-myself-hoarse vocals of Brian Lawrence.
Brian Labuda and Colin Jay pair up as a ridiculously ferocious
rhythm section, and the emphasis there is rhythm. Entropy
is not simply shouting in the woods without any plan; this
is hardcore with both heart and harmony in the mold of S.O.A.,
Warzone, or even the immortal Minor Threat. With tempo shifts
that introduce classical style breakdowns, limitless adrenaline,
and absolutely no guitar solos, this is a modern classic.
In short, you are a fool to ignore this, and the cd is released
to 75 copies. That is punk-buy this now!
 THE
FLATLINERS -Dead Language (www.fatwreck.com)
I happen to love Canada, our kind-hearted, well-behaved,
gun-control loving neighbors to the north, both for the
decency of the people and the natural beauty that defines
the country. I can also add Flatliners to the list of what
makes Canada great - these four hard working fellows have
been driving, sweating, and playing gritty, well-honed punk
for nearly a decade now. The brand of musicianship on Dead
Language is loud, forceful, and furious, yet there is a
controlled elegance to much of the material. The twin guitars
of vocalist Chris Cresswell and Scott Bringham are continuous
lightning strikes of soaring rhythms and intensity, whether
on the blazingly fast “Dead Hands” and “Young
Professionals” or the equally deft yet lengthier “Sew
My Mouth Shut” or “Birds of England”.
What holds the record together is the precision of the work,
as has a punk edge offset by a sophistication and self-confidence
that develops only as band truly recognizes its own “sound”.
The songs are melodic, but there are few truly memorable
hooks Dead Language; rather, the Flatliners compile terse,
fleeting bursts of ideas and produce songs with dynamic
personalities. This is quite a feat considering the musical
age in which we find ourselves, in which bands tend to do
what is safe rather than what is original. “Drown
in Blood” and “Caskets Full” may connote
images of visceral, violent metal, but these tracks defy
their ominous names and are swaddled in the warmest guitar
hooks of the disc. There are elements of 90’s indie
punk here, which is most likely what these guys grew up
listening to, but their influences never overwhelm the finished
product. Dead Language is original, heartfelt, and thoroughly
enjoyable with an authentic swagger about it. The Flatliners
are a band clearly entering the prime of their career and
I am thrilled to read that these guys will share the same
bill as Night Birds at the Fat Wreck Chords showcase in
Brooklyn at the CMJ festival, as those are two bands that
should rule North America.
 DOYLE
- Abominator (Monsterman Records www.officialdoyle.com)
Recent manifestations of the Misfits have done little to resemble
what was one of the most important acts in punk’s history,
but I am happy to announce a new chapter in the long, strange
history of guitarist Doyle. Abominator will help people forget
about many of the past transgressions as Doyle has masterminded
a scorching collection of classically honed, skull-crushing
metal. Fittingly, the man who loves monsters creates riffs
that are monstrous in scope and act as perfect accents to
the vocals of Alex Story. Story is an ideal frontman for Abominator
as his voice balances a punk growl with a metal yelp on stand
out efforts “Headhunter” and the wall-rattling
title track. The rumbling “Land of the Dead” is
only one of many examples of the power of bassist “Left-Hand”
Graham and the always impressive Dr. Chud. Doyle may not be
a flashy guitarist but he consistently demonstrates an effortless
ability to unleash equally memorable and punishing hooks throughout
this record, clearly heard on “Learn to Bleed”
and the deliciously twisted “Cemetery Sexxx.”
Some may snicker at horror metal and see songs such as ”Dreaming
Dead Girls” or “Mark of the Beast” as clichéd;
however, what Doyle does here is actually strip away much
of the unnecessary pretense that exist within extreme music
today and simply makes loud, aggressive metal. Like the Misfits
themselves, there is a rock n’ roll swagger that permeates
Abominator that lets the listener know that Doyle and his
friends are in on the joke and everyone should just have a
good time. There is not enough of that in today’s music,
and Abominator is a lot of fun-especially if you enjoy the
occult, murder, bloodlust, and the undead.
 GREAT
APES - Thread (Asian Man Records www.asianmanrecords.com)
This San Francisco-based outfit only came together in 2011
but has been quite prolific, including a series of 7”’s
and this impressive full-length. Great Apes clearly love pop
harmonies, but do not hide from noise when necessary. While
the opening “17 Years” bounces with the buoyancy
of Blink 182, “Yellow Ribbon” and “San Quentin”
are darker, more menacing songs with a powerful low end and
cutting guitar work. The rich harmonies of “Everything
is Everything” and “The Fine Art of Holtzing”
have a sophistication that illustrates the talent of vocalist/guitarist
Brian Moss. The band openly celebrates their appreciation
of straight forward pop harmonies in its bio, but one should
not misinterpret Thread as disposable fare. Although Great
Apes members mention that they “have been or are in
an array of more complex projects”, they should not
minimize what happens on this record. Moss and fellow Apes
(Rob Carter on guitar, Josh Kuntz on bass and Matt Kadi on
drums) borrow 90’s indie fuzz on “Vial of Life”
and display a more complicated song structure on “The
Edge of the Western World’. Lyrically, each song reads
like a singular vignette with intellectually sophisticated
tales of emotional depth. I am uncertain if the members plan
on making Great Apes their primary commitment, but they have
a limitless future should they do so.
GENTLEMEN PREFER BLOOD/HANDS LIKE BRICKS
Split 7-inch (Radius Records www.radiusrecs.com)
Both acts on this split hail from L.A. and play fairly
similar brands of pop-infused punk. They also mark the return
of Radius Records after twenty years of dormancy. Gentlemen
Prefer Blood, in addition to having an awesome name, have
an unpolished enthusiasm that carries a massive singalong
chorus on "New Year's Resolution", while "Rochester"
is a bit darker in tone. Both songs feature voluminous riffs
and harmonies that will have the kids in the pit flying.
Hands Like Bricks are speedier than their partners on this
disc and are not afraid to air their sorrows and sing about
heartbreak. Imagine the Bouncing Souls before they perfected
their craft and you have a sense of Hands Like Bricks, particularly
on "The Old Crowd". "Sunday Stuff" has
a sentimentality that makes it endearing, as the lyrics
celebrate the comfort that can come from a partnership and
how even the mundane activities are yearned for once the
relationship ends. This is not a genre altering release
but it is two very promising bands that could help to form
the next wave of American pop-punk.
 TERROR
- Live By the Code (Reaper Records www.reaper-records.com)
Terror, one of hardcore's most authentic scene veterans,
return with a fury and intensity greater than bands half
their age. Forty year old vocalist Scott Vogel gives life
lessons without preaching on Live by the Code.
Releasing a record that features liner notes that outline
guidelines for living a life of hardcore purity puts Vogel
at risk of sounding like the punk rock version of the neighborhood
curmudgeon who refuses to return a frisbee to a neighborhood
kid after the toy lands in his yard. However, instead of
retelling stories about the old days or criticizing this
generation collectively, Vogel and his mates celebrate the
power and beauty of music through eleven blazing songs.
Fans of Hatebreed and other metal-tipped hardcore will revel
in this, but this is truly a primer as to how hardcore bands
should sound. Live By the Code will undoubtedly
inspire legions of kids to start bands or take their current
band more seriously, but it should also remind old guys
like (OK, to be fair, I'm Vogel's age) why going to shows,
buying merch from young bands, and escaping the annoyances
of work by getting in the pit and yes, even stage-diving,
is so important. The reality of life's lack of fairness
is explored on "Shot of Reality" and the bruising
"Hard Lessons", while the scathing "Nothing
in Your Head" condemns some in the current generation
of being intellectually, socially, and creatively numb.
The themes of inner strength, perseverance, and hardcore
unity that Jamie Jasta has used as lyrical fodder for used
is also apparent on "I'm Only Stronger", the title
track, and "One Blood". This is a soaring example
of how respecting your elders truly means something.
 TONIGHT
WE STRIKE - Bombs and Bibles (Stop the Machine Records www.themachineshoprocks.com)
This politically astute act from Northern Jersey play sharp
punk in the style of Anti-Flag with a healthy dose of Bad
Religion. There is a healthy skepticism and intelligence
to "Slings and Arrows" and "I Play My Role",
two of the highlights of this four song EP. Led by the dual
guitar playing of Kyle DeMilner and Don Yonker (listed on
at least one website as "Donnie Switchblade"),
Tonight We Strike has the musical chops to back up their
verbal acumen. This is thinking man's punk without any superfluous
musicianship, as the title track blazes by quickly. I know
there are legions of bands who listen to No Control and
attempt to recreate it, but I never tire of this and I certainly
hope that Tonight We Strike carry on with their messages
and skill.
 PLACEHOLDER
- I Don't Need Forgiveness (Black Numbers Records www.theblacknumbers.com)
For an outfit that has only been together for just over
two years, Placeholder has a command of their sound that
is impressive. I Don't Need Forgiveness sees the band stretch
itself in a variety of directions, as there are songs that
barely hang around for two minutes, while others, especially
the five minute-plus "One Year" expound upon a
style that is reminiscent of intelligent, emotive acts such
as Cursive. Thundering bass lines and rapid-fire drumming
give way to enchanting guitar fuzz on "Caught the Crown"
and "Everything's Boring", while the title track
rumbles furiously. There are two strange musical interludes,
the instrumental "(I)" and "(II)" that
last forty seconds each and are unnecessary, although the
latter does feature an interesting pairing of a loud open
chord with a subtle etherial touch. However, these two breathers
aside, I Don't Need Forgiveness is an emotionally combustible
record, both introspective and engaging, reaching its apex
on both points with "December, 2011". Articulate,
occasionally self-deprecating, and musically gifted, Placeholder
is a fascinating act. The Emo Diaries may be gathering dust,
but perhaps new chapters can and will be written by this
Harrisburg, Pennsylvania product.
 SHELLSHAG
– Shellshag Forever (Don Giovanni Records www.dongiovannirecords.com)
Normally I am not a person drawn to punk-pop that is romantic
and effervescent, but there is just something unwaveringly
enticing about Shellshag. I am a sucker for a great backstory,
and John Driver and Jennifer Shagawat have spent the better
part of two decades making music together as a couple, and
their loves for each other is obvious. The opening “Face
to Face” talks about being “birds of a feather”
and “growing old together”, while the two exchange
darling memories on “Sweet Hoodie”. The shared
vocals of “Forever” are heartfelt and passionate
over the hum of a warm guitar riff and steady backbeat, and
even when Driver repeats “liar, liar, pants on fire”
during “Driving Song”, I cannot hate the guy for
it. I am reminded of other wonderful duos such as The Softies
or more fittingly, the Spinanes, but Shellshag have a greater
musical complexity, best heard on “I Love You Anyway”,
a track easily relatable to all couples who stay with each
other and remain focused on creating happiness even times
are not the best or one of the partners is not always making
life pleasant. It’s a great message from a band that
write love songs in a mature manner-these songs are not about
first meetings and the freshness of a relationship in its
infantile stages, but rather celebrating the delight that
comes through years of shared experiences. The songs are quite
brief and this entire disc is under a half hour, but one does
not feel cheated. Instead, the brief snippets of daily relationships
provided here are wonderful images, each played with direct
and highly melodic guitar work. Maybe I’m getting older
and more sentimental, but I love what I hear on Forever, and
score another victory in the long and impressive history of
Don Giovanni.
 THE
ALL ABOUT - Suburban Heart (theallabout.bandcamp.com)
Listening to Suburban Heart makes me wish I was young,
and it is also illuminates Zac Coe’s remarkable ability
to recognize life’s changes despite his youth. The efforts
on Suburban Heart speak of leaving, but not necessarily
loss. Songs like “Nashville”, the title track
and “Whatever, Happy Birthday” are about growing
up and moving on, but always s early 20’s, but Coe paints
dazzling images, such as a reference to a girl picking “grass
up with her feet” in the delicate “Heat Wave”.
Musically, Suburban Heart retains much of what made
their debut Winterpop so charming, which is an adherence to
genteel pop with warm textures, but subtle touches such as
the strings on “Lyla Garrity” or the synths that
morph into a complex pop-rock gem with an ode to Springsteen’s
“Rosalita” on “Bridge and Tunnel”
indicate wonderful growth from a songwriter sophisticated
beyond his years. Just hold on to your youth Mr. Coe; trust
me
 NIGHT
BIRDS - Born to Die in Suburbia (Grave Mistake Records www.gravemistakerecords.com)
They are back: Night Birds, America’s best punk band,
if not most important band, returns with Born to Die in
Suburbia, a fourteen song collection of ferocious and
crucial musicianship. The opening “Escape From New York”
celebrates this band’s long-running fascination with
the Dead Kennedys, as the guitar playing screams with the
intensity heard on “Police Truck”, and this loving
homage is repeated on a second instrumental “Silver
Alert”. However, while one can certainly hear a multitude
of Southern California punk influences, ranging from Adolescents
to Circle Jerks to TSOL, Born to Die in Suburbia truly separates
Night Birds from scores of other acts that attempt to recycle
old styles. Everything on Suburbia is fresh, inventive, and
played with a fearless recklessness that is impossible to
dislike. The title track rages in a firestorm of snotty indignation
that also possesses a sly melody that eludes other bands.
Night Birds are not solely intent on blinding fury; instead
much of Suburbia includes subtle harmonies and catchy
choruses that make each song a track one puts on repeat. “Modern
Morons” is my favorite of the disc, as the aforementioned
SoCal punk is mangled through a SSD-style meat grinder and
the result is a perfect blend of raw energy and pure delirium.
The entire record is a seizure combined with a sugar rush
as “No Spoilers” barely hits the forty second
mark and the brilliant “Ads in my Eyes” grants
you its presence for under ninety seconds. Yet, despite the
brevity, there is more musical acumen and honest emotion in
these two fleeting gems than what the overwhelming majority
of bands complete in a career. To this end, Night Birds display
greater confidence and growth as a band, stretching out their
sound on “Nazi Gold”, a tune with a more deliberate
tempo and accents that one has not previously heard from the
band. Yet, one should not fear, as “Nazi Gold”
is no less noisy or confrontational than any of the Birds’
best moments. Similar steps are heard on “New Cults”,
a song dark in tone and topic with wonderful references to
both Patty Hearst and David Koresh, and “Less the Merrier”,
a song with easily the thickest and most punishing guitar
riff on Suburbia. There is simply a dearth of bands
with the chops to successfullyl deliver“Pretty Poison”
or “Maimed for the Masses”, as these songs are
steeped in classic punk aesthetics, but have a contemporary
sound that cannot be rivaled. There are no tags preceding
or following the music of the Night Birds; this is just stripped
down, bare knuckled guitar punk with uncontrolled and infectious
exuberance. The disc closes fittingly with the aggressive
harmonies of “Golden Opportunity”. It is a delight
to hear a band with such great promise as the Night Birds
deliver upon their talents.
 HUGE
- 7-inch EP (681 Productions)
Huge play traditionally structured punk with nods to classic
tones and energy without descending into the realm of cover
band. Utilizing strong guitar playing and a sense of harmony
that often catches the listener by surprise, “Blackheart”
and “Sun on My Back” are rollicking, hard-throwing
efforts that highlight the distinctive voice of Russ Iglay
(of Underdog fame; brother Dean plays drums.) His is not
the guttural growl usually associated with bands of this
ilk, but it retains a passion that is authentic. “Homefree”
is the most hook-rich song on the four efforts presented
on the self-titled seven inch, and it is a streamlined blast
of unadulterated rock n’ roll energy with a punked-up
aesthetic. There is limited information about this band,
but any act that produces a single on white vinyl with swirled
colors is already a success in my book.
 CLOAKROOM
- Infinity (runforcoverecords.com)
Cloakroom is a mysterious act with a style that is simultaneously
easily identifiable and puzzling. Infinity is a collection
of five songs of shoe-gaze style bombast that is heavy on
the bass and steeped in fuzzy guitar. This overwhelms the
listener on “Dream Journal”, a grandiloquent piece
that is illuminated by a handful of clever guitar tricks which
mirrors “E”, another song that is brutally suffocating.
The listener is subjected to weighty riffs that induce a form
of musical water-boarding; Cloakroom leaves no air to exist
within these two songs, and therefore are my favorites on
Infinity. Less crushing are “Sedimentary” and
“Bending”, as both tracks feature more room for
movement within their walls of sound. “Bending”
has a more pronounced vocal harmony with a rousing buildup
to the song’s distortion-bathed conclusion. Reminiscent
of the best work of My Bloody Valentine or Ride, Cloakroom
is able to construct interesting songs around what is largely
a singular monolithic riff. While the closing “Mynd
Funeral” has subtle elements of Sleep’s immortal
“Holy Mountain”, this is not seminal or groundbreaking.
Instead, this is an exciting release from a band with true
promise. They could perhaps benefit from dissecting some of
Jesu’s finer material, but I like what these guys are
doing.
 THE
SIRS - Miserable (Psychic Volt Records www.psychicvolt.com)
I am instantly struck by the heavy stock and quality of the
multi-colored slab of vinyl found within the seven inch sleeve
for The Sirs, and I am thrilled that the quality of the playing
matches the beauty of the vinyl. The opening title track is
bouncing, buoyant pop-infused gem of a song that liberally
incorporates New Wave energy into an easily memorable song.
This is juxtaposed by the frantic force of the blistering
“Handshakes of the Industrial Revolution”, a track
of boundless energy and unrestrained power. The Sirs are difficult
to summarize as they morph into various forms of punk and
pop, and this shape-shifting skill is their most alluring
trait. “Songs About Volcanoes” has a warmth and
harmony reminiscent of the salad days of 90’s indie
rock. This richly textured song presents yet another musical
trick from this band’s seemingly endless collection.
The closing “Older Sister” is a fuzzy wave of
guitar force driven by garage-band aggression and a complete
lack of pretension. This is a glorious effort from a band
that has the capability to become anything it wants, and hopefully
that includes becoming massively successful.
 X-MEN
- Kid Blast (Brighton Bar Records www.BrightonBarRecords.com)
As I age, I continue to notice numerous changes; for example,
looking at young starlets makes me uncomfortable and I am
finding older women much more attractive. I also love when
old guys strap on their instruments and give Father Time a
kick in the ass. The four-song Kid Blast EP from Jersey’s
X-Men is a raw and unpretentious celebration of punk fury.
The opening title track and “Rear Admiral” have
huge hooks and combative choruses delivered through the prism
of fuzzed-out guitar power. This is not three-chord, two-minute
blasts, however; X-Men create songs that are broader in scope
but still possess a blunt straightforwardness that makes them
endearing. Greg Gory’s vocals are as gruff as his guitar
playing, and his curt delivery is accented by the work of
fellow guitarist Hinge, particularly on “Life”.
David DeSantis and drummer Rafe Levinore play with an intensity
that defies their ages, but this is made even more impressive
by the fact that this is the band’s first release since
the late 1980’s. Kid Blast is a fun slab of unrefined
punk that kids of all ages should pick up.
 PORNOPHON
5 (Hasscontainer Music www.hasscontainer.de)
I have long admired the DIY ethic, be it elemental recording
quality or press releases with glaring typos. Pornophon has
both here in conjunction with their new release, 5. The disc
captures a band laboring through nine songs of borderline
hardcore with standard chugging riffs and breakdowns. The
second track, “Nothing”, encapsulates the disc
for the song trips over itself in a failing effort to be skull-crushingly
heavy. It is a nice attempt but sadly comes across as clichéd,
even with a detectable German accent. Both “Strikedown”
and “Walk” attempt to capture a more melodic sound,
but the band is more effective when the guys simply rage,
as heard on the bruising, albeit a bit juvenile, “Suck
City is Ours” or “Something Quick”. Despite
being the most interesting song of the bunch, “WRCDRMX”
featuring DJ Klitstarr is frightfully out of place. This is
certainly not the worst crime Germany has inflicted upon the
world, but there is no need for these guys to hurry over to
the US.
 RETOX
- Ypll (Epitaph Records www.epitaph.com)
Justin Pearson leads Retox and that is I all I need to know:
Pearson is the bassist for the immortal Locusts and Retox
captures much of that band’s penchant for noise and
harrowing musical delivery. However, rather than simply recreate
the powerviolence fury of Pearson’s primary act, Retox
combines the aforementioned with qualities of more traditional
punk. While “Greasy Psalms”, “You Lost Me
at ‘It Wasn’t Your Fault’” and “Biological
Process of Politics” decimate all in their path, traces
of the earliest forms of hardcore are also heard on “Don’t
Fall In Love with Yourself” and “The Art of Really,
Really Sucking” (“nothing’s going to be
OK”), while “Congratulations, You’re Good
Enough” features Nick Zinner of the Yeah Yeah Yeahs
on guitar. As Pearson screeches “Now it’s time
to grow up and die” on “I’ve Had it up to
Here, I’m Going to Prison”, he taps into the brilliant
chaos heard with my favorite Pearson side band, Some Girls.
What separates Retox, and on an individual level a performer
such as Pearson, is an ability to possess an element of refinement
and sophistication within the madness encircling one’s
self. The heavy bass line that drives “Consider the
Scab Already Picked” is downright catchy and harmonious,
proving that Retox are not interested in shocking listeners
with an undisciplined mass of swirling clamor. Granted, the
songs are often delivered with super-human speed and vehemence,
but this trait is a hardcore staple and forces the listener
to start from the beginning numerous times over. I listened
to YPLL six consecutive times in one sitting and became increasingly
awed by what I heard. With relentless drumming and subtle
touches of melody and guitar twang, Retox is closer to acts
like Fucked Up or members of the old Amphetamine Reptile roster
more than unadulterated noise-core. Regardless of title or
label, YPLL is a flawless record led by a true genius of the
underground.
 STAND
YOUR GROUND - The Chaos Around (District 763 Records www.disctrict763.com)
Stand Your Ground does not do anything revolutionary, but
they are a steady act that plays with true sincerity. The
Chaos Around proves that American hardcore has permeated Europe’s
rich history as this German act borrows heavily from Yankee
Doodle punk and metalcore on “Remember” and “Time
for Action”. Call and response vocals, chunky guitar
riffs from Carl and Greg, and breakdowns abound on the chest-thumping
“We Rape Your Scene” and the defiant “I
Think So” and “Flawless Victory”. The ten
songs on The Chaos Around fly by quickly and must be replayed
to have and lasting impact, but vocalist Robin howls with
great passion over the top of a punishing yet at times surprisingly
melodic din. This is not an act that will in any way reinvent
a genre, but their commitment to a sound of which I never
tire of hearing is commendable.
 THE
EVERYMEN - A Very Short Tribute to Jonathan Richman (Oedipus
Records www.oedipusrecords.net)
Jonathan Richman’s long and storied career, both with
and without Modern Lovers, is lovingly (sorry) honored here
by New Jersey rockers The Everymen. This is a fitting band
to attempt such a feat, as The Everymen are anything but ordinary;
with a line-up that includes up to ten members, there are
few acts with the bravery needed to re-record Richman’s
songs. Yes, “Pablo Picasso” has become a much
covered anthem, but Richman’s more delicate pieces are
on display here. The lush “Down in Bermuda” sways
with tropical warmth, while the closing “New Jersey”
should be used as a celebration hymn to the revival of the
state following the horrors of Sandy. “Just About 17”
and “When She Kisses Me” are beautiful, innocent
works that are reflective of Richman’s musical approach.
His longevity is the result of unwillingness to compromise
and a whole-hearted desire to produce music that is both personal
and intimate without becoming overly serious. This is wonderful
escapist music by an unforgettable artist. What The Everymen
do here is worth celebrating, not only for their talents,
but also for introducing the work of a true American treasure
to a broader audience.
 NIGHT
BIRDS - Maimed for the Masses EP (Fat Wreck Chords www.fatwreck.com)
Pound for pound, the best punk band in America returns with
four furious pieces of surf-punched brilliance. Since forming
in 2009, Night Birds has consistently improved with each release,
moving beyond their classic 80’s hardcore influences
and becoming a uniquely powerful act with a distinct sound.
Maimed for the Masses will make Night Birds fans salivate
for their next release, on which the title track will be found.
Staying true to their style, “Maimed” features
lyrics about the rough and tumble career of professional wresting’s
immortal Mick Foley (Cactus Jack, Dude Love, and of course,
Mankind), but the words could also be a metaphor for the band.
Knocked down, bloodied, and driven by an intensity few share,
Night Birds are punk’s Mick Foley-rugged and uncouth
externally but with a shrewd intellect. The song trembles
with energy and Brian Gorsenger’s vocals are matched
by the roaring guitar work of PJ Russo. There is simply nothing
to not like about this band. The B-side includes three brief,
screaming gems that will not be on the band’s next release,
but could easily become live staples. This is particularly
true of the manic “Last Gasp”. Morbid in lyrical
content but exhilarating musically, it is the centerpiece
of a second side to a single that ends far too quickly. Go
out and find this immediately.
 BIG
EYES - Almost Famous (gravemistakerecords.com)
There is absolutely nothing to dislike about this band.
Kate Eldridge’s vocals are beautiful and overflow
with emotion, while C.J. Frederick and Chris Costalupes
round out this sterling trio’s sound. Once centered
in New York, the band now calls Seattle home but the geographic
shift has not altered the infectious hooks and crisp songwriting
that defined their earlier work. The buzzing guitar of “Half
the Time” is my favorite of Almost Famous, but the
Muffs’ style of “Wanted Sometimes” and
the lush harmonies of the biting opener “Nothing That
You Can Say” are other highlights. What I always enjoy
about Big Eyes is their unwavering adoration of punky harmonies,
ala the Descendents or mighty Ramones, best heard on the
one-two punch of “Ain’t Nothing but the Truth”
and “Can’t Catch a Break”. The blurry
guitar riff of “I Think of You” blankets a rich
chorus and Eldridge’s vocals are majestic while the
closing “You Ain’t the Only One” roars
with the energy of a garage band’s first gig. This
sense of purity and raw enthusiasm is Big Eyes’s greatest
trait; the band simply rocks, and there is nothing corny
about that statement. Almost Famous is also another step
in a young band’s increasing proficiency as songwriters,
working together as a flawless unit. Snarling and raw yet
somehow still mature, Big Eyes must become a national name
if there is any justice in the world.
 LAWNMOWER
- Whack Yr Brain (saveyourgenerationrecords.bandcamp.com)
This one truly makes me feel old; there is a tangible 90’s
revival feel to Whack Yr Brain which is fantastic, but also
documents my aging process. Sounding like 1993 never ended,
Lawnmower makes pop-infused, somewhat rambunctious indie
rock with harmonious vocals and occasional blasts of guitar
punch. The finest example of both comes on “Party
Favors”, a rugged piece with a clear J Mascis homage.
The closing seconds of feedback also hearkens back to an
earlier time and is a great lead-in to “Spinner’s
Got a Mohawk”. With its alternating moments of fuzzed
out chaos and sudden sense of purpose, it borrows from acts
like Archers of Loaf and Sebadoh. The closing “Adams”
is a mid-tempo slab of droning guitar and distortion which
demonstrates a tremendous evolution of a band over the course
of only five songs. The “oh-oh-oh’s” that
dot the middle of the opening “Team Spirit”
seem a world away by the time one finishes the record. As
I listen I am consistently bombarded by the belief that
there is even more musical experimentation alive in this
band. Yes, they clearly studied the grunge-era classics,
but to possess the courage to integrate pop and noise into
an accessible art form is quite an achievement.
 MAN
OVERBOARD - Heart Attack (www.defendpoppunk.com)
I am nervous when a band takes its name from a Blink-182
song, but I try to enter each disc I hear with an open mind.
Man Overboard does what they do exceptionally well but I
can only take a few songs before I grow tired of this. The
New Jersey five-piece consistently provide bouncy, upbeat
pop-punk without pretention or concern for those who deride
this style on the title track, “Boy Without Batters”,
“Where I Left You” and “Swan Dive”
to name but a handful. Nothing here is much beyond three
minutes, as Man Overboard taps into the classic three chords
and three minutes philosophy that also dictates this genre.
There are moments of slightly intensified playing, such
as “White Lies”, as its initial guitar flurry
carries the track, but much of the work here follows a blueprint
of controlled guitar playing tinged with just enough angst
and accented by sweetly melodious vocals. There is nothing
about Man Overboard that help push pop punk in a new direction,
but my larger concern is a lack of sarcasm and cynicism
that makes the pop-tinged punk of bands like the Queers
and Riverdales so enjoyable. If a band prides itself on
an unrepentant devotion to a sugary brand of punk, at least
have a few snarky things to say. The band finally loses
me on “Hoodie Song”, a track that sounds like
a Sum 41 cover band, and the closing “Wide Awake”
will undoubtedly be a summer anthem for love-struck tweens.
This will certainly be in heavy rotation at post-prom parties
and will be quoted on Facebook pages, but I’ll hang
out my angrier friends.
 RED
HARE - Nites of Midnite (Dischord records www.dischord.com)
Veterans of the DC hardcore scene of the 80’s reunite
and do something very shocking: they create music as fresh
and vibrant as they when they were much younger men roaring
through angst-infused punk. For those of a certain age, names
such as Swiz and Dag Nasty connect images of hardcore’s
infancy, a writhing, furious spawn of punk’s waning
days, and the voice of Shawn Brown is instantly recognizable.
To his credit, Brown’s vocals are as potent now as ever,
delivering biting lyrics and highlighting the disc’s
outstanding bookends, “Horace” and “Fuck
Your Career”, respectively. “Horace” rips
apart those who cannot move forward (“you only talk
about how your life once tasted/ post snapshots of a scene
and how you once graced it”), while “Message to
the Brick” could be applied to any political leader
of any party today (“It just dawned on me you don’t
give a fuck about my life/past my vote and my money prettying
on a misplaced sense of pride”). In the midst of Nites
of Midnite the band displays a wizened balance of harmony
and force, whether it takes the form of the straight forward
explosions “Dialed In” and “Hello Disaster”
or the mid-tempo, Fugazi-like title track. The trio of Jason
Farrell, Dave Eight (Brown’s companions in Swiz), and
drummer Joe Gorelick construct thunderous anthems with a resounding
sense of melody and mature song structure. Although this ends
too quickly, Nites of Midnite is a proud return for these
skilled old pros.
ARROWS IN HER/GIFTS split (Meadowbrook Records www.meadowbrookrecords.com)
These two Jersey bands are both new to me, but hopefully
I am among the few that can admit that. The four song split
is a wonderful primer on two young acts with distinctive,
yet equally engaging approaches. Arrows in Her’s opening
“It Tired Me All the Same” is highlighted by
intricate guitar work and vocals that retain a controlled
intensity. This is matched by “I Watched a Show About
Space”: melodic, yet not predictable, the song includes
warm harmonies that carry the song along a cascading wave
of ethereal beauty. Both efforts from Gifts are more direct
and intense in their approach, as “Strange”
opens with an aggressive guitar riff before settling into
a warm groove, replete with emotionally-tinged vocals. “Afraid”
is as equally aggressive as its predecessor, but the power
is not chaotic. Gifts channel passion into intimately constructed
efforts that pull the listener into the heart of the song.
This is the ideal split effort, as both bands entice the
listener, namely me, to go out and find earlier releases
while also looking forward to future works.
IMPLANTS - From Order to Chaos (Cyber Tracks Records www.cyber-tracks.com)
The term “super-group” is generally met with
a sense of skepticism, particularly in the punk world, and
quite often for good reason. However, for fans of melodic
punk it is difficult to find a collection of players more
accomplished than the fellows in Implants. With members
whose résumés include stints in Strung Out,
Death By Stereo, and Pulley, to name-drop only a fraction
of their histories, From Order to Chaos is a sterling collection
of unapologetically harmonious punk with a bit more fury
behind the instantly catchy choruses than traditionally
heard. While “Life Passes” and “Through
the Window” capture youthful, buoyant anthems, “Puppet
Regime” is a vicious assault of face grating energy,
and “Bleeding Through” includes a shredding
guitar solo that once again diverts from the traditional
mold of melodic punk. It is easy to become swept up in the
tsunami of Implants as the playing is remarkably crisp and
precise, demonstrating both a wealth of talent forged from
years of playing and touring, along with a desire to continually
push forward as a band. It would be incredibly easy to simply
reproduce records in the style of their past bands, and
doing so would undoubtedly attract legions of fans, but
Implants include hardcore and even understated metal touches
sporadically through From Order to Chaos, making songs such
as “Mutualism” and “Unveiling” so
impressive. The sum of the parts of this band results in
a highly impressive release that will teach up and comers
how it’s done.
NIGHTSHADE - An Endless Vision (www.facebook.com/nightshadeofficial?)
For those who want more metalcore, I salute you. The men
of Night Shade take a very familiar metal style and somehow
make it work, largely because these guys can truly handle
their instruments. Are all the prerequisites there for a
true metalcore record? Alternating clean/growl vocals? Check.
Breakdowns galore? Check. Moments of occasional surprise,
such as the truly beautiful harmonic vocals on “Contemporary
Ascendency”? hey…that’s a little different,
and unexpected curveballs such as this keep this record
from falling into the black hole of the thousands of other
bands doing this. Night Shade has been around for quite
a while and the combination of French and American musicians
give it an international quality that defies most bands,
as these guys borrow liberally from both American and European
metal, adding complex shifts in tempo and structure that
the kids who are finally old enough for their first tattoo
cannot do convincingly. Tracks such as “Amiss Desire”
and “Betrayal” are brutal enough for any circle
pit newbie, but still exciting and intricate enough to hold
the attention of battle-tested veterans. Night Shade have
a difficult road to travel in terms of metalcore, and they
nicely balance the barbaric nature of the music without
becoming obtuse, but also understand how to punch the listener
silly for three minutes and then move on to the next track.
None of the songs here include labyrinthine time sequences
that usually confound listeners, but this is not your local
high school kid-fronted band either. In short, there is
nothing revolutionary about Night Shade, but who cares.
I want metalcore to simply kick me in the head, help me
up off the floor, and then do it again. An Endless Vision
achieves that, and that is more than can be said the majority
of the acts of this genre.
SO SO GLOS - Blowout (www.sosoglos.com)
This Brooklyn act is part of what could be called the post-millennium
punk movement. These were the kids growing up under the
influence of Kurt and others and may be even more disillusioned
that their influences were, and one can understand why.
However, rather than generating, angry, almost-self destructive
pieces of abrasive noise, these bands, and one can include
Surfer Blood, Waaves, or Parquet Courts, create kinetic,
sardonic, and intellectually cutting indie rock that shimmies
more than it snarls. In short, these guys have more in common
with the Feelies or Mission of Burma than they do with the
Jesus Lizard. Granted, there are moments of genuine disgust
turned into soaring guitar force, particularly the triple
play of “Xanax”, “Blowout”, and
the Rancid-like “Wrecking Ball”. These kids
are also shrewdly aware of the disappointments created in
the twenty-first century. Summaries of life’s frustrations
include observations such ”graduate from twenty years
of school to the slums” (“Wrecking Ball”),
“There’s no one here by the insincere”
from “Diss Town” and “Fuck your good vibe”
from “All of the Time”. Even the muffled, sarcastic
sing along of “New York, New York” that opens
“Speakeasy” reflects the derision and wide-eyed
pessimism that encapsulates contemporary America. Despite
the poppy guitar riffs and even the hand claps that dot
“Everything Revival”, the So So Glos bristle
with energy and produce a rollicking gem, while the acoustic-kissed
“Island Ridin’” includes warm background
vocals and sing along lyrics. Balancing a DIY ascetic while
still attentive to details and unafraid of sounding a bit
too bubbly, Blowout is a great example of contemporary indie
rock.
UNCLE ACID AND THE DEADBEATS Mind Control (Rise Above
Records www.riseaboverecords.com)
Whenever I receive an email from the legendary Jim Testa
that says simply “this will blow your mind”,
I know I am in for something special. Uncle Acid and the
Deadbeats do not disappoint. Currently in the same Rise
Above stable of artists as Gates of Slumber, Unearthly Trance,
Witchcraft, Orange Goblin, and Ghost (well, we can’t
all be perfect), Uncle Acid and the Deadbeats creates gloomy,
heavy as concrete metal with an escapable groove. Hovering
between late sixties’ psychedelia and Tony Iommi’s
finest moments, these four Englishmen may give life to Alistair
Crowley’s long rotten corpse on the thunderous opener
“Mt. Abraxas”, the sludgy, low-end driven “Desert
Ceremony”, and the disturbingly serene “Death
Valley Blues”. My personal favorite, “Evil Love”,
comes out of the gate like something from Masters of Reality,
peppered by elements of classic New Wave of British Heavy
Metal. Somehow, incredibly, in the midst of the suffocating
mix one finds grandiose harmonies and a band not afraid
to expand the boundaries of what normally qualifies as doom
metal. What also must be admired is that, despite the overt
Sabbath worship, Uncle Acid and the Deadbeats are skilled
enough at their craft to avoid becoming a cliché.
The aforementioned “Ceremony” includes wraithlike
vocals that are fittingly haunting, and “Follow the
Leader” could sit next to anything on Magical Mystery
Tour. Mind Control is certainly a sludgy, meandering brand
of metal, but this not devoid of energy or excitement that
plagues so many others in this particular sub-genre. Drowned
in reverb and low-end pounding, “Valley of the Dolls”
is a jarring trip through the darker recesses of one’s
mind, both musically and spiritually. The concluding explosions
of feedback-drenched power are a thousand times more heavy
than any death-core band attempting the frighten people.
The concluding ninety seconds of hiss and wind that wraps
up “Devil’s Work” should connote the opening
seconds of Black Sabbath’s debut, a sound as chilling
now as it was over four decades ago, and Uncle Acid come
as close as any act I have heard at recapturing that same
sense of eerie fear. Uncle Acid and the Deadbeats puts other
acts of their ilk to shame, burying them under a wall of
blunt force intensity. My mind, and my speakers, were indeed
blown.
JOWLS - Cursed (Tiny Engines www.tinyengines.net)
Jowls is a band that is new to me but I absolutely adore what
these three kids do. Staggeringly passionate and explosive
from the opening seconds of “Ruins”, there is
a frantic energy that surrounds this band. Ryan Martin sounds
as if he is screaming for his life and the songs possess a
complex but not convoluted structure. There are no superfluous
riffs inserted just for show, but each wave of force builds
upon itself into a crescendo of soaring intensity. The blunt
force of “Shamewalker” and the crushing intimacy
of “Stay Low” are played with an emotion that
cannot be fabricated. One can hear the pain and toil that
defines the band in each syllable uttered within Cursed. The
latter of the two aforementioned efforts gives way to the
stirring and lengthier “Long-Winded”. With a longer
musical introduction before the arrival of the vocals, Jowls
creates a protracted tension before launching into a furious
demonstration of speed and power. This is a mandatory listen.
 LAND
OF BLOOD AND SUNSHINE - Servants and Light (www.whoaboatrecords.com)
This is one of the strangest musical experiences of my recent
memory. Servants and Light sounds like the type of music played
by hobbits as they journeyed on a quest but got lost in the
forest and ended up as the house band for a wood sprite bar.
Each of the twelve songs is mystical without becoming clichéd
as lush and richly harmonious female vocals carry the record.
“Wormwood”, “Age of the Sparrow”,
and “Night Rainbow” are stirring pieces of kinetic
folk with a pop sensibility and more daring than other acts.
Accompanied by equally perplexing art, Land of Blood and Sunshine’s
visuals are as intriguing as their music. This is not a style
I would actively seek out on my own, but this is a fascinating
release. Levitating with ethereal beauty, Servants and Light
is folk music for people who would otherwise run from folk
music. Stripping itself from any convention, land of Blood
and Sunshine do something remarkable, which is to generate
wholly unique musical visions.
 RUN,
FOREVER - Settling (www.tinyengines.net)
Run, Forever is a dazzling band and Settling is a beautiful
record of soaring intensity. All of Settling is pop-tinged
but is also highlighted by a serious edge and poignant, introspective
lyrics. While there is a tangible sense of melodic, indie
punk, Run, Forever alternative tempos and every song stands
distinctly alone yet retains a commonality within the larger
context of the disc. Anthony Heubel is a majestic singer,
particularly on “Basement” and “Nothing
to Say”; both tracks are accented by serene qualities
before surrendering to Heubel’s boisterous guitar riffs
and the rock-steady flawlessness of rhythm section Cassie
Staub and drummer Tom Moran. Many of the songs address maturing,
fear, and the questioning involved in searching for one’s
true self. Sophisticated and daring, the lyrics need to be
read as one listens. The understated “Braddock Beach”,
the warm grooves of “Postcards” and the subdued
“Close to the Sun” are all accented by soulful
tales of self-exploration and the harsh realization of life’s
more unfriendly qualities. The concluding “Forget”
is a bit bouncier than the majority of the other efforts on
the B-side, and is a perfect finale to a highly memorable
record.
 AUTHORITY
ZERO - The Tipping Point (www.hardlineent.com)
It is difficult to believe that Authority Zero has nearly
twenty years of playing and touring behind them, yet The
Tipping Point is only their fifth studio record. This
clearly speaks to the sheer will and determination found
within this band, and those traits shine through on each
of the twelve tracks found within. Dealing with numerous
line-up changes that would cripple a band with weaker constitutions,
The Tipping Point roars with a fury and urgency befitting
today’s world. The opening “No Other Place”
is a manic track played with staggering energy and is a
perfect table-setter for a disc that slams fiercely but
is anything but a one-speed pony. “For the Kids”
and “Lift One Up” are classic anthems of pride
and hope that channels a Pennywise style vibe, which is
fitting as The Tipping Point was produced by Cameron Webb
whose credits include the aforementioned act. Playing with
tempo and intensity, “Today We Heard the News”
is layered song of various musical structures, while “On
the Brink”, “21st century Breakdown” and
the title track all provide a clear world view through the
eyes of well-worn veterans who continue to fend off challenges.
This trio is each a guitar fueled punk gem that delivers
messages succinctly and articulately. Much like Bad Religion,
Authority Zero address social concerns from a wizened perspective
but still burn with an inextinguishable anger about what
they see. Intelligent, thunderous, and flat out catchy as
hell, The Tipping Point is Authority Zero’s
finest hour.
BRIDGES AND POWERLINES - Better (Daisy Pistol www.daisypistol.com)
There seems to be a dearth of acts that truly capture how
indie rock should sound, or at least how I think it should
sound. Forgive the narcissism, but as a front-row fan of
all things 90’s indie explosion, I have a heartfelt
appreciation for what Bridges and Powerlines do on Better,
for it is a throwback in the most sincere form. Delicate
where appropriate, aggressive when necessary, Bridges and
Powerlines paint intimately personal stories with Brooklyn
as a backdrop. When “we’re finding a way”
is emoted on the opening “Bushwick”, it is both
a positive and wary declaration of survival. The bouncy,
sugar-powered pop of Williamsburg cannot be taken on face
value, for its’ bubbly musicianship is off-set by
a far more solemn vocal delivery. The record reflects upon
the tumultuous year for the members of the band, and the
six songs capture the heartbreak and perseverance found
within. The sullen “East New York” possesses
a harrowing beauty with a haunting refrain of ”and
I was young, and I was wrong” hovering like a gentle
mist with a soaring immediacy. Touching, poignant, and supremely
played, “East New York” stands out as the seminal
effort of the half dozen here, but go find this immediately
and decide for yourself.
 NIGHTMARES
FOR A WEEK - Civilian War (Suburban Home Records www.suburbanhomerecords.com)
Glancing at the title, I brace myself for a visceral attack;
yet again, I am proven wrong about what I thought I knew.
Nightmares for a Week play wonderfully towering rock with
energy and limitless enthusiasm. The opening “Down
in the Streets” is a rollicking piece with a massive
chorus and pop-kissed guitar. There simply is not a misfire
among the ten tracks delivered by this highly gifted trio.
From the pounding “Dead Men” to the more serene
and refined “Cancer Kills”, Civilian War rattles
and bashes with a broad smile on its face, as heard on “Let’s
Talk About Healing” and the closing “We’re
All Going to Hell”. There is an instant sing-along
character to the work here that is the hallmark of sharp
songwriting. In short, these guys know how to write a hook
and they seem to have a surplus of them; the glowing “waoh”
on “The Destroyers” and the aforesaid closer
will be a calling card for the audience to join in, while
“Bloodshot Monday” is a clinic in grown-up guitar
savvy rock. If you consider yourself a fan of elemental
and desperately necessary rock n’ roll played free
from frills and any genre-bending antics, Nightmares for
a Week is a mandatory find.
 THE
COLOR MORALE - Know Hope (Rise Records)
The Color Morale has everything the kids want in their music
and they show their wears off on each song of Know Hope. The
vocals alternate between guttural growls and clean, emotional
cries, the keyboards are present, but buried somewhat innocuously
in the mix, there are breakdowns that are both heavy and occasionally
atmospheric, and finally, there are ample opportunities to
do spin kicks in the pit or storm the front of the stage to
sing along during a particularly dramatic moment. In short,
The Color Morale is an amalgamation of bands ranging from
A Day to Remember to Born of Osiris to fill in the blank of
the hot local band in your town doing this. The songs on Know
Hope may bleed into each other a bit, but the playing is very
tight and the intensity is authentic. For me, the breakdowns
in “Learned Behavior” and “Strange Comfort”
interrupt the structure of the tune, and the vocal delivery
that occasionally straddles the line between yelps and rap
is also too derivative. These kids ultimately come across
as a band that is simply trying too hard to be all things
to all people, even as they publicly assert overt Christianly
themes. The harmonies are soaring (see “In Light In
Me” and “Steadfast”) and sporadic moments
are quite bombastic, such as the unfortunately titled “Saviorself”,
but Know Hope reflects the play on words of the title-kind
of clever for the naïve, but clichéd and hokey
for the rest of us.
 GO
DEEP - Counseling (godeep.bandcamp.com)
Go Deep is a Brooklyn-based hardcore act that performs the
type of hardcore that makes Brooklyn proud-it is furious,
passionate, and delivered at a break-neck speed. The majority
of the seven tracks struggle to reach the one minute mark,
but their brevity does not limit their impact. Beginning with
the ominous-sounding hum of “Late Notice”, Counseling
is an unapologetic wave of blunt aggression, yet the riffs
are present as well. The crushing breakdown on “Leave”
is organic in its delivery and in no way comes across as a
trendy decision, while “Elders” is a pummeling
two minutes of sludgy groove. Other pieces here eschew subtlety
entirely and simply decimate the listener, particularly “Glossectomy”,
“Bundle of Joy”, and “Lockout”. With
lyrics that are clearly articulated at times, Go Deep speaks
of one’s conflicts, both internal and external, and
the often unpleasant ramifications of the choices made. There
is a vast assortment of tough-guy hardcore in existence already,
but much of it is derivative plagiarism of Sick of it All
or Agnostic Front. Go Deep avoids falling into his mire and
produces fresh sounding hardcore, which is quite a feat in
2013.
 NO
MISTAKE – “4 More From No Mistake” EP
(nomistake.bandcamp.com)
Like the title of this EP, the music of No Mistake is not
interested in any pretention or unnecessary symbolism as they
unleash old fashioned hardcore fury. The band, led by Mike
Bullshit, gives the listener four songs in about four minutes
with the minute and a half long “Put Me Away”
clocking in as the epic of the bunch. “Copied, Folded,
and Stapled” kicks the all too brief extravaganza off
with an anthem that will instantly get the pits moving and
the kids screaming along. That is, of course, until the band
plays “No Lies”-a no frills slab of truly classic
hardcore delivered by musicians who actually understand what
that means. The aforementioned “Put Me Away” is
highlighted by rapid fire drumming and the sardonic lyrics
of “We fought and they won!” before giving way
to the thirty-three second closer, “Come Out”.
For those seeking earnest, genuine hardcore, No Mistake must
be your band of choice.
 PARQUET
COURTS - Light Up Gold (What’s Yr Rupture)
Light Up Gold is the soundtrack to a great time.
Parquet Courts reinvent indie noise rock with musical references
ranging from (what I could tell) Mission of Burma to the
Feelies to the Stranglers sprinkled with authentic Americana.
This Brooklyn-via-Texas outfit, led by Anthony Savage, whose
list of past achievements gives Parquet Courts instant legitimacy,
delivers the majority of their work in short bursts but
despite the brevity, each effort stands uniquely separate
from its compatriots. “Careers in Combat” and
“North Dakota” both possess beautifully awkward
time structures and are unavoidably harmonious in a deliciously
confrontational manner, while the opening combination of
“Master of my Craft” and “Borrowed Time”
are enough to make this your new favorite band. “Yr
No Stoner” and “Yonder is Closer to the Heart”
are both bass-driven highlights, but Sean Yeaton demonstrates
incredible flexibility and creativity with his instrument,
alternating between testosterone fueled punk and artistic
post-punk, akin to Guided by Voices or Tsunami. “No
Ideas” meanders along before bursting into confrontational
blasts of angered guitar punk that sucker punches the listener
before retreating back into a more pleasant stoner vibe.
The longest track of the bunch, “Stoned and Starving”
is also the most conventional sounding, but this one could
be the hook that converts the curious into the committed.
The guitar playing is controlled but forceful and the bassline
again carries the track along at a brisk pace, highly reminiscent
of the best moments of 90’s indie punk. “Caster
of Worthless Spells” and “Disney P.T.”
are both kinetic, messy gems of pop-infused noise that channels
the energy of a garage band through the amps of musicians
who can actually formulate harmonies. The closing “Picture
of Health” leaves one a bit unsatisfied; it’s
fuzzy tone and muffled vocals ambles along but does not
match the energy and verve displayed throughout the earlier
portions of the disc. However, the track does pique one’s
interest about what this band goes from here; they have
a sound that can genuinely allow for any path to taken and
I believe this is not a hipster favor of the week. Watch
these guys.
PLOW UNITED - Marching Band (Jump Start Records www.jumpstartrecords.com)
Where have the past fourteen years gone? For those who
remember the 90’s with clarity, Plow United was the
embodiment of indie rock; they put out consistently great
music, toured with some regularity, but then broke up and
faded into the depths of punk rock footnotes. However, with
the advent of the internet, fans old and new began to generate
fresh excitement for this band, and after being begged for
more than a decade to record again, Plow United give us
Marching Band. The typical response to a case like this
may be to roll one’s eyes and hope that the new music
is not an embarrassment, but Marching Band is a slap to
the side of the lethargic head of punk. Brian McGee, Sean
Rule, and Joel Tannenbaum instantly recapture their old
energy and sardonic selves on “Water Rights”
(“Let’s talk about boys, let’s talk about
girls and how they’re fucking up our world”)
and the despondent “The World is a Slum”. When
McGhee screams “I feel like I’ve been here before”
on “Falling, Deeply”, it is both a yelp of frustration
and recognition to which so many can relate. The power and
enthusiasm is infectious on “Next Five Minutes”,
“Act Like it” and the wonderfully acerbic “The
War is Over and Our Side Won”. Staying true to their
punk roots, most of the tracks come and go in a couple of
minutes, but some of their early thrash and hardcore influences
have been put on the shelf of history in favor of a more
streamlined approach, best heard the raucous sing-along
“Get Low” and the equally infectious “Shaking”.
“Meggers” closes the disc with a raw, emphatic
display of passion, both through McGee’s fervent delivery
and his lyrics of guarded optimism. The closing line of
“I will believe” can be applied in a multitude
of ways, but I cannot believe these guys actually came back
with new music, so get this quickly before they retire again
until 2026.
 DINOSAUR
EYELIDS - Conflagration (www.dinosaureyelids.com)
One would not expect the noise heard on this disc to come
from the three gents whose photograph graces the inlay card;
with matching smiles and equally nightmarish sweaters, the
members of Dinosaur Eyelids do not visually equate with
thunderous guitar rock. However, that is exactly what one
receives for the majority of this self-title release. This
disc grows on the listener as it progresses. The opening
salvo of “Answer in the Sky” and “Winter
Wheat” begins a bit unsteadily, but the protracted
“The End is Not the End” displays a potentially
upward projection, and once the title track is reached,
the record delivers five sterling efforts in a row. For
me, Conflagration shifts gears for the better on the bluesy
“White Tomb”. Reminiscent of “Wild Horses”,
the dreamy slide guitar of Patrick McKnight and down home
delivery of Evan Staats is a change in pace from the meatier
“Valis”, but the song exhales and flows effortlessly.
Another masterstroke by this band is following “Tomb”
with “Song to a Girl”, whose loud/quiet dynamic
is heavy on Sabbath bombast compliments of bassist Scott
Staats and drummer Rich Eick, both of whom are allowed to
flex a little muscle. For those of a certain age, the luminous
“Hemophiliac” sounds as if it was left off of
In Uetero with it’s abrasive guitar riff and pained
vocals, while “Kill Your Idols” may be the best
of the bunch; a thunderous, sludgy, head-on collision of
a song. Why the guys selected to end the disc with two quiet
tracks eludes me, as “Snaky Weave” is an acoustic
song with more slide guitar and, despite its downtrodden
lyrics, has a relative buoyant sensibility about it. The
closing “Untitled” is a lovely piano ballad
with sounds of gentle rain failing; it is enveloping and
perfect for those nights when you just cannot roll over
and turn off your brain, but I am truly disappointed when
the record closes. Instead of exhaustion, I stand, mouth
agape, wondering why this decision was made. At any rate,
despite an uncertain beginning and an inauspicious conclusion,
the meat of this disc is tremendous, and I would love to
see this band live.
 NORWEGIAN
ARMS - Wolf Like A Stray Dog (www.bigschoolrecords.com)
As a student of history I am intrigued by any band that
survives Siberia, the land of Stalin’s infamous Gulag.
As unfathomable as it seems, Brendan Mulvihill spent time
in Tomsk, Russia as part of a Fulbright Scholarship. Upon
his return he again joined forces with Eric Slick and with
a collection on instruments, ranging from a mandolin to
a synth to a rubber tub, the two give life to Norwegian
Arms. Wolf Like a Stray Dog captures the atmosphere
of Tomsk-vast, sprawling, and an expanse of delicate beauty.
Mulvihill’s voice flies ethereally along with the
subtle musicianship and lush playing. The opening “And
Then I Found Myself in the Taiga” is stark and emotionally
gripping, acting as a perfect entranceway into an expanse
of a record that overflows with emotion. “She Lives
in a Secret Town” and “Tired of Being Cold”
are my favorite pair of the bunch, with the latter being
a mischievous title in the midst of the backdrop of the
release. There is surprising flashes of energy and intensity
woven within the eleven tracks. Obviously, there are limitations
to the scope of Norwegian Arms’ sound, but for those
seeking a unique interpretation of heartfelt folk, this
duo makes for a fascinating listen.
 NOT
ON TOUR - All This Time (www.dinerjunkie.com)
What I always adore about music is how it smashes internationally
drawn boundaries and cultural stereotypes. For example,
if one was to utter the phrase, “Israeli punk-pop”,
what would come to mind? For most, myself included, it may
not include Not On Tour. However, one should be listening
to this act, for All This Time is a screeching, speedy,
collection of punk bursts that come and go quickly and scream
for all in the room to sing along. Not On Tour play hardcore-pop;
this melds the fury and speed of hardcore with just enough
sugary goodness to soften the blow. All This Time does not
take much of your time, as sixteen songs are delivered in
under thirty minutes, with “Modern Slavery”,
“That’s Why”, the title track, and “Bunnies”
are just a handful of the finest moments here. I was taken
back to the days of the Goops and the Muffs when listening
to this, so if those names ring a positive bell, you should
quickly scurry around and find this. Not On Tour strips
away all pretention and reduces rock to its most primal
elements- a great hook, strong drumming, and vocals that
resonate with passion and melody. This is one of those great
surprises!
 THE
VENETIA FAIR - Every Sick Disgusting Thought We Have in
Our Brain (www.thevenetiafair.com)
The opening seconds of Every Sick Disgusting Thought
We Have in Our Brain welcomes the listener with some
timpani, strings, and a circus motif, which is fine except
for the fact that this record reminds me why I hate the
circus. I just do not see the attraction here; there are
some “angry” vocals at times and loud, more
forceful moments, but much of this seems overly produced
and far too premeditated. The vocals move between harmonious
crescendos and brusque yelps, but I struggle for the hooks.
The Venetia Fair has a simmering pot of ideas, but the band
is just too eager to serve all of them at the same time.
“We Used to Worship the Moon”, “Pride
Alone Won’t Put This Fire Out”, and “The
Sky Came Down” are richly textured, but they border
on the obtuse. Strings, falsetto vocals, piano, and horns
are all components of the record, and while I praise these
guys for defying conventional wisdom, Every Sick Disgusting
Thought We Have in Our Brain lacks cohesion and I am
left bored. The piano laced “Only in the Morning”
and “(Go On) Paint Me a Picture” are two of
the stronger works, as there is a consistency to the playing,
for the trajectory from a delicate piano intro to a rousing,
aggressive conclusion sounds organic. Too many of the songs
here are so busy that one cannot appreciate what is happening,
and the result is a muddy, chaotic mess that distracts from
the skills these guys clearly possess, with one exception
coming on the closing “I Could End My Search Tonight”
which delivers impressive guitar work that is allowed to
breathe on its own. The combining of genres in an effort
to destroy labels and walls is commendable, but songs like
“The Saints of Gomorrah” and the opening “Too
Late to Dream” do not reach out and take hold of the
listener; one is left looking in upon the song
 CALIFORNIA
X (www.californiax.bandcamp.com)
California X actually hails from Amherst, Massachusetts and
it shows. If one closes his or her eyes hard enough, one could
almost imagine this as a young Dinosaur Jr. tearing up the
room at a Boston-area basement show. There is so much to like
here, including the fact that the vocalist has the courage
to call himself Lemmy; sure, Elvis Costello took on a famous
name as well, but this is still very punk to adorn yourself
with that nom de plume. He is rounded out by Dan on bass and
a drummer simply known as “Cool”; if this was
a lesser band, I would hate them based on that fact alone.
However, California X is a soaring victory - a trio of unlimited
energy and a traditional rock philosophy of making one’s
noise as loud as possible. This just screams of music made
by kids who dug up old Eric’s Trip and Piss Factory
discs in a cut out bin somewhere and decided to form a band.
While the opening “Sucker” is perhaps a minute
too long, “Pond Rot”, “Hot Hed”, “Lemmy’s
World” and “Spirit World” are a wonderful
balance of bombast and solid songwriting. What makes this
record different from the legion of Clinton-era babies now
in bands is that California X actually sound like they enjoy
what they are doing-the fun is apparent throughout the record
and one can almost see the smiles on the member’s faces
as they rattle their way through “Spider X”. There
are no prefixes needed here, no subdivision into a sub-genre
of a sub-genre. Perhaps the spirit of pretension-free indie
rock is finally returning.
GOT NUTHIN’ - Back on the Streets (District 763
Records www.district763.de)
Five angry Berliners come together to prove that generic,
tough-guy hardcore knows no geographic boundaries. The opening
“Self-Respect” steals a riff left on the cutting
room floor from any Hatebreed song ever and spices it up with
such heady lyrics as “you are just a motherfucker”.
The title track offers some hope as the gang vocals and guitar
playing this time steals from Agnostic Front; granted, this
musical theft has been done more times than could be counted,
but Got Nuthin’ seems to be trying too hard to imitate
American influences. The more groove-oriented “Got Nuthin’”
features a slower tempo but remains as equally strained as
its predecessors. By the time one reaches the closing “Turn
Around”, with its Sick of it All style bass-playing
and call and response vocals, Got Nuthin’ sounds like
a hardcore tribute band. To be fair, these guys do attempt
to imitate many of the lofty acts of the genre, but there
is nothing happening here to make this more than just a passing
EP that one will bypass in favor of the real masters.
 LA
ARMADA (Fat Sandwich Records www.fatsandwichrecords.com)
La Armada has been churning out smart, biting, political
hardcore for nearly a decade but do not feel embarrassed
if you have not encountered them prior to this self-titled
effort. Originally from the Dominican Republic, the band
now resides in Chicago, and while they tour fiercely, it
is largely through DIY means. Hopefully, this release may
begin to garner them greater attention and broader national
exposure, as I love their brand of blazing, socially critical
punk. The tracks often feature a blending of hardcore and
crust, and the result is a record of eleven captivating
songs, all performed in Spanish, a characteristic of the
band that the members refuse to surrender; another act of
defiance by a band committed to earnest rebellion. That
last aspect does make this record more work, but the translated
lyrics do help to illuminate the astute points these guys
express. Economic themes dominate the record, with slavery
appearing as a consistent metaphor for the current state
of disarray in the world. “Class Warfare” scourges
the monetary dominance of a frightenly small minority, while
“Organic Slavery” specifically targets Wall
Street and the new slavery of the 21st century, and “Credit
is the Hook” is a highly erudite critique of the potential
pitfalls for those who do not understand the larger goals
of financial agencies (“the crisis was created and
manipulated by the banks, crisis created and manipulated
by the Federal Reserve, this is the cycle of capitalism”).
La Armada also refers to their own heritage on the scornful
“Denials” and “The Cave of the Dissident”.
Many of the songs are over too soon, but that only forces
you to lift the needle and start over again; this is a throw-back
punk record with a current message of warning and frustration.
Give this a chance-this music is exhilarating, and this
is pretty cool way to learn some Spanish!
DARREN DEICIDE - “Bomb This Joint” b/w “Hudson
River Hangover” (Ever Reviled Records www.everreviledrecords.com)
Darren Deicide’s music is akin to doing shots with
the devil himself-it is more than a little frightening and
you know the night will end badly, the question is just
how badly. The two tracks on this little slab of vinyl are
Deicide’s trademark sound-foot stomping (not tapping),
guitar slinging blues about drinking, getting hung over,
and then drinking some more. For only one man and a guitar,
the songs are surprisingly rugged and rich; Deicide’s
voice sounds as if he has swallowed razor blades in his
scotch, but that is just one of the luring attributes to
this single. “Bomb This Joint” moves steadily
towards a more rousing chorus that completes the track while
“Hudson River Hangover” rattles around in one’s
head long after its completion, much like the cheap liquor
which inspired it. Gritty, snarling, and jagged, Darren
Deicide brings more danger to rock n’ roll with a
single blues lick and a few moments of your time that most
contemporary bands do over the course of a tour.
 THE
SCUTCHES - Ten Songs, Ten Years (Bright and Barrow Records
www.brightandbarrow.com)
If Joe Queer earned a royalty check for each band spawned
by young kids discovering his mighty Queers, his fortune
would dwarf the GDP of most nations. Adding to the impressive
list of Queers/Screeching Weasel/Riverdales inspired pop-punk
is Long Island’s Scutches. Incredibly warm harmonies,
touches of surf, and lyrics about broken hearts and the
mixed emotions of relationships dominate Ten Songs, and
each track seems to become more bubbly and effervescent
as the disc progresses. The scathing nature of “Glad
You’re Gone” is masked by the joyful tone of
the music, while “Weekend Boyfriend” displays
a more sensitive and emotionally complex side of the band
as it explores the life of a man who wants a more serious
commitment; a topic not often explored, ending with forty
seconds of piano and hushed vocals. “Together Again”
is a modern lyrical interpretation of the Beach Boys’
“Wouldn’t it be Nice” while “Never
Ending Story” invokes “Debra Jean” or
dozens of other love-torn tales. One should not expect only
efforts that tag at one’s heartstrings, however, for
“Full Steam Ahead” and “June 1st”
roar with a garage-band level energy and intensity. The
Scutches have the courage and self-confidence to also open
themselves up to criticism by offering the acoustic “In
Dreams” as well as a similarly subdued bonus track.
Ten Songs, Ten Years should be a staple of your summer soundtrack.
 THE
STEREO STATE - Crossing Canyons (Creator-Destroyer Records
www.creator-destructor.com)
The Stereo State must be young kids with old souls-Crossing
Canyons arrives as a red vinyl ten-inch, harking back to
the light-hearted fun of 90’s indie rock, yet their
songwriting borrows as much from classic Americana as it
does contemporary punk. In short, Crossing Canyons is an
aesthetically pleasing release on numerous levels. It is
impossible, if you are of a certain age, to read the lyrics
of “American Bones” without feeling a pang of
one’s own remorse and a harrowing sense of kinship
with Andy Frongillo as he laments “drunken thumbing
through this yearbook/Right now I’m pushing 30. These
pictures read like paragraphs/ and I wish I checked out
early”). Each of the four songs is personal, raw,
and genuine both lyrically and musically, as the riffs soar
and Frongillo’s vocals are brusque yet still harmonious.
The songs on Crossing Canyons play out like vignettes, perfectly
capturing moments of vast importance in only several moments
each, and I strongly encourage listening to this with lyric
sheet in your hands. The band explores loneliness in “Across
the Susquehanna” and “On the Next Time”,
with remarkable conviction and sincerity. However, “Say
It Again” and “The Flood” are mesmerizing
efforts that address life-altering events from which people
can never fully recover. “I spent countless hours
playing that crash in my mind” recounts Frongillo
on “Say It Again”, while “I can’t
believe that’s your name on this grave” merely
introduces the heart wrenching story explored in “The
Flood”. Guitar players Gabe Griffin and Matthew Spence
contributed the words for these songs respectively and both
should be heralded for their precision with the written
word. In the midst of this remarkable storytelling are a
collection of huge guitar riffs that reverberate with punk
energy but also include a controlled force about them. The
members of The Stereo State want it loud, but they are not
out of control. This is a sophisticated act that simply
wants to play energetic rock without any frills, and that
is a goal sorely missing with most bands.
 EXECUTE
ORDER 66 - In the Shadows of Giants (executeorder66.bandcamp.com/)
As a lifelong Star Wars geek, I always get more than a
little excited to see a band refer its moniker to a scene,
character, or quote from a galaxy far, far away, but my
past experiences have been marginally successful at best,
highlighted by the long defunct Bona Fett Youth from Vegas
and Philly’s The Degobah System. However, Execute
Order 66 (for those of you who actually get outside and
do things with your lives, the name is a reference to Emperor
Palpatine’s command to exterminate all the Jedi from
the universe through the manipulation of the clones of the
Grand Army of the Republic) play bruising thrash metal with
a handful of death metal nuances. Jasper Cobb handles the
lead vocals, and has a commanding presence, alternating
between flesh-ripping screams and highly melodic clean vocals,
with guitarist Damien Ellinghaus also assisting on the latter,
but the death growl/clean delivery interplay is not overused
and therefore Execute Order 66 avoids the trappings of predictability
that affect so many acts of this style. To their credit,
the band explores a multitude of topics on In the Shadows
of Giants, ranging from a tale of medieval butchery (“Crimes
of Passion”) and the inevitable destruction of the
human race through warfare or our own blinding lack of knowledge,
(“Awakening to Desolation” “From Revilement
to Ruin”, and “Terms of Enrampagement”)
to more socially astute critiques of contemporary ignorance
in “Some Men Just Want to Watch the World Burn”
and “Worst Bedtime Story Ever”. Throughout the
disc there are well placed interludes of more ethereal musicianship,
such as the fleeting delicate guitar work in “Secrets”
and the aforementioned “Desolation” or the instrumentals
“Beginning of the End”, “Requiem”,
and “Solace”. This five-piece from Long Branch,
New York, rounded out by Kevin Guaranda on guitar and the
rhythm section of bassist Christian Ziminski and drummer
Luigi Rueda, are remarkably tight throughout the thirteen
songs here and the band steers clear of relying upon breakdowns
too heavily; in fact the sole truly deliberate example of
such does not arrive until the tenth track of the disc,
unfortunately titled “Occupy Endor”….yeah,
I cringe just writing that. The overriding tone of this
record is very serious and highly professional so including
a song in which the words “you forgot we had the ewoks
on our side” are delivered with a seemingly straight
face is more than puzzling. Musically, ironically enough,
“Endor” is among the finest pieces on Giants,
featuring dynamic acrobatics from both guitar players, but
it is probably best saved for the rehearsal space or basement
shows among friends. However, that aside, this is a soaring
collection of songs from highly technical players, who can
balance lofty levels of intricacy without sacrificing a
circle pit inducing groove, and the concluding “History”
(A Reprise) is a crushing finale to a highly impressive
disc. I hope these kids are able to get out and play live
because the talent on display here is undeniable.
 GREYS
- Drift 7-inch EP (Kind of Like Records kindoflikerecords.storenvy.com)
I like when bands try to keep things simple: Greys label themselves
a “loud rock band from Toronto” on their bandcamp
page, and that is a good starting point. However, while simplicity
is a virtue in my eyes, Greys sorely undersell themselves
with that brief bio. The three tracks on Drift become increasing
longer and complex. The opening “Carjack” is ferocious
explosion of force, blunt and unapologetic. Seething with
rage and a crushing bassline, the song does an astounding
amount of damage in less then two minutes with a chorus that
is simultaneously invigorating and frightening. “Drag”
checks in at just over the two minute mark, and like its predecessor,
it captures the visceral brutality of this punishing four-piece
as they rage against not having a “teenage anthem”
or a “martyr who would give his life for hopes and dreams”.
The song is not just blind fury however, as there are moments
of sweeping, aesthetic beauty reminiscent of Fugazi at their
most animalistic. This continues on the swirling masterstroke
that is “Pill”, easily the finest embodiment of
Greys’ future brilliance. Streamlined yet not crude,
the five minute song channels raw emotion into a seething
mass of restless force; the intensity of which is only magnified
following a brief respite from the kinetic bombast. The length
of this track provides a broader canvas for the band to explore
their ideas in a more pronounced manner, and the result is
staggering. Jump on this bandwagon early.
 MURDER
BY DEATH - Bitter Drink, Bitter Moon (Bloodshot Records
www.bloodshotrecords.com)
The heart of rock n’ roll has always existed within
the soul of country and there may not be another band presently
inexistence that epitomizes that ideal more than Bloomington,
Indiana’s Murder By Death. The thirteen songs present
on Bitter Drink, Bitter Moon emphasis articulate, earnest
storytelling through the warm vocals of Adam Turla, whether
it be the anti-sprawl heartbreak one finds within “My
Hill”, the liquor-soaked anecdote of “I Came
Around”, or the mournful isolation of “Straight
at the Sun”. Sarah Balliet’s cello is used as
more than just a musical accent-her playing is central to
majestic beauty of the record. The songs of Murder By Death
can both harness the swagger and grit of Johnny Cash or
the delicate grace of down home Americana. Bitter Drink,
Bitter Moon is an enthralling album that weaves intricate
stories through lush playing from highly capable players,
and why the general tone is solemn, the band does not revel
in misery-the lyrics are honest and affecting. Even the
brief instrumental “Queen Mab” is a sterling
nugget of musical articulation with the numerous talents
of Scott Brackett on display. A dark sensibility overwhelms
and envelops the record, majestically produced by John Congleton,
and each player individual contributions shine within the
larger context of an enticing collection of songs. The images
painted lyrically on “Hard World “ (“Just
barely twenty with a slight frame and a hunger for soemthin’
that I couldn’t name”) and “Ghost Fields”
(“I pass by these houses all out of the way/ a lot
of my friends came from here but they don’t live here
today”) recall lyrical talents of Hank Williams or
a Nebraska-era Springsteen. Somehow, despite this band’s
lengthy tour schedule and devoted fan base, this is my first
extended listen to Murder By Death and I will certainly
go and catch up on their back catalog.
 OUR
LAST NIGHT - Age of Ignorance (Epitaph Records ww.epitaph.com)
It’s a long way from New Hampshire to the offices of
Epitaph Records, but this is what has befallen the talented
kids of Our Last Day. There is a smattering of hardcore influences
here, but this is really arena rock for a new generation,
which suits the Alan Parsons Project style art on the cover.
Sonically, the disc is a pristine collection of aggressively
harmonious songs with bursts of guitar force interrupted by
keyboard garnish, and for a young band, they create highly
structured songs. However, this all takes us down a path that
sounds like Linkin Park 2.0. This is especially true on the
title track, but trace elements of this are found throughout
the record. For the kids who were yet to be born when “One
Step Closer” was illuminating alternative charts, they
can now hold up their cell phones and sing along to highly
sensitive “Reason to Love” and the more ethereal
and socially descriptive “Voices”. When Trevor
Wentworth sadly emotes, “I tried to make it work/all
you did was make it worse” on the aforementioned ’Love”,
he may be speaking about a failed relationship but he could
also be summarizing the state of modern rock in general. The
songs are too conventional in structure-the aggressive riff
that opens “Liberate Me” gives way to isolated
vocals, then into a breakdown before back to original riff
then a breakdown and over again. Maybe I am getting (or are
already) old and jaded, but if a band wants to affix any type
of “hardcore” tag to its name or description of
its sound, that band should truly employ hardcore; inserting
a breakdown or gang vocals (see “Enemy”) does
not constitute hardcore. Conversely, if your goal is to be
a keyboard-kissed, guitar rock band who will sell out coliseums,
then do your best to become that. Stop the forced mixing of
different genres in an empty plea for street cred or a window
display in Hot Topic because in the end, we are all bored.
These kids could very well be a highly successful rock band-nothing
more, no need for any “post” or “core”
tags, and frankly, there is nothing wrong with that. The musicianship
here is quite impressive and Our Last Night will probably
make the girls swoon, and better these guys than One Direction.
Ultimately, I fear that Our Last day will be lost in a mountain
of “post hardcore” bands in the world. If Linkin
Park or Korn dominate your play lists, go find this because
Our Last Day decimates both of those acts, but do not expect
a revolutionary experience.
RSO - Awl (r-s-o.bandcamp.com)
Ryan Owens is a one-man, lo-fi beast. The four songs on this
mislabeled single (The sleeve says three songs on side A,
while there are only two; the four songs are split evenly
between the two sides) are minimalist, intimately personal
efforts. Essentially, whether one listens to “Bad”,
“Luck”, or “Pine” one hears a steady,
occasionally sludgy, sometimes more speedy, riff that is played
repetitively while muffled, yelping vocals are buried deep
within the thin mix. I am admittedly unsure about this. I
adore the garage quality and the pure exposed nature of each
song, but there is not great diversity, aside from “Pine”
being a bit noisier and less structured than its counterparts,
until the closing, cigarette burn vocals of the a capella
“Wry”. I am uncertain if Owens is striving for
a sound reminiscent of Robert Johnson’s recordings of
the early twentieth century or if this was the best he could
do and/or afford. If there is a market for one-man, scruffy
white boy blues from Maine, Owens has it cornered.
 THE
INSTIGATION – 7-inch EP (www.theinstigation.bandcamp.com)
This band is young, they play aggressive garage-tinged
punk, and they clearly idolize Black Flag, as heard on their
lovingly precise cover of “White Minority”.
The above description would normally make a punk act indistinguishable
from the millions out there, except for the fact that The
Instigation hail from Shanghai….as in China!! I had
no idea this music is allowed to escape the clutches of
the government censors, but these kids, led by Toshi, roar
with authentic frustration that can only come from living
under a truly repressive government. “Foreign Moron”,
“Brainwashed”, and “Crack Baby”
are absolute gems-simple, two minute long assaults of raw
vocals, thunderous drumming, and guitar riffs that are blurred
by speed and aggression. In short, this is a nearly perfect
EP and worth what little money is being asked of you at
The Instigation’s bandcamp site. One must also look
them up on Youtube; as it was pointed out to me by our peerless
editor, the fact that an Agnostic Front shirt is on the
back of an angry kid screaming in a punk band in China speaks
volumes about what power music really has. I do not know
much about the members, but The Instigation is worth investigating
and I hope this is only the first step for this band because
the energy and commitment to pure punk is undeniable.
HOMELIFE - Translation (Bermuda Mohawk productions www.bermudamohawkproductions.com)
This is a wonderful surprise for my ears-Homelife is an intelligent
and musically daring band that can proudly carry a “post-punk”
banner for a new generation of kids. This Michigan-based outfit
has clearly moved beyond the hardcore roots shared by their
members and boldly constructs intricate songs of great depth
and authenticity. One is struck by the lush atmosphere and
beautiful musicianship that drives “No Direction”,
a raw and honest exploration of growing up and leaving, or
at least attempting to move beyond, those who surrounded one
during youth, be it family, friends, or home town. Jacob Weston’s
voice is both fierce and vulnerable, accented by a bravado
that is often stripped away to reveal a complex sentimentality
on “Neperthe”, “Viewfinder”, and the
staggering “Coping”. Surrounding him are bassist
Mike Poshedly, drummer Chaz Villareal, and fellow guitarist
Craig Rasmussen, three players with an abundance of musical
dexterity that is far more advanced than traditional loud/quiet
dynamics. The members play off of each other with remarkable
unison, which is all the more impressive when one learns of
the several line-up changes Homelife experienced prior to
the recording of Translation. Each riff and tempo shift help
to paint distinctive pictures on each song, capturing the
mood of the lyrics perfectly. However, one should not expect
a melancholy ride; despite the troubled emotions expressed
lyrically, these are far from morose shoe-gazing laments;
these are efforts that should be blasted as loudly as your
listening device of choice will allow. The songs on Translation
are insightful and candid investigations into how individuals
assess and battle back against loss, disappointments, and
disillusionment. While the majority of the music, six of the
ten songs, is found on the first side through briefer bursts
of intensity, the concluding four tracks that comprise side
B are longer, more deliberate works. Translation is akin to
watching a child grow up before your eyes-it is incredible
at the rate with which this band matures over the course of
one record. Richly recorded and produced, Translation is the
mark of a superior band rapidly refining a unique sound.
 LEGACY
OF DISORDER - Last Man Standing ( Black Orchid Music www.legacyofdisorder.com)
This record makes me wish I was thirteen again; at that
point, I knew very little about heavy metal outside of the
putrid hair metal that was in heavy rotation on MTV, and
Last Man Standing would have made my little head explode.
Sadly, I am much beyond thirteen but Legacy of Disorder
comes across as a refreshing mix of traditional metal fare
with a handful of modern touches. There are moments here
that sound like metal by numbers, but I give these guys
credit for flying a flag that cuts against the contemporary
grain. There are a collection of blast beats scattered throughout
the disc, but much like the most recent Testament effort
Dark Roots of Earth, Legacy of Disorder organically mesh
these touches within the fabric of their largely throwback
sound. Vocalist James Robinson has a classic metal set of
pipes; he is not Rob Halford by any stretch, but he can
hit all the necessary notes and also growl with a level
of authenticity. Guitarist Rana Freilich does pillage much
of Slayer’s back catalog, but is that really a crime?
If one can get past some of the clichés here (the
worst being a snippet of a Hitler speech before “March
to Death”), Last Man Standing is a fun ride throughout
all ten efforts. None of the songs extend much beyond the
three minute mark or feature unnecessarily self-serving
solos; these New Zealanders know how to write a tough hook
and a big chorus and then move on to the next track. Much
of the lyrics, like the accompanying music, are paths that
have been tread before, whether it be the death row nightmare
of “Hell Tonight” (think of the storyline from
Metallica’s “Ride the Lightning”) or a
song celebrating the true character of Dracula with the
banal title of “Impaler”. However, one of the
reasons why I have worshipped at the altar of metal since
pre-pubescence is that this stuff is not trying to win a
Pulitzer Prize: granted, there are acts that make serious
statements and push the genre forward, but some metal bands
should just be a good time, and Last Man Standing defines
that. If you are a kid hearing metal for the very first
time, this is not a bad primer for it covers all the bases;
for those of you who consider yourselves metal fans who
have heard it all before and are ready to dismiss this,
just get over yourselves for a minute and give this a chance.
It is a head banging, unpretentious escape.
 THE
NERVOUS WRECKORDS - Let Them All Talk (thenervouswreckords.com)
The Nervous Wreckords is a band whom you may have heard before
but had no idea at the time. Their music has been featured
in Weeds and The Buried Life, along with
several commercials. Or perhaps you saw them open up for the
Killers in 2009. Or perhaps you are like me and had no idea
who they were, but had at least had some familiarity with
leader Brain Karscig’s previous band, Louis XIV. Regardless
of level of awareness, a listen to Let Them All Talk is a
trip to previous decades in which bouncy, melodious, and impudent
pop is celebrated. Recorded on vintage equipment, “Beautiful
Girl”, “Classy Girls” and “8 Track
(I’m Coming Back)” are a trio of crackling, effervescent
efforts with soaring harmonies and snarky lyrics. The roughest
of the group is the title track; a song that implements a
T-Rex riff and utilizes hand-claps without irony. If one listens
carefully, there are quickly delivered lines that will make
you smile in “Shapes of a Dove” while the purest
of 60’s style pop floats overhead. The Nervous Wreckords
would never be a band I would actively seek out, as I tend
to avoid such sweetly produced goods, but Let Them All Talk
is not one constant sugar rush; there are grittier riffs on
“Love Jammed the Radio”, and a more serious political
statement on “The Rich Get Richer”; a song one
could envision Jim Croce singing. “Doin’ It to
Do It” is more infectious than the flu with its balance
of a fuzzed-out guitar riff and luminous backing vocals. Meanwhile,
“Asleep or Dead” sounds like a recently uncovered
artifact from mid-70’s Wings sessions with its mix of
ethereal pop structure and sparkling vocals. I have a feeling,
either through commercial exposure or perhaps even some old
fashioned radio play, The Nervous Wreckords may become a far
more easily recognizable name.
 MARCH
OF THE MANNEQUINS – “The Remedy” EP (www.MOTMmusic.com)
Essentially, March of the Mannequins is a solo project
for pianist/guitarist/drummer Rob Pratola. He is accompanied
by a few skilled players, led by vocalist Matt Rauch. It
is important to point out the one-man quality of this record
because, sadly, that is about the only truly unique element
of the record. The Remedy is five standard pieces of rock
fare; nothing fancy or revolutionary, just very modern sounding
rock. In other words, it is technically and sonically sound,
but just lacks any staying power. The chorus of “Faithful”
is soaring but the song itself is mundane and divertive,
and therefore it becomes just another piece of music that
kills about four minutes of your day. March of the Mannequins
is the prototype of what is wrong with contemporary rock
music-the songs are traditionally arranged, the lyrics are
sanitized, the riffs, even when raised in volume, are still
harmless, and therefore, the finished result is just generic.
It is not terrible by any stretch-these guys, especially
Pratola are talented, but they lack any truly distinctive
qualities. As one listens to this, March of the Mannequins
could easily be confused with a reunited Creed or maybe
a new 3 Doors Down record; “Sweet December”
is a nice song, it could possibly be used in a car commercial,
but nothing on The Remedy is the shot of adrenaline to the
heart that rock needs. Rauch channels his inner Adam Levine
on “Dreamer” and “Sun’s Eternal”,
and if that is enough to excite you, godspeed but do not
say that I did not try to warn you. Rob Pratola will hopefully
find other outlets for his vast abilities.
 SURRENDER
THE FALL - Burn in the Spotlight (Rum Bum Records www.rumbumrecords.com)
The midpoint of this disc is a song called “Pitiful”,
but I will not make the joke because it is simply too easy
and I do not want to be that lazy, but trust me, it fits.
I do not know if Papa Roach, Evans Blue, Seether, or any
other midland act that desperately attempts to fill a musical
void known formally as “rock” is looking for
a touring partner, but Surrender the Fall would work perfectly.
I am shocked by this record because based on the name, I
am expecting bland metalcore; instead, I hear generic songs
that are actually insulting to the word bland. The first
half of the record must be the “rocking” tracks,
as the angry opening one-two punch of “Everything
You Want Me to Be” and “Love Hate Masquerade”
indicates. The former even features “motherfucker”
within the opening lyric-wow! Now that gets my attention!
After I fight through two more songs that fade from memory
before they end, I am greeted by a collection of five (!)
attempts at a radio hit. One can choose from “Some
Kind of Perfect”, “I Don’t Wanna Know”,
the aforementioned “Pitiful”, “Undesigned”,
and “40 & 12” with equal indifference, for
essentially, it is all the same song. However, perhaps I
am missing the larger point here, for Luis Bicardi, operator
and mastermind behind Rum Bum records (see the connection
in the name of the label now?) says “the music takes
you to another level”. Huh? I do not know where this
level is, but I do not think there is enough Bicardi that
could help me find it. Adding one final handful of salt
into the proverbial wound, the concluding “Into the
Headlights” is a heart-wrenching effort with the obligatory
acoustic opening and lyrics that metaphorically use driving
to represent the decisions one makes in life, as in how
we all make wrong turns. The ironic aspect of this disc
is that this band is so sufficiently safe that this record
will probably make enough money so the members can quit
their day jobs, while acts with far more ingenuity and originality
are languishing in a mire of obscurity. I cannot say definitively
that rock is dead, but it is dying and this will not help
its recovery.
 New
York-Connecticut Hardcore Connection (United Riot Records
www.unitedriotrecords.com)
New York is long famous for its brand of muscle-bound
hardcore, and certainly Connecticut has witnessed an intensified
level of national attention in recent years, so a disc celebrating
both states makes sense. The only name here to be recognized
by those outside of the designated geography is the merry
band of hockey fanatics Two Man Advantage, and they do not
disappoint with either of their efforts, including the less
than subtle “Fuck Off”. Thirteen acts here cover
a broad swath of the hardcore landscape, as Connecticut’s
Drug Shock feature classic gang vocals on “On the
Prowl”, while New York bands Iconicide, Fed Up!, and
Carnage Krew are each musical wrecking balls of force, with
“Godspeed” from Iconicide as my personal favorite,
but song titles like “Life Still Sux” and “Feelings
are for Assholes” tells the listener all one needs
to know about Carnage Krew. Lest anyone believe that this
disc favors New York, Connecticut represents itself quite
well with a diverse array of talent. Broken, All for Spite,
and Progress tend to lean towards the heavier side of hardcore,
but each band provides hooks that are impossible to ignore.
Speaking of hooks, perhaps the most interesting and perplexing
band is Connecticut’s Hooks and Sinkers. In my memory,
this is the only act I have seen on a hardcore comp that
credits an organ player. Rather than snicker or believe
this to be some of gimmick, the band blends sounds not ordinarily
placed together into a wildly entertaining pair of songs.
The interstate collective of Side Swiped delivers the catchy,
yet wry “Hor”. The band includes Dennis F.U.
on vocals and Jonny Foz on guitar, notable for also being
the two masterminds behind this disc. The most impressive
quality of this release is its ability to avoid redundancy
or predictability and with a thirteen band, twenty-five
song collection, this is an impressive feat. For example,
Connecticut’s Blastmat contrasts nicely with New York’s
Truth in Needles and Everyday Dollars. There is a little
something here for every degree of hardcore fan, from the
bombastic to the richly harmonic. New York-Connecticut Hardcore
Connection is a healthy education in contemporary hardcore
and proves that the next generation of Tri-State bands sounds
promising.
 96
- Caught In the Grips (www.hotfootrecords.com)
It does not take long to understand the type of band 96
is as the opening “Had Enough” is a rapid-fire
burst of hardcore. The thirteen songs here usually clock
in at just over a minute, but 96 is not a one trick pony
hardcore act. The band realizes that breakdowns and gang
vocals on every song quickly becomes redundant, so they
continually alter song structures. “Culture Shock”
features pristine guitar work with a dazzling intro that
is not often heard in hardcore, while the environmentally
concerned lyrics of “Dried Up” are rightfully
given over three minutes to be appreciated. The near grindcore
speed of “Iced Tea” is offset by the light-hearted
lyrics, and actually offers a nice respite from the more
serious tones of the disc. “Hard Luck” and “Darker
Days” are melancholy in theme, but extraordinary in
terms of speed and musical cohesion. When the band does
follow more typical paths, the breakdowns on “Fast
Money” and “Last Part” are heavy on the
groove and less concerned about getting the kids to start
spin-kicking. For a debut record, 96 display deftness beyond
their years, and although they have toured with a collection
of premiere acts, 96 are easily on their way to become headliners
themselves.
 NOT
THE BEES - Another Hour to Burn (www.gtgrecords.net)
This overtly melodic punk-pop outfit has a long history
among its members in the Jersey punk scene, and the experience
shines through on this, their first truly proper release.
The riffs are bountiful and Joe Allocco’s voice is
resoundingly harmonic, yet he retains a ruggedness that
beefs up the overall sound of this outfit, thanks also in
part to the accompanying vocals of Jon Barnes. Bassist Steve
Fusko and drummer Mike Pushkin carry a powerful rhythm section,
and there is a delightfully earnest 90’s feel to every
moment here. The easiest connection would be Hot Water Music,
and that is fair, but do not expect a bland imitation. The
opening “Xanax and the Corner Office” is more
than just a fantastic name-the track begins innocuously,
but when Allocco’s raspy delivery emerges, it is obvious
that this is not just another collection of veteran punks
experimenting with pop hooks. The chorus of “Stay
Indoors” is nearly illegally catchy, and “Counting
to Zero” balances speed with polished playing. Each
of the five songs hums along with warmth that captures the
intimacy of a small club, which is where these guys are
most comfortable. Everything about this disc smacks of a
band comprised of really good guys who would undoubtedly
have a beer with you after the gig and sell t-shirts out
of the trunks of their cars. There is hope if one is yearning
for a rare combination of contagious hooks and maturity.
I think these guys are ready to move beyond VFW halls.
 BORN
LOOSE (Drug Front Records)
This one has all the ingredients necessary for the perfect
rock band-the members are scruffy, battle-tested veterans
with résumés and rap sheets of equally impressive
stature and they play music that is loud, raw, and well, loose.
Larry May of the legendary and obsession-worthy Candy Snatchers
is out in front and the dozen songs here are each augmented
by his brand of raspy, guttural barking. The only question
one may have about this record if which speed does one prefer:
the slower, grittier “Bobo Blues” and “China
Bus Express” or the raging, fire-breathing “Deadbeat
Street”, “House of Creeps” and the crowd-pleasing
“Sugar Pussy”? Regardless of tempo partiality,
Born Loose has a flawless record on their hands. This is written
for everyone who is sick of slick production and vapid performers,
or perhaps even as equally vomit-inducing, the ultra-perfectionists
who strip away any humanity from their performances. Born
Loose rage with a recklessness and death-defying level of
fun that is missing so seriously from rock today; the playing
is loud and sloppy across all four members, from May’s
screams of possession to Suke’s rugged guitar playing
and the battering force of drummer Eric Robel and bassist
Shane Konen. These guys have seen thousands of acts only pretend
to be what Born Loose actually is so they know how to create
real rock n’ roll. The sleaze that drips from “Folds
of the Flesh” and “Bad Baby Faye” cannot
be forged and the sax that highlights the opening “Step
Up to the Plate (Be a Runaway)” would sound trite of
performed by a lesser skilled band. After listening to this,
I would not mind if the world ends in a few weeks-this is
a hell of an album with which to end the human race.
 DRGN
KING - “Holy Ghost” b/w ”Son of Wolfman”
(bar-none.com)
This Philly duo, Dominic Angellela and Brent Reynolds, utilize
each other’s unique skills to craft ambient, eclectic
pop with surprising soul considering all the studio magic
on display. The opening “Holy Ghost” introduces
brief flashes of noise into an otherwise neatly packaged pop
structure with lush vocals and a steady backbeat. Energized
guitar nestles neatly alongside more pronounced keys as the
song meanders through its three and half minutes, revealing
a multitude of ideas. “Son of Wolfman” takes a
lighthearted tone juxtaposed by the furious rapping of Peedi
Crakk. This is not my first love in music, as I always run
away from acts which prominently feature a producer as a member,
but Drgn King retains an authenticity that defies most bands
of this ilk.
 THE
GIRLS - “Rodney” b/w “Say Yes” (www.thegirlsbang.bandcamp.com)
The name of this act is a bit of a misnomer, as there is only
one girl, lead vocalist/guitarist Jessica Wabbit. Her voice,
an enchanting mixture of sultry and innocent, stands out amongst
a two song release that is cool and bodes of an interesting
future. With minimalist production quality, the guitar riffs
come across as scratchy and the drumming is unfortunately
buried. However, Wabbit’s passionate performance carries
both “Rodney” and “Say Yes’, particularly
each effort’s choruses, although “Say Yes”
also includes a wonderfully lo-fi gem of a solo from Vug.
I am certainly intrigued, for the Girls have a foot in the
recording studios of bubblegum girl groups that dominated
the late 50’s and early 60’s and another in the
old mailroom of Kill Rock Stars. This brief release is fun
without being foolish and has an edge that I would like to
hear develop over a full length.
 THE
STAGS 7-inch (Drug Front Records www.drugfrontrecords.com)
I am officially indescribably jealous of Jim, the lead singer
of the Stags. Not only in his the lead voice on a band fortunately
enough to associated with Drug Front records, but he is surrounded
by Simona (guitar/vocals), Vicki (drums/ vocals), and Arwen
(bass/vocals); these three ladies absolutely tear the room
apart on this scathing four song effort. The soundtrack of
a long night and even longer morning, The Stags play old fashioned,
no frills, rock n’ roll the way it should be. These
kids would not know Pro Tools from a power drill and they
(and we) are the better for it. The snarling “Told You
So” is dripping with attitude, while “Rock Hotel”
has an inescapably catchy hook. “Moving On” features
a rumbling low end and a fuzzed-out guitar tone that would
make Ron Asheton jealous. The closing “Bread n’
Butter” is the most glaring sing along of the bunch
and it is tinged with a great sense of humor. These four songs
end too quickly and all I want is more. For those who love
the Ruiners, Night Birds, and other acts that do not apologize
for eschewing pretention, The Stags could be your next favorite
band in the world.
THE SWINGIN’ UTTERS (Fat Wreck Chords www.fatwreck.com)
This is a great way to spent four and half minutes. This two
song release is a welcomed sight for long time Swingin’
Utters fans. The band finally reappeared last year after a
nearly interminably long period of silence, and “The
Librarians are Hiding Something” is perfectly representative
of the band’s sound: a disheveled pop nugget with a
warm resonance and a great hook. The B-side, “Rude Little
Rooms” marks the end of the band’s career with
bassist Spike Slawson who was replaced by Miles Peck, naturally
heard on the A-side. Both tracks combine melody and rugged
harmony accented by blurry guitar work and Johnny Bonnel’s
instantly recognizable brusque vocal delivery. This is a tease
for what should be a sterling new record.
 CONVERGE
- All We Love We Leave Behind (Epitaph Records www.epitaph.com)
One of the most important, and deservedly adored, acts
in extreme music, Converge has crafted a record of intricate
brutality and superlative creativity. All We Love We Leave
Behind is a scathing pronouncement from a band that perpetually
raises its own metaphorical musical bar with each release.
My eyes bulged and I gasped when this one fell out of the
envelope, I will admit, as I have adored Converge since
the days of Jane Doe. All We Love We Leave Behind is an
extermination campaign of a record-the opening salvo of
“Aimless Arrow” and “Trespasses”
are mercilessly heavy and fuming, yet there remains an incredibly
mastery of structure and time signatures. Thousands of bands
can rage, but Converge brings a level of humanity to their
brand of extremity that transcends heavy music and becomes
a genre unto itself. Kurt Ballou is a magician of a guitarist,
a talent that should not be overlooked in the midst of producing
genius, while bassist Nate Newton and drummer Ben Koller
is a crippling pair of assassins. True to their history,
there are the brief explosions of blazing grindcore, but
“Tender Abuse” and “Sparrow’s Fall”
are not just ninety seconds of chaos; what has always separated
Converge from the masses is their brazenly bold use of experimental
dynamics, whether it involves significant shifts in tempo,
or the eerily unsettling instrumental “Precipice”.
Vocalist Jacob Bannon is not screaming like a madman in
the woods, his impassioned verbal yelps and pleads are another
element of the assault launched upon the listener. Longer,
more pronounced efforts, such as “Glacial Pace”
and “Coral Blue” are heavy enough to shatter
tectonic plates, while “Vicious Muse” and “Shame
in the Way” are inexorable in their intensity and
power. The aforementioned “Coral” includes a
shockingly delicate and stirring musical bridge before the
song begins to slowly reconstruct itself into a thunderous
mass of blunt force. All We Love We Leave Behind is an exhausting
listening experience; a record that pushes and pulls the
listener in a multitude of directions, oftentimes simultaneously,
before concluding with the punishing “Predatory Glow”.
Frankly, I view Converge as an American treasure- a band
with an unprecedented combination of devastating intensity
and breathe-taking dexterity. Times are tough and money
is tight, so spend wisely and go get this.
 NO
MISTAKE - Connect the Dots…Complete the Puzzle (http://nomistake.bandcamp.com)
Led by guitarist Mike Bromberg, better known to the world
as Mike Bullshit, No Mistake is a celebration of hardcore
in its purest sense-thirteen songs in fourteen minutes,
people! However, it is far more than brevity that matters
here-these songs have hooks, heart, and are avoid any influences
outside of true hardcore. Harking back to the days when
Negative Approach, SSD (starkly appropriate with No Mistake’s
ferocious adaptation of “Boiling Point”) , or
SOA reared back and hurled themselves at the listener with
exhilarating abandon, every furious second on Connect the
Dots…Complete the Puzzle is a ripping jolt of infectious
energy. There is nothing to dislike here, as the guitar
riffs cut through the record like a buzz saw, the drumming
is relentless and the vocals are both infuriated yet articulated
well enough to appreciate what is being said. To that end,
No Mistake offers a variety of lyrical topics, from the
comedic “Unibrower”, to the environmentally
conscious, viscerally crushing thirty-second “Expiration
Date”, or “We Stole Hawaii”, the historically
accurate tale of American imperialistic abuse of the late
ninetieth century. In short, this is as close to perfection
as you are gonna get, my friends, so find this immediately.
And, for those of a certain age, you can truly recapture
your youth and get this on cassette, but please do not hurt
yourself if you break out the skateboard.
 STAB
ME KILL ME - Demo (stabmekillme.bandcamp.com/)
This is why one should never judge a book (or demo) by
a cover. This Seattle outfit plays wonderfully harmonious
punk that clearly does not eschew bubblegum pop influences,
but their demo cover gives the impression of a horror-punk
band. The opening “No Ledge” bounces with a
decidedly positive energy, while the surf-tinged, sun-kissed
“Good as Gone” ends coldly after a brisk ride
lasting under eighty seconds. Yes, the opener possesses
a certainly element of subtle heaviness, but one cannot
ignore the resoundingly hopeful tone of the track. While
there are understated hardcore influences, particularly
on the gruff “Diablo”, Stab Me Kill Me have
clearly worked to harness a distinctive sound. Certainly,
the Ramones, Queers, Screeching Weasel, are in heavy rotation
in this band’s rehearsal space, but they are not clones.
Even the goofy “Lemon Party” is not attempting
to rehash well-worn ideas, as it smashes and crashes upon
itself with the exhilaration of 60’s garage bands.
The quality of production is superb for a demo, proving
that this Pacific Northwest trio is not just in this for
kicks; there is a promising band blossoming here, and I
hope labels with some real cash are listening.
 10cent
FUCK FLICKS (Drug Front Records www.drugfrontrecords.com)
To paraphrase a famous preserves and jelly company who I am
sure would want nothing to do with this band, with a name
like 10 Cent Fuck Flicks, it has to be good. In this case,
it is amazing. The music is, as one would expect, sleazy,
and you will want to wash your hands after listening, but
this is so much fun. The eight songs on this record are a
celebration of excess and debauchery, yet the bands’
level of musicianship sneaks up upon you from behind and has
its way with you. The opening “Womanaire” is gritty
with a boogie quality, while “Do The Beegee” and
“Chew You Up” overflow with powerful grooves;
these tracks are examples of 10 Cent Fuck Flicks’ ability
to craft well-orchestrated and somewhat disciplined songs.
However, “Toyota” is a chaotic mess of a gem;
a blasting, rousing piece that flirts with destruction but
never collapses upon itself. The masterminds behind this act
take the unfiltered energy and enthusiasm once heard in rock’s
infancy and slams them together with a recklessness that is
exhilarating. One should not only view this band as a shock
act, for there are real chops under the beautiful filth; the
poetic “Pussy Flavored Ice Cream” is actually
a rollicking, surf-tinged instrumental with elements of high
caliber blues. Raging with high energy and a fearless indulgence
in self-abuse, 10 Cent Fuck Flicks’ playing mirrors
the grainy 70’s porn images that adorn the cover. Linda
Lovelace should have had this on while rehearsing “Deep
Throat” or, at worst, this should be the soundtrack
to a 21st century makeover of “Debbie Does Dallas”.
You may need to hide this one from your family, but it is
mandatory listening.
 VIBRAM
94 - You’ll Never Take Us (United Riot Records www.unitedriotrecords.com)
I am miles away from the skinhead way of life, both in terms
of the length of my hair and my behavior. I do not roam the
streets looking for trouble, I do not shave my head, and I
do not consider beating someone up as a life-defining moment.
The tough guy lyrics of this band, who came and went between
1994 and 96, should speak to those who share the ideals, but
“travel in packs, clear the way, hold our ground, have
a say, fighting for the skinhead way” (“You’ll
Never Take Us”) may not resonate with those outside
of skinhead circles. That being said, good punk is good punk,
and I like the way this record sounds. The production is limited
and raw, but that should be taken as a compliment. The playing
is speedy and aggressive, and the “whoa” chorus
of “Old Breed” is surprisingly buoyant. The minimalist
cover art and lyrics about “bloody yuppie bodies”
(from “Put in the Boot”) may come across as trite,
but Vibram 94 is not an easily disposable relic: It exemplifies
an authentic puck aesthetic and youthful dedication to a band.
One may have to place politics aside.
 RUNNY
- The Legendary Runny EP (Drug Front Records www.drugfrontrecords.com)
Thousands of bands write catchy chorus, but few write a chorus
as contagious as that of “Sucking on the Wrong Dick”,
the opening salvo to a staggeringly fun, but ultimately somewhat
confusing record by a loose collection of deliciously tweaked
prodigies. I openly admit that I sang the refrain of the aforementioned
classic to myself (and out loud) for several days after first
treating myself to it. The song’s bass heavy hook and
infectious melody make it clear that Runny may jolt people,
but this is not a band to be easily dismissed. The shared
male/female vocals of Lemon Cookie and Colonel Cream, respectively,
make the physical demands and actions they detail with vivid
description in “Way Up Inside” all the more harrowing
and impressive. This reminds me of past legends of the Philly
underworld, namely Rancid Vat and Double Penetration; two
bands that were funny, sick, and very talented. “Punish
Me” and the closing dance remix of “All the Living
Things You Gave Me are Now Dead” pale in comparison
to the A-side, but this is still another example of how Drug
Front Records is quickly becoming one of the coolest and most
independently minded labels out there.
 BEST
PRACTICES - The EP LP (Tiny Engines Records www.tinyengines.net)
Best Practices compress nine scathing songs into a roaring
twelve minutes. Each track is a sweaty explosion of sound
that celebrates basement punk with a sincerity that simply
cannot be feigned. The Providence, Rhode Island outfit does
not seem to take a breath as one adrenaline fueled mass
of force careens and smashes into the next with the force
of a ten car pile-up on I-95. Best Practices does not pummel
with thick slabs of low end force, but rather continuously
batters with punishing body blows that ultimately leaves
the listener exhausted and gasping for air. The cold, mid-sentence
ending on the concluding “Get Confident, Stupid”
perfectly encapsulates the band: they push themselves to
the brink of collapse with a delivery of staggering immediacy.
This is a record that not only celebrates the visceral power
of punk rock, but encourages the listener to take the needle
off the end of the record and start all over again. This
is a triumphant declaration that Best Practices is a band
primed to unleash their vehemence upon the world.
 DIKEMBE
- Broad Shoulders (Tiny Engines Records www.tinyengines.net)
Dikembe possess an intriguing balance of DIY aesthetics
and surprisingly mature experimentation. The atmospheric
opener, “Nothing. Stuff.”, hovers gently while
vocalist Steven Gray releases a highly emotive and gruff
voice. The fuzzy, imperfect sound of Broad Shoulders exemplifies
the band’s desire to challenge the listener musically
without entirely abandoning the garage. The band shines
lyrically throughout the record, usually providing juxtaposition
between snarky, funny song titles and forthright tales of
fears, regret, and nerve-shattering anxiety on “I
Watch a lot of Jackie Chan Movies”, “Librarians
Would Kill for that Kind of Quiet”, “That’s
How What Works”. These songs are haunting in their
stark beauty as a noisy interplay between guitarists Ryan
Willems and Gray is ideally balanced buy the yeoman work
of drummer David Bell and bassist Kenny Jewett. Dikembe
certainly incorporate punk elements into their sound, but
there is much more than three chords and yelping happening
here. Despite the fact that Broad Shoulders is only Dikembe’s
second record, the band displays a remarkable sense of bravery
in terms of their willingness to travel musically rustic
paths. The songs here make the listener think and work a
bit-this is not ear candy-and the result is a record with
a breadth of emotion.
 RESTORATIONS
- “A/B” 7 inch (Tiny Engines Records www.tinyengines.net)
If I am not going to injure myself through a night spent
head banging or sweating in a circle pit, bands like Restorations
is my next choice for musical enjoyment. Complicated, intricate,
and majestically convoluted, the pair of tracks is each
a labyrinthine gem of effusive guitar rock. The energy and
abandon is tempered by a commitment to jagged and jarring
structures. Both pieces bounce with punk-infused qualities
while also saluting the finest elements of rule-defying
indie rock, particularly the soaring guitar solo that highlights
“B”. This single offers two deftly designed
songs from a band not easily quantified.
 STATE
LINES – 7- inch (Tiny Engines Records www.tinyengines.net)
The A side of this EP alone makes this a winner. The loud/quiet
structure of “5’s on the Elephant” is
instantly identifiable, but the urgency with which it is
delivered is less familiar. Long Island’s State Lines
may have young members, but they clearly have a maturity
that belies their collective age. The speedy, warmly melodic
“Plenty of Time” is wonderfully countered by
the serrated “Cave In”. Both songs are worthy
of high praise and reveal a multi-faceted band that is rapidly
finding a unique sound. Distortion, feedback, and passionate
vocals make this a highly notable release. This should not
be viewed as an act that softens its punk roots with harmonies,
but rather, State Lines take harmonious hooks and infuses
them with punk energy.
 SUPREME
COMMANDER - Paper Tigers (Basement Records www.basemenetrecords.com)
Tough guy hardcore with a metal tinge is not new, but doing
it with your tongue occasionally in your cheek does help
to differentiate your band from thousands of other beat
down crews crawling along the seedy bars of America. Supreme
Commander do not offer much in terms of new ideas on Paper
Tigers, but that is fine if you like what you hear: it is
thunderous, heavy on the low end, hardcore that only knows
full speed ahead. The intimidating “More Than You
Can Chew” kicks the record off with a punishing riff
and snarling vocals compliments of Boo. Granted, the majority
of the lyrical content involves violence of some sort, either
attacking one’s own personal demons (the aforementioned
opener), righting wrongs against those who double crossed
you (“The Damage Done”, “Slow Burn”,
“The Woodshed”), and an good old fashioned break-up
song (“Another Day Without You”). However, my
appreciation for this act came on “Flip Flops”,
a hilarious attack upon hippies and preppies with references
to beer pong, bro rape, Jack Johnson tickets, and pounding
Jaeger-bombs with dad’s credit card. I believe that
if Supreme Commander did more of this they could find a
niche in the hardcore game instead of being the second act
on the bill at an Agnostic Front show. There is definitely
something to celebrate here, and I hope Supreme Commander
continues to push themselves.
 I
AM THE HEAT - Endings (www.iamtheheat.com)
The bi-coastal through Brooklyn outfit has quietly existed
since 2005, but Endings is my first exposure to
their sound. In short, I Am The Heat is a tempest of fun;
the three tracks on Endings are brief explosions
of garage pop with elements of contemporary indie individualism.
Jameson Edwards leads the band through the playful tracks
highlighted by “Famous”, a collision of bubblegum
sixties pop, kinetic energy, and sardonic lyrics. “Wake
Up” encapsulates the band’s ability to craft
a memorable hook and the refrain of “shake it up,
oh come on baby, shake it” will refuse to leave your
brain. One consistent point of interest is the well-placed
keyboards in both of the aforementioned songs; the appearances
are fleeting, but the subtle bursts of electronic noise
gives an edge to songs that otherwise retain an air of infectious,
yet safe, pop. The addition of Ava Farber has given I Am
The Heat an injection of both new blood and richer harmonies.
She and Edwards work in wonderful tandem on the title track,
as their buoyancy is undeniable and the musical spark between
them is nearly tangible. This is an effort in which three
songs are not enough.
 JOE
McENERNEY - Wild World (http://joemcenerney.bandcamp.com)
Joe McEnerney’s broad smile on the cover of Wild
World should act as a beacon for what is found inside,
as this has to be some sort of inside joke. Each of the
eleven songs sound like a teenager in 1987 experimenting
with the pre-programmed beats on his first Casio synthesizer
that his mom bought at Radio Shack. I am still unsure if
“Next September”, “Half Hollowed Heart”,
“Blue Eyes, Brown Hair”, and “Don’t
Lose the Nights” are written about the same girl,
but regardless of topic, the theme is interminably redundant.
On each song, Joe is the nice guy with a few flaws, but
he is trying, and yet, nothing seems to work out for the
poor kid. The 80’s pop sensibility grows tiresome
quite quickly, despite some light-hearted, self-depreciating
lyrics. “Clean Up in Aisle Me” is the one keeper
of the bunch, and I do like the fact that the opening “Rut”
features a Howard Stern reference, but even that sounds
dated as McEnerney references “watching the Howard
Stern show”. Watching? Like the Channel 9 classic
or the E! show? Either way, one fleeting line to a pop culture
icon does not a song make. I could simply dismiss this as
a guy and a few friends recording a good-natured, if forgettable,
record if it was not for one unforgivable misstep: McEnerney
has the audacity to apply his 80’s schlock to Buddy
Holly’s “Everyday”. This is a nightmare
of epic proportions and any future release of this disc
should have that song omitted, and McEnerney should send
a letter of apology to the Buddy Holly estate. Joe McEnerney
is probably a really good guy who is a blast to hang out
with, but please, no more music.
 THE
SCENICS - Dead Man Walks Down Bayview (Dream Tower Records
www.dreamtowerrecords.com)
Interesting story here; The Scenics’ history stretches
back to 1979, but this is the band’s first fully original
product since 1982. A lot has changed over the years (gas
averaged around $1.30 a gallon and that was during a rough
economy), but original members Ken Badger, Andy Meyers,
and Marc Perkell reconvened for a record that is both rooted
in the band’s past but also sounds uniquely contemporary.
Tracks like the opening “Dark Cave” and “No
Sleep” are bouncy odes to the basic foundations of
rock that transcend any generation or trends. The band also
displays a penchant for winding, intricately played nuggets,
such as the folksy “A Fox, Her Fur, and Where She
Parks It” and the guitar showcase that is the sprawling
“Miami”. Despite their history in the Canadian
punk scene, do not expect much in the way of slash and burn
fury; rather, the boys have certainly matured into more
soft-spoken men on “When You Come Around” and
“I Can’t Be Careful”. The dreamy, genteel
closer, “The Farmer” encapsulates what The Scenics
are now far more than what they once were. It is always
a risk to see a band reemerge after such a long hiatus,
but the Scenics handle the challenge extraordinarily well.
The songs on Dead Man Walks Down Bayview are pop-flavored,
guitar-rich anthems deftly delivered by skilled veterans.
 SELF-EVIDENT
- We Built a Fortress on Short Notice (Doubleplusgood Records
wwww.doubleplusgoodrecords.com)
Despite a career that has witnessed the release of five
complex, angular slabs of intricate musicianship, Self-Evident
is not a band that instantly comes to mind when asked to
think of contemporary acts that balance the complicated
and the controlled. That inexplicable fact aside, the musical
radiance continues on the supremely titled We Built a Fortress
on Short Notice, where textured harmonious elements and
subtle uses of blunt power make this record intriguing.
The opening “Rumors” has a pent-up aggression
that seems on the hair-trigger verge of explosion in the
vain of Fugazi’s best days, but other tracks drift
off into dreamier pastures. “Half Bicycle”,
“The Ones That We Live Without”, and the stirring
“Cloudless” possess a similar level of intricacy,
but the song structure is more reminiscent of acts likes
Joan of Arc or Laissez-Fair, generating a sense of unsteady,
almost frantic disorientation. These beautiful efforts hover
and shroud the listener, embracing without smothering. Conrad
Mach’s voice moves from strained, impassioned lyrics
of pitch-perfect anguish to labored yelps of frustration;
his “get up, get up, this is happening right now”
in the concluding moment of “In Cowardice” is
chilling and the vocals are truly a weapon of choice throughout
the disc. Tom Berg’s bass playing provides heavy propulsion
through the record and his backing vocals cannot be overlooked
in terms of importance alongside the dexterity of Ben Johnston.
Quite often, at least for a person of my limited intellectual
scope, any band that is tagged with a “math-rock”
label sends me running, but Self-Evident never sounds convoluted.
There is certainly undeniable intricacy on each track, but
each stop and start and every skittish guitar riff is organic
and purposeful. In short, this is worth finding.
 BROTHER
EYE - Emotional Fingers (Strange Pony Records www.brothereye.bandcamp.com)
If there was ever a band whose music is destined for a
truck ad, it is Brother Eye. While listening to the opening
“Dry Summer” or “The Wizard”, one
can imagine mud spraying across your television screen as
some turbo powered pickup has its horse power explained
in excruciating detail. However, to their credit, Brother
Eye does something that few bands do today, which is play
old fashioned rock n’ roll; the type that used to
dominate FM radio before that went the way of the phonograph
and people began creating sub-genres within sub-genres.
There is nothing flashy or challenging on Emotional Fingers,
just songs about smoking cigarettes, bad relationships,
and getting through life. The nine tracks here range from
impassioned anthems (“First Wave”, “River
City Showdown”) and blues-inspired pop (“Fall
on You”, “I Will”) to fuzzy, guitar-rich
efforts (“Barely Watching”). Brother Eye sounds
like Cheap Trick if that band had not been ravaged by the
80’s. I prefer to have music rip my head off and then
move on, but there is always room for guys who just appreciate
a no-frills approach song writing in which two guitars,
a steady backbeat, and a harmonic singer come together and
eschew any concern about trends. Nothing captures this band’s
willingness to avoid the fray of contemporary musical stylings
than their choice of a cover version of Wings’ “Jet”;
that alone should help define the target audience. However,
regardless of age group, Brother Eye is a band that cries
out for a few beers and friends, and that is always a concoction
for a fun listening experience.
 SLIGHTLY
STOOPID - Top of the World (www.slightlystoopid.com)
I know people adore Slightly Stoopid and their brand of
modern ska, but this just refuses to entice me. This band
reminds me of Sublime, and I could not stand that band either.
If this is your taste, then Slightly Stoopid does this very
well. Musically, the band is quite adept and the adroit
balance between harmony and frivolity is impressive, regardless
of genre.There are a multitude of fun, light-hearted party
songs here, including “Ska Diddy”, “Work”
“Marijuana” and “Drink Professionally”.
With each of these, one should break out margaritas and
Tommy Bahama shirts and just unwind. These efforts are easy
on the ears and provide a wonderful bit of escapism, but
this is for a very specific audience. If one is not a true
devote of ska, slower efforts such as “Deal With Rhythm”,
the unassuming “We Don’t Wanna Go” and
the somewhat perplexing choice of a cover of Springsteen’s
“I’m On Fire” become taxing quite quickly.
Maybe I am no fun, and there is a very good chance that
is true, but I can only take a song or two of this at best.
 WRECKLESS
ERIC and AMY RIGBY - A Working Museum (Southern Domestic
Records www.amyrigby.com)
This fascinating combination of Englishman Wreckless Eric
and very American Amy Rigby results is a warm collection
of uniquely constructed avant-garde pop. While “Rebel
Girl, Rebel Girl” and “Days of Jack and Jill”
hover delicately due to the airy vocals of Rigby, “The
Doubt” is a discombobulated gem of a song that meshes
the ethereal with the chaotic as a noisy chorus rumbles
in and then inconspicuously departs. “Days of Jack
and Jill” has all the elements of a classic 60’s
pop sing along with slight variations in tempo and energy
along with a rousing hook, while “Genovese Bag”
is a more straightforward effort with subtle guitar trickery
that becomes increasingly pronounced as the song meanders
its way towards its conclusion. The disc seems to become
progressively more challenging, as “1983” is
a dense slab of blues-fused experimentation, and “Zero
to Minus One” has remarkably stark beauty. This is
mirrored by the rich harmony heard on “Tropical Fish”,
as Eric and Amy’s vocal interplay is riveting. With
varied influences and obviously musical dexterity, A Working
Museum is a treasure waiting to be discovered by the inquisitive
and objective.
 HOT
PANDA - Go Outside (Mint Records www.mintrecs.com)
Hot Panda continues Mint Records’ proud history of unique
pop-punk on Go Outside. Led by Chris Connelly, the songs here
are often bouncy and effervescent, but always retain a subtle
edge. This may be pop, but there is a tangible angst on “One
in the Head, One in the Chest”, “Littered Coins”,
and the superlative “Winter Song”. Connelly’s
aggressive yet controlled vocals coordinate well with the
noisy ebb and flow on “Global Markets” as Meghan
Campbell shines on drums, while “Maybe Now?” percolates
with an infectious energy also heard on the jubilant title
track. Go Outside sounds innocent without sounding naïve,
and this is through the leadership of Connelly, but accompanying
him are the multi-talented Heath Parsons and Catherine Hiltz,
who combine to play instruments ranging from guitar to trumpet
and accordion. Their contributions only accentuate already
impressive efforts and never sound forced. The speedy, textured
“See You All Around” is an inspired piece of supremely
crafted pop and one can imagine the smiles on the faces of
the members as they produce their din. I have been a fan of
Mint since their inception with cub and “cuddle-core”.
The label continues to mature but has not lost their appreciation
for unique interpretations on pop purity.
 RED
COLLAR - Welcome Home (Tiny Engines Records www.tinyengines.net)
The story of Red Collar is a tale of four individuals who
decided to, in their thirties mind you, commit themselves
to a rock and roll dream. Welcome Home is the testament to
that aspiration and is a collection of odes to adulthood,
the significance of familial ties, and the ramifications of
one’s decisions. In short, this is adult music for other
adults. As a man even older than the members of Red Collar,
I have limitless admiration for their dedication to their
craft and the maturity of their songwriting. That said, however,
much of this is a little ham-handed in delivery. If one has
just discovered Gaslight Anthem or appreciates the harmonies
of Jimmy Eat World, songs such as “American Me”
and “Fade Into the Night” will put a charge into
your minivan as you take the kids to soccer practice, but
I am bored and more saddened by some of the preachy qualities
of the Depression-era ramblings of “The Old Piano Roll”,
the overt attempt at sentimentality on both “This House”,
and “Dodge K”, and the laughably transparent “Choices”.
The latter deals with a young girl who made, yes, a bad choice
and is now pregnant. I find it difficult to take the lyrics
“Now you know, they don’t come from storks or
Jesus” seriously. Musically, Red Collar is an upper
echelon bar band which writes temporarily catchy, albeit well
worn, riffs accompanied by impassioned vocals. However, not
much of Welcome Home stays with the listener for very long,
and the record acts as a wonderful metaphor for the longing
for home so often articulated in the collection of songs:
you can go home again, but one quickly realizes that the idealized
memories in one’s head do not match the world waiting
for you and ultimately, disappointment becomes the new reality.
Red Collar has the best of intentions, but I hope they did
not take out a second mortgage for this band, although their
next record could feature songs about interest rates.
 STATE
FAULTS - Desolate Peaks (Tiny Engines Records www.tinyengines.net)
With a remarkably harsh vocal approach, State Faults may illicit
immediate responses of confusion or utter disgust. However,
if one gives this act, and namely Jonny Andrew’s harrowing,
polyp-generating singing style a chance, there is a gem of
a record here. Five of the six tracks on the first side either
do not or barely crack the two minute mark, but this is not
blurry, indecisive punk fury run amok. Rather, the musical
backdrops are majestic in their beauty and are the perfect
foil to the raging caterwauling hovering above them. There
is remarkable depth to “Sleepwalker”, “Faultlines”
and “Wayfarer” despite their brevity. Andrew and
Michael Weldon indulge in thrilling guitar warfare as their
bombastic riffs intertwine, wrestle, and ultimately emerge
as exhausted warriors from a type of bloody hand to hand,
six string combat. All the while, Chip Kelley’s bass
playing and the drumming of Jared Wallace blend the relentless
energy of grindcore with the angular precision of jazz to
create a fully unique listening experience. When the band
fleshes out ideas in greater detail, such as “Teeth
and Bones” and “Hallways”, the result is
as exhilarating without becoming redundant. Darkness permeates
the record, from the slightly hazy production quality through
the lyrics of self-exploration that often revolve around the
pain associated with being a human: “My heart’s
a haunted home and it’s all I’ve ever known”
(“Sleepwalker”) and “These fragile walls
I built from falling stars from the weight of every wish that
fell on deafened ears” (“Skeletons”) are
just two of a litany of poetic, obtuse lines that are simultaneously
beautiful and wrenching. Gaunt, challenging, and impassioned
in their delivery, State Faults have a fascinating record
in Desolate Peaks. This is a band I can imagine acquiring
a limited but viciously rabid fan base. I am now among them.
 BOY
MEETS MACHINE - War Horn (facebook.com/BoyMeetsMachine)
The thirteen songs on War Horn are a baker’s
dozen of intricate, delicate pop songs that introduce just
enough bombast to stop the affair from becoming too dreamy.
The best case is actually the opening, six and half minute
“Assisted Suicide Note”. The riff introduces
itself and then scurries away, only to return and retreat
several times during the track. It is an interesting introduction
and frankly is the high water mark of the record in terms
of uniqueness. That should not be taken as a slap against
the next twelve songs, but because most of them are far
briefer in duration, they tend to not allow for the same
level of emotional investment as the opener. “Man
Behind the Curtain” and “Under Your Bed”
are two powerful pieces of bottom heavy pop, while “Piracy”
is gleefully buoyant and the closing “An Argument
From Incredulity” is intentionally obtuse in both
title and musical structure. Some of the works here, notably
“Fast Forward to the Future” and “Buildings”
are interesting in nature, as they do not adhere to conventional
song structures. This is partially an outgrowth of the band’s
unapologetically progressive style of playing, but it also
reflects a new approach to what defines pop-infused rock.
I have a feeling that Boy Meets Machine may garner only
a niche audience, for this is a touch too complex for mass
approval, and perhaps this is just fine with these guys.
There is something to be said for creating something distinctive,
and that happens here. The guitar playing is quite intricate
and the drumming is wonderfully powerful, and one has to
truly focus in order to appreciate it. This is not my style,
but for you popsters out there who want something a bit
unconventional, this New Jersey via-Alabama-via Georgia
outfit could be what you need.
 MADBALL
- Rebellion (blacknblueproductions.net)
Just as the sun will rise in the east, Madball will always
release hardcore delivered in a classic New York tough guy
style. There is nothing new or subtle on Rebellion, but
true Madball fans will undoubtedly be pleased. However,
what makes Madball sound more imposing on this effort is
the production of Eric Rutan. I am a huge fan or Rutan both
behind the board with acts like Cannibal Corpse and his
death metal prowess with Hate Eternal. Rutan’s production
style retains the essential raw nature of hardcore, but
Rebellion squeezes the listener’s skull and one can
almost feel Freddy Cricien’s spit on your face as
he barks out the lyrics to “The Beast’, “You
Reap What You Sow” and “My Blood”. The
guys even pay tribute to their own rich hardcore history
by re-recording “Get Out” and the bruising interpretation
of The Animals’ “My Life”, both originally
appearing on Madball’s 1989 Ball of Destruction EP.
For those who have loved this band since the late 80’s,
Madball invites you back into the pit. For the kids who
were not even on the planet with these guys began beating
people up at Agnostic Front shows, pick this up and learn
about authentic hardcore.
 THE
MESS AROUND - Boner Time (Drug Front records www.drugfrontrecords.com)
The Mess Around is the type of band that fans of beer-soaked,
gritty rock appreciate: every song here is built around
a great riff, steady drumming, and stories that are instantly
relatable. Imagine the Ruiners with a few more lessons or
the Night Birds if they grew up listening to the Stones
instead of Dead Kennedys, and you have the Mess Around.
“Shake it on Down”, “Find Me Gone”,
and “Answer Me Tonight” are rousing pieces of
shimmering rock energy in the purest sense. Completely free
from pretension, Boner Time, despite its sophomoric name,
is actually a record for adults who value bands with limitless
energy and punk spirit, but also understand when to include
a nice bit of piano. Vocalist Dave Harrison delivers each
syllable with great clarity and enthusiasm, but never pushes
himself too far, always allowing fellow guitarist Nick Petropoulos,
drummer Greg Libbee, and bassist Mark Wheeler to demonstrate
their own talents. With a nice homage to Radio Birdman through
the cover “Burn My Eye”, the Mess Around tribute
a band with whom they share several attributes. Boner Time
is raw and dynamic, an embodiment of what can be produced
when four guys get together and craft something honest.
No studio tricks, no file sharing through laptops; the Mess
Around oozes old fashioned garage enthusiasm. “Stayed
Out Too Late” and “Drunken Words” are
ideal party songs, even if you are by yourself.
 OBEY
THE BRAVE - Young Blood (Epitaph Records www.epitaph.com)
Metalcore is a term that has become overused and therefore
has developed a negative connotation in some circles. Obey
The Brave will help remind people of how the genre should
sound. The opening “Lifestyle” is a minute and
a half blast of pure 90’s hardcore with a simple message
about the purity of music ferociously yelped by Alex Erian,
formerly of Despised Icon, a true beast of a band that deserved
far more recognition that what it received. Rather than
sulking about fame that did not come his way, Erian and
John Campbell (ex-Blind Witness) piece together a band that
speaks to fans who mosh to Hatebreed as readily as those
who spin-kick to Adestria. The band adheres to many of the
rules of metalcore, including the mandatory breakdowns on
“It Starts Today”, “Time for a Change”
and “Live and Learn”, but their musical acumen
allows for greater diversity on Young Blood. “Get
Real” is a galloping effort whose gang vocals should
get the kids storming the stage to grab the mic from Erian’s
hands, while “Unstoppable” features a thick
groove and a burst of speed that pays reverence to thrash
as much as it does contemporary hardcore, and the two divergent
elements mesh together perfectly. The thirteen songs here
never hang around long enough to wear out their welcome,
and I am highly impressed by the intricacy of Obey The Brave.
Their influences are obvious, but the end result is well
produced, refined slab of angered metalcore that pushes
the genre forward into a more mature realm.
 RIPFACE
INVASION - To Not Give In (Scorpion records www.scorpionrecords.com)
It is rare, but there are occasions when you just know
you have a gem in your hands before you press play, and
that is the case with Ripface Invasion. Start with the name:
Ripface Invasion. What would a “ripface invasion”
look like? Who is invading? Do they only rip faces? The
cover of the disc is a cartoon of a muscular alien figure
wearing a breathing apparatus, firing a laser gun, and holding
a dagger with a severed human head affixed to it while stomping
on the broken bodies of other victims. At this point, whatever
music is contained inside is just gravy. Luckily, the music
is as heavy and fun as I hoped it would be. Anthony Paladino,
a long time veteran of New Jersey’s hardcore scene
rages against lying politicians (“Armchair Politician”),
a corrupt society (“To Not Give In”), and indulges
in good old fashioned revenge (“The Dominator”).
Musically, Ant's guitar work is melodic while unrepentantly
heavy, while Tom Conti (bass) and drummer Dan Lockhart anchor
a rhythm section that smashes the skull of the listener
with the energy of musicians half their age. Ripface Invasion
is not a band of subtlety or complexity, but To Not Give
In speaks to the power of unadulterated punk tinted with
just enough metal elements to awaken the angered and disillusioned
fourteen year old that lives inside of us. The refrain of
“no compromise” on the title track summarizes
the EP perfectly: forget trends or what hipsters are currently
touting, get this and rage like it is the first time you
heard hardcore.
 THE
TOADIES - Play. Rock. Music. ( Kirtland Records www.kirtlandrecords.com)
The Toadies are a band that exists in a strange situation
in which they are linked to one mega-selling song, the ubiquitous
“Possum Kingdom” from 1994, but have to thank
that past success because it allows any new music to garner
attention. The direct, simple album title reflects the general
aesthetics of the record, with the opening “Rattler’s
Revival” sounding much edgier and grittier than anything
I remember from the Clinton administration era. Vaden Todd
Lewis sums up the sentiment of many bands on “Summer
of the Strange” when he barks “give me back
control!” for it is an frustrated yelp of aggravation
and perhaps fear, wondering if he will only be remembered
for a song that dotted the landscape nearly two decades
ago and a band name known to people under thirty through
Guitar Hero II. To their credit, the Toadies do not completely
abandon their love of warm pop hooks, as “Beside You”
indicates, but this is a collection of songs from weathered
performers who sound reinvigorated and determined to reintroduce
earnest rock to the masses. It is very easy but horribly
short-sighted and unfairly dismissive to simply view this
as a band attempting to cash in on nostalgia (i.e the Everclear/Sugar
Ray summer tour….ugh), for this is better than what
the Toadies were producing during their “golden years”
of mid-90’s. The bluesy, sinewy “Animals”
conveys a sexuality over a riff reminiscent of “I
Come from the Water”, while “Laments of a Good
Man” features vocal tricks that are strangely intriguing
before the songs slows to a molasses crawl for the droning
chorus and a premature ending. It is a bold experimental
step that deviates from the more straightforward elements
one finds on the ten other tracks. Not everything here works,
as the quiet closer “The Appeal” is a let-down,
but Play.Rock.Music. strikes me as an act of emancipation
for the Toadies as the members allow themselves to have
fun and play traditional rock fare with the type of abandon
that comes with experience and confidence, best heard on
the possible live staple, “We Burned the City Down”.
The Toadies do more than bring back memories here; they
actually forge a new phase in their career.
 VERSUS
THE WORLD - Drink.Sing.Live.Love. (Viking Funeral Records
www.vikingfuneralrecords.com)
With a line up featuring a collection of punk veterans,
notably Mike Davenport of The Ataris and Chris Flippin of
the woefully underappreciated Lagwagon, Versus the World
plays an easily palatable style of punk-pop. Nothing on
Drink.Sing.Live.Love. is dislikable, but there are not many
truly memorable moments either. Perhaps it is the production,
as the record is mixed by Ian MacGregor, a man with Katy
Perry on his resume, but the songs follow a standard blueprint
for this genre. The vocals are clean and harmonious, the
guitar playing is full of melody, and the low end is present
but not overwhelming. “Mason Grace” and “A
Fond Farewell” are soaring tracks, but after they
depart, there is no desire to hit repeat and check them
out a second time. As one reaches “A Love Song for
Amsterdam” and “Oh Brother, Where Art Thou”,
the formula is easily predictable. I understand that it
is exceedingly difficult to shape shift punk-pop, and each
member of Versus the World is accomplished, the final tally
here is just another record that will connect with some,
but does not have any real uniqueness to help separate it
from the ocean of acts like this. Crunchier, noisier elements
could help this, and there are brief glimpses of this, such
as the more aggressive “Donner Pass”, as the
band ratchets up the intensity while still holding fast
to their pop foundation,. I have nothing against this band
or this record; if you still cannot get enough pop-oriented,
slickly produced punk in your life, this is better than
most. However, for my money, that still is not saying too
much.
 ZULUS
(Aagoo Records www.aagoo.com)
Mesmerizing, off-putting, and oddly exhilarating, Zulus
create music that is an amalgamation of punk aesthesis,
heavy distortion, and fleeting moments of spacious beauty.
Daniel Martens and Aleksander Prechtl left the West Coast
and moved to Brooklyn over a year ago where they altered,
but certainly did not fully surrender, their hardcore heritage
and now create noisy, experimental guitar rock with just
a few pop touches buried within the haze, such as the closing
racket of “Death in the Current”. The vocals
fight their way through a fuzzy atmosphere to be manipulated
into wildly distorted screams of garbled words, but they
are so fascinating that the clarity of the content does
not matter. “Surgery”, “To Die in Spain”,
and “Blackout” do not even reach two minutes
in length, but each are densely packed with atmospheric
chaos and genre-shattering performances. The anger is tangible,
but the rage explodes into a myriad of raw, animalistic
directions. “Kisses” and “Tremolo”
are furious and deceptively heavy; the songs are a series
of sucker punches that continue to pummel the listener until
one collapses as a bloodied pulp. This is what every band
should do, but few can muster a level of frenzied, kinetic
force as one hears with Zulus. Within the sludge and pummeling
low end are songs of intricate brilliance-one has to be
immensely gifted to craft a clamor this sophisticated. This
is cooler than anything you are listening to right now.
 BELT
OF VAPOR - “Buck” (Whoa! Boat Records www.whoaboatrecords.com)
Hailing from the quiet eastern Washington state suburb
of Spokane is Belt of Vapor with a rugged, densely structured
style of manic rock. The two tracks on “Buck”
feature thick, punishing riffs while the vocals of Aaron
(only first names given here…I hate that, but I will
let it slide because this band is more than cool) hover
on the edge of blind fury and are driven by authentic angst.
This trio channel boredom and frustration into a pair of
abrasive songs that eschew all the trapping normally associated
with contemporary rock. Namely, there are no showy solos
or elements of computer generated perfection-this is old
fashioned, move the amps away from the oil stain in the
garage and let’s play kinda rock. The B-side “Genius/Failure”
is equally aggressive with a thrilling combination of relentless
fury and a sense of harmony. It can often be difficult to
gage a band by only two songs, but there is a vast amount
of talent here and hopefully Belt of Vapor will be given
a chance to spread their brand of anger across the country.
 DEATH
BY STEAMSHIP - “Facetious” (Whoa! Boat Records
www.whoaboatrecords.com)
The opening of this three song EP is shockingly bouncy,
but one cannot avoid the post-punk sensibilities buried
within, as well as the song’s bitingly sardonic lyrics.
While one can interpret “Smoke and Sweat” to
be a loving tribute to beer and the radio during a warm
summer day, but when Jason Simplot yelps “I wanna
smoke and sweat, live life with minimal regrets”,
there is something much more complex than a simple summer
anthem. A similar aesthetic is heard on “Dirty Venetian
Blinds”, for the songs borrows heavily from Margin
Walker-era Fugazi as it explodes into a slab of blistering
punk before abruptly shifting tempos as it approaches its
conclusion which arrives far too quickly. “You Need
a Super, Specialized, Specialist” could make a person
believe that it is still 1993, and for many of us, that
is a great thing. Buried vocals, a chunky bassline, and
a burly riff make this one the best of the bunch, and it
also features the illuminating lyric: “A conversation
doesn’t consist of bitching and moaning and a list
of your co-worker’s tits.” The upstart Whoa!Boat
label is making an strong impression.
 GUNTOWN
- “Chaos” (Whoa! Boat Records www.whoaboatrecords.com)
Guntown’s sound is a bit rough around the edges,
bit there is an endearing honesty heard on “Chaos”,
the first of the trio of efforts on this release. Blending
an incensed punk attitude with a few sneaky pop elements,
Guntown’s sound is still finding its true voice. However,
even the incipient stage of their musical delivery is more
interesting than the overwhelming majority of the bands
in the world right now. For example, a song titled “Fuck
the Days” may not come across as potentially motivational,
but that is what happens here. Rather than focusing on nihilism,
vocalist Guthrie Allen is moving beyond the loneliness the
song details. (“Fuck the days when you open your eyes
and no one is by your side.”) The slower, more deliberate
pace of “Acid Baby” allows Doug Rose and Matthew
Kelly to show off their highly technical skills, as the
song oozes dissatisfaction and rage. Woven within this is
a strangely jazzy riff that underlies vocals that range
from composed to furious but are always compelling. This
band has not yet perfected their sound, but their evolution
will be highly worthwhile.
 HAUNTED
HEADS (Double Plus Good records www.doubleplusgoodrecords.com)
Haunted Heads is a band that I would safely bet is a riot
in a live setting, but they come across as far too poppy
and non-threatening on vinyl. The dozen songs on this self-titled
release snap and pop with boundless enthusiasm, as if the
British Invasion mated with 90's indie pop. In short, the
music is cute, fun, and hyperactive, but it also lacks any
real punch. Even when a little fuss is kicked up, as on
"The Ones Below", the band choses to allow the
song to recede back into a quiet cave rather than flesh
out its more aggressive nature. Most of what Haunted Heads
does could fit on the Simple Machines or SpinArt labels
if the year was 1993, and while this is a welcomed departure
from much of pop's contemporary fare, "For Esther"
and "Seconds Between Frames" just sound like an
earnest but ultimately unsuccessful attempt to recreate
a once celebrated sound. "Ghosts and Devils" is
a stronger track that offers promise as the second side
dawns, but even here, the Haunted Heads fall back onto a
well worn path, and one would never suspect that this was
a two guitar line-up. If the 90's marked your birth rather
than your coming of age, you may enjoy this; the rest of
us cannot believe that we are old enough to know how this
story ends.
 MOCK
(I Love to Hate Records www.ilovetohaterecords.bandcamp.com)
Striving to appease a more sophisticated audience, Mock
is a struggle at times for a simpleton like me. However,
a record like this is not to be overanalyzed and dissected,
but should rather be taken in as part of one extended sitting.
Mock's self-tilted record is an eclectic, intricate mass
of fascinating musicianship sprawled across a cinematic
forty-five minutes. The songs arrive and hover gracefully
with the instrumentals, all titled as a series of numerical
ordered dots, representing the band's most pristine moments.
For a band with its roots in hardcore, the nature of the
work is astounding-the record has the fragility of porcelain
yet much of Mock's playing simmers with the embers of post-punk
energy. Just beneath the surface on "57" is a
low rumble ready to explode. The song does not ultimately
do so, but the tension created is a momentous achievement.
Granted, some of the guitar noodling does become a bit repetitive,
but Mock is fiercely committed to formulating music located
miles away from the safety of the expected. The ingenuity
on "Montreux", "Corners", and "Mind
is a Pit of..." is unapologetically complex, with labyrinthian
time sequences and convoluted structures. Mock is not an
easy listen; this requires total focus and attention to
detail; it is the musical equivalent of a highly demanding
class-the work is challenging, and there are times when
one wants to give up, but once completed, one is a better
student and person. Mock speaks to the unconventional and
this one will exhaust the listener, but give it a shot.
 SICK
SICK BIRDS - Gates of Home (Toxic pop Records www.toxicpoprecords.com)
The 90's indie rock revival continues with Baltimore's
Sick Sick Birds. Frenzied guitars and vocals submerged in
a gloriously noisy mix greets the listener on the opening
"Pick and Choose" and do not let up over the course
of ten additional songs. The speedy "Marietta"
highlights Mike Hall's vocals as he strains his voice above
a raucous din, while "Spinning Jenny" has a seething
low end groove that makes it my favorite of the bunch. Hall's
lyrics are obtuse, as if one enters the story in the middle
of the action, uncertain of how the story started but curious
about how it will end. The concept of dreams reoccurs throughout
the record and there is a frantic intimacy to each son;,
the Sick Sick Birds sound like they are playing in your
basement, best conveyed on "One Town Over", a
scorching rave-up with a surprise ending and "(Cross
the) Shipping Lanes", a song dominated by a convulsing
fury. Sick Sick Birds return to indie rock roots, but it
is not simply jangle by numbers. "Gates of Home"
may borrow heavily from pre-Document R.E.M., but with subtle
keyboards accenting the rousing guitar work, the song is
entirely fresh. Energetic and honest, the Sick Sick Birds
will remind you why indie rock is fun.
 The
Thing That Ate Larry Livermore (Adeline Records)
If you are reading this you should be familiar with Lookout
Records, the seminal West Coast label that spawned Green
Day and Rancid, along with dozens of bands that did, and
continue to, influence American punk. This compilation celebrates
Larry Livermore, the founder of Lookout, by giving him a
chance to scour the nation for the next wave of exciting
bands making exceptional noise. Sixteen acts made the cut
and a listen will explain why: Each of the songs possesses
a similar energy but retain a distinctive quality. This
is a great educational disc for me, as I have only heard
the work of one band here, Night Birds, an act I believe
to be one of the best in the world, so I know I am in for
a fun ride. The adrenaline-fueled Dear Landlord kicks the
disc off with “Walking Distance”; a classic
slab of two minute punk energy blending harmony and fury.
As an admirer of strong women, “We’ll Be OK”
from Lipstick Homicide and “One Good Night,”
compliments of City Mouse, are among my favorite tracks
here, along with the ferocity of “Good Looks”
by Emily’s Army, a band that deserves to become a
renowned name soon. However, the beauty of this compilation
is that one hundred people could listen to it and there
would one hundred different favorite songs. The aggressive
vocals and furious delivery of The Dopamines (“Business
Papers”) nestle up against the less aggressive but
equally enthralling House Boat (“Love Song for the
Reclusive”) and Vacation (“No Mercy”).
One can imagine each of these bands as part of the Lookout
family for the blend boundless energy and an unapologetic
adherence to the value of harmonies and lyrics that can
be poignant or goofy, occasionally at the same time (The
Hextails’ “Me and My Dad”). Be My Doppelganger
mix and match raw force with a surprisingly buoyancy, while
“Mr. Monday” from the aforementioned Night Birds
lives up to my self-imposed high expectations as it awards
the listener with ninety seconds of their refined surf-tinged
wrath. The disc finishes impressively with The Visitors
whose melodious song structure on “San Andreas”
perfectly encapsulates the collective talents on display
here. Jump on the future stars now because someday, one
of these bands may end up with a Broadway show of their
own.
 CINEMA
CINEMA - Manic Children and the Slow Aggression (www.cinemacinema.com)
Cinema Cinema may hail from Brooklyn, but their adherence
to, and respect for, the classic DC sound is apparent throughout
the musical opus Manic Children and the Slow Aggression.
Each song fluctuates between untamed explosions of
force and refined, nearly pristine pop structures. The juxtaposition
of the vicious and delicate makes each track an uncompromising
and unabashedly experimental ride. “Cycle and Territories”
includes one of the world’s most ferocious riffs off-set
by a warmth and intimacy not associated with a band of this
nature. The duo’s knack for embracing noise and a
penchant for stop/start structures ultimately and fittingly
led them to work with Don Zientara, and his legendary repertoire
is only enhanced by his production efforts here. Mixing
the raw fury of DC hardcore with the smart, artistically-inclined
blunt force of Fugazi, Cinema Cinema make bludgeoning sound
exquisite throughout Manic Children, ranging from
the jarring “Adult Themes” and “Lady Abortion”
to the sprawling “Shiner No.3” and “Party”,
both of whom clock in over nine minutes but move along as
briskly as any three minute pop tune. However, the band
does not allow one to grow complacent and expect a formulaic
approach to their brand of raw noise-fueled rock angst.
The polished “National League Lament” remains
composed and unassuming, while “Anesthesia”
lulls the listener into safety before unleashing a torrent
of guitar force upon the expecting. A significant component
of Cinema Cinema’s recognition is a nearly obsessive
desire to tour, and this relentless work ethic has allowed
them to combine forces with Greg Ginn on multiple stints
around our great nation. The band’s association with
Ginn is as serendipitous as their affiliation with Zientara,
for Cinema Cinema captures the fractured beauty that defines
so much of Ginn’s work, both during the latter years
of Black Flag and certainly his post-Flag years. The serene
intro of “Altamont” slower builds to a chaotic
crescendo, but the songs manages to walk a fine line between
bombastic and refined. “Day Leash” includes
thunderous drumming and well-honed riffs, again demonstrating
the band’s clear affinity for solid melodies; they
simply allow for a wider berth than most bands within each
track in which their more aggressive natures can flourish.
We live in an age of compromise and imitation; Cinema Cinema
rejects both and we are the beneficiaries of their courage.
 FOOD
- Three Pieces From Candyland (Phratry Records www.phrartyrecords.com)
This is quite a line-up and the end result is just as one
would expect from three truly gifted players. Food (sometimes
described as an acronym for “far out old dudes”)
includes fIREHOSE’s Ed Crawford on guitar and vocals,
Gumball’s Eric Vermillion on bass, and the Cynics’
Mike Quinlan on drums. The trio plays with a loose, uninhibited
sense of excitement on “Santa Maria” and “Jesus
and Johnny Cash”. Both of these efforts capture the
spirit of classic 80’s college radio, with Food sounding
like stars of IRS Records. Crawford’s voice is warm
and harmonic, but with just enough of an edge to remind
one that he is still a punk at heart. The rough and tumble
boogie of “Jesus and Johnny Cash” is a grimy,
raucous two and a half minute celebration of everything
that makes rock great. The closing “You Don’t
Know” slows the tempo down a bit, but this only allows
for Crawford’s vocals to take on a more earthy quality
and give the piece an abundance of raw emotion. The vinyl
and downloadable versions of the EP include a bonus track,
but if you are lucky enough to find yourself with the CD,
enjoy three glorious songs from a band that is hopefully
more than just a one-off bit of fun.
THE
SCUTCHES - Ten Songs, Ten Years (Bright and Barrow Records
www.brightandbarrow.com)
If Joe Queer earned a royalty check for each band spawned
by young kids discovering his mighty Queers, his fortune
would dwarf the GDP of most nations. Adding to the impressive
list of Queers/Screeching Weasel/Riverdales inspired pop-punk
is Long Island’s Scutches. Incredibly warm harmonies,
touches of surf, and lyrics about broken hearts and the
mixed emotions of relationships dominate Ten Songs, and
each track seems to become more bubbly and effervescent
as the disc progresses. The scathing nature of “Glad
You’re Gone” is masked by the joyful tone of
the music, while “Weekend Boyfriend” displays
a more sensitive and emotionally complex side of the band
as it explores the life of a man who wants a more serious
commitment; a topic not often explored, ending with forty
seconds of piano and hushed vocals. “Together Again”
is a modern lyrical interpretation of the Beach Boys’
“Wouldn’t it be Nice” while “Never
Ending Story” invokes “Debra Jean” or
dozens of other love-torn tales. One should not expect only
efforts that tag at one’s heartstrings, however, for
“Full Steam Ahead” and “June 1st”
roar with a garage-band level energy and intensity. The
Scutches have the courage and self-confidence to also open
themselves up to criticism by offering the acoustic “In
Dreams” as well as a similarly subdued bonus track.
Ten Songs, Ten Years should be a staple of your summer soundtrack.
– Rich Quinlan
 SKIP
THE FOREPLAY - Nightlife (Epitaph Records www.epitaph.com)
If you have ever wondered what Emmure would sound like
if they listened to too much B-level dubstep (and who among
us has not pondered this), Skip the Foreplay is here to
give you the nightmarish result. The songs on Nightlife
are a hybrid of traditional metalcore breakdowns, guttural
vocals, and cheesy synth. This Frankenstein's monster of
a disc is designed to appeal to both the mosh pit and the
dance club crowd, but I am sure that both can see through
this. "DJ" features effervescent female vocals
repeating "I'm in Love with the DJ" while bland
stock riffs churn around them. The guys seem to fancy themselves
avengers of all potential rape victims out there as they
swear revenge upon a "creep" in "Hawaiian
Killer" and again in the blatant "Date Rape Predator".
All the while I am wondering what Epitaph was thinking with
this-I could it could potentially be a short-term money
grab, sort of a Bring Me the Horizon or Annotations of an
Autopsy; bands that mattered for about ten seconds before
their fickle audiences moved on the the next distraction.
Any band with a song titled "Dinner with Snooki"
should be shunned even if that song is a scant instrumental,
but the embarrassingly cliched "Dom Perignon' sounds
fresh and inventive next to the pitiful 80's synth that
kicks off the band's "anthemic" "This City
(We're Taking Over)", a song more musical barren tan
the Arabian peninsula. I am happy for the guys in LMFAO
as they seem like good kids with a cute sense of humor;
however, they are the impetus for this band's success as
STF had a viral video (can we kill that term, too, please!)
of a cover of "Champaign Showers". However, now
that goofy duo is spawning spin-off inspirations like this
like the way "Three's Company" gave us "The
Ropers". If one is blind drunk, this could be a fun
record, but tongue has to be in cheek, beer in hand, and
good taste out the window. Yes, skip the foreplay, and make
sure you skip this.
 BNLX
EP #7 (facebook.com/bnlxmusic)
When the opening track of an Ep features the "hella
rad punk as fuck" mix of the opening track "See
What I See", I am nervous, and BNLX proves me correct.
It is safe to expect loud, raucous punk, but instead, one
receives bland guitar rock fodder. The riffs on all five
pieces, including the clean version of "See What I
See", are solid, but generally of the stock variety.
BLNX plays a brand of rock that one can hear at any local
club on a Thursday night, as "Round the Dial"
and "Video Games" are solid but not by any means
inspired. Bands like this are why I do not have a facebook
account-the last thing I want to see are pictures of these
guys or the "friends" who find this interesting.
At least in years past, BNLX would have remained an anonymous
weekend warrior act playing for a small cut of the door
and anything they recorded would not have ended up in my
hands or the hands of anyone else outside of their families.
So in short, if you know these guys, you may want to own
this, but for everyone else, just keep walking.
JIM COLEMAN - Trees (Wax and Wane Records www.jimcolemanmusic.com)
Jim Coleman is a name that lights up the eyes and ears
of any devout indie rock aficionado of the 1990's or any
kid now young enough to consider that decade a period worthy
of exploring. Cop Shoot Cop left an indelible imprint upon
those lucky enough to hear them, and Trees will have the
same effect, albeit for very different reasons. Trees is
a majestic, lush collection of soundscapes that cover images
of stunning beauty ("Summer Heat" and "Dawn")
to mesmerizing, trace-inducing aural experiments ("Another
Place", "Closing") to even disconcerting,
sonically oft-putting senses of uncertainty ("Under
Current"). One must fully commit to a record like Trees,
as the songs are lengthy, deliberate exercises in sound
that usually enter and depart on the same graceful note.
This is not abrasive in any manner, but rather Coleman generates
music that moves around and through the listener, taking
the individual on stunningly beauty and serene voyages.
Even the simplest of musical gestures resonates vastly on
a song such as "Tracks" or the opening "Sideways".
With subtle uses of echo and haunting strings and wind instrumentation,
perfectly placed female vocals, particularly on "Dawn",
compliments of Dawn McCarthy, and Phil Puleo's nuanced percussion,
each of the ten tracks here are intriguing and uniquely
intense. The atmospheric quality is cinematic in scope;
each song seems to slowly unfurl itself before the listener,
slowly expanding and receding like a living organism. He
leaves enough air within each song to allow the piece to
breathe, move at a distinct pace, and provide the listener
ample to time to identify and relish each subtle stroke
of brilliance. Ambient and challenging without ever becoming
monotonous, Trees proves Jim Coleman to be a master of electronic
music.
 HOT
WATER MUSIC - Exister (Rise Records www.riserecords.com)
Eight years in between records is a long time so there
must have been a great sense of pressure on Hot Water Music
to produce something that is both contemporary and innovative
without alienating long time fans. Followers of this band,
both old fans and new, will undoubtedly enjoy Exister. The
band first exploded in 1993 with a brand of intense post-hardcore
that was not afraid to implement emotional qualities into
their music that gave them a sound that was very different
from the indie music of the age. Speaking of age, the four
members of Hot Music Water have clearly aged well as the
opening “Mainline” is a sonic punch, while “State
of Grace” and “Take No Prisoners” are
both forceful tracks that are accented by serene guitar
playing and infectious choruses. The grittier “Down
In it” and the equally coarse “Drag My Body”
straddle the line between rage and composure, a balance
that has long defined Hot Water Music. The brooding “No
End in Sight” meanders at a more deliberate pace but
the guitar work carries tangible weight. What is most impressive
here is the band’s ability to coagulate harmonious
hooks with heartfelt aggression, generating a sound that
is both impactful and agile. Exister is more than a pleasant
return after an elongated departure; it is a declaration
of Hot water Music’s continued importance.
 PENNYWISE
- All or Nothing (Epitaph Records www.epitaph.com)
Writing a review about a Pennywise album is a tricky proposition
because the band is so excellent at what they do. The twelve
songs here are classic pieces of Pennywise’s politically
astute yet bruising style. All or Nothing does have one notable
change-after years with the band, singer Jim Lindberg is gone
and replaced by Zoli Teglas. Lesser bands would crumble under
the pressure of replacing a singer so instantly identifiable
with the band’s sound. However, this is another trait
that separates Pennywise from the punk pack. Teglas is a more
than venerable replacement as his voice is warm and melodic;
a perfect fit for Pennywise’s brand of speedy, harmonic
punk. All or Nothing continues the band’s positive stance
against life’s struggles, and certainly the members
of Pennywise have experienced their fair share. The title
track, “Stand Strong”, “Waste Another Day”
and “Tomorrow” are rousing, hopeful anthems of
strength and resiliency. With soaring choruses, memorable
riffs of Fletcher Dragge, and the hermetically sealed rhythm
section of Randy Bradbury and Byron Mcmakin, Pennywise proves
that after nearly a quarter of a century, their brand of punk
is still fresh and powerful. “Let Us Hear Your Voice”
(“Let’s hear your voice or you won’t have
a choice/ haven’t we had enough today/ Rebellion’s
on ice and we’ll pay the price/ Don’t let our
freedoms fade away”), “Songs of Sorrow (“We’ll
never up/ We’ll give in) and “X Generation”
(“the problems of the past are coming fast but we’ll
keep coming strong”) are songs of unity and camaraderie;
calls to action rather than complaints and curmudgeonly apathy.
This is the band that once shouted “fuck authority”,
and the angst is still present here on “Seeing Red”
and “Revolution”; two songs of furious anger that
prove that age does not mellow all. It is highly refreshing
to hear punk done like this-intelligent, emotionally charged,
and deeply passionate playing from highly talented veterans
who have perfected a sound that few bands will equal.
 VERTACYN
ARC MATERIALIZER - That’s a Negative on the Leapfrog,
Captain America (www.10gevrecords.com)
One is hard pressed to dig up much information about Vertacyn
Arc Materializer, which is saying something in today’s
landscape. I could not find a Facebook, Youtube, Twitter,
or even a MySpace account, which is fine because these guys
do not come across as the type who update their statuses
regularly or send birthday wishes to a virtual friend with
a winking smiley face emoticon. From the bizarre opening
38 seconds of “Stealing Office Supplies” through
the equally challenging one minute and 22 seconds of the
closing “Nothing Much Happens in the Verse”,
That’s a Negative on the Leapfrog, Captain America
is a bizarre, poppy, trippy, effervescence jaunt of
a record. The band adheres to no singular musical view,
as they liberally implement ideas ranging from thick funk
bass and bluesy, piano-driven rock to noisy soundscapes.
There are moments of relative mainstream formula, namely
“She Gotta Strange Kinda Auto Reaction”, and
the awkwardly Stones-ish “CB’s”, but the
hiss and feedback of “Wider Eye Glim” or the
eerily subdued “The Twin” quickly eradicates
any attempt at a traditional indie record. “Idiot
I” is thirty-four seconds of country twiddling’
fun, while the dark “I Said Dig” appears overwhelmingly
menacing by comparison. Vertacyn Arc Materializer is not
hoping to entertain the masses; this band simply wants to
find a few misanthropic souls who enjoy being consistently
forced to think on their feet.
 CHUMPS
(Forge Records www.forgerecods.com)
Chumps are four guys who clearly love the nastier, grittier
aspects of the world around us and channel this through
music. The opening "Shivist" is a snarling, sewer-dwelling
nugget of a song; a rough and tumble introduction to this
band. "Julius" bashes and punches its way through
a burly guitar riff, vocals spat out with tangible disgust,
and rattling drums. What stops this band from becoming just
another noisy punk band is their relentless devotion to
awkward time signatures and start/stop unpredictability.
"Lupo" is thunderous and bombastic but eerily
controlled. One waits for the song to completely blow itself
apart, but the madness never arrives. Instead, the guys
construct a dark tale of suffering with pained vocals and
fuzzy guitars. A haze hangs over this song and his unsettling
nature is apparent throughout the record. The thick bass
that opens "Dirt" kicks off a blistering second
side of pummeling dirges that simply assault the listener
with sweat-soaked intensity. "Cop Shot" and "HLLWN"
roar with the cacophonous sensibility of Unsane or Jesus
Lizard, while "Black" is a thunderous wall of
sound. Chumps do not adhere to any one style but are rather
an amalgamation of various feelings of discontent and pessimism,
making for a band living somewhere between angular post
punk and furiously dark guitar rock.
 JOY
AS A TOY - Dead As a Dodo (Cheap Satanism records www.cheapsatanism.com)
Within the opening minutes of Dead as A Dodo's opening
instrumental track, there is a shrill, piercing shriek that
splits the air with a sense of terror while samples fight
each other to the death in an effort to be heard in the
midst of this discombobulated aural stew. The song is messy,
disconcerting, violent, and still precise. In short, it
is a perfect summation of Joy As a Toy. These brilliant
maniacs unleash ten examples of how noise, loops, synths,
and free verse lyrics can coexist in a mystical concoction
of challenging genius. "Mechanical Love" speaks
of "a shiny UFO landing in my garden, female creature
standing ahead." While it may be the start of a wonderful
fantasy about sex with a futuristic, alien robot, in the
hands of Joy As a Toy, one assumes the narrator will be
killed or at least maimed. Unavoidable darkness and a sense
of foreboding permeates this disc in a deliciously intimidating
manner. Such is the truth on "Subway to Your Brain",
a story in which the speaker describes how "any man
can kill." Floating somewhere between watching a Fellini
film after smoking tainted weed and losing yourself in a
pleasant daydream, the boundaries between the real and fantastical
are routinely blurred. "Zombie Safari" includes
a riff suited for a 60's spy flick with lyrics like "women
are much fun to kill, men need a poison pill". The
highly mechanized bounce of "Love Zombie" is unapologetically
infectious and one does not tire of it, even after nearly
six minutes. Joy As A Toy takes well worn topics such as
zombies and robots and makes them refreshingly terrifying,
and one has to love any record with an instrumental titled
"Only the Mother Shot in the Head". This is not
an easy listen, and while the music here is not as abrasive
or menacing as some of their previous work, Joy As a Toy
still uses experimental song structures to formulate a record
of both serene calm and off-putting musical vertigo. Fascinating
work for those who appreciate a challenge.
 LOST
IN THE TREES - A Church That Fits Our Needs (Trekky Records
www.lostinthetrees.com)
The haunting beauty of A Church That Fits Our Needs reflects
the tragic impetus for its music. Ari Picker, the leader
of Lost in the Trees lost his mother to suicide in 2009,
and that indescribably painful moment inspired such remarkably
delicate and stirring works as "Red" and "This
Dead Bird is Beautiful". Using a bird as a metaphor
in each, Picker's etherial voice is chillingly powerful
when he emotes with soul-wrenching passion "brittle
little bird, spread your dark and golden wings" on
the former and "there are no walls in heaven, a golden
armored sky will carry her, but I'll always have her eyes"
on the latter. The songs envelop the listener, creating
music so intimate that one almost feels as if one is invading
Picker's personal space, like an outsider looking in on
a family's torment. Such an ernest and unabashedly open
record is rarely crafted, and Picker must be celebrated
for having the courage to channel loss into such a majestic
product. Soaring voices and symphonic strings accompany
Picker's own lush vocals on "Garden", while "Icy
River" is structured like a hymn; a profound work of
emotional depth with an eternal sense of hope: "Don't
you ever dare think she was weak-hearted, she led me to
the woods where our church was started." Each of the
songs are overwhelmingly beautiful, a gorgeous testament
to a woman who was clearly an inspiration to her son, and
he recreates her spirit without even a moment of rancor
or questioning. Instead, Picker accepts the event with a
remarkable composure and his words resonate with anyone
who has lost someone before their time. He defends his mother,
celebrates all that she was, and does so with articulation
that allows the listener to know her and appreciate what
she meant and the artistic beauty she possessed. As Picker
describes how "a golden angel is floating past my mirror"
during "Villain (I'll Stick Around)" or his assertion
that "you gave me the strength to carry my weak body
from the shore to the boat" on "An Artist's Song",
he composes soul music in its most literal sense. I must
admit, in full disclosure, that I broke down several times
while listening to this as I read along with the lyrics,
a reaction no other collection of songs has ever brought
me in my nearly forty years on this planet. This is simply
staggering in its beauty and the touching, breadth of its
emotional range. All of this occurs while equally talented
musicians accompany Picker to create songs with complex
structures and sweeping waves of classical instrumentation.
The result is a magnificent tableau of emotion that is transformative
in its scope and style.
 DUNEBUGGY
(Little Black Cloud Records www.littleblackcloudrecords.com)
This one takes me back, born the year I entered college,
1991. Dunebuggy is the epitome of underappreciated 90’s
indie rock. The band truly solidified in 1993 with guitarist/vocalist
Jon Procopio and drummer Keith Renna adding bassist Michael
Reilly into the mix and the trio became a indie power pop
force that shared stages with some of the decades coolest
acts, including Archers of Loaf, Blonde Redhead, and Apples
in Stereo and even released two 7” singles on one
of my favorite labels, SpinArt Records. However, this personal
trip down memory land would mean nothing if the songs were
not any good and this collection of never before released
material illustrates the mastery of the pop hook these guys
commanded and for which they deserved more acclaim. The
opening “Humdinger” reflects Dunebuggy’s
initial influences, namely the Lemonheads and the less abrasive
aspects of the Pixies. As the disc progresses, “Green
Eisenhower” and “Chump Change” are ethereal,
beautiful pop with jangly guitar playing, melodic choruses,
and a pristine euphoria that many contemporary indie acts
lack. The songs seem to burst forth with youthful excitement
as “Bucket”, “Pelican” and “White
Chocolate” are brimming with energy but not fury;
the guys in Dunebuggy invoke the quirky fun of The Feelies
and craft lyrics that do not always mirror the buoyancy
of their playing. This is a contrast I always enjoy, the
juxtaposition of melancholy lyrics with blissful playing.
“Preserves” is one such track and it is highlighted
by the presence of Tracy Wilson from Dahlia Seed, a band
I remember loving but have not thought about in forever,
while the closer “Pediddle” begins as a meandering
effort before returning to the band’s penchant for
warm hooks after adding a classic features the age, namely
a wave of feedback. If you are of a certain age and remember
going to VFW halls and buying t-shirts out of the back of
a band’s van, get this and reminisce about a time
when indie rock was limitless in scope and yet to be marketed
and corrupted.
 FOR
OUR LIFETIME - Have You Lived? (www.facebook.com/forourlifetimemusic)
Screaming teenage girls of the world unite! The One Direction
of punk-pop has finally arrived, and it comes in the form
of New Jersey outfit For Our Lifetime. Those of you with
hyperglycemia may want to avoid this at all costs because
the sugar content of “Put Up or Shut Up”, “Verbal
Carousel”, and “Oh’s Make Ex’s”
may just kill you…if you are lucky. Saccharine coated
“punk” has been around nearly forever and frankly,
there is nothing wrong with it and it does serve a purpose;
not my purpose mind you, but I know it makes the kids happy.
However, one would have to be fairly new to the world to
not recognize the formulaic quality of this band. The serene
tranquility of “Sympathy is Overrated” is accentuated
by female vocals in a futile effort to give the song greater
emotional depth and maturity, while “Last Action Hero”
features a heavy breakdown and even “scary”
vocals that I guess are there so the guys who are dragged
to this show can form a circle pit for twenty-five seconds.
For Our Lifetime are not poor musicians, as the riffs here
can be catchy, but the work is so banal that no song resonates
when it is completed; in fact one loses interest before
the second verse in most cases. This is clearly designed
for the lonely, brooding-in-study-hall crowd, for none of
the songs hit four minutes, as they revolve around how life
is confusing and the empowering nature of friends can get
you through it all. If you have a short attention span or
simply do not know any better, enjoy For Our Lifetime.
 THE
SUN THE MOON THE STARS - Mind Reader (www. theblacknumbers.com)
There are bands to whom you listen when you are out for
a lighthearted night with friends, and then there are bands
who are the soundtrack to a night of drunken, hazy, debauchery
which concludes with waking up in the morning to discover
the tips of your fingers mysteriously burned, your money
gone, and your entire body aching. The Sun the Moon the
Stars is the band for the latter. Somehow four guys from
Jersey channeled the spirit of Bon Scott and the filthy
soul of Birmingham, England circa 1970 to create a masterpiece
of menacing, thick guitar force and soaring vocals. This
six song release does not have a wasted moment, as “Moon
Crazy” and “Protostar” roar with relentless
energy, combining the best elements of Black Sabbath and
Deep Purple with more contemporary acts like High on Fire
or Orange Goblin. This is a guitar lovers dream; from the
opening second of “Red Horn Crown”, The Sun
the Moon the Stars overwhelm the listener bombastic force.
Matthew Dwyer screams, yelps, and howls in a style that
would please even the most jaded of metalheads, while he
and fellow guitarist Joe Ott shift tempos and shimmy between
sludgy dirges and furious riffs, quite often within the
same song as ”Flesh of the Gods” and “Sand
and Stone” prove. However, the low end of bassist
Bird and drummer Ian Mullen are equally essential to this
band’s staggering power, and the nine minute closer
“Firefly, You Shine” is a freight train of an
anthem; a rumbling wave of force that incorporates stoner
metal aesthetics alongside galloping flashes of speed and
intimidating vocals. Give your life meaning and find this!
THE WINDOWSILL (Monster Zero records www.monsterzero.nl)
I do not know much about the Netherlands, but if the Windowsill
is any indication of the tenor and general personality of
the place, it must be one happy country. This self-titled
release offers a dozen songs about girls, loves won and
lost, and more girls, usually set to a sickly-sweet riff
and power-pop structure. This could be your soundtrack if
you are brand new to a relationship and the world seems
great, but you are truly in luck if your relationship has
just collapsed and the walls are closing in. Somehow the
Windowsill addresses both scenarios with equally infectious
bursts of energy and are just as bouncy whether times are
good or bad. Most of the lyrics involve the pronouns “you”
and “she”, and are firmly entrenched in the
worlds of happiness and pain created by allowing women into
one’s life. Occasionally, the songs are sweet and
romantic (“Forever Hold On”, “South of
France”), while others are tear-jerkers (“She
Wasn’t Lying”, No Destination”, “Stuck
on Zero”, “One of Those Nights”). Granted,
Screeching Weasel, The Riverdales, or dozens of other bands
do this far better than the Windowsill, but if you are looking
to tell your friends that you are into Queers-inspired punk-pop
from the Netherlands, you have a band. That mildly interesting
geographical footnote aside, you have heard this a billion
times before and more authentically, so go put on Love Songs
for the Retarded again and have another beer.
 BORN
WITHOUT BONES - Say Hello (Animal Style Recordings www.animalstylerecordings.com)
Born Without Bones has an interesting back-story and
Say Hello is a record that is equally unique. The band
began exclusively as a solo project for a precocious teenager
named Scott Ayotte. Say Hello includes lyrics that date
back to this twenty-year-old’s sophomore year of high
school. Taking a painstaking four years to record, Say Hello
is multi-layered collection of songs that are steeped in
punk-pop but cannot be pigeon-holed solely as such. Granted,
much of the first side, including the opening title track,
“Falling Asleep”, and “Consider This”
bounce with an energy that can only attributed to a person
of Ayotte’s youth and enthusiasm. Supported by guitarist
Ian Opijnen, Jim Creighton on bass, and drummer Pat Murphy
(Ayotte originally played all the instruments on the initial
recordings of these tracks), these songs crackle with infectious
harmonies and riffs that honor the style of pop-infused
punk without becoming overly sugar-coated or too predictable.
Taking Ramones-style energy and softening the edges is by
no means a new concept, but Born Without Bones do it well.
What truly grabs one’s interest is the dramatic shift
in tone taken by songs “You” and “Arachnophobia”;
two serene, lush songs that do away with guitars and allow
piano, strings, and Ayotte’s pained yet soulful voice
to take the listener through tales of a deeply personal
nature. The fading “woah-oh’s” that drift
away like apparitions at the conclusion of “The Camera
Toms” are chilling and epitomize the beauty and genteel
nature of the majority of the second side. Supremely well
recoded, this is a testament that dedication to one’s
passion can pay off in the end.
 CURSIVE
- I Am Gemini (Saddle Creek www.Saddle-Creek.com)
Oh no…a concept album. As a rule, I hate concept
albums and this one has me particularly nervous; two brothers,
Cassius and Pollack, are separated at birth and ultimately
find themselves living together in the same house which
acts a metaphor for a clash of good against evil. I am not
the brightest guy on the planet, but I struggle to believe
that one premise can be articulated over thirteen songs.
Luckily, this is Cursive, a band I have long enjoyed and
therefore can brush aside the clichéd allegory of
an angel and a devil battling each other. In this case,
the aforementioned brothers work their back into each other’s
lives after years apart. Tim Kasher is a dazzling linguist
with an ability to capture simple images in rousing language;
this skill help to remedy the far-fetched plot line of I
Am Gemini. “This House Alive” opens with haunting
keys before morphing into a thunderous wall of noise. This
is the pervasive tone of the record-it is loud; far louder
than previous Cursive discs. Even when the band takes their
collective foot off the pedal during the middle section
of the title track, or the musically playful “The
Cat and Mouse”, they rapidly shift into a more bombastic
gear. “Drunken Birds” and “This House
is a Lie” are examples of a darker, menacing nature
highlighted by Kasher and Ted Stevens’ truculent guitar
work. If you enjoy dissecting a disc as if it was a work
of literature, enjoy the somewhat convoluted scheme of I
Am Gemini. However, if you are more attracted to powerful
guitar work, rousing rhythms, and sharp musicianship, feel
free to eschew the hyperbole of the language and dig what
Cursive is doing with their return.
 BRIAN
McGEE - The Taking or The Leaving (www.brianmcgeemusic.com)
With a deep Southern swagger and just enough of a devil
may care attitude, Brian McGee offers a unique twist to
the idea of traditional American music. The honky-tonks
will be rockin’ to “Driving Horses” and
“Graveyard Fields”, while Springsteen and Petty
fans will undoubtedly devour “First Kiss” and
“Hold Sway”, the latter dripping in aesthetics
combing Southern barbecue and Westward expansion. This is
not music to which I am usually drawn, but McGee holds one’s
attention with wonderful skills as a raconteur and a smooth
vocal delivery. He moves effortlessly between rambunctious
fun and solemn introspection, taking you either into the
party or into his head with equal aplomb. “Let’s
Bleed” is designed for the back room of a smoke filled
bar (if there are any left…if you can smoke in a bar
somewhere, let this album be playing), as the song oozes
Stones’ grittiness when they were still hung up on
Bayou blues. McGee’s soaring vocals carry the disc
with a combination of twangy, down-home authenticity and
painfully exposed emotional examination, whether on the
opening country rock slide guitar of “Cortona”,
the kinetic energy from the rockabilly fire of “Walking
Back to Love”, or the somber “The Great Unknown”
which breaks your heart with it’s deft recalling of
a relationship crumbling under its own weight. The closing,
seven minute epic ”When My Time Comes” seems
to hover, gently meandering through the air as McGee’s
vocal convey a emotion that is palpable. The song is gorgeous
piece of intensity delivered with a marvelous composure.
It is a perfect closer to an album that revolves around
articulate storytelling and unfiltered integrity.
PENTIMENTO/YOUNG ENGLISH Split EP (Panic Records www.panicrecords.com)
As a newcomer to both of these acts, I quickly gain an
appreciation for why these bands would share a release;
both play with tangible passion and energy, and while their
styles demonstrate subtle differences, Pentimento and Young
English reflect a new wave of emotionally charged guitar
rock. Obviously, there are legions of bands like both of
these acts, but that should not stop anyone from investigating
this. Pentimento is a touch louder and slightly fiercer
than their counterparts. “No Apology” and “The
Bridge” both work themselves into dark, incensed torrents
of force highlighted by the vocals of Jeremiah Pauly. Sharing
guitar responsibilities as well, he delivers each line powerfully
and forcefully but never simply screams. He is a fuming
figure and a perfect frontman for this band who made “The
Places You Have Come to Fear the Most” by Dashboard
Confessional so rousing that even die-hard Dashboard fans,
who may see any cover as blasphemy, will undoubtedly melt
into this. Young English are by no means subdued, but their
playing does not seem as consistently harrowing as Pentimento,
the one exception coming in the form of “Old Wives
Tales”. Seething from beginning until conclusion,
the track is a tempest of a song revealing the band’s
ability to shift tempos with fearless ease. “So Long,
Connecticut” still gallops at a quick pace, but has
a polished sheen that Pentimento seems to shun more regularly.
However, to Young English’s credit, they take on Smashing
Pumpkins’ “Tonight, Tonight” and make
that song interesting. That alone is a stunning achievement,
and a bold undertaking. Both acts here have a shared musical
vision and they do it well; the uniformity of this disc
could also manifest in a great touring pairing I would think,
and I can almost hear the girls screaming now.
 FIST
FIGHT IN THE PARKING LOT (Innervenus Records www.innervenus.org)
The name of this act is fitting considering the brand of
bruising, coarse, sludge rock churned out on their debut.
This disc is a thick mass of guitar power, mixing and matching
the heaviness of St.Vitus with the animosity of contemporary
Corrosion of Conformity. This Pittsburgh-area four piece
is a tough as the region from which they hail, but this
is not simply punches to the face. I am extremely impressed
with the originality and fluidity of these tracks; lesser
bands would fall into a trap in which one song is indistinguishable
from the next, but that is anything but the case here. The
closing “Blue Jesus” slows the tempo down and
lessens the fury but intensifies the intimacy, compliments
of Abby Krizner’s majestic vocal range. Easily moving
from seething to sensual, Krizner is the centerpiece of
a band that is perfectly balanced. Accompanying her on guitar
is Jason Sichi (also credited for “handclaps”…good
for you, Jason) and his playing is an amalgamation of control
and careful attention to the art of a great riff. To that
end, catchy riffs abound here, from the opening doom of
“S&M” to the fierce Sabbath worship of “The
Lone Gunman” and “Dr. Ugula”. The band
seems to tour sporactically and largely within the Western
Pennsylvania/Ohio area; hopefully they can put something
more extensive together, for this is a band that should
be well beyond local watering holes.
 NIGHTLIGHTS
- So It Goes (Eulogy Records www.eulogyrecordings.com)
Upon a cursory glance, Nightlights may come across as a
tongue in cheek act due to song titles such as ”That
John Denver is Full of Shit!”, “Laces Out, Dan!”,
“Truffle Shuffle”, and “Party Hardy Marty”.
However, looks are indeed deceiving as the members of Nightlights
are anything but lighthearted and goofy. Matt Messore’s
vocals are equal parts angry yelp and impassioned plea.
“When You Grow Up Your Heart Dies” is a powerful
declaration of loss and perplexity that strikes the listener
on a purely visceral level. (“What will you do when
you’ve got no where left to go?”) Many of the
tracks start innocuously before exploding into complex bursts
of inspired force. The band gives the listener a bit of
a breather with the instrumental “There’s Something
in Nothing” arriving at the mid-point of the disc.
While each member of the band is highly competent, (Alexx
Klepper on bass, drummer Jake Kneer, and second guitarist
Joe Rigano) Messore is the star-every syllable he utters
is done so with indefinable passion and commands respect.
“Obviously You’re Not a Golfer” and “Good
Morning Mr. Breakfast” are two such songs that sound
as if he singing to save his life, or possibly his sanity.
Like a man exorcising nameless demons, he bellows “No
matter where we go, there’s always something in the
way.” This is not a whine of complaint, but a statement
verbalized bluntly and unapologetically, a delivery one
also hears on the closing “Party Hardy Marty”.
The aforementioned “Laces Out, Dan!” is among
the most aggressive of the ten songs, while “Think
They Show Speed Racer Here?” celebrates the band’s
ability to generate more subtle harmonies. Nightlights is
a rare band that produces a style of music that is both
somehow familiar and refreshing original.
TOTAL CHAOS - Battered and Smashed (Stomp Records www.stomprecords.com)
Total Chaos is a band that can rightfully call itself punk
rock and mean it. There is no miscellaneous tag added here-just
searing guitar work, biting, intelligent lyrics, and an
unrepentant attitude that embodies all the term punk truly
means. As per usual, Total Chaos does not obscure their
political views, as “Total Massacre”, “Wake
Up, America”, and “Social Crimes” indicate.
However, the band is not above having fun, and they interject
a less stern sensibility into “Do the Tony”
and “Du Siehst Scheisse Aus (You Look Like Shit)”;
two unexpectedly jocular efforts. My favorite of the disc
remain the angrier, more socially conscious pieces, particularly
“Political Repression” and “Social Crimes”.
These songs are fast, astute, and place two barrels squarely
between the eyes of the apathetic soul of this country,
perfectly encapsulating the disc’s title. The world
will always need bands like Total Chaos and fortunately,
even after two decades, nothing seems to have dampened the
enthusiasm, fury, and precision with which this band plays.
 4
Way Split EP (Black Numbers records
www.theblacknumbers.com)
This split release is available on three different colors
of vinyl, and limited to a scant 500 copies so get on this
quickly. Sadly for me, I received a digital copy and mourn
not holding a red, green, or clear slab of vinyl in my hands.
Aside from making me feel old, these four acts have a style
to appeal to wide array of fans. Grey Area is my favorite
of the bunch as they play incredibly speedy yet wonderfully
catchy punk. This brand is not normally my drink of choice
but “Bad Anything” hits with limitless energy
and I detect a Bouncing Souls influence, and that is always
a positive trait. Philadelphia’s Luther play more
polished style, with “Sixty-One” smacking a
bit of mid-90’s alterna-pop. While the band is well
produced and highly skilled players, their sound is simply
too slick for my taste, although the low end on “The
Door is a Penthouse” is impressive. Less polished
in nature is Reveling. They make a solid attempt at hardcore
but come up a bit short-“It’s Time to Ride”
is rugged but still needs an infusion of intensity. Lastly,
the Copyrights are in a camp similar to that of Grey Area.
Both tracks here are speedy and harmonious, particularly
“The New Frontier”. I give this act credit for
taking on a very cool Scared of Chaka cover, offering “Straight
to the Office”. In the end, I am fifty percent sold
on this one, with Copyrights and Grey Area as my two winners.
Black Numbers should be applauded for exposing these acts
and their different approaches to playing, however.
 ASPIGA/HANALEI
Split 7-inch (www.jumpstartrecords.com)
This is an interesting release from Jump Start for it pairs
two seemingly unrelated acts, but the end result is quite
positive. Collingswood, New Jersey’s Aspiga are a
fun listen. The trio provides two blasts of kinetic pop-punk,
but does so in a more rugged than expected fashion. Guitarist’s
Kevin Day’s earthy vocals give both “I’m
Laughing This Off” and “Thanks, but I Can Throw
Myself Out” a little grit usually missing from bands
of this style. Bassist Alex McVey and drummer Ray Solowij
accompany day and the guys collectively avoid any long instrumentation
or solos, allowing the lyrics of hope and sorrow to take
center stage. This is a fun listen, and these guys are well
produced, professional, and talented. My only fear is that
there is just so much of this out in the world right now;
I hope they can fight their way through the minutia and
find the right promotion.
Hanalei is a very different type of band from their counterparts
on this release. Led by Brian Moss of The Ghost, Hanalei
starts with a gentle acoustic rendition of the Jesus and
Mary Chain’s “Cut Dead”. It is a perfect
cover, as the track is delivered with an appropriately tangible
sense of foreboding. “Get Gone” is a more traditional
rock track with a nice mix of raw energy and refined playing.
Moss has recently moved from Chicago to the West Coast and
Hanalei looks to be his new full-time commitment. Two cool
acts for highly different reasons.
 VALISE
- Dreamcatcher EP (facebook.com/valisemusic)
This four song EP is a celebration of Vince Penick. His
voice is a soaring piece of instrumentation in itself. Each
of the tracks here features majestic instrumentation. The
ethereal performances couple perfectly with the grace and
power of Penick’s voice. The title track revolves
around a crescendo of drums and guitar interspersed with
atmospheric moments of gentle beauty. A similar structure
is found on “Heartbeat”, a gripping piece of
bold musicianship that moves seamlessly between serene vocals
and rousing melodies. Valise creates a sense of haunting
intrigue with their music, reminiscent of how I felt as
a young kid listening to very early Cure of Echo and the
Bunnymen for the first time. This is a marvelously produced
record, with credit due largely to Aaron Marsh, highlighted
by “Chains”, a song of profound intricacy. Each
symbol crash and guitar riff cuts through you due to the
biting production. The closing “Scary in the Dark”
is a more pop-oriented track, but its numerous layers offer
a complexity beyond the realm of most pop songs. The juxtaposition
of tranquil beauty and indefinable portentousness makes
this a stirring listen. This is a beautifully constructed
EP for a band who clearly should be watched in the months
and years to come.
 SONIC
AVENUES - Television Youth (Dirtnap Records www.dirtnaprecs.com)
There much to like concerning the reckless, youthful abandon
with which Sonic Avenues plays. These youngsters from Montréal
have all the untamed enthusiasm of a garage band plugging
in their amps for the first time. The collection of efforts
on Television Youth is bouncy, fuzzy, hook-laden punk with
an unabashed pop edge. Imagine the Buzzcocks finding their
way on the No Idea label and you have a sense of what this
is. However, I appreciate the dirty edge found within several
of the efforts that prevents the disc from becoming too
cute. Solid guitar work abounds here, but the drumming stands
out as exceptional, a lead-footed back beat that provides
a foundation for even some of the more light-hearted moments
of the disc. Vocalists Max (only first names given, please
change for future releases, guys) focuses on loneliness,
frustration, and isolation on the title track, “Static
Attraction” (Sometimes I feel left alone/ let down
in the middle of everyone”), “Always Looking
for Something”, and “Waste Away Alone; quite
serious topics that are juxtaposed by a jocular energy.
This is an act with an impressive sense of who they are
as a band, and while they are forging an identifiable sound,
the piano found on “OCD Vibes” proves they are
also willing to mix it up a little. Very nice start.
GRAHAM REPULSKI - “My Color is Red” 7”
(Big School Records www.bigschoolrecords.com)
Graham Repulski is a lot of fun-this mysterious act plays
four brief, deliciously lo-fi nuggets of noisy guitar and
vocals that sound as if they are fighting for air. If you
find yourself dancing perilously close to the cliff of 40,
or if you have already fallen off, you may remember a time
when acts of this ilk were everywhere, usually through record
labels releasing limited pressings with a bedroom as the
operating center. This bring me back to those days-this
red vinyl gem is limited to only 200 copies and the construction
of the jacket was done lovingly. There is not much to know
but everything to like about the angular “Mommy’s
Dreaming”, a song that seems to find traces of pop
in the midst of a jagged mess, while “Everyone Likes
My Three Dollar Shirt” is a delightful blast of fuzzed-out
indie rock that harkens back to a pre-web world, when this
band’s status would have spread solely through word
of mouth and not through tweets. “My New Reputation”
is the only miss here; the raw guitar riff and minimalist
vocals are intriguing but the song is over in less than
a minute. It is a strange ending, yet fittingly so, for
a cool little record.
 THE
GRAINS - Stone Street (Psychic Volt records www.psychicvolt.com)
Performing a series of songs that dissect the miserable
state of the current world without sounding like a nightmarish
downer is quite an achievement, and The Grains do it here.
Stone Street is ten songs of folk-inspired rock, but there
is much more happening here. With flashes of swagger, grit,
and power, this Jersey outfit brings an edge to rootsy Americana.
“Geraldine” swings with limitless excitement
and would have had the ear of Alan Freed, while the dense
“Mercenary Pallbearer” is more musically obtuse
and includes lyrics that should resonate with nearly everyone,
“I can’t believe I can’t afford gas”.
The core of the band is a group of five multi-faceted players.
Scott Kenney and Mike Regrets lead the way on guitar, while
bassist Andrew Edelhauser, drummer Blake Larsen, and keyboardist
Dragana Drobnjak warmly envelope them. Accompanying this
talented bunch are the Mercenary Horns who, while used sparingly,
illuminate each song on which they appear, especially the
groove-fueled “Hang On”. The gang vocals of
“Beer Cans and Chicken Bones” give the tune
a basement show vibe that ideally suits this band, while
the guitar squall and energized tempo of “Dreams”
can place this band as readily in a dank punk club as a
hootenanny, as The Grains continue its harsh critique of
contemporary society (“apathetic minds is what passes
for evolution”). The ability to move so smoothly between
warm, feel good story-telling hymns and rough evaluations
of America’s shortcomings without sacrificing polish
is remarkably impressive. Treat yourself to this and enjoy.
 KILL
WEALTHY DOWAGER - That’s Bad Ass! (Black Numbers Records
www.theblacknumbers.com)
When Bill Henderson says, “I want to bring the danger
back”, you believe him. This closing line from the disc
opener, “If You want to Know” sets the tone for
a record of largely rugged, occasionally atmospheric slabs
of old fashioned guitar rock. “Foraging for Wolves,”
“What’s Behind Door Number Two?”, and “Cooler
Friends Than Us” are brusque, burly pieces of force
with Henderson’s soaring voice cascading over it, all
in a cacophony of beautiful noise. Meanwhile, the lush “Into
Memory (Susan)” and the jazzy “The World has Moved
On” balance intensity and guitar trickery exceedingly
well, not allowing one element to overwhelm the other. Providing
nine songs in just over thirty minutes, Kill Wealthy Dowager
do not overstay their collective welcome, and generate intricate
songs that eschew musical repetition. In the midst of the
fury, each track is given room to breathe; therefore each
song is both impactful and fluid. KWD walk a precarious line
between post hardcore experimentation and abrasive, blunt
force without falling to other side, perhaps but for “I
Disappear in the Night.” That aside, KWD create a new
hybrid that kicks some new life into indie rock.
 NADA
SURF - The Stars Are Indifferent to Astronomy (Barsuk Records
www.barsuk.com)
Bands like Nada Surf present an interesting conundrum; it
is both inappropriate and incorrect to label them as one hit
wonders of the 90’s, despite the public acclaim lauded
upon “Popular” and then the seemingly instantaneous
return to obscurity. Whether they are firmly affixed to your
radar or not, Nada Surf has been hammering away at their craft
and The Stars Are Indifferent to Astronomy is a testament
to their relentless devotion. Much of the record harkens back
to the days of Beavis and Butthead’s first stint on
TV, as “Clear Eye Clouded Mind” crackles with
a grunge hook, while “Jules and Jim” and “When
I was Young” hums gently with so much emotion that one
begs for Evan Dando to sing back-up. The overall theme of
the disc is the recognition that one is growing older and
growing up, and the aforementioned “Young” asks,
“What was that world I was dreaming of?” This
is not a new query of course, but Nada Surf’s Matthew
Caws does not allow maturity to get in the way of a great
riff, acknowledging that he can still be “moved to a
tear by a subway break dancer, it’s never too late for
teenage dreams.” With all apologies to the former Mrs.
Russell Brand, this “Teenage Dreams” is a far
better song, as it features real musicianship. “Let
the Fight do the Fighting” and “Looking Through”
address the aging idea with adroit sincerity, as Caws says,
“I’m still the same/I still turn the same way
to my name/I like it quiet but I really like it loud”.
Musically, the disc is largely serene, genteel, and refined.
Devoid of much aggression, Nada Surf are not angry about growing
up, they are embracing it with an honest acceptance. The Stars
Are Indifferent to Astronomy is a strong statement from a
band still worthy of the public’s attention.
 GOOD
LUCK - Without Hesitation (No Idea Records www.noidearecords.com)
Good Luck plays poppy little songs that bounce with an
unfiltered kinetic energy and somehow come across as earnest
and not the least bit formulaic. Ginger Alfred is out in
front of this trio, and her voice soars but never overwhelms
any of the songs. “Our Mess, Our Mark” and “A
Song to Comfort the Sick” jump out as two of the finer
examples of her stirring vocal delivery. The latter has
a feeling of a Southern revival, a deeply passionate effort
that conveys emotion with each note. Guitarist Matt Tobey,
who also contributes piano, clarinet, and backing vocals,
shines as a crafter of intricate and angular riffs. There
are a few moments when he throws in a bit too fanciful noodling,
but he generally has the ability to hold each song together.
There is a classic indie rock aura to this record, particularly
the opening “All Good People” or “Impossible”,
which could sit alongside anything from the golden age of
Sebadoh or Tsunami. The soft beauty of “Decider”
rises to a stirring crescendo before fading away effortlessly.
This is an interesting release from a band with the potential
to cross over to a more mainstream audience without sacrificing
integrity to do so.
 MUSEUM
MOUTH - Sexy But Not Happy (www.museummouth.bandcamp.com)
The opening track here, “Goodbye, Evan”, has
a vibe akin to Waaves or Surfer Blood along with a brilliant
opening lyric: “Maybe I’ll sleep with a thousand
men/And when you decide to call me years from now/I’ll
tell you about everyone”. The band ratchets up their
aggression on the title track and the rough, lo-fi force
of “Blood Mountain”. Museum mouth is a unique
act as Sexy but Not Happy features the prowess of Kory Urban
on bass-heavy works like “Certain Doom” and
“I Was a Teenage Paladin”, but can also shift
seamlessly to the jangly “Bigger Problems” and
“Blood Hammer”. Equally impressive, in my opinion,
is how all of this is done with drummer Karl Kuehn handling
all vocal responsibilities. Lyrically, the band takes on
the sad reality of life, including heartache, loneliness,
and the general disappointment that defines being human
(“Drinking from a cup made of lead/I feel like I’m
better off dead/ or alone drunk at home/ or stoned in my
bed” from “Bigger Problems” or “My
greatest contribution to the world will be/ To stay out
of the way” from “Buzzbrain”). I finish
this disc wondering why a label has not snatched this outfit
up by now-someone out there must have enough cash they can
throw together to get this band a home. I am very impressed.
 BEARFOOT
- Culture of Fear (http://bearfoot.bandcamp.com)
If you have been wondering where all the good power violence
bands have gone, Bearfoot is here to help. This Queens,
New York four-piece brings searing energy and a few nimble
musical twists to Culture of Fear. Eschewing all subtlety,
the band rages through a collection of brief, furious tracks,
but I was pleasantly surprised by a few of the chances taken
here. This is not simply a young band trying to recreate
Scum twenty-five years after the fact; these guys alter
tempos and even have a little fun, which is refreshing.
Naturally, vocalist Johnny’s lyrics are nearly unintelligible,
but his passion cannot be faulted. He is supported by guitarist
Shirzay, who demonstrates a level of precision not always
associated with this genre. However, no good power violence
act survives without a merciless rhythm section, and drummer
Dames certainly fills this requirement. The blast beats
are copious but never superfluous; there are true song structures
here and this is a band that should develop into an impressive
unit. While they do not have the same seamless rage as Magrudergrind,
Dropdead, or Charles Bronson just yet, Bearfoot is very
impressive. Tracks such as “Is Lost”, “Globocop”
and “Soul To Take” are bruising slabs of force
that alternate between blazing speed and thicker, chugging
riffs. “A Cancer” makes one smile as Johnny
reads a list of individuals who have killed rock n’
roll, including usual targets like Madonna and Elton John,
but he even picks on Huey Lewis and The News. “I Hate
Doctors” and “Dogbreath (My Dog Skip)”
are blinding in their delivery, particularly the fifteen
seconds of the latter. You can download this on the band’s
bandcamp site and it is highly worth your time.
 CARAVELS
- Well Worn (Topshelf Records www.topshelfrecords.bigcartel.com
)
Having never listened to the work of Caravels prior to
this EP, I am instantly struck by the dense atmosphere generated
on the opening “Sagen Genesis”. The song hangs
at times like a storm cloud before bursting into an explosion
of force. The wave of guitar might of “Beer Pressure”
is nearly suffocating, while the listener is violently berated
by vocals that sound like the soundtrack to a night terror.
Although the vocals dip their collective toe into the world
of tired sounding screamo, it works here due to the brusque,
obtuse musicianship that defines each effort. Each of the
three songs ebb and flow in intensity and volume, but remain
consistently impromptu in terms of tempo shifts; nothing
about this band is predictable or mundane. I appreciate
the dreamy, almost ethereal quality that the band incorporates
into “Bone Voyage”, another claustrophobic slab
of muscular, blunt trauma. Bands such as Caravels are a
niche bands, which is both cool and a shame. On one hand,
if one is a true devotee of this act, there will be a small
band of followers and the club will feel pretty exclusive.
However, Caravels are also skilled players with great dexterity
and tremendous musical acumen in terms of understanding
how tempo shifts and loud/quiet dynamics can be both riveting
and off-putting. For only three songs, there is a tremendous
depth here, and I will certainly find their earlier work
now.
 MISS
GUY - Dumb Blonde (www.missguy.net)
Miss Guy is most famous, I hope, for his role as the lead
singer of the Toilet Boys. If one was expecting the Toilet
Boys’ brand of coarse punk on Dumb Blonde, boy will
you be disappointed. In addition to his stint with the Toilet
Boys, Miss Guy is also a make-up expert and a highly successful
DJ. Dumb Blonde is much more in line with that latter profession;
the opening “Don’t Stop” is a gentle,
synth-driven pop hit with a shockingly genteel atmosphere.
The disc picks up with the title track, but this nugget
is accented by keys that provide a little too much polish
and not enough abrasion around the edges, even as Miss Guy
sings of walking the streets with the same snarl as Iggy
did in ‘73. I am shocked by the crispness and egregious
pop sensibility that dominates the disc, as “Magic”
is shockingly cute in its approach. Somehow, for reasons
I will never comprehend, the Toilet Boys’ music has
been heard on a multiple MTV shows including such intellectually
stimulating gems as Cribs, My Super Sweet 16, and Fraternity
Life, which is a disgrace because that band is far too important
to be associated with that garbage. Perhaps Miss Guy wants
his new material to be associated with MTV as well; possibly
in with the Jersey Shore kids before they all either OD
or just (hopefully) fade away. Miss Guy has long enjoyed
shocking, teasing, and distorting people’s perceptions;
maybe this was another example of that. This certainly will
not deter my love of all things the Toilet Boys have done
or will do, but I guess that is why I love sloppy punk and
dingy bars more than synth-pop and hip club parties.
 ANTHONY
RANERI - New Cathedrals (www.anthonyraneri.com)
For the past decade, Anthony Raneri has made a name for
himself as the lead singer of Bayside, and it would be quite
safe for him to solely focus on that project alone. However,
rather than rely on a typical musical path, Raneri has made
that historically difficult decision to step outside of
the band structure and release a solo project. While some
have done this well, Greg Graffin for example, others have
truly suffered a terrible misstep (Kiss, anyone?). Raneri’s
five song New Cathedrals may surprise Bayside purists or
those too limited in scope to value numerous musical styles,
but this is a bold statement for a skilled songwriter. The
five songs bounce with energy, swagger with confidence,
and reveal stark fears, as Raneri demonstrates tremendous
openness as a songwriter, even taking the clichéd
title of “Please Don’t Leave” and turning
it into a heartfelt, emotionally charged acoustic piece
that makes a perfect closing anthem to this EP. The opening
duo of “Sandra Partial” and “Charleston”
are rollicking, guitar driven anthems that feature soaring
vocals and infectious hooks, with the former accented with
Raneri’s alt-country twang, and the latter built around
a warm piano riff. “I never thought you could re-invent
the world by playing shows and writing songs”, Raneri
says dryly on Charleston, and while he may not re-invent
the world, he is crafting wonderfully articulate and passionate
songs. “The Ballad of Bill the Saint” is a classic
tale of working man’s strife delivery with raw honesty,
as Raneri uses Bill as a metaphor for so many: a man who
“has been held done and told what he can do”.
“Lead, Follow, Fail” could make its way into
a Bayside set, as it springs out of the box with a blast
of pure guitar rock energy. The track shifts tempo for a
moment to emphasize the seriousness of the song’s
massage before returning to its original sugar rush form
as it concludes. I have never been a particularly big fan
of Bayside, but one need not be to appreciate and enjoy
the vast talent on display here.
 BUILDINGS
- Melt Cry Sleep (Double Plus Good Records www.doubleplusgoodrecords.com)
This is a collection of thick, battering force that can
shift from kissing you on the cheek to stabbing you in the
throat with devastating dexterity. The opening “Rainboat”
hurls itself at the listener with pummeling drumming and
asphyxiating basslines. Brian Lake’s guitar work and
vocals are those of a caged beast; primal, furious, and
unpredictable. However, the band is more than tightly wound
kinetic energy. “Invocation” includes numerous
shifts in tempo and tone, all the while bassist Sayer Payne
commands the song as Lake pushes his vocal chords to the
brink of evisceration. His angular, aggressive guitar playing
make Lake the centerpiece of the trio, but all three members,
rounded out by drummer Travis Kuhlman, work in perfect tandem
to create a vortex of power on “I Don’t Love
My Dog Anymore”. Invoking acts like the Unsane or
Jesus Lizard, “Noxema Girl” includes brief interludes
of fluid guitar playing interrupted by sonic bursts of force
and teeth-rattling bass drops. This is thrilling, punishing,
and groove-laden bombardment for those who do not mind their
music to sound claustrophobic in nature. “Mishaped
Head” moves sporadically from a disturbing amalgamation
of yelps and gaunt riffage to moments of dark yet catchy
melodies before dissolving again into an oft-putting segment
during which Lake screams about shoveling his own shit.
The aural dynamics make this a very unique release, as “Strange
Sleep” collapses upon itself in a violent display
of blunt force fury that does not even reach the two minute
mark. “Night Cop” is among the fiercest effort
ton the disc; a dissident, gripping dirge that will force
people to reevaluate what it means to play heavy music.
Go find this.
 FAMOUS
LAST WORDS -Pick Your Poison EP (www.invoguerecords.com)
Those of you who just cannot decide if you prefer screamo
or electronica, and I know you must exist, can now have
the best of both worlds with Famous Last Words. This five-piece
Michigan outfit brings to mind Escape the Fate jamming with
The Prodigy. Wait…that does not sound like a guaranteed
winner? Well, you are right. This is a swirling mash-up
of hardcore/screamo vocals and electronic tricks that starts
strong but quickly becomes predictable. The opening “Labyrinth”
is a stirring opener because one simply does not expect
these two styles to be bred together in such close proximity.
The keys here are not for effect or a subtle change of pace,
but are featured mightily within each track. This wretched
spawn kicks with ferocity, but by the time one reaches “I’ll
Get You Next Time Gadget”, and “This Isn’t
Blackmail, This War” the surprise is gone and the
seconds seem like hours. Each of the six songs follows a
well worn structure of opening with an aggressive salvo
before surrendering to studio tricks and vocals that strain
for both legitimacy and sentimentality. I know there is
quite a broad stable of acts that blend keyboards with aggressive
music, see the entire Sumerian records stable for example,
but I just wish bands would choose one direction. It is
very difficult to maintain a truly furious tempo while gentle
keys hover above one’s head. The misguided “Interlude”
is two minutes listeners will never get back, while “Snowmageddon”
is as weak musically as its name would imply. Perhaps your
little sister, who still does not know any better, will
find this genuinely frightening and/or interesting. Even
if this disc was released ten years ago, it would sound
dated.
 SOCCER
TEAM - 3 Song EP (Lovitt Records)
Ryan Nelson and Melissa Quinley, another great DC duo,
are the talent behind Soccer Team. Ryan provides guitar,
drums, and primary vocals while Melissa accents his work
with bass and slyly effusive vocals. The opening “Mental
Anguish is Your Friend” is Melissa’s shining
moment, a largely acoustic piece overflowing with warm vocals
and equally pristine musicianship. “A Letter to Saint
Thomas Aquinas” has a thicker groove, compliments
of Nelson’s guitar playing, earnest vocal delivery
and Quinley’s backing vocal affection. Capturing the
essence of basement tapes, there is an immediacy about both
tracks that brings the band into your living room. The structures
are simplistic, but both Nelson and Quinley are adept enough
at what they do to make the songs seem more grandiose and
complex. The closing “World Series Apathy” is
the most traditional of the three songs here, but it is
also the strongest. It’s mid-tempo, methodical structure
is highlighted by effervescent keys and Nelson’s heart-felt
emoting. A three song EP is often too small of a sample
size to truly determine a band’s strength, but Soccer
Team impress on each of the pieces here.
 DOWNLOW
NYHC - Wall of Anger (United Riot Records www.unitedriotrecords.com)
The guys in Downlow NYNC have been kicking around since
the early 90’s, and despite line-up shifts, temporarily
disbanding, and fighting off the many trends that infiltrated
hardcore, the band stays devoted to the early 80’s
style that defined New York legends such as Agnostic Front
and Sick of it All. The band roars through six tracks here,
but none of them are blinding bursts of noise in an effort
to see how quickly the band can play. Instead, Downlow NYHC
takes the time to construct well articulated songs, replete
with tempo shifts and class two-step grooves on “Change
of Pace” and “Diseased”. Granted, the
thirty-seven second “Diseased” abandons this
model for a track that seems to invoke the spirit of Seth
Putnam for a few seconds, but then it is back to basics
on “Blindfolded”. The music here is for two
aficionados of a classic hardcore sound. The guitar playing
is thick and deceivingly harmonious, the drumming is barbarian
in its fury, and Joe Downlow has the definitive vocal style
of New York’s Lower East Side. It is a shame this
band now must be mentioned in the past tense for they are
excellent example of pure hardcore musicianship and intensity.
 JOY
AS A TOY/ GERMANOTTA YOUTH Split EP (Cheap Satanism Records
www.cheapsatanism.com)
From the disturbing image on the cover to the unholy mass
of noise found within, this split is a dream for those who
love musical nightmares. Joy As A Toy only has two tracks,
with “The Monster” as their sole original accompanied
by the cover of “Profondo Rosso” from Goblin,
first recorded in 1975. However, despite the paucity of
music, the band leaves the listener shocked, stunned, and
desperately wanting more. With a sound reminiscent of Genghis
Tron, Child Abuse, or Mike Patton in a particularly avant-garde
mood, JAAT decimate ears with a tsunami of swirling keys,
demonic vocals, loops of noise, and a general sense of chaos
that could only be curbed through martial law. This is a
type of musical brutality that pummels through staggering
blasts beats and samples. Battered after only two songs,
I am barely standing with Germanotta Youth decimates what
is left of my worthless carcass. Named for the globe-trotting
pop goddess Lady Gaga (Stefani Joanne Angelina Germanotta
on her birth certificate), this trio brings together the
best of power electronics, grindcore, and old fashioned
experimental noise and smashes them together into a bloody
mass of unrecognizable visage. “Wardenclyffe Tower”
has a concluding eruption of force that is devastating in
scope and remarkable in production, as if Merzbow was jamming
with Scott Hull. This band of distorted geniuses concludes
with an interpretation of John Carpenter’s timeless
“Halloween” theme. Incredibly, with a wall of
noise and distorted fury behind the instantly recognizable
keyboard riff, the song takes on an even more immediate
sense of impending doom. Long live the people at Cheap Satanism
for unearthing and releasing this revitalizing slab of destruction.
Put down whatever you are listening to right now, and order
this.
 NEVEREVEN
- The Progress of Disaster (www.neverevenmusic.com)
If you can imagine in your head what a hard rock band sounds
like, without knowing it, you are probably thinking of Nevereven.
The opening track captures a Sevendust style vibe with soaring
vocals, a big chorus, and guitar work that is heavy but
still accessible enough for a mainstream push. There is
absolutely nothing wrong with Gary Pickard’s voice
or Frank Pascali’s guitar; in fact, these guys, along
with drummer Dave Previ and bassist Damian Peters are quite
talented. However, none of the five songs possess a hook
that will differentiate them from the multitudes out there
also producing a hybrid of soft metal and boisterous rock
in an attempt to be the next Godsmack. Each of the five
efforts on this sample of their upcoming The Progress of
Disaster record include all the prerequisites one may expect-the
grooves are tight but not overly aggressive, the backing
vocals emphasize the idea that Nevereven is loud but not
abrasive, the screaming is kept to a minimum, and the choruses
stress pop aesthetics. In short, the shirtless drunken idiot
at your local bar will buy three of the band’s T-shirts,
while his girlfriend will be at the back of the club embarrassed
of him, but still taken in by sentimentality of work like
“Winterkill”. This band smacks of the songs
that adorn WWE broadcasts-catchy, loud, male-oriented, but
still safe for families. Perhaps Monday Night Raw should
find these guys.
COMPILATION:
FRESH FRUIT -Volume Two (Oak Apple records www.oakapplerecords.com)
Nathaniel Sutton, the owner and operator of Oak Apple Records,
is clearly a great guy and a man who appreciates the potential
charms that are unsigned bands everywhere. To that end,
he has boldly put forth a second collection of acts from
a multitude of regions and time zones, none of whom are
household names, with the intention of opening these artists
to a broad audience. The disc may not have something for
everyone, but it does include a vast spectrum of styles
and genres. The opening Mad Rataplan opens the disc with
a trippy, ethereal soundscape called “The Trap”.
Its jazz-inspired freedom, warm groove, and hushed vocals
make for a very intriguing introduction. The band’s
approach shares some similarities the closing “Continuous”
from Basic Space. Both acts implement atmospheric elements
into their dissonance, giving their sounds a ghostly hum
that is equal parts challenging and absorbing. The latter
includes a hip-hop vocal delivery that gives it a slightly
more pop edge.
There is also a vast array of straightforward rock to be
found here. Blunt Force Charm has a well honed mainstream
sound, but “Good Luck to You” is really for
those who wish that Eve 6 never broke up. The riff is serviceable
and vocals are solid, but the song never becomes anything
memorable. The same struggle befuddles White Lightning.
Their “Someday” sounds far too safe and restricted-the
song defines adult alternative for the twenty-first century,
and really, does anyone want that moniker? If you like your
rock to have a steady folk influence or garage feel, check
out The Burning Streets, Van Funk and the LeBarons, and
to a lesser degree, Kay There House Builder. The former
plays a speedier brand of acoustic rock accented by harmonica
that sound like it was bred for a beer-soaked honky-tonk.
Van Funk’s “Art of Escape” includes subdued
vocals and a very gentle approach to story-telling. The
latter, in addition to its desperate need to change its
name, plays a hybrid style of sixties-flavored grove and
local bar band fun.
My favorite trio of acts from the disc is The World Concave,
the instrumental brilliance of A Troop of Echoes and The
Bridle Party. Each of the three brings something very different
to the musical table, yet they each also generate music
that is engrossing, sparse, and tantalizingly beautiful.
“I Sold My Life” from The World Concave is accessible
without being prefabricated; an unpredictable array of compassionate
vocals and delicate playing. “Severna” from
A Troop of Echoes would have been spoiled by vocals. A fuzzy
atmosphere, well placed horns, and subtle rhythms are best
appreciated sans vocals. Of the three, The Bridle Party
is the band to watch. Stunning female vocals cascade over
a lush arrangement with lyrics that defy the soothing nature
of the playing.
Lastly, if you are heading out to the after-hours club,
Fresh Fruit has your soundtrack in the form of Uncle Zygote
and DJ Sizlack. Both acts play music that will hit you perfectly
just before the buzz wears off and will have you alert and
awake until your friends are waking up for work. Zygote
takes his “Am I Going Mad?” a little less seriously
than the groove spat out by Sizlack on “High Five”,
for Zygote’s piece is lovingly bizarre but also sophisticated
in its construction. He may have to navigate the waters
cautiously to avoid becoming a novelty in the vain of Jerry
Samuels’ (Napoleon XIV )“They’re Coming
to Take Me Away”, but it is very cool. “High
Five” pulsates with energy and studio fanfare. It’s
great for people who know where the cool clubs are located-I
do not, so I miss the boat on this one, but if you are hip,
you should love it. This type of compilation can easily
be a misguided cacophony of styles if not properly executed,
but Oak Apple Records deserves limitless respect for its
release. Fresh Fruit should certainly open eyes and ears
to some hidden musical gems.
 FRONTLINE
SOLDIERS - “Oath of Loyalty” EP (United Riot
Records www.unitedriotrecords.com)
The long defunct New York Oi! Band has an interesting back
story, first emerging in the early twenty-first century,
but only laying music to tape in 2004. The five songs on
the “Oath of Loyalty” EP is tough, belligerent,
skinhead hardcore with fairly deft musicianship for a style
not known for subtlety. The recording quality is extremely
raw, but this adds to the mystique of the band, particularly
on “World War III”. This may be no frills, fairly
simplistic hardcore, but the band seems to get better on
each song. I sometimes forget that Oi! is not always about
blazing speed, although “Warrior Rising” and
the title track certainly blast with unfettered energy.
For those in the skinhead movement, Frontline Soldiers is
a band that sadly disbanded before fully blossoming into
a true force. For others, this is an interesting footnote
in the rich history of New York hardcore.
OUT LIKE LAMBS – “Music of the Spheres”
EP (www.myspace.com/outlikelambs)
The five songs on Out Like Lambs’ EP are beautifully
constructed, soulful, and intimate. Pristine strings, lo-fi
production, and the stirring vocals of Rachel Ade highlight
a lush effort. The opening effort”White Flags”
displays the band’s multi-faceted nature. The labyrinthine
track includes subdued horns, haunting strings, and a deliberate
backbeat. The unexpected complexity of the song quickly
morphs into a straightforward, acoustic sing-along with
Ade truly shining. The musical dexterity demonstrated on
this one effort is striking, yet Out Like lambs match this
excellence repeatedly. “River for Renee” is
a fragile, tantalizing piece is delivered with flawless
attention to detail, particularly Alicia Testa’s stirring
backing vocals. “Older Whispers” captures the
tone of the disc. It is a mesmerizing effort that is matched
by the pronounced drumming of Michael Sternbach on “Stockton
Lake Blvd.”. “Something Big” has a front
porch sensibility about it; a controlled revival aesthetic
with fleeting bursts of rousing excitement. The inspiring
moments just prior to the graceful conclusion encapsulates
this band. This is a band with extraordinary talent and
a wonderfully bright future within the genre of folk-rich
Americana.
 THE
KOFFIN KATS - Our Way and the Highway (www.koffinkatsrock.com)
If Elvis is alive, I hope he is a zombie who climbed out
of the dirt surrounding Graceland and is plotting horrific
crimes upon Priscilla and the slack-jawed yokels who trounce
through his home (We’ll keep Lisa Marie out of this;
she has had enough in her life). If Elvis is in this state,
he would also sound like the Koffin Kats. These boys are
three well-inked young men from Detroit who love rockabilly,
punk, and B-level horror films to create “psychobilly”.
The second track here, the exhausting title track, is a
sucker punch of a song that sets the stage for a masterful
collection of smart, stylish, aggressive filth. Leading
this act is Vic Victor, the most frightening looking dude
to ever hold a stand-up bass, and he is surrounded by guitarist
Tommy Koffin and Damian Detroit on drums. The fourteen songs
here are rapid blasts of surfy, punky, scary, and funny
musicianship that is far more intricate than one may expect
from appearance alone. The Koffin Kats appreciate a good
pop hook in the same manner that defines the Ramones or
the Queers; the Kats know that there is nothing wrong with
writing a memorable chorus and they want you to sing along.
“Keep It Coming”, “Don’t Waste Your
Time”, and “Baby Don’t Love You”
each feature instantly memorable riffs and Victor’s
booze-soaked vocals. I love “Choke”, a beer-battered
slab of bruising punk bristling with the raw enthusiasm
of early rock n’ roll with the intensity of contemporary
hardcore. Meanwhile, “The Bottle Called” would
please fans of Glen Danzig through Hank Williams. This is
a classic good time record from a band with limitless energy
and passion that does not let up throughout the duration
of the disc.
 THE
MOSES GUN (DKT Records www.dktrecords.com)
This scorching Chicago duo return for a proper full length
release after generating a well deserved Midwestern buzz
with their first EP. On their self-titled effort, The Moses
Gun, bassist Rich Harris and guitarist/vocalist Vell Mullens,
hone their sound into a cohesive yet bombastic assault,
displaying greater subtly and dexterity than their previous
work. The band does clearly take pride in pummeling the
listener, as “Damn, Damn, Damn” proves, but
there are multiple surprises awaiting those with the good
sense to listen. The disc begins with a gentle one minute
and forty second introduction suitably called “Intro”,
but quickly gives way to the aggressive “Steam of
Consciousness”, which harkens back to Husker Du’s
finest days; a song of lust and love-sick suffering articulated
within the fabric of a rousing guitar riff and soaring vocals.
As Muellens emits “it’s always for you”,
his pain and honesty are readily apparent, the perfect balance
between hope and sorrow as delivered by a supremely talented
player. What is most apparent here is how comfortable the
guys in The Moses Gun have become in their own skins; “Gold”
hovers along the ledge of folksy influence, while “Better
Things” and “Overdue” have a pop structure
that these two may not have attempted two years ago. The
latter still barrels along with a rugged riff and powerful
chorus, but I love the harmonic touches that define this
record. The closing “Jewelry Box” is a serene,
gentle track that unfurls into a melodic, ethereal mass
of compelling guitar. The urgency of “The Ballad of
Reuben Kincaid” solidifies this disc as an exciting
way to start the new year. Even within the fury of the track,
Mullens and Harris alter their deliveries to craft a hook-laded
chorus that organically emerges from the din surrounding
it. The driving groove of “Walk It Off” barely
conceals the rampant noise and guitar force living just
below the surface, while “Metalurgy” lives up
to its name with its thick slab of punishing riffs that
outshines anything Mastodon produces, as it combines relentless
heaviness with a jazz style freedom and light-hearted sense
of fun that most bands simply could not handle. If the Mayans
are right about 2012, I want this one playing during our
grand send-off.
 SLOW
DEATH - born Ugly Got Worse (Kiss of Death Records www.kissofdeathrecords.com)
When Annie Sparrows of the Soviettes opens “Ticks
of the Clocks” with her pristine and lovely vocals,
I am certainly not expecting a rough and tumble punk record
to emerge. However, to my very pleasant surprise, this is
exactly what happens on the brilliantly titled Born
Ugly, Got Worse from Minneapolis’ The Slow Death.
The twelve offerings here follow a similar path, but it
is one that works quite well for this band. Their brand
of punk is raw and rugged, thanks largely to the gruff vocals
of Jesse Thorson, but the band still revels in cheery pop
aesthetics that soften the sharp edges a bit. Somehow, the
finished product of songs like “Out of View”
and “Sorry Sam” are both earthy yet polished,
a cohesive blending of two very different musical cultures
into one free flowing, inspired disc. I enjoy the stark
contrasts heard here as “Fuck You, Nighthawk”
concludes with a flesh-ripping scream which is juxtaposed
with heartfelt, soaring choruses on “The Opposite
of Jessie’s Girl” and “Sleepin Somewhere
Else”; two earnest, daringly honest pieces that will
thrill fans of NOFX or really any of the Fat Wreck roster.
“Phantom Limbs” and “Stay High”
(again highlighted by the majestic accent of Sparrows’
vocal accompaniment) are a pair of tracks devoted to the
thrill of trying and failing miserably, but one can nearly
see the smirk on Thorson’s face as he delivers his
biting lyrics. His brusque vocal style is a perfect foil
to the more refined playing of guitarists Dave Strait and
Jonny Tamayo. A vast collection of locals artists climb
on board and offer their abilities to this disc, making
the record nearly a collective of Minneapolis’ young
talent, but the core members of The Slow Death can stand
alone with this one.
THE FLEDGLINGS (Ride a Mule Records www.theFledglingsmusic.com)
The band/couple of Wayne Stovey and Kat McNevins label
their music as “cute rock”, and this does not
entice me. I tolerated “cuddle-core” in the
early 90’s because I was in college and the chicks
in my school’s radio station liked it. I hate cute
things, rock being among the items topping that list. In
actuality, the music of The Fledglings is less cute as it
is dull. The band pays tribute to 60’s fuzzy psychedelia
on “Paternoster (Inhale Balloons)” and just
blatantly rips off George Harrison’s worst day on
“Catching a Raindrop”. This sounds like the
second or third band on the bill for a local talent competition
in the neighborhood church’s basement. I am sure these
two are nice enough, but the EP is just bland. The band
mentions Ween as an inspiration, and I see that, but the
difference of course, is that the brothers Ween are intentionally
awkward and off-putting with their music. One gets the sense
that The Fledglings are attempting to channel Dean Ween
through Sgt. Pepper’s, but there is no tongue in cheek
zaniness here; these two are serious! “Krystal”
drags through its three and half minutes sounding like a
conjoined twin to the previous “Raindrop” fiasco.
The best aspect of “Ladybug Jazz” is that is
only two and half minutes long, but its’ structure
is reminiscent of music for toddlers-wholesome, non-threatening,
and positively mind numbing after less than one listen.
The gentle “I Give Up” sums up my approach to
this disc. I know this band plays coffee houses in Austin,
and that is important because you could not listen to this
without caffeine. By the way, there is a noisy bonus piece
at the conclusion of “I Give Up”, and while
it is mindless din, it is my favorite part of the disc.
 THE
CAMPBELL APARTMENT - In (Light Rail Records www.lightrailrecords.com)
Starting slowly, the second release from this New York
via San Francisco outfit becomes progressively stronger.
While the clichéd “I Don’t Believe in
Love (Anymore)” and “The See You Letters”
are underwhelming, the disc takes a sharper, more rock oriented
turn on the one-two punch of “Autumn” and the
rollicking “Season in the Sun”. The disc is
produced by Fountains of Wayne guitarist Jody Porter, and
his knack for crafting poppy yet crunchy hooks is apparent.
There are other stumbles, such as the largely acoustic “I’ll
Never Know” and “Accident Airlines” which
sounds uncertain of its own personality. There are brief
explosions of force that rapidly give way to an unsteady
arrangement that teeters on the verge of authentic emotion
but ultimate falls short. The better tracks here seem to
come in clusters, as “My Many Mini Obsessions”
and “Gia Knows”, with its splashes of guitar
noise, and the bashing “Plug-In Freak” are rugged
guitar gems that allow Ari Vais to get the most from his
warm vocal delivery. These songs retain a pop sensibility
without surrendering to the temptation to equate sentimentality
with frail song structures. The 1926 standard “Tonight
You Belong to Me” is an odd choice, and while it is
not a complete misfire, it does break the momentum established
by the songs before it. However, not all of the highlights
here need be slabs of guitar force. The lovely “There
Goes the Sun” celebrates Vais’ lyrical delivery
as he brings the listener into the tenderness of the track
while still illuminating the light/dark dynamic that makes
some of this record so compelling. I understand why people
fell in love with this act in 2008 when they debuted, for
the songwriting is largely sophisticated, the playing perfectly
straddles the line between playful and structured, and the
production is excellent. If this record was eight songs
instead of twelve, I would be in heaven. As it stands, there
are still more hits than misses, and The Campbell Apartment
have moments of illuminating radiance worth celebrating.
 SEXY
HEROES - interroBang (Pop Detective records www.popdetective.com)
This four-piece from Upper Saddle River, NJ would undoubtedly
be a blast to hang out with for a night, but I cannot take
their music seriously. Each of the members look like they
are barely out of high school, so maybe they are just a
bunch of fun-loving kids and I have turned into the grumpy
old man not giving them their Frisbee back when it accidentally
soars into my yard; but too much of this is bubble-gum,
vapid punk-pop. The opening “Robert Downey Jr.”
makes one smirk, but the bouncy tempos and silly lyrics
seem tired by the time the disc reaches track five, “Ticklish
Bill’, in which the term “ticklish” is
used as a euphemism for gay. Ironically, the mind-numbingly
goofy “Pirates!” is musically one of the tightest
tracks of the bunch; a raw, ripping piece of punk that is
far more aggressive than the rest of the disc and offers
a glimmer of hope for the future. Songs about magicians
(the cleverly titled “Magician”), zombies (the
equally adroitly named “Zombie Invasion, Total Vacation”),
and hitting on a girl at a fast food joint (“Bluffington
Diaries”) just do not hold my attention. However,
one must offer these young bucks some respect for having
a delicious sense of irony and titling their closing track
“Free Bird”. The vocals among bassist Chris
Watts are accompanied well by guitarists Mike Watts and
Nick Everett, but the goofiness of the songs detract from
their obvious talent. These guys are not fooling around
in terms of musical prowess; they just need to harness their
energy in a more legitimate direction or they will simply
fade into obscurity as another joke that was funny once
but did not need to be retold.
 WE
ARE THE OCEAN - Go Now and Live (Hassle Records www.hasslerecords.com)
God, I wanted to hate this. I really wanted to hate this.
I teach seventh grade girls who just melt at the name of
We Are the Ocean or similar ilk such as You Me At Six. After
listening to their earlier material, I am expecting another
typically desperate attempt at post-hardcore fury that ultimately
sounds forced and blasé. Instead, I am slammed by
“Pain is Temporary, Time is Tonic”, a sonic
punch in the face with excellent vocals from Dan Brown and
a rousing hook. This is not what I expect from this act,
as the clean vocals and the interplay between Brown and
guitarist Liam Cromby are intricate and impressive on “The
Waiting Room”. However, the brakes slam this one to
a screeching halt with “Runaway”, and the disc
quickly falls off a perilously steep cliff. Yikes. This
blatant attempt to craft some sort of crowd pleasing sing
along that may end up as the soundtrack to a new teen drama
is just pitiful in its delivery. As Brown and Cromby say
“bye bye to love”, I am simultaneously overwhelmed
by a fit of laughter enveloped by a haunting sadness for
these guys. The members of We Are the Ocean were angry and
full of life once, and it was not that long ago. Now We
Are the Ocean is crafting pop rock songs that would not
even frighten the parents of the misinformed teens who undoubtedly
flock to their shows. “Trials and Tribulations”
suffers from a similar fate; there is simply a lack of emotional
conviction, a sense of urgency or passion that plagues almost
all of Go Now and Live. For one fleeting moment, some form
of intensity briefly raises its withered brow on “Godspeed”,
but the band quickly settlers into a safety net on “Now
and Then”, and the closing “Before I Die”,
two songs that sound like a bad Foo Fighters tribute band.
The bouncy chorus of “Follow What You Need”
may break the band to a more mainstream audience and become
the theme song to the winter of 2012 for the kids walking
the mall, but is that a good thing? If you are fighting
through the rigors of study hall and acne, We Are the Ocean
is your band; however, if you are older, wiser, more musically
savvy, or just refuse to surrender your blind angst and
misguided anger, I suggest you pass on this one. Wow. I
guess I do hate this.
 CAVES/SUNDIALS
- Split 7” (Kiss of Death Records www.kissofdeathrecords.com)
This split features two more members of the rapidly growing
cast of characters on Kiss of Death. Caves play punked up
indie rock with great shared vocals on “Desperate
Times Call for Double Measures”, a track featuring
jangly guitar overflowing with emotion. “Stepping
Stone” is the speedier of the two; it is a sugar rush
of a song with vocals that sound a bit too high for what
is playing beneath them. However, there is an impressive
tempo shift in the middle of the song which changes its
complexion. This is a nice introduction a band that shows
intriguing potential. The Sundials are darker and feature
a cleaner, highly quality of production on their efforts.
While they too employ the use of speedy, jangly guitars,
the vocal delivery here is smooth and seamlessly coexists
within the construct of the two songs, melding indie rock
and pop aesthetics with ease on “Viking Funeral”.
Mosby Street panders too much to a mainstream audience,
as if the band is hoping to score some type of pristine
underground hit. It is a well written song about the stark
reality of growing up and moving on away from one’s
home, but it is too accessible for my taste. The release
is at times of mixed bag of ideas, but does offer a glimpse
into the experimentation of the guys at Kiss of Death.
 SHY
MIRRORS -Sailed Blanks (Big School Records www.bigschoolrecords.com)
With Chicago expatriate Mike Downey now residing in Sweden,
Shy Mirrors is proof that hook-laden, pop-fueled punk is
universal. I am reeled in with the opening fuzzed-out riff
to “Track Change”, a song that perfectly blends
elements of angst and ennui into a gem of an introduction.
Downey is a long time veteran of indie pop, albeit usually
of a more experimental nature, and he understands how to
craft warm harmonies that still possess an off-putting noisy
edge that refrains anyone from become too comfortable. Even
“Blackout”, a syrupy blast of pop indulgence
includes a jagged bassline and a guitar tone that maintains
a subtle ruggedness. Some of Downey’s solo work would
surprise fans of Shy Mirrors due to its varied atmospheric
qualities, but Sailed Blanks finds him fully committed a
combination of muscle and pop sensibility on “Newspaper
Boats” and “Flashlight”. The second side
of the record opens with the roaring “I’m Not
Around”, clearly the most aggravated of the collection,
yet it never abandons its pop construction. This is matched
by the furious “You Were Lonely, Too” as well
the very Ramones-inspired ‘Argon”. These are
moments in which the band pushes its sonic boundaries, raging
with authentic aggression. Shy Mirrors has snuck in a radiant
release just under the wire of 2011, so add this one to
your holiday list.
 STATIC
RADIO NJ - We Are All Beasts (Kiss of Death Records www.kissofdeathrecords.com)
We Are All Beasts is a mature collection of intelligent,
deeply personal lyrics delivered over the top of crisply
played guitar rock. Static Radio NJ is a punk band without
all the stereotypical trappings of a punk band. Their songs
are more than bursts of fury; each track attempts to challenge
the listener and compel them to pay attention to both the
musicianship and stories on display. The angular construction
of “Kill the Harmony” mirrors the intensity
of the lyrics (“pictures show the life that we can’t
have”). The title of the record acts a metaphor throughout
the disc, whether the band tackles the struggle for relief
in “Addict”, the disillusionment of “Violent,
You”, and the sad reality of life in “Between
Hello and Goodbye”. Static Radio NJ has an abundance
of self-confidence, for they are willing to introduce more
apparent pop harmonies into “Last Year” or even
go acoustic on “Geeks”. Aggressive, but always
tempered by a sense of meticulousness, Static Radio NJ effectively
straddle the line between punk force and pop precision.
This is highly worthy of your time.
 SSSSNAKES/THE
SLOW DEATH - Split EP (Kiss of Death Records www.kissofdeathrecords.com)
The Ssssnakes indulge in bass-heavy, rumbling punk with
a tangible Ramones influence. That’s good enough for
me, and I greatly enjoy a track like “Only One”;
a vicious assault with a devastating bass line that propels
the band into hyper-speed. I am a bit confused by “Superfrog”,
name aside. The track begins as a slow, bluesy dirge which
has momentary explosions of force but ultimately disappoints.
The Slow Death offers raw, garage punk with an abrasive
edge. With unexpected shifts in tempo, “Movies”
is a pleasant surprise, while “Want” features
a less aggressive tone but a more clearly defined chorus
and cleaner vocals. While this track may win more fans,
it sounds flimsy in comparison to the effort’s first
track. “Glad I Don’t Know” includes fairly
standard time sequence and chord structure, but The Slow
Death plays them well. There is more to this act than I
first expected. They display various sides and personalities
over the trio of efforts. I’m on the bandwagon if
they stay in the style of “Movies”, but I have
to wait and see on this release.
 VULTURES
UNITED - To Live and Die in Gainesville (Kiss of Death Records
www.kissofdeathrecords.com)
Vultures United, a bunch of guys from Southern California,
are taken in by the heat, humidity, swamps, (and swamp people)
of Florida in this loving tribute. Their brand of punk is
what one expects from SoCal; it’s loud, belligerent,
yet also harmonious and is destined to have the kids screaming
along in unison. The title track was inspired by the band’s
first appearance at The Fest in Gainesville; this explosion
of gushing love name-drops Less Than Jake, Hot Water Music,
and others that call the Sunshine State home. “Slam
Dances with Wolves” is my favorite of the four. It
is a scathing, unrelenting attack upon a certain former
Alaskan governor (you know, the one who quit that job to
focus on more important issues like writing books and marching
in lock-step with Fox News?) played with flesh-ripping speed
and a great sense of distorted harmony. The B-side includes
a loving tribute to Good Riddance with “Heresy, Hypocrisy,
and Revenge”. Without simply mimicking each note,
Vultures United honors their influence without harming the
prestige of the original. Lastly, with a little help from
Wikipedia (be careful kids!), the guys cranked out a song
about Mussolini’s Black Shirts during the rise of
Fascist Italy. As the chorus shifts into a raw scream, a
perfect compliment for the lyrical content, the record ends
and Vultures United have a new fan.
 THE
ONE AND NINES - “Tell Me b/w “Make It Easy”
(Cotter Records www.theoneandnines.com)
The One and Nines may claim to be from Jersey City, and
the calendar may claim to say 2011, but listening to record
takes one back to Detroit in the 60’s. “Tell
Me” is a swinging soul record that includes saxophone
accompaniment that could be compliments of the ghost of
Clarence Clemons. There is a nice burst of energy during
the chorus and conclusion that makes this song more than
simply a tribute record, but the One and Nines seamlessly
weave a classic soul sound within these more contemporary
outburst. “Make It Easy” is a sultry, smoky
song that simply ends too quickly. Equipped with a hypnotic
bassline, this one can pass for an obscure Fur Tops classic
to the uninitiated. I am curious to see where this band
goes, for I hope people will appreciate how they are integrated
60’s soul into original and creative music, and not
simply performing homage.
 STEVE
WYNN & MIRACLE 3 - Northern Aggression (www.stevewynn.net)
Returning after too long of a hiatus, my vote for the most
underrated, undervalued, and underappreciated songwriter
in music, Steve Wynn emerges again with his Miracle 3 for
another healthy helping of intelligent, articulate rock
for adults. What makes the record work is the ease with
which Wynn and mates Jason Victor, Dave Decastro, and Linda
Pitman alter moods and tempos, as they can produce rousing
burst of energy (“On the Mend”) or fragile,
poignant songs of beauty (“St. Millwood”). The
opening “Resolution” is a beefy guitar slab,
while “We Don’t Talk About It” is a scalding
piece of white funk with a brilliant line, “I was
swatting at the flies around my skull until I realized they
were trying to talk to me.” The gentle “Consider
the Source” features soothing organ and a live vocal
performance from Wynn (he does the same on “The Death
of Donny”), while “Colored Lights” is
the Miracle 3 at its collective best. The song is a no-frills
guitar slasher; a rowdy, full bodied romp that is soaked
in beer and sweat. “The Other Side” is the type
of song on which Nico should have appeared with its combination
of warm harmonies and jangly, rambling instrumentation.
Somehow the song blends a washed-out, fuzzy late 60’s
aesthetic with an angular post-punk structure to generate
perhaps the highlight of the disc. “Cloud Splitter”
is another gem, as it is surprisingly brusque in its approach,
yet still contains an ethereal pop sensibility that defines
Wynn’s innate ability to produce the most beautiful
of harmonies in the most unexpected places. The closing
“Ribbons and Chains” is another throwback to
the vintage soul of rock n’ roll without sounding
dated. Sliding guitar, soaring background vocals, and a
straightforward delivery result in a track whose chorus
is undeniably infectious. It is a pristine conclusion to
another superb release.
 YOUNG
STATUES (Run For Cover Records www.runforcoverrecords)
Carmen Cirignamo is the mastermind behind this Philly/Jersey
trio and Young Statues is a band of great promise. The songs
on this self titled disc are intricately played and beautifully
recorded. Each note seems to float effortlessly as Cirignamo
is a skilled vocalist and guitar player, as he sings and
strums with understated passion. Young Statues have a sound
that is measured and free, pristine yet muscular. This dichotomy
of sound creates a captivating collection with each member
contributing equally throughout the disc. Drummer Daniel
Bogan shines on “Athens” with a ferocious attack
that never overwhelms the listener or the song. He plays
with a controlled fury that captures the intensity of the
track but never detracts from what Cirignamo is emoting.
The disc tells stories with earnest honesty and raw emotion.
“Bumble Bee” and “Losing a Friend”
both deal with the difficulties that accompany relationships
and the anxiety associated with attempting to either start
or progress a connection between two people. Both songs
are gentle and supple in nature, as the delicate musicianship
allows Cirignamo’s ability as a raconteur to shine.
He brings the listener into the lives of the people in each
track, forcing one to become immersed in tales of emotional
depth. There are moments when one sits in on the dialogue
between potential lovers (the aforementioned “Bumble
Bee”), analyzes what happens to the optimism of youth
and how fleeting it can be (“Young Statues”,
“Spacism”), or even the tragedy of the suicide
of a friend (“We Trusted Everything Enough”).
While the topics are certainly serious and Cirignamo comes
across as a young man wizened beyond his year, he, Bogan,
and bassist Tom Ryan still play with reckless abandon on
“Keep It Dark”, the Smiths-inspired “Pretty
Girls Make Raves” and the rousing “Your Seasons
Stay the Same”, adding keys when appropriate and kicking
up the tempo on the latter two. Young Statues is a band
that seems to have found a blueprint for an enchanting sound
very early in its career. Where these kids go from here
will be undoubtedly interesting to watch, for their trajectory
is only one of ascension. The world may not deserve Young
Statues, but it should know their names soon.
 HURRICANE
BELLS - Tides and Tales (www.hurricanebells.com )
It is not often when one stumbles across a band that takes
inspiration from a Coney Island fire in 1907, but the destruction
of the Steeplechase Amusement Park over a century ago is
the impetus for the beautiful music of the Hurricane Bells;
well, at least one song. The owner of the aforementioned
destroyed play land was George Tilyou, and the day after
the fire he posted a sign on a wall outside the charred
remnants of his business that read “I have troubles
today that I had not yesterday. I had troubles yesterday
which I have not today.” In addition to demonstrating
incredible patience, the poetic nature of that turn of phrase
caught the eye of Steve Schlitz, leader of Hurricane Bells.
The very quote is found on the disc’s opening song,
the fittingly titled, ‘I’ve Got a Second Chance”,
but delicate use of language along with a sense of raw humanity
also captures the music of Tides and Tales. Ironically,
a swirling mass of noise greets the listener within the
opening second, but this disquieting introduction quickly
dissipates into a collection of twelve warm, sometimes haunting,
occasionally fragile songs that while pristine, do not eschew
the occasional pop hook. This last point is heard best on
“Possibilities” and “The Ghost of Her”.
The latter of this duo features harmonies reminiscent of
the Byrds while jangly guitars rattle over the top. “Hours
Like Days” and “House on Fire” are driven
by Christian Bongers’ well constructed basslines,
while “Before I’m Gone” is my favorite
of the bunch. The gaunt arrangement and hushed vocals are
stirring in their delivery, yet Hurricane Bells find a way
to accent the song with a harmonica without that instrument
feeling the least bit forced. Similar exquisiteness is found
on “Flowers in the Dirt” with gorgeous, ghostly
vocals. While the song may resonate with an aura of loneliness,
there is still a sense of hope within the subtle despair.
Ironically, after eleven songs of pristine yet sober pop,
the disc concludes with a dance inspired “The Hunger
Moon”, a richly textured rhythmic anthem that includes
a return to that concoction of hiss that opens the disc.
This is a band about which I knew nothing going in, and
I am intrigued by what Schlitz and his mates are creating.
 MOMMYHEADS
- Delicate Friction (Dromedary Records www.dromedary-records.com)
In the name of full disclosure, I readily admit that the
Mommyheads bored me to death in the mid-90’s. I know,
I know; they are a critically acclaimed act, but I just
never found myself going back for a second listen. Apparently,
the band is huge in Sweden and there was a groundswell to
have them reunite. Now, nearly fifteen years since their
last formal release of new music, the Mommyheads return.
As I listen to Delicate Friction, I am struck by
the idea that I have actually matured or that the Mommyheads
are worth a revision on my part. Adam Elk’s dry, brooding
voice is convincing on the morose “The Saddest Place
on Earth” and “Courtyard”, proving that
bands can not only age gracefully, but time away can be
a blessing. The jazzy “Moonlight Crawl” and
the soaring “Another Crowded House” are destined
to delight old fans who have waited since the days of the
Monica Lewinsky scandal for fresh work from the Mommyheads.
Gentle, serene pop cascades throughout mush of Delicate
Friction, a cascade of which is heard on “Just Give
Me a Reason” and the striking “World in Reverse”,
proving that these guys are not aging hipsters who have
pried themselves off the coach. However, we must be honest
here; there is most likely not much of a cash cow awaiting
the Mommyheads, but this is a disc made out of a love of
music and respect for fellow bandmates and long-time fans.
For all the kids who think Death Cab for Cutie invented
their sound on their own should give this one a listen.
 TOY
BOMBS - Will Work for Free (www.toybombs.com)
This one is a pleasant find. Take two guys from Utah, place
them in Los Angeles, pair them with a bass player dressed
as cat named Sasha and a drummer named Rocko the Bear (yes,
masked as well) and what do you create? Apparently, one
hell of a fun, very contemporary act that is not afraid
to reach back in time for inspiration. Cole Barnson and
Brandon McBride both play too many instruments to list,
and their love of all forms of music translates into four
highly original and distinctively unique songs. The opening
“Prairie Eye” is out to prove that being a cowboy
is more than John Wayne or Brokeback Mountain (depending
on preference), and this lyrical topic stems from the bands’
families. The track itself is a bouncing, gyrating effort,
resonating with primal energy. Within a blink, the band
shifts into the thick, blues inspired “Free”,
a song also accented by superlative jazz freedom. From there,
Toy Bombs brings the listener into a religious revival with
“We’re All Just Little Children”. The
song’s soul is palpable, and the shared vocals convey
an urgency that drives the track. McBride’s lyrics
also capture the sad state of too many who continue to exercise
childlike impunity in their decisions. The closing “Fall
Down” is a steady piece, but lacks the immersion of
various styles that define its predecessors. That being
said, it is still a rousing collection of streamlined guitar
work and angular arrangements. This is a band earning raves
for their live show, but if they are not playing near you,
find this right now!
 ELECTRIC
SUN - The Gilded Cage (www.electricsun.us)
This five song EP announces the arrival of New York’
Electric Sun (do not confuse this band with the late 70’s
post-Scorpions act of the same name led by Uli Jon Roth,
but you probably will not), and the five songs are a burst
of energy. Vocalist/guitarist Vlad Holiday describes the
songs as dedications to optimism and the power of positive
change. Knowing nothing about either of these ideas, I take
his word for it. The opening pair of “Don’t
Look Back” and the unapologetically effervescent “Fuel
to the Fire” are teeming with bouncy guitar hooks,
contagious energy and Amanda Carl’s wonderfully placed
keyboards. “My Mind” overflows with boundless
enthusiasm, a sweeping groove from rhythm section Steve
Kellner (bass) and drummer Dave Tantao, and a giddiness
that would shame Tim Tebow. However, the disc is not all
lighthearted fun and smiles. The closing “Mark On
Me” borrows heavily from blues and stripped down acoustic
Americana, offering an unexpected conclusion, but this leaves
the listener quite aware that Electric Sun is not a one
trick act. Instead, this is a band with a broad spectrum
of interests and talents, led by a highly nimble song crafter
in the form of Holiday. His work is personal without becoming
exclusionary and inspirational without ever becoming a sermon.
He walks a fine line between earnest hope and dim-witted
naiveté. Ultimately, these five songs are well constructed,
sharply played, and musically interesting.
 SLOW
BUILDINGS - This is Dead Aesthetic Junk (www.myspace.com/slowbuildings)
This Bergenfield, New Jersey four-piece looks to establish
a unique mood on each song, and do so through alternating
tempos, intensity, and structure. The result is an occasionally
disjointed, but generally pleasing collection of sharp pop.
Fans of old time harmonies will appreciate efforts such
as “Glass Joe”, “I Am a Strange Loop”,
and “The Company We Keep”, while the more ambitious
will undoubtedly find delight in “Christian Army Soldier”
and “Return of the Black Smurfs”. Jangly guitars,
soft vocal arrangements, and delicate musicianship dominate
“Alone in Summertime” and the closing “Evil
Otto”. This non-threatening style co-exists with slightly
gruffer “1’s and 0’s” and the brilliant
“Hans Blixx”, a track in which the former UN
weapons inspector is used as a metaphor for a fruitless
search for success in life. This song is the tipping point
for me; at just over two minutes, “Hans Blixx”
has a rough edge and a snarl lacking in earlier pieces.
Most of the work here are exemplary works of restraint and
self-control; the songs are beautifully constructed, but
lack a bite. Slow Buildings hopes to draw the listener into
their atmospheric web of elegant sound, and they often do,
but there are too many moments throughout the disc when
one is waiting for something to occur; some shot of adrenaline
that fails to materialize. Devotees of unassuming dreamy
guitar pop will fall in love here, and it is clear that
this is not just a local bar band. Slow Buildings have a
definite view and game plan for their sound; they want to
be the next Arcade Fire. Frankly, I am not certain if the
world needs the first Arcade Fire, but my point remains
that despite a few missteps along the way, This is Dead
Aesthetic Junk is anything but; rather, this release is
a collection of intelligent and mature songs by a band,
that with a little seasoning, could ultimately become national
names and not simply local heroes.
 STAR
FUCKING HIPSTERS - From the Dumpster to the Grave (Fat Wreck
Chords www.fatwreck.com)
SFH have a knack for keeping listeners on guard as they
move seamlessly on many of the efforts from raging hardcore
to gang singalong vocals to ska breakdowns before launching
into another seething riff. “Death is Never Out of
Style” and the brilliant title track opener skewer
greed, hypocrisy, and the death of what was formally American
idealism. Shared male and female vocals are another component
of already complex song structures that ebb and flow between
overtly abrasive and covertly shrewd. Then there is “The
Spoils of War”; at only thirty-four seconds, the song
is blinding piece of scathing propaganda that I could keep
on eternal repeat. The band does not hide its political
opinions, yet SFH never come across as speaking down to
the listener or forcing their politics upon anyone. Perhaps
one may not agree with “9/11 to Infinity”, but
the musicianship cannot be faulted, from the acerbic riff
that acts as a musical bed to the articulate rap delivery
of the lyrics. Blending a metallic guitar riff with hip-hop
elements has the makings of an embarrassment for SFH, but
they make it sound not only feasible, but truly engaging.
The choice of “Ana Ng”, an old They Might Be
Giants effort, is another potential landmine avoided by
SFH. The original possess subtle bursts of noise that are
marvelously exaggerated here. “Rapture, Rinse, and
Repeat” is a glorious assault of speed and unbridled
fury that could be the band’s strongest work of the
disc. Unfortunately, “Drowning Out Another Year”
and “Outro” fail to match their predecessor
in either energy or appeal. This is not a flawless punk
record, but SFH attempt to throw a few curve balls, and
even when they miss, one must still compliment this skilled
ensemble for not following the easy path of well worn political
punk. This is distinctive, and that is an increasingly rare
trait.
BIG KIDS - Phone Home (Solidarityrecordings.com)
The Big Kids play a brand of hostile pop that everyone
has heard before, but it is like meeting up with an old
friend; there is still something enjoyable about this even
though there is no chance of surprise. Eleven of the twelve
tracks here, minus the surprisingly quiet and underwhelming
closer “Full Gainer”, are wrought with well
harness harmony and a smirk that is nearly tangible through
your speakers. “Reflecting on Ejection”, “Dad’s
Datsun”, the more aggressive “68%” and
“42 Hours to 2073” are well recorded, crisply
played efforts that make me long for a full fledged Archers
of Loaf reunion, and that’s not a bad thing. In actuality,
the Big Kids have what most would want from a band of this
style: the vocals are well delivered, the guitar riffs are
memorable, and the drumming is solid. However, there simply
seems to be a mysterious missing element that hinders this
act from pushing forward into the realm of interesting.
I am unsure if I am missing a larger point or if, as I fear,
too many discs like this begin to bleed into each other.
This is not the finest version of this style, but certainly
Big Kids do not butcher the genre either. Sadly, the band
is the equivalent of Italian food at a major chain restaurant
as opposed to your favorite family owned hole in the wall;
it’s satisfying in the short term, but it does not
stay with you for very long and you certainly will not rush
back.
 DBCR
– “Bikes” EP (www.dbcrmy.com)
This is old fashioned, loud hardcore. It’s piercing,
a little sloppy (in the best possible way) with a vocalist
screaming himself hoarse. DBCR roar through “Let Them
Eat Bikes” as they channel their inner Agnostic Front
without the more recent metal tinges. The raw, aggressive
energy is infectious without simply formulating a retread
of hardcore’s past. The B-side, “The Reverse
Broken Window Theory” begins more slowly than its
predecessor, but it is far more menacing and dark. Rather
then capturing hardcore fury, vocalist Michael puts on his
best Danzig voice while throbbing bass and rugged guitar
drive the song. There is even a guitar solo that is abrasive
and raw without even becoming self-indulgent. This one is
a fresh New York gem.
POWERBLESSINGS
– 7-inch EP (www.powerblessingsband@gmail.com)
This is awesome! Thunderous and belligerent, this is my
kind of punk! Raging with seemingly limitless energy, Powerblessings
is powerhouse. Imagine Mission of Burma playing with pre-Henry
Black Flag and you have a sense of what this is like. Each
of the four pieces are amazing, but “Go to Hell”
and “In the Men’s Room of the Sixteenth Century”
are fuming bursts of force that somehow sustain themselves
for several minutes. Powerblessings do not burn out quickly;
instead they rage with sophistication that most acts of
this ilk do not possess.
VAL EMMICH and THE VEERIES - “Ton Papa” (valemmich.com)
This mysterious act is the tale of two songs on one single.
“Borrow Your Eyes” is a quiet, mid-tempo piece
that sounds like something Mazzy Star left on the cutting
room floor. It is pretty, sweet, and it bores me to death.
I am unsure if this is a return to a simpler, more serene
time or if this band simply does not understand how to turn
on the amps of the three guitar players it includes. The
B-side “Leave Yourself Alone” is ridiculously
poppy but is far more energized than its partner. There
is a loud/quiet dynamic that is slightly redundant, but
more satisfying than the A-side. Neither track intrigues
me, but there is potential here. If the band simply turns
up the energy, they may have something.
CAPTAIN NOWHERE - Party Time Inc. (Idiomism Records http://idiomism.com)
The vinyl release of Party Time Inc by Captain Nowhere
is coupled with a cd release as well. However, while not
a new marketing idea, the cd and vinyl are wholly unique
releases and I will focus solely upon the vinyl here. Arriving
on clear, splattered vinyl, I was enthralled before listening
to a note. What lies within these sprawling four songs is
a collection of despondent, disquieting musical journeys.
Joe Demaree forges noisy, experimental voyages that challenge
the listener and will entice those who eschew the traditional
verse-chorus-verse approach to songwriting. The closing
“The Moon Song” is both romantic and terrifying,
as ghostly backing vocals drift behind minimalist guitar
playing. The opening “Sing Along” is a pained
and brutally raw slab of guitar feedback and swirling hiss
as Demaree laments, “I know how hard it is to write
a song for everyone to sing along”. Demaree’s
lyrics are as equally confounding and chillingly mesmerizing
as the instrumentation, as they alternate between lucid
anecdotes and stream of conscious musings of fear and hope
with subtle sexual undertones. In “Another Letter”,
he describes how “they propped her up on alter, forever
to bless”, while “Holiday Song”, he references
how “Sister Mary has her skirt lifted and Father has
just inked his pen.” The music of captain Nowhere
is dark, penetrating, and offers a glimpse into a world
of beautifully underground work that contrasts the mainstream
with a genuine desire to create music that again expands
the parameters of what punk can be.
 FELLOW
PROJECT - Stable Life (Answer Key Records www.answerkeyrecords.com)
I loved this band’s last release due to its sense
of urgency and primal emotion. Those same traits shine through
on Stable Life, but Fellow Project continues to mature and
refine their style. Vocalist/guitarist/lyricist Joe Jerkins
uses his experiences associated with New York area horse
racing (get it….Stable Life?...pretty clever actually)
as motivation for highly personalized lyrics that are still
relatable to a broad spectrum of listeners. In “Terry”,
Jerkins tells the all too familiar tale of a man who simply
strives for success he will never find: “he ran headfirst
into a brick wall, but he not doubting himself at all/he
keeps flailing at that half-dead horse, hoping for a different
finish.” The grave lyrics on the heartbreaking “Mercy
Shot” (A death wish and a loaded gun/a vengeful and
forgotten son”) are delivered with gut-wrenching intensity
in the midst of a mass of swirling, well crafted energy.
Even when Fellow Project takes the foot off the gas for
a moment, such as the real-life tale of “Mr. Mars
“(“Are you following the doctor’s orders
and taking the yellow pills on an empty stomach?”),
there is a tangible intensity to their effort. The vocal
interplay between Joe and Tia (bassist and former member
of Bridge and Tunnel) is never forced, but only works to
accentuate the intimacy of the playing. The songs envelope
the listener and the style of recording is ideal for a band
of this style; it is not slick or polished, allowing the
raw emotion of this act to barrel out of your speakers.
There is a multitude of influences here but Fellow Project
does not sound like any one style; they are a highly intelligent
punk band without question, but I also heard a great deal
of early 90’s indie guitar force before that became
a cliché. The guitar work is aggressive but controlled
by both Joe and Lou, and the rhythm section will demand
multiple listens to truly appreciate what drummer Big Ry
does here. There is not a wasted moment here, for many of
Fellow Project’s tracks fly by quickly, and within
these brief pieces are wonderfully detailed tableaus of
life accented by some great musicianship.
 TIN
ARMOR - Life of Abundance (www.tinarmor.com)
The lyrics of the opening title track are an astute summary
of American economic woes in 2011: “We cherish our
things and live beyond our means to the tune of our paychecks
demise”. Tin Armor plays a blend of soulful Americana
and rousing pop; a challenging mixture to be certain, but
pulled off flawlessly on songs such as “Plain Limbs”
and “Just So I Know”. This Columbus, Ohio four
piece comfortably shift between bouncy yet poignant throughout
the disc, demonstrating highly commendable musical chops.
Despite the meandering pacing of the opening effort, the
majority of the work here is crisply played indie pop accented
by keen tempo changes and lush keys. (“Wayward Kites”
is the ideal example of this) Tin Armor is strongest on
the brisker tracks as they fuse energy and memorable hooks.
Some may prefer the back porch tempo of “Shake Up”
and “Silhouettes”, but my favorites are the
enthusiastic “Coffin Sheets” and “Queen
Mob”. There is a great variety to be found throughout
each track, and Tin Armor has a real chance to be that rare
find: a truly intelligent, genre-bending pop band.
 B-MOVIE
LIGHTNING - Rain On a River (Micropolis Records)
Mike Smalle is a complicated genius; at least that is what
I can infer from his music. B-Movie Lightning’s music
is a dazzling tableau of ambient soundscapes and the most
serene combination of precision and ethereal beauty. Rain
On a River is a thirteen song collection of mind-altering,
perplexing works that include hushed vocals, genteel percussion,
and warm synth in a cosmic mix of dazzling aural talent.
“Take Yourself to the City” bounces with a gentle
rhythm that is wholly graspable, while “Footfalls
At Echo park” and “Mack the Joy Hound”
are progressively more challenging and obtuse. However,
while Smalle’s visions may not have broad cross-over
appeal, this is the consummate indie art experience. The
songs are swirling, dense, and intricately programmed with
accenting vocals Sinead Brass and Sophie Coyle when necessary
(the latter is stirring on “Triple Trouble”
while the former electrifies and chills on “Foxy Trot”
and “The Closing Party”). I often find albums
of this nature to fade as it progresses; the ideas become
either repetitive or predictable, but nothing of the sort
occurs on Rain On a River. This is a fresh, illuminating
work that is the equivalent of gazing at a Monet painting
for the first time. The colors created here are vivid and
enticing, and even if you do not consider yourself a fan
of serene ambient sounds, push yourself to listen to this.
AWKWARD AGE - Demo (www.facebook.com/AwkwardAgeFL)
I remember the days when a demo meant a poorly recorded,
fourth generation tape that was passed around and required
pure dumb luck to be noticed. These kids today and their
technology…Awkward Age’s four song release should
not really be labeled a demo because the quality of the
recording is outstanding. This three piece from the swamps
of Tampa sound like potential touring partners for Less
Than Jake and hopeful members of the No Idea roster. The
tracks here crackle with infectious punk energy and a healthy
helping of pop effervescence. “New Teen Fiction”
and “It Never Stops” include sharp, sarcastic
lyrics about the perils and struggles of growing up. “It
Never Stops” is particularly insightful as the song
rages about a troubled past and an uncertain future. “Lucky
Man” spares no words as it lambastes inattentive and
unprepared parents (“I’m calling you out motherfucker/You’re
not a father/ sperm donor at best”). The guitars are
crisp, the drumming is extraordinarily tight, and the vocals
are just harmonious enough. I would like to hear the vocal
energy raised a bit, for there are moments when the lyrics
are delivery a bit too sweetly, but this is designed to
make the girls swoon, and I think Awkward Age should easily
achieve that goal.
 ELECTRIC
SIX - Heartbeats and Brainwaves (Metropolis records www.metropolis-records.com)
Go out, buy this disc, put on the first three songs and
have the best sex of your life. While the remaining portion
of the disc is not as riveting, the opening trio of tracks
is almost enough to let the next eleven slide. “Psychic
Visions”, “French Bacon”, and “Gridlock!”
are dark, throbbing slabs of pummeling synth and bass that
sounds like real rock and roll for people who love keyboards.
“French Bacon” is equally infectious and intimidating,
while “Gridlock!” oozes raw, primal energy.
I am spent after these three tracks, and Electric Six spend
the remaining portion of the disc experimenting with their
sound, traveling in directions ranging from campy to methodical.
The faster, harsher, more grind inducing efforts are my
favorite, which is why the meandering “We Use the
Same Products’ or the more refined title track do
not captivate me. The disco-infused “Eye Contact”
is a lot of fun, but “It Gets Hot” and “Hello!
I See You!” are both just too dance oriented and poppy.
This is a band that continues to surprise fans and Heartbeats
and Brainwaves is a return to a style more familiar to longtime
fans. However, I can usually take dance rock in small portions,
and the opening three works are a perfect sample size. For
those with stronger constitutions for this, Electric Six
will undoubtedly leave you panting, sweaty, and very satisfied.
 DOUBLE
DAGGER - Masks (Thrill Jockey Records www.thrilljockey.com)
Sadly, this review acts as a farewell to Double Dagger,
whose last show is taking place on October 21st in their
hometown of Baltimore. The band’s website offers an
explanation of the break-up, but while it is sad to lose
a talented act, Masks is a proper way to exit. The five
songs are here are noisy, somewhat lo-fi, yet still energized
indie punk that is challenging and probably too disconcerting
for the masses. On “Sheep’s In Wolf’s
Clothing” the listener is bombarded by the line “This
is the sound of no one giving a shit”; perhaps the
band is referring to the struggles of an indie act or perhaps
they are discussing their own sound. I do not believe that
Double Dagger is particularly concerned about people’s
reactions to them. The opening “Imitation is the Most
Boring Form of Flattery” sounds as if it was recorded
under water, but the song still fights through the murmuring
din and the fuzz to be a fascinating effort. The lengthy
“Sleeping with the TV On” is a collection of
off-kilter ideas and awkward riffing that inexplicably meshes
into a track that ultimately does not apologize for its
pop aesthetics. The concluding “Song For S”
includes waves of noise and hiss as a musical bed and this
instrumental says farewell to a band always equipped with
distinctive musical traits and a distinctive take on pop
song structures. They will be missed.
 THIS
IS HELL - Black Mass (Rise Records www.riserecords.com)
Remember your first experience with truly brutal hardcore?
Remember how you found yourself sitting in awe of how everything
came together in a swirling ball of unstoppable fury that
left you beaten and bruised and that was just from listening
to it? Well, This Is Hell will undoubtedly recreate those
sensations on Black Mass. This Long Island, NY crew slams
and slashes through a scathing record of New Yawk hardcore
that will excite fans of Sick of it All and Agnostic Front
to name only a pair of influences here. From the opening
rage of “Acid Rain”, the band has only one directive
but to their credit, there are enough subtle shifts in ferocity
to prevent each tune from becoming clones of themselves.
The delicate intro of the title track and the groove of
“The Last Outlaw” demonstrate the strides made
by this band in their seven years of existence. Unapologetically
punk riffs are delivered with a metal tinge without crossing
over into “core” territory and the relentless
low end should be enough to stimulate violent circle pits.
Travis Reilly has never sounded better as he wails with
demonic energy but still articulates his lyrics clearly
enough to be appreciated for their insightful and biting
commentaries. The record is truly a perfect slab of flawless
hardcore intensity, from the well orchestrated “The
Wars” (parts 1 and 2) to the classic sound of the
blistering “Demons”, This Is Hell take a significant
step towards establishing themselves as a band one should
instantly think of when discussing the best hardcore acts
around right now.
 THE
VEDA RAYS - Gamma Rays Galaxy Rays Veda Rays (Alleged Records
www.allegedrecords.com)
The background of this record includes suicide, rehab,
lost and rekindled friendships, evil spirits and even a
black magic Masonic group. With all of that as a personal
tableau, vocalist/guitarist/songwriter Jim Stark chronicles
his pain into a startling record of beauty. The songs on
Gamma Rays Galaxy Rays Veda Rays bounce and snap
with an urgency, but are also bathed in a warm mixture of
ethereal beauty and nervous energy. While fuzzy, atmospheric
elements come and leave quickly throughout the disc, what
stays is a powerful concoction of throbbing bass lines compliments
of Tyson Reed Frawley, abstract riffs and off-putting keys
from Jimmy Jenkins, and understated force from drummer Jason
Gates. “Our Ford” rattles and seethes with vigor
while “Long May She Roll” has the passion of
an exorcism within its towering harmonies. There is a sense
of uneasiness that permeates the disc, consistently keeping
the listener both on edge and anxiously awaiting the next
twist. Brooklyn seems to lead the world right now in bands
that alter conventional song writing rules to create music
that is both scintillating and anything but predictable.
The Veda Rays are a band to root for, not only for their
personal struggles, but also because they are expanding
what indie rock can be.
 YO
TICONDEROGA - The Disc is Dead (www.yoticonderoga.bandcamp.com)
This young Massachusetts outfit plays tribute to old fashioned
guitar punk with sharp lyrics and tireless energy, but there
is more to this act than initially meets the ear. If you
had really cool friends, they would be in this band. The
songs are straightforward and boisterous with just enough
pop in the hooks to get girls at their shows. “Livin’”
took me back to the days of Weston and is red meat for college
radio, while “New Band, Song 1” is a great tribute
to the power of music and friendship without ever becoming
too heavy handed or syrupy. The good natured “49 51”
is a rollicking track that is so earnest that one will even
forgive the Jersey Shore reference in the lyrics. This particular
work reveals a more mature side of the band as they experiment
with tone and structure a bit without ever losing youthful
abandon, thanks in a large part to Jeff Bernoth’s
raw vocals. This trend continues on “Fit To Exist”
which also shuns buzz saw aggression for a more tempered
delivery. The closing “Rowdy Rose Seekers”,
a track roughly twice as long as any of the predecessors,
bounces off the walls with a sugar-fueled charge and when
“Bernoth announces “we’ve got a lot of
shit to sift through”, you are right there in the
room with him. Richly recorded, the warm harmonies of this
band shine through, proving that there is a depth to this
act along with three chord fury. This is a pleasant surprise
and I look with excitement toward future releases.
CAMDEN - Totally Fine (www.cashtomouthrecords.com)
This Boston act originated from the one man musical musings
of Jason Sibilia whose original hope took the form of electronic
pop. With a line up flushed out into a four piece, the basic
pop principles of his bedroom experimentation still define
the core of Camden. Despite its steady bassline and rugged
guitar work, “Mustangs” is, at its heart, a well
crafted pop song. This is due largely to the vocals of Jim
Williamson, whose voice retains a vulnerability which allows
the songs to recall stories that are highly personalized.
“Let’s Go for a Drive” is just as the title
would suggest; a straightforward, no frills guitar-pop song
in which Williamson longs for a great night and hopes he can
“just make it to the morning”. However, the song’s
shifts in tempo mirror the emotional twists as well, and the
song has a complexity perhaps not heard upon a casual listen.
The song structure has a sophistication that eludes many pop
bands. The most radio ready of the bunch is “Diamonds
in Bloom”, and this is where Camden lost me. Smacking
too much of a Matchbox 20 B-side, the lacks the punch of the
earlier efforts. Naturally, with its effervescence and Williamson’s
nearly Adam Levine-like howls, this song has all the makings
of a hit. Ultimately, while not something to which I would
run to hear again, for those who appreciate a finer, more
erudite approach to pop fare, Camden may be the elixir for
which you have been searching.
 NIGHT
BIRDS - The Other Side of Darkness (Grave Mistake records
www.gravemistakerecords.com)
The mark of a great band comes in the form of a string
of impressive releases as the Night Birds proved on their
earlier E.P.’s, but rare is the act that produces
brilliance when people are expecting nothing less. The Nights
Birds had tremendous pressure pushing down upon them before
the release of The Other Side of Darkness. They ascended
with mind-numbing speed from unknown upstart to critical
darlings and now have to defend their acclaim. In short,
The Other Side of Darkness will not just silence any critics,
but reach down their throats and tear out their voices boxes-this
is staggering punk fury without surrendering any of the
surf elements that make this act so unique. Undoubtedly,
the Dick Dale meets DK comparisons will be made, but they
should be because the Night Birds have perfected angry surf
punk for a new generation, just check out “Hoffman
Lens” for exhibit A. “Demon Haunted World”
and “Day After Day” are the centerpieces of
a soundtrack to a zombie beach apocalypse, while “Sex
Tape” is the best song the Descendents never wrote.
To all the kids for whom the Adolescents or Agent Orange
are just poorly filmed Youtube clips, the Night Birds will
be their band, and we old folks can get a renewed shot of
adrenaline from “Neon Grey”, “Failed Species”,
“Born of Man and Woman” and the blistering title
track. There are too many occurrences when hyperbole is
lauded upon a band and then they simply fade away, but the
Night Birds have already proven their staying power, and
what we may have here is the next great American punk phenomenon.
While Ventures style riffs bombard the listener and hardcore
energy is exuded from every pore, the Night Birds can also
sneak in a nice hook, as they do on “Paranoid Times”
and “Landfill Land”. The Other Side of Darkness
is a bold stance taken by an incredible act that also refuses
to hit the three minute mark. If you are yet to tell your
friends about this band, do it now!
 SAMIAM
- Trips (Hopeless Records)
Trips marks Samiam’s second record in a decade and
some may wonder if the best years are now in the rear view
mirror of this much beloved indie act. To be fair, no one
has an affinity for pointless nostalgia more than I, but
Trips is a new album that maintains Samiam’s classic
sound, not a “return to form” or some other
clumsy euphemism for a band trying to get back to past glory.
Opening with the speedy “I80”, this Berkeley
four-piece boldly announces that the years may have passed,
but the energy has not waned. Yet, with age comes experience
and often greater finesse. “Clean Up”, the more
somber “El Dorado” and the regal “Demon”
make this abundantly clear with a combination of refined
musicianship and richly harmonious vocals. Samiam has never
been fearful of instilling warmth into their brand of energized
playing, not afraid to take the foot off the accelerator
just enough to let real talent shine, and “How Would
You Know” and “Magellan” indicate that
these traits remain very much a part of this act, more than
twenty years removed from their emergence from Gilman Street.
Jason Beebout’s vocals are powerful and invigorated
throughout the record, while the guitar playing of Sergie
Loobkoff and Sean Kennerly are supremely delivered under
the guidance of producer Chris Dugan. Efforts such as “Freetime”
and the closing “Did You Change” are nicely
chiseled punk-pop nuggets with a nice sense of harmony and
with within their lyrics. Samiam was never a massive star
on the horizon, which is a shame for they are a wealth of
talent. Perhaps the second act of their career will make
up for lost time.
 EARLY
AND OFTEN - Present No Fiction, Fear No Tense (Sell the
Heart Records www.selltheheartrecords.com)
If one can make it through the opening sample to “Under
the Phase”, the first effort on Present No Fiction,
Fear No Tense, one must be exceedingly patient, and it unfortunately
captures the simultaneous ingenuity and repetitiveness of
Early and Often. Early and Often are exceptionally precise
in their playing, bringing gentle, shoegazing pop to an
unparalleled level of maddening deliberateness. To his credit,
vocalist Jeff Wright is highly emotive, imbuing his vocals
with tangible passion and pain without ever straining for
disingenuous intensity, and his fellow mates are able to
generate wonderfully delicate song structures. The emphasis
on ethereal beauty allows for subtle piano to ascend to
center stage before stepping aside for soaring harmonies.
As magnificent this is, one wants Early and Often to abandon
the quirkiness and mischievous playfulness of “Interval
XXI” and “Interval XVII”. Both songs act
as bridges to the next song, but the programmed nonsense
does not add anything to the overall disc, for the “The
Feast” and “False Victories”, the tracks
following each “interval”, are both majestic
enough to stand alone devoid of a supercilious introduction.
Additionally, Early and Often unfortunately dedicate too
much time to droning, repetitive introductions, as “The
Feast” includes one such musical path. The genteel
start to this song is so comforting and tender that my cat
actually curled up and fell asleep while listening to it.
Granted, this is adorable, but it also solidifies my lack
of tolerance for this style of pop. The playing is lush
and each member is clearly skilled, but after three consecutive
songs, I am done. Maybe it’s my short attention span,
or maybe as I age, I realize my period in this world is
fleeting and I cannot have time wasted, but I continually
wait for this band to get to the point! The nature of each
song is so fragile that I want to wrap it in a blanket and
cradle it in my arms, but eventually I also want to wake
up from this dreamscape and get my heart rate back over
fifteen beats per minute. There are cool moments here, such
as the eerie sample, sound loops, and piano on “False
Victories”, but I prefer my music to be made in garages
instead of laboratories.
JUDGE NOTHING - Fibia Slicker (www.myspace/judgenothing)
Featuring two songs written in 1997 and a third track record
in 1996, Judge Nothing are taking the listener back in time
a bit. ( A Myspace page? Still?) However, this is a trip
without a clear destination. “Chattanooga” is
a pretty, minimalist pop song with richly harmonious vocals.
It’s a nice way to spend a few minutes, but ultimately
not memorable. The pop punk hook of “I Win”
is slightly meatier, but it acts as a strange contrast to
the opening effort. Lastly, the band delivers a cover of
Badfinger’s “No Matter What”. Recorded
by Bill Stevenson of Descendents fame fifteen years ago,
Judge Nothing sound crisp and focused, partially a credit
to youthful energy. While the band does not place their
own stamp on the song, their rendition is a bit noisier
than the original. I am not certain if this is a reintroduction
to a band on the rebound or a quaint piece of nostalgia.
 NEW
ROCHELLES - It’s New (Bright and Barrow Records www.brightandbarrow.com)
So maybe you are becoming sad as summer is drawing to a
close and the drudgery of school, work, and eventual winter
storms enters your consciousness. Maybe you are desperately
looking for something to cheer you up and make you smile
as you get one last sunburn. My friends, that fun comes
in the form of the New Rochelles. The best punk-pop bands
do not take themselves seriously and understand that their
brand of loud and fast rock is meant to be enjoyed and celebrated,
not analyzed and dissected. To that end, each of the twelve
anthems here are adrenaline fueled sugar rushes that are
over too quickly, but just burn themselves out with exhaustive
energy. Taking cues from the true giants of the genre (Ramones,
Queers, Screeching Weasel), these three lads from Long Beach,
NY write infectious, inexcusably catchy songs about skunk
apes, stink eye, and toothaches. Ronnie Rochelle balances
sneers and smiles with the same sarcastic delivery as Joe
Queer’s finest performances, while the rhythm section
of Ricky and Rookie Rochelle are a wall of harnessed force.
The first single and video “Did Something Bad”
follows in the tracks of Angry Samoans’ “My
Old Man a Fatso” or “Grounded” from the
Queers , while “Who Will (I Will)” will not
leave your head for days. Sure, the New Rochelles wear their
influences on the sleeves of their well worn leather jackets,
but who cares? At least they are clear about the bands they
admire and emulate instead of pretending to be some sort
of revolutionary saviors. “Static Shock” actually
tells you that the “first verse is same as the first”,
while “Tina’s Got a Toothache” sits nicely
next to Jeannie and her uterus or Cindy and her methadone.
The New Rochelles will excite the kids and made the old
and jaded remember when punk could be fun. However, not
everything about this band is a tribute to the past, as
the disc is being released as a partial vinyl, partial digital
effort. Check out this money saving idea at Bright and Barrow
Records. While it is a nice idea, this disc is worth any
price.
 BLOWHOLE
- “Experiment #1” b/w “Consumer Protection
Racket” (Cooler King Records myspace.com/coolerkingrecords)
Blowhole treats us Yanks to two slabs of gritty English
punk. Sounding like the musical equivalent of what is crusted
onto the floor of a great pub, vocalist Rob Bartram sneers
his way through the pounding “Experiment #1”
with the phrases “this happy life/such a happy life”
delivered with vicious sarcasm and tangible dissatisfaction.
Featuring two members of Sperm Wailes (Bartram and guitarist
Nick Herbert), Blowhole feels as if they should be sitting
next to the Pistols on Bill Grundy’s show. “Consumer
Protection Racket” is a touch less bombastic musically
than the A-side, but equally sharp lyrically with references
to electric cars and the Flintstones. There is a layer of
noise accompanying the surprisingly adroit harmony constructed
here. This is excellent on all counts.
 GREY
AREA/ GO RYDELL Split 7-inch EP (Black Numbers Records www.theblacknumbers.com)
Grey Area should theoretically need no introduction, but
since it’s been ten years since their last release,
here’s goes: This New York City act spawned members
of Kill Your Idols, Token Entry and Warzone. Pretty impressive,
right? You should be impressed as the past ten years have
not allowed for any rust to form on Grey Area. “No
Guarantees” and “Bliss” are both sophisticated
punk nuggets with a pop edge that should give a blueprint
for bands just getting started. Earnest lyrics that never
become clichéd and roaring musicianship proves that
just because the word “pop” may readily appear
in the description of a band, they are not to be considered
soft or disposable. Go find this right now.
Go Rydell hails from Florida and I am sure the No Idea
guys must be drooling over this act. Their contribution
to this split is a collection of short, fiery bursts of
punk anger that are wise beyond their years. “FOX
and the Hounds” takes a shot on America’s current
malaise, while “Not Cool, McCool” has a title
that belies the seriousness of the track. The song lambastes
those who blindly hate and targets ignorance with a brutal
frankness. The closing “Battery Park” is nearly
sweet in the dialogue between the protagonists, using NYC
as a backdrop. One of the closing lines of this song sums
up my one suggestion for this band-“stay some more”.
These songs are great, but if you clear your throat you
may miss it. Go Rydell has many things to say and I hope
their next release features efforts that can at least hit
the two minute mark consistently.
 JEREMY
PORTER and the TUCOS - “Night on the Town” b/w
“Ain’t My House Anymore” (Magwheel Records
www.magwheel.com)
This trio has a warm power pop sensibility and a big hook
on “Night on the Town”. The retro sound sounds
a bit dated however, and by the conclusion of the song,
Jeremy Porter and the Tucos smack of really nice guys in
a likable local band, but maybe they can open up at your
favorite club when a mid-level touring act comes through
town. No disrespect meant towards Mr. Porter or his Tucos,
but the two songs here are simply not memorable. The country-twang
of “Ain’t My House Anymore” is tremendously
poignant, telling a story of failed love and regret. The
lyrics detailing a renewed interest in the kid and pet are
especially gripping and a testament to Porter as a lyricist,
but ultimately Jeremy Porter and the Tucos are musical fast
food. It tastes fine going down, but it does not stay with
you for very long. z
 MAD
ANTHONY /THE YELLOW BELTS Split 7-inch EP (Xmas Cactus Records
www.madanthonyband.com)
Everything about the packaging here had me hooked before
I heard a note. This is vinyl geek heaven-it’s a split
release on mustard yellowish-ish vinyl (one of NINE different
potential colors!), with a cover that feels like it was
hand silk-screened back in the days before Photoshop, from
two bands from the same geographic region (Cincinnati, Ohio
and Lexington, Kentucky). It is as if I am back in my college
radio station when Clinton was in the White House and the
US still had the respect of the world, or at least a decent
credit rating. To sweeten the deal here, both bands are
fantastic! Mad Anthony is not quite as mad as expected,
but “Bear Attack” slugs you like a drunken Danko
Jones song. It is a bottom heavy, heavy-handed lump of mid-tempo
force. The Yellow Belts play loud, fast, and snotty punk
in a classic vein. Revolutionary? No. Sophisticated? No.
Awesome? Oh, yes. “War on Science” is a blistering
experience, and the stronger of the gems here. However,
both would have received heavy rotation on my station.
 MONOGANON
- Songs to Swim To (Fence Records http://www.fencerecords.com)
Beginning as a solo project for singer/songwriter John
B. McKenna, Monoganon has blossomed into a full fledged
band on the beautiful Songs to Swim To. The record is seven
ethereal, dreamscape folk songs played with great soul and
a stark, delicate nature. “Monomania” is wonderful
introduction to the band for those unfamiliar with McKenna
(like me), for it revels in his gentle musicianship and
Scottish accent. However, the accent is not the focus of
the record and simply adds to the overall charm of Songs.
“Eternal See You Soon” is the most haunting
of the disc, a stirring mix of airy pop and acoustic precision.
The subtle psychedelia in “Anatomy” would normally
bother me (think Zeppelin in “No Quarter”),
but this flows effortlessly within the larger context of
the work, a faultless blend of the eerie and the heartfelt
with soaring backing vocals drawing the song to its wonderful
conclusion. “Needle Green” captures McKenna
at his most vulnerable; a fragile, haunting song that is
a dream for those with high quality headphones, as the song
seems to cascade into your head light a gentle spring breeze-truly
gorgeous. The nine-minute “Devil’s Finger”
is the centerpiece of the record and the most musical complex
of the bunch, but the striking “Lullabies for the
Sedated” demands one’s rapt attention. It simply
hovers like an apparition with elegant grace and the most
subdued beauty. In the closing “To Glass in the Blast”,
McKenna is joined by warm female vocals throughout the song,
and ghostly voices buried deep within the mix, making the
song another effort to which one should close your eyes
and allow the music to absorb the listener. This may not
be the perfect summer soundtrack, but once the triple digit
heat fades and the dark snow clouds return, this is the
one to put on and enjoy the chill.
 LARRY
AND HIS FLASK - All That We Know (Silver Sprocket Bicycle
Club www.silversprocket.net)
Country-fried punk is on the menu with Larry and His Flask’s
first full-length record. Blending a fiery attitude with
equally incendiary musical approach, Larry and His Flask
do for Americana as the Tossers do for traditional Irish
music; namely, All That We Know takes a standard native
genre and injects energy to create something new and wholly
interesting. The speedy, politically astute “Flags
And Concrete” jumps out as an early highlight, as
vocalist Ian Cook laments, “who’s gonna take
the wheel?/this isn’t the way we’re supposed
to feel/first world’s lost it’s time that we
pay the cost”, while “Beggars Will Ride”
includes as Matt Hensley provides a wonderful accordion
solo. The most impressive element of this disc, even if
one does not connect fully with the music, is the lack of
repetition, a knock that would surely afflict weaker acts
attempting this style. The boys alter tempo enough to stop
the record from becoming one continuous front porch hootenanny.
The slower, more brooding “Manifest Destiny”
takes bluegrass into a new direction, while “West
Virginia Chocolate Drop” is a wise, introspective
piece of progressive alt-country. The band fluctuates between
blazingly fast string picking (“Blood Drunk”
and “Marked From the Start”), and more deliberate,
meandering efforts (“Our Will Be Done” and ‘Slow
it Down”) with equal immediacy, making this a legitimate
listen from highly skilled player. This is not a gimmick
or cheekily delivered record; Larry and His Flask are musicians
well versed in American musical history, but they are also
immensely skilled. “I’ll Be Gone” features
warm, layered vocals and authentic rustic musicianship that
brings the listener back decades. Larry and His Flask possess
an integrity and level of musical acumen that separates
them from others who may attempt this style of music.
 BIG
EYES - Hard Life (dongiovannirecords.com/)
Big Eyes is a bouncy trio whose sound adheres as fervently
to pop hooks as it does punk rock sneer, making for an impressive
debut. Kate Eldridge’s voice ranges from sweet to
furious, and she always commands the attention of the listener.
For fans of powerful front women, Eldridge does not disappoint
as she leads C.J. Frederick (drums) and bassist Mark Bronzino
through a stampeding collection of antagonistic guitar pop
with just enough grit and grime to stop Hard Life from becoming
too polished, best captured on “Your Lies” and
my favorite, “The Bad and the Good”. Too often
bands of this ilk latch on to one groove and proceed to
use it for an entire record, but Big Eyes diversify each
effort quite well, creating a record with a multitude of
ideas yet one consistent theme. “Pretend to Care”
and “Since You Left” are angry efforts which
balance fury and harmony, while “Why Can’t I?”
and “Now That You Ain’t Mine” are genuine
pop gems with subtle antagonism. Originally from the east
coast (specifically Brooklyn and New Brunswick), Big Eyes
have relocated to Seattle which I hope does not preclude
them from bringing their brand forceful and sharp punk-pop
to this side of the country. This is a band to monitor closely,
for they possess commercial appeal without forfeiting aggressiveness.
CITY OF SHIPS - Minor World (Translation Loss Records
www.translationloss.com)
I always cringe whenever any band is described as “post”
anything because I am just not smart enough to fully grasp
the meaning. I have read articles and reviews in which City
of Ships is labeled “post-rock”. Really? When
did rock die? Does this mean that these guys are resuscitating
rock? All I know is that Minor World is a sparkling collection
of intelligent and complex tracks that intrigue without
ever coming across as unnecessarily technical. This is a
musically erudite act that could alienate some, but not
as many as one may imagine, and as the huge riff of “Celestial
Navigation” proves, the band is not averse to crafting
memorable hooks. I am instantly drawn into this band’s
realm through the power of the opening track “Clotilde”
which sets a standard that is routinely matched throughout
the record. With vocals buried within the mix, the singing
becomes another instrument, an extension of the anguish
and power of this act. This is a disc for those who believe
that the world of extreme music has become simply disjointed
masturbatory guitar riffs or a genre overrun by indistinguishable
metalcore acts and are anxiously searching for something
more refined yet still crushing. The bruising “Chainman”
will appeal to the aficionado of bulky guitar force, while
“”Easy Way Hard Way” conveys an energy
within the fuzz and distortion. City of Ships craft sophisticated
anthems for those who appreciate intricate musicianship
and are willing to work a little bit as they listen. Ambient
and ethereal with a palpable intensity, City of Ships straddles
that delicate line between beauty and insanity with a sound
unlike anything I have heard in a great while on efforts
such as “Low Countries” and the haunting “Darkness
at Noon”. This must be a remarkable live experience.
 PRAWN
- You Can Just Leave it All (Topshelf Records www.topshelfrecords.org)
Prawn sounds like a lost treasure from an indie rock past.
This four-piece from New Jersey plays earnest sounding indie
pop with tender guitar work underscoring emotionally charged
vocals. Yes, I know you have heard this before but these
guys are not simply ripping off The Emo Diaries, but crafting
music that is awkward in a very endearing way. For those
who are suffering and lonely, this one could become your
immediate soundtrack, particularly efforts such as “Sammy”
and “Horizontal”, the latter a gentle but passionate
gem. However, You Can Just Leave it All is not simply a
collection of delicate anthems, as the loud/soft dynamic
of “Clever Hands” and the more aggressive “Perfect
Equilibrium” demonstrates. Similar song structures
dominate “Slaying a Paper Tiger” and “Questions
for Dome Chomsky’, as the members of Prawn use understated
force to make each song an absorbing experience. This is
not the type of disc towards which I would normally gravitate,
but I am glad it came my way. Prawn clearly eschews the
notion that memorable songs must be defined by a huge riff
or rousing chorus, for their work remains with you after
the disc has completed, and that is quite an accomplishment
for this genre.
THE WILD - A Collection (Quote un Quote Records www.quoteunquoterecords.com)
A Collection is, as it sounds, a collection of early releases,
split 7” efforts and other work from this feisty punk
act who embrace American and European (especially Irish)
folk as much as three chord aggression. Some of the work
is downright sweet, for “Let Me Sing You a Song”
is a twenty-first century “Let me Hold Your Hand”
in terms of innocence and unadulterated hopeful bliss. “Our
Cities” is more focused in its attack, sounding like
the Pogues before they are too drunk to play or the Tossers
in a particularly bad mood. Harmonica and accordion usually
distract one from punk energy, but the opposite is true
here, for The Wild are highly adroit musicians and the harmonies
are only enhanced by instrumentation not normally associated
with punk rock. Shared male and female vocals reminiscent
of X’s finest moments illuminate much of the material,
particularly “The City That Never Sleeps” and
“To Be Content”. There is undeniable warmth
to each of the songs, regardless of tempo or level of intensity.
The tracks range from soft and delicate (“Stillness
Sickness”) to classic folk (“We Shall Overcome
Someday” and “Mudlines”) to marginally
aggressive (“To be Content”), and the band accomplishes
each style with equal aplomb. This is for the more discerning
punk aficionado who does not a little variance in tempo
and arrangement. This is a pleasant surprise from a band
I will certainly pay closer attention to in the future.
 THE
ACROBRATS - Hair Trigger (Susspool Records www.myspace.com/acrobrats)
The Acrobrats have been kicking around for close to a decade
and why the world does not celebrate this band is beyond
me. Despite appearances on Guitar Hero, the Acrobrats are
not a household name and that is a crime as this Boston-based
outfit plays punk reminiscent of the era when Joe Queer
would have been hitting on girls at The Rat. Raw, aggressive,
and melodic without an ounce of pop tomfoolery, these kids
smash their way through four raving anthems, with “Hair
Trigger” and “Simpleton” as my two favorites.
The former tears the flesh from your face, while the latter
is a mid-tempo stomper that smacks of the finest garage
sludge from the heyday of the New York Dolls right through
more recent purveyors of filth such as The Ruiners. The
EP concludes on a high note with “Crave”, a
no-nonsense punch in the stomach from the dual guitar work
of Chris and Daniel Brat, while the singular named rhythm
section of drummer Eliahu and bassist Swid hammers away.
When Chris sneers “fuck off” in the midst of
the song, it is not punk posing or an attempt to mimic the
essence of Ben Weasel; this is the real thing and the Acrobrats
are a fierce act. Now go make these guys famous…at
least by true punk standards.
 HALF
HEARTED HERO - Running Water (Animal Style Records www.animalstylerecords.com)
Half Hearted Hero is a band in a predicament. They are
a punk band with pop leanings, but they are far too talented
to be called simply a “pop punk band”. However,
their affinity for slickly produced riffs and soaring harmonies
precludes them from acceptance by angrier punks. What is
a band to do? In my opinion, HHH should keep on doing what
they are doing-I love acts that defy mind-numbing simplicity
and will not conform to one genre. These guys have Warped
Tour potential, particularly with efforts like “Five
Points” and “The Wheels”; two engaging,
layered songs that one can sing along with or simply sit
back and study the lyrics. The chameleon-like quality of
this band is their strength. They fleetingly touch upon
Fountains of Wayne style bubblegum on “Periphery”,
but also devise a sophisticated, complex anthem in the form
of “Mirrors”. A lengthy, heartfelt work, “Mirrors’
is a triumph of intelligence and substance as vocalist Anthony
Savino offers “When you’re blinded by every
refraction/you can’t focus on the light/You’ll
drown in fear, just remember we are all scared, too”.
The guitar playing of Clinton Lisboa and AJ Mills is outside
the traditional punk parameters as one hears actual solos
throughout the disc. HHH may be tricky to market to the
Hot Topic crowd, but if you enjoy your intensity served
with a side of articulate introspection, go find Running
Water. Oh, and the record comes printed on burgundy-marble
vinyl, always a plus!
RESTORATIONS (Tiny Engines Records www.tinyengines.com)
Dark, brooding, and intricate, Restorations play a brand
a of music defined by simmering frustration that never fully
explodes into a violent force. However, this ability to
hold a wolf by the ears makes for a fascinating eight song,
thirty-three minute journey. While portions of “Nonlocality”
and “Neighborhood Song” have flashes of blunt
force, it is the rich harmonies of “Canadian Club”
that more accurately defines the band. Each song is given
ample room in which to breathe and the intentionally thick
mix makes for a dense record, highlighted by the gruff yet
heartfelt vocals of Jon Loudon. His rugged tones are the
centerpiece of the second side’s highlights, “Val
D’or” and “Broken Valuum”. Eruptive
might is not out of this band’s repertoire but they
select to pick and choose their moments of power, clearly
demonstrating the collective maturity and fearlessness of
this veteran line-up. With elements of punk, indie pop,
and good old-fashioned, soul-soaked rock, Restorations will
appeal to a broad spectrum of followers or those with a
broad musical palate. “Sideway House” demonstrates
the band’s ability to formulate an ethereal, intricate
song structure that enchant as well as encourage a little
thinking on the part of the listener. The closing “When
You’re Older” may summarize when many listeners
will appreciate this release, but Restorations exists for
those who need something different and are not afraid to
try.
 OLD
WIVES - Tidal Tales (www.oldwives.net)
Old Wives start slowly on Tidal Tales with the melancholy
“Revolting French” but ironically coming out
swinging with the soulful “Rip van Winkle”,
which is anything but a sleepy song. Featuring expert horn
playing, raw and highly expressive vocals, surprising aggressive
splashes of guitar and triumphant percussion, this song
let me know that good things are coming around the bend.
“Whale” is surprisingly funky with an infectious
hook, while “Terrible Toos” is dripping with
authentic blues accented by indie pop structures. “Alto
Cinco” has wraithlike qualities before erupting with
bursts of horn-fueled power. The musicianship here is excellent,
as Old Wives tap into a variety of American musical traditions,
from jazz to blues to groovy pop. I am taken in by the highly
emotive “Boo Chant” with its refrain of “I’m
on fire”, charming keys and that ever-present superb
horn section. There is a powerful sexuality throughout the
record that is palpable without becoming overly overt or
redundant. “Whiskey Song” is just a gritty piece
of work that is only a solitary voice only accented by the
sparsest of guitar playing. The song’s unfettered
emotion shines through with every pained syllable, and the
gruff sensibility has an authentic quality most bands will
work a career to capture. The closing “Troubadour”
is the most symphonic of the disc; a multi-layered song
that captures the finest points of the band’s vast
talents. My only suggestion is for Old Wives to improve
their on-line presence as their website is minimalist to
the point of frustration. This type of talent should not
be shrouded in mystery.
 THE
GIRAFFES - Ruled (Crustacean Records www.crustaceanrecords.com)
This one is a mixed bag of musical goods and images. The
liner notes includes a collage of images of dead, rotting,
and skeletal remains of giraffes, but this is not band interesting
in shock value. Ruled offers eight tracks of intelligent,
moody rock that flirts with metallic elements and noisy
dissonance, but retains unique personalities that can occasionally
border on the frustrating. The latter is true on the mid-tempo
pace of “The Bed”, and “The Store”,
two well structured anthems, but one begs for the songs
to pick up the energy level, and the closing “The
Occupation”, a strong conclusion to the record, but
the seven minutes of feedback and distortion that marks
the termination of the disc smacks of superfluous self-indulgence.
The opening “The Border” is the band’s
finest moment here, as the song unloads a punishing punch
accented by vocalist Aaron Lazar’s understated, yet
intriguing vocals. The Giraffes’ greatest strength
is the ability of the members to construct complex riff
that are melodic yet challenging. Guitarist Damien Paris
is the highlight on “The City” and “The
Invasion”, two biting pieces of atypical song structure,
while the raw, gripping power of “The War” is
impossible to ignore as the song morphs from a sullen introspective
work into a rousing, furious assault. There is much to admire
here, for The Giraffes are clearly interested in taking
chances and watching with interest to see whom among the
larger public will join them. This is for individuals who
enjoy larger conceptual records (however, this is by no
means a “concept album’), and are willing to
sacrifice the presence of a “hit” in return
for brave musicianship. The Giraffes remind me of a cool
indie film - the band makes you work as a listener, and
the end result may be slightly confusing, but well worth
the effort.
 HOW
DO WE JUMP THIS HIGH? - “Funny/Not Funny” 7-inch
EP (Answer Key Records www.answerkeyrecords.com)
The second release from HDWJTH? is a tale of two distinctly
different sides and an EP that should impress all fans of
melodic punk. The four members of this outfit have bashed
around in different bands for quite some time, and their
collective talents and frustrations emerge clearly on “Funny/Not
Funny.” The A-side does not reshape the punk landscape,
but the well played harmonies should melt the hearts of
the staff at Deep Elm. There is very strong drumming from
Dan Edelman and vocalist/bassist Mike Borth has an engaging
voice, I just hope that future releases will allow guitarists
Andy Dennison and Jared Santiago to shine more brightly.
Both are buried in a less than flattering mix, but their
talent is still evident. This aside, the bass heavy breakdown
on “En Route” is my favorite moment of the opening
two tracks, although “Potential” taps into a
classic college rock vibe that is also highly likable. The
B-side explodes with “The Greats”, a less polished
and more aggressive effort that perfectly captures the frustration
that often accompanies the realization of adulthood. This
is the sharpest and most poignant anthem of the four, but
the closing “Migraines” is equally forceful
and articulate. These guys could be on to something extraordinary
if they beef up the guitar playing and give in to their
more abrasive leanings.
 CINEMA
CINEMA - Shoot the Freak (www.cinemacinemaband.com)
Cinema Cinema offer three noisy, highly individualistic
tracks recorded at the legendary Inner Ear Studio with Don
Zientara. The songs on Shoot the Freak are raw and unpolished,
but each is highlighted by an air of unpredictability. The
opening “Lady Abortion” is an abrasive, darkly
harmonic effort whose repetitive chorus will bury itself
in your brain, so be careful if you sing this one out loud.
Interestingly, Cinema Cinema shift gears dramatically on
“Pleased to Meet You, Anesthesia”, a much more
light-hearted piece. This effort is more ethereal and far
less threatening than its predecessor. It smacks of 90’s
Sonic Youth and has a clear indie-pop sensibility before
unraveling into a delicious noise-fest around the two minute
mark, ultimately crumbling into a stirring conclusion. The
closing “Day-Leash” follows in a similar style
as “Pleased”, revealing a somewhat off-kilter
but still catchy nugget of unique indie fare. There are
various approaches and inspirations here, but Cinema Cinema
does not simply imitate their influences; rather, the band
formulates a style that may still be slightly in flux, but
has great potential.
LOVE ASSASSIN (facebook.com/Loveassassin)
Before I delve into how nightmarishly, almost comically
abysmal, this is let me first assert how wealthy the guys
of Love Assassin or their families must be. Their bio packet
is enormous and brilliantly colorful. There, I said something
nice. Sadly, that is the only compliment I can offer, for
listening to this takes minutes from my life in which I
will never get back, and frankly, I will hold a permanent
grudge against these guys for that crime against my humanity.
There are not enough adjectives for the word bland, but
whichever you select will work, for this is lifeless and
generic. The country vibe of “Duffy’s”
was laughable, as third-rate bar bands would scoff at Love
Assassin’s flaccid attempt at honky-tonk fun. “Mr.
Carsons” may be the worst Blues Traveler impression
I have ever heard, and while it is the only Blues Traveler
impression I have ever heard, I can not imagine anything
worse. By the time I reach “Down Under”, I am
torn between laughing and crying. I laugh at the band’s
ineptitude and wonder if this is not some type of Andy Kaufman-esque
joke. If so, these guys are brilliant, but if not, one must
sob for the money spent on this project. That is money that
could have gone to the homeless, or cancer research, or
public education. All I hope is that others like me will
recycle the press kit so not all is lost. What did I do
to deserve this, Jim?
STREET
EATERS - Rusty Eyes and Hydrocarbons (Bakery Outlet Records
www.bakeryoutletrecords.com)
Megan March and John No prevail on Rusty Eyes and Hydrocarbons,
an impressive collection of aggressive, minimalist punk
gems. With a sound reminiscent of the Kill Rock Stars stable
circa ’95, the pair share vocals and convey each syllable
with an infectious passion. Although only a duo, with No
on bass and March on drums, the sum of their sound is exponentially
larger than their parts. Lyrically, Street Eyes display
a penchant for intelligent, politically savvy accounts that
avoid lecturing and focus on more personal narratives. “Nation
Builder”, “Failure to Provide”, “Through
the Cracks”, and “Opportunistic” each
contain commentary on contemporary social and international
concerns, which each delivered with rich harmonies and beautifully
melodious vocal arrangements. There are various indie punk
and riot grrl references one could make, and while Slaeter-Kinney
with a male component is one such comparison, Street Eaters
do not come across as the result of any one particular source
of inspiration. No and March create boisterous anthems that
still adhere to a respect for an unapologetically catchy
riff. The two also know their history as their sharp recreation
of Jefferson Airplane’s “Two Heads” indicates.
March’s incendiary vocal style would certainly impress
one of rock’s founding feminist powers, Grace Slick.
The urgency of “Waiting” is a microcosm of the
larger record as it furiously attacks the listener but not
at the expense of a bassline that constitutes a marvelous
hook. The album’s title takes its name from the lyrics
of “Livid Lizard (Godzilla, Ignored)”, a song
of unbridled anger directed as the devastation of what is
left of the world’s natural beauty by using Godzilla
as a clever metaphor of global destruction. No has a soaring
voice that pairs itself perfectly with March’s rich
harmonious pitch, as heard on “No Time”, one
of the two bonus tracks only on the cd release. Those interested
in the survival of true indie music should instantly grab
hold of Street Eaters, a glorious testament to honest musical
vision and skill.
 DOS
- Dos y Dos (Clenchedwrench)
Dos is one of music’s most interesting acts for several
reasons even before one discusses their highly unique musical
approach. Kira and Mike, better known as Kira Roessler and
Mike Watt have been chiseling away at Dos since 1985. Roessler
was Black Flag’s (most skilled) bassist at that time
and Watt was reinventing punk with the Minutemen. The two
began to record music together with only two basses, a style
that continues on Dos y Dos, the fourth record from the
act. Oh, and the two were also married, divorced amicably
(I am still amazed when those two words fall next to each
other) and remain friends and creators of this highly distinctive
band. In terms of the music itself, Dos y Dos resonates
with warmth that only two bass players can create, and Kira’s
occasional vocals add a distinctively affectionate resonance
to “Maker Her Me”. However, much of the album
is genteel, subtle instrumentals that are striking in their
understated beauty. “New Year’s Waltz”,
“Number Eight” (oddly the seventh track on the
disc) and “”Song for Poe” stand out as
my favorites, but each song, despite only two instruments,
has a unique personality and structure. Dos pushes the boundaries
of what people can do with bass guitars, making the instrument
much more than a low-end keeper of time. Here, in the hands
of two incredibly skilled craftsmen, the bass takes its
rightful place as powerful and deeply multi-faceted instrument.
The duo even perform a Selena cover song, proving that Mike
Watt remains one of the great minds in punk rock, and hopefully
Dos will not wait seventeen years for the next release.
KID LIBERTY - Give Up, Give In (Bullet Tooth Records www.bullettooth.com)
Although this is a brief collection of songs demonstrating
a less aggressive side of Kid Liberty, Give Up, Give In
is a moderate listen at best. EP’s always play one
of several roles-it can introduce a band to the world, act
as a stop-gap between longer releases, or just be a collection
of songs that will only appeal to true hardened fans. This
last scenario applies here, as the four tracks are wildly
different and disconnected. The opening “Give Me Alan
or Give Me Death” is a Senses Fail style piece of
bouncy guitar punk with a tangible layer of pop harmony.
It is not a poor start by any stretch, and I believe this
is a band that can easily electrify the Warped Tour crowd.
Next, however, comes “Fuck You”, a cover of
the Cee Lo Green song. I hate the original incarnation of
this track and adding punked up guitars does not make it
any better. It seems like a waste of this band’s talent,
and I hope this is not part of their live set, despite the
gratuitous sing along it would most likely generate from
the girls in the crowd. The last two efforts, “The
Situation” and “The Suspense is Killing Me”
are acoustic pieces. Each track allows Kid Liberty to expose
their raw talents, and the cello at the conclusion of “Suspense”
is quite lovely. However, after these four songs, I have
no idea what Kid Liberty wants to be or what the larger
point of this release truly is. Pretty arrangements, warm
vocals from Trey Sexton, and a benign appearance should
make these guys successful, but I may be getting too old
for this stuff. Either that or I just want my punk to be
loud, obnoxious, and devoid of all superfluous cuteness.
 FUCKED
UP - David Comes to Life (www.matadorrecords.com)
Would it be too easy to say this is a band that lives up
to its name? Yes, but that will not stop me because David
Comes to Life had me confused by the third track. Apparently,
from what I could gather, main character David leads a horribly
mundane life at a bulb factory, but that all changes when
he falls in love with a beautiful female communist who dies
because of terrorists, or was it David? I still am not sure,
but I know this for a fact-I hate concept albums. With a
passion. I do not care if it is being attempted by the Who
or Queensryche, there should be a federal law banning pseudo-intellectual
concept albums/rock operas. At any rate, Fucked Up is a
collection of incredibly talented musicians even if their
narrative abilities could benefit from some refinement.
The eighteen songs here are crunchy, angular pieces of finely
shaped post-punk. The only drawback to the eighteen songs
is the fact that the disc is eighteen songs long and they
tend to become a bit repetitive, not boring, but just similar
in nature as the listener hits the latter part of the disc.
Lead singer Pink Eyes barks like a rabid mongrel on most
tracks, a quality I adore, and he maintains my interest
throughout the record. There are several efforts that separate
themselves from the pack, namely “Turn the Season”,
“Life in Paper”, “Remember my Name”,
and “The Recursive Girl”, each of which include
sharp harmonies and interesting structures. The band has
elements of hardcore woven within its jumbled DNA, as guitarists
Gulag and 10,000 marbles slice their way trough the record,
but there is nothing traditional about Fucked Up’s
circuitous anthems. The complexity of the songs lends for
multiple listens, and even after several plays, I am still
trying to exactly figure out David’s life. I know
he suffers and this is a tragedy with Greek-style themes
of loss and potential redemption. I think I may just listen
again and try to ignore the details, for despite my annoyance
with discs of this ilk, the band has some very inventive
ideas concerning how to generate aggressive music.
STRONG KILLINGS (Don’t Stop Believin Records www.dontstopbelievin.net)
Strong Killings have a record that becomes increasingly
more furious and impressive as the disc progresses. The
collection of songs on this self-titled disc range from
fairly streamlined, “The Annals of Animals”,
to noisy and pugnacious “Too Cool” to the almost
goofy, “(You Never Wanna) Dance With Me” and
“Licked, Nicked”. When the trio completely lets
loose, as they do on the furious “Stupid Punk”,
they excel are creating a riotous commotion that incorporates
elements of hardcore, grind, and pure indefinable rage as
the scream of “I’m on the edge of a breakdown”
is delivered with such genuine force and rage that one is
either terrified or intrigued, but most likely a combination
of both. The energized “Minimum Wage” recalls
classic English punk, as if these guys were singing about
living on the dole, while “New Mexican Frontier”
and “Worst Case” is driven by a throbbing bassline.
The ability to connect with punk traditions while still
creating a unique sound makes Strong Killings a band that
deserves more than just a cursory listen. These guys are
clearly influenced by that period as punk’s corpse
was begin to decompose and hardcore was stepping in to fill
the void. There are enough harmonies to satisfy those who
want a little swing in their angst (check out “Winnebago”),
but I am continuously drawn to the coarser tracks. “Suckerpunch’,
despite its slower tempo, is a pummeling anthem that briefly
devolves into balls of swirling noise before regaining a
maniacal chorus and demonstrates this band’s willingness
to balance chaos and construction. Strong Killings play
tightly wound songs that are perpetually on the verge of
exploding deadly shrapnel upon the unsuspecting, and if
you find this attractive, I will see you in the front row
when these guys come through town.
 OBNOX
- I’m Bleeding Now (Smog Veil records www.smogveilrecords.com)
Lamont “Bin” Thomas produces one hot mess of
raw, remarkably soulful clatter on I’m Bleeding Now.
Thomas, who has been an Ohio underground mainstay for nearly
twenty years with the likes of This Moment in Black History
and The Puffy Areolas (greatest band name ever?), steps
out nearly completely on his own for this record. Dropping
the needle on I’m Bleeding Now, one is floored by
the wall of fuzz and feedback drenching “Cum Inside”,
but as the haze from the bong lifts, Thomas has some pretty
impressive grooves hidden beneath the din. “The Get
It Inn” and “Daughter” are two such rugged
gems, but the majority of the work is lo-fi, noisy, sludge
that is the best record Steve Albini did not make. According
to Thomas, the record was done on a “four track tape
machine with a lot of scotch, whiskey, and reefer around”.
The result is not what one may expect from such a combination
of toxins; rather than a stoner’s musical backdrop,
I’m Bleeding Now is an abrasive assault that contains
all the finest aspects of garage rock purity, from Stooges-esque
solos (“The Cowboy and the Cowgirl”) to vocals
buried in the sludgy mix. The highlight in my eyes is “Gin
and Coke Water” for it is simply a devastating song;
a blues-soaked bass and drum explosion that rattles walls
and is driven by a relentless fury that borders on superhuman.
Occasionally one hears a record that is simply a cool piece
of work from a fearless artist not concerned in the least
with sales or trends, but rather driven by his own sense
of what feels right. I’m Bleeding Now is such a release
and it needs attention.
 ATTACK!
ATTACK! UK - The Latest Fashion (Rock Ridge Music www.RockRidgeMusic.com)
Attack! Attack! UK is a band that, at the very least, appreciates
the power of basic rock n’ roll. This four-piece delivers
big riffs, catchy choruses, and easily sing-along style
lyrics to produce a record that may be somewhat formulaic,
but it’s far better than the auto-tuned train wrecks
currently clogging up much of the music world. This is a
band with mainstream capabilities-the songs are crisp and
the hooks are inescapable. The majority of the work on The
Latest Fashion is radio-ready nuggets of pristine pop-rock
goodness led by Neil Starr’s vocals. His delivery
is richly harmonious, but it is also tinged by just enough
sternness to make this stronger than your traditional pop
fare. The opening duo of “Everyone Knows” and
“No Excuses” lays out the band’s penchant
for writing songs that will let the girls rock out while
not making the guys feel completely excluded. The one mistake
the band makes is when they stray from a perfectly good
formula, namely in the form of slower, more emotionally
introspective work. “Best Mistake” effuses the
sappiness of a B-rate teen drama, while “Blood On
My Hands”, Starr’s personal testament to new
fatherhood, is lyrically solid but the track ambles along
too slowly for my taste. However, the noisier title track
and “We’re Not the Enemy” allow the guys
to more pronouncedly flex their muscles as chiseled guitar
riffs dominate both tracks. This is not going to revolutionize
rock, but there is an honesty and integrity to the playing
that is undeniable, and if they can capture their energy
in a live setting, they will undoubtedly win an army of
teenage fans.
 JESU
- Ascension (Caldo Verde Records www.caldoverderecords.com)
Justin Broadrick’s Jesu continues to evolve, even
when the band seemingly returns to its roots. Ascension
is a gloomy, plodding, guitar-rich record that marks a distinct
turn away from the more electronic work that has dominated
earlier Jesu releases. The opening eight minute “Fools”
ushers in a disc that fluctuates between moments of delicate
beauty and intense force. The song shifts gears in terms
of tone and texture but does so with a remarkable ease,
creating a seamless collection of ideas that correspond
perfectly. Conversely, “Broken Home” takes one
blunt riff and hammers it into the listener’s skull
as Broadrick pronounces lyrics that are among his most dark
and gripping. (“Helpless I watched you cry/It’s
hopeless you won’t survive/It’s those scars
that I will never hide/And little tears and more besides”).
Broadrick follows this with the equally magnificent “Brave
New World”, a thunderous, meandering track that reminds
one of Broadrick’s Godflesh legacy. Again backed solely
by drummer Ted Parsons, Ascension oscillates between metallic
punishment and genteel fragility. “December”
and “King of Kings” are defined by their ethereal,
dream-like qualities as Broadrick’s guitar floats
effortlessly in a sea of lush tranquility that is a departure
from Jesu’s more recent work, yet sill reflective
of the band’s larger sound. The closing instrumental
title track gingerly completes the record with a sensitivity
few can capture. This record does not push Jesu into new
and uncharted directions, but Ascension continues to display
the band’s multi-faceted talent.
 JELLO
BIAFRA and the GUANTANAMO SCHOOL OF MEDICINE - Enhanced
Methods of Questioning (Alternative Tentacles Records www.alternativetentacles.com)
Many, many adjectives can be and have been used to describe
Jello Biafra but complacent is not one of them. Never satisfied
with parroting any one style, Biafra continually challenges
himself, whether through his acidic spoken word material
or his various musical projects. This ability to move punk
beyond basic three chord anger is what makes the music of
the Dead Kennedys still so significant, and his latest EP
with his Guantanamo School of Medicine is a triumphant return
to an angry, politically astute Biafra who sounds like he
is fronting a collection of songs fitting for Bedtime for
Democracy and inlay material as charged as those of Frankenchrist.
Biafra’s politics have always both intrigued and alienated,
and Enhanced Methods of Questioning will undoubtedly continue
that trend, but even placing the politics aside, there is
not a wasted riff on this disc. A double barreled guitar
structure compliments of Ralph Spite and Kimo Ball makes
“The Cells That Will Not Die”, “Invasion
of the Mind Snatchers”, and “Miracle Penis Highway”
thunderous walls of burly sound that match Lard in terms
of density. Lyrically, Biafra remains acerbic and articulate,
as “Cells” challenges people to question everything
they think they know about scientific research, while “Dot
Com Monte Carlo” has Biafra swiping at an old target,
yuppies; only this time, the “geeks” have made
their way into San Francisco and their presence makes one
long for “gangs in the missions” and “yuppie
drive-bys”. As triumphant as the five tracks are,
the cover of the Deviants “Metamorphosis Explosion”
makes the disc a success all on its own. A bruising, speedy,
grown-up slab of punk, Biafra’s Guantanamo School
of Medicine should act as a blueprint for those kids who
are willing to shut up and learn.
 MALA
IN SE (Phratry Records www.phratryrecords.com)
Dark, strident, and confrontational, Mala In Se take the
animosity of metal and integrate elements of avant-garde
noise, pained vocals, and even jazzy time sequences to create
a disturbing listening experience that is impossible to
ignore. Despite only a trio, eighteen different instruments
are on display here by my count, but my math is terrible
so I’m probably too low, including zills, ebow, and
banjo. Consider this for a moment: a dense, metallic assault,
relentless in its intensity that is accented by…banjo!
This band is in a world unto themselves, and while the influences
are many, the final product is entirely original. The magnificently
titled opener, “Time Lapse Photography of Decomposing
Animals” highlights the band’s bombastic talents,
while “Devil’s Dung” and the particularly
piercing “Portions for Trade” are schizophrenic
bursts of controlled chaos. Vocalist Joseph Thompson’s
wails with the urgency of a torture victim, spewing forth
his lyrics with vitriolic anguish while still delivering
a limitless collection of sophisticated, highly technical
riffs. Accompanying him are the incredibly gifted Andy Perkins
and Keith Leeds. Both help to provide a tableau of power
behind Thompson, shifting time and tempo with dizzying prowess.
“Stay Afloat” is a prime example of this staggering
skill, as the band blends the best elements of hardcore,
metal, and post-punk into a swirling beast of an effort.
However, this is not blind fury-Mala In Se deliver violence
with a supreme sense of style. Even the closing ambient
“Outro” is engrossing as it concludes the disc
on an ominous note. This is brilliant.
 NIGHT
BIRDS - Fresh Kills Vol.1 (Grave Mistake Records www.gravemistakerecords.com)
Grave Mistake continues to put other labels to shame with
the release of this compilation of the work of Night Birds.
With a sound reminiscent of early Dead Kennedys, particularly
Mike Hunchback’s East Bay Ray style on “Midnight
Movies” and the ripping “Bad Biology”,
Night Birds play scorching punk with a penchant for sharp
harmonies. Crawling out of the remnants of the Ergs and
Hunchbacks, these four guys tear through abrasive yet hook
laden slabs of two minute punk perfection. The playing of
Night Birds is tinged with subtle surf elements along with
precise aggressiveness. Highlights include, but are certainly
not limited to, “Prognosis Negative”, “Can’t
Get Clean”, and “Unanswerable”. This is
eerily evocative at times of one of my old favorites, the
Candy Snatchers, only if the Snatchers were slightly less
drunk and worked in better recording studios. As it stands,
the fiery speed of “Thrilling Murder” and the
forty-eight second explosion “No Way Home” are
two crisply recorded gems among a collection of efforts
that bring purity back to punk fury. There is truly nothing
to disapprove of here, as the surf-kissed “Harbor
Rats” sounds like Dick Dale jamming with TSOL, while
“Living in the Middle” is a precise critique
of an overmedicated society. No superfluous self-indulgence
here; just raw aggressive power that needs to be celebrated.
 SWEAR
JAR - Cuss (Phratry Records www.phratryrecords.com)
Swear Jar is a band that does not want you to relax while
you listen. With a sound reminiscent of Amphetamine Reptile’s
noisiest and most abrasive work, Cuss is a thunderous, unapologetic
assault on your senses. Rob Flexon (drums), James Burns,
and Shane Chaney (all other instruments) are a combustible
trio that exude intensity and play with the subtlety of
a blunt object to the skull. The opening seconds of “Sasquatch”
are gripping due to the sheer brutality of the screeching
guitar that introduces the band to the world in some form
of flesh-ripping birth. “On the Prowl’ and “Rastallica”
are a majestic combination of tracks that tease the listener
with hints of harmonious riffs before veering into the darker
side of song construction. There is nothing compromising
or soothing on this disc; it is a boiling, seething din
that one either appreciates or will run from in terror.
As a person who greatly enjoys music of this nature, Swear
Jar is immensely refreshing. They must know that their target
audience is small, but is certainly rabid and this disc
is a tribute to those who do not want music to be conveniently
labeled. Simultaneously minimalist yet complex, Swear Jar
possesses an energy that is sorely lacking in the world
of rock right now. The slash and burn approach to “Blinders”
and “Cheating Death” are thoroughly intriguing
and satisfying, while the pounding groove of “Heavy
Corpse Song” makes it one of my favorites of the bunch.
There are some fairly clear Fugazi moments here, but only
due to the band’s stop-on-a-dime style and refusal
to adhere to a traditional song structure. It is not easy,
but then again, the best things in life usually require
effort. Commit yourself to this and you will undoubtedly
run back for more.
 CLOSET
DRAMA - Dream State (www.closetdrama.fourfour.com)
Closet Drama is one of those bands that could be huge because
they are completely non-threatening, and normally that sickens
me, but there is a yeoman quality to this that makes the band
somewhat likable. If nothing else, this is a nice collection
of well-crafted pop-rock songs that will not offend anyone.
However, I am nervous when I read a band’s press release
and it drops the Gin Blossoms as a band to which one can compare
Closet Drama. Really? The Gin Blossoms? Someone wants to be
compared to the Gin Blossoms? Maybe someone can blow the dust
from Third Eye Blind and use them as a reference? At any rate,
as you imagine, nothing here is revolutionary; it is standard
rock fare, sometimes a little punchy (“Flesh and Bone”,
“Hayden”), but usually quite safe (basically everything
other song). The band harkens back to the mid 90’s with
a sound reminiscent of Soul Asylum’s chart-ruling, Winona
Ryder-dating apex, or Sebadoh on a particularly syrupy, bad
day. Charlie’s (no last names needed I guess) vocals
are pristine and quite harmonious, but most of the songs act
as background fodder and not a musical expression that truly
grasps the listener. I do not truly dislike anything I hear,
but one song is forgotten before the next one begins. Guitarists
Dan and Eric are steady, but they are the equivalent of a
2.0 grade point average; yeah, you graduate but no one really
notices you. The band gets the job done on each of the twelve
songs, but the disc becomes repetitive and too predictable.
This all returns me to my original point-these guys have what
it takes to be big for a few weeks right now in rock: they
appear to be charming and they write hooks that buzz with
enough energy to seem interesting but never cross a line into
real rock n’ roll danger. Hello, next Kings of Leon!
 MIXTAPES
A Short Collection of Short Songs (Animal Style Records
www.animalstylerecords.com)
Cincinnati’s Mixtapes have a name that conjures
images of 80’s unrequited love, but a sound more appropriate
for the early 90’s. “Birthday Party Summer Camp”
is a bit too sugary at points, but the shared vocal interplay
of Ryan Rockwell and Maura Weaver is endearing enough to
make the track palatable. “The Real Hotel California”
and “I’m Like” could have been on the
Daria soundtrack with its proto-riot grrrl meets punk-pop
structure. “Soups Whatever” is an acoustic nugget
with lyrics that are both earnest and unapologetic, while
“Whit’s End” is serenely delicate and
fragile, with tender piano accenting the background. The
closing “Anna Maria” is a lush duet with gorgeous
lyrics, but it leaves me with an unfulfilled feeling, for
it is not the rousing closer for which I hope. In the end,
this is a somewhat scattered but generally strong release
that deserves attention. Mixtapes, like their namesake,
are an eclectic mix of styles held together by a thematic
respect for talent.
 RICARD
X. HEYMAN - Tiers and Other Stories (Turn-Up Records - www.richardxheyman.com)
Occasionally there are releases that speak to a person
even if the music performed is not a style to which one
would normally gravitate. This is my emotion as I engage
myself in the expansive beauty of Richard Heyman’s
sprawling two-disc Tiers And Other Stories. Released
as two separate records packaged together, Heyman’s
performance is at times tender, haunting, or energetic as
both discs include a multitude of topics and tones. Much
of Tiers possess the same story-telling quality of Warren
Zevon’s finest moments, such as the bouncy “The
Real Deal”, or the pristine beauty of “There’s
a Train” and “Everyone’s Moving in the
Wrong Direction”. One is invited into the inner sanctum
of Heyman’s life as he details his initial encounter
and life with Nancy Leigh, his bassist and wife of twenty-three
years. Those engulfed in a long term relationship will instantly
find a kindred spirit in Heyman on efforts such as “Last
Thought in My Mind” or “Empire Lights”.
And Other Stories does not flow in chronological order as
the first half of this package does, but it is an equally
gripping collection addressing topics ranging from a celebration
of love through the lessons learned through loss. “When
Willy Played Guitar” is a loving tribute to Willy
Kirchofer, guitarist for 60’s act the Doughboys, of
which Heyman was a member as a young man. The style of playing
on And Other Stories is not radically different than that
of Tiers, nor is the breadth of emotion any less expansive,
but some of the work sounds more somber, including “Birds”,
“Gravity”, “Wild Souls” and “The
Finish Line”. Each of those aforementioned pieces
is lush and sweeping in scope, although slightly more reserved
in nature than Tiers. Heyman is a remarkably gifted musician
who delivers over two hours of music that passes effortlessly,
as every song features a fluidity and originality that lesser
players would never be capable of crafting
 GREGG
YETI and THE BEST LIGHTS - Wonderbuckets: the Four EP Collection
(Koala Syndicate records www.myspace.com/thegreggyeti)
Syracuse New York’s DIY troubadour Gregg Yeti has politely
organized four E.P.s into one neat package. For those who
are familiar with Yeti’s work will recognize and appreciate
his lo-fi approach to acoustic Americana folk. Despite the
understated nature of the playing, the nineteen efforts are
bubbling with energy and luxurious beauty. “My Narcotic
Sara” (and its cousin, “My Narcoleptic Sara”)
and “Laughter be Your Slave” are examples of lush
songs with delicate nuances. “How to Make a Happy Robot”,
“The Girl with the Expiration Date” and the bouncy
“Island Nation” each possess uniquely individualized
personalities and structures. With only Jessica Rudy providing
some kazoo and backing vocals, everything here is provided
by yeti. He demonstrates wildly varied talents, as the songs
are wonderfully verdant and atmospheric without ever losing
a sense of honesty. There may not be much variance between
songs, but this is not a knock; Yeti is a highly consistent
performer who could light up a club or your basement.
 POINT
JUNCTURE,WA - Handsome Orders (Mt Fuji records www.mtfujirecords.com)
Give credit to a band whose members live together, grow their
own food, camp out on tour, and even built their own studio.
Amanda Spring (drums/vocals) has a soaring vocal style the
pristinely dominates all of Handsome Orders. Her gorgeous
voice resonates throughout the disc, but the haunting beauty
of “Violin Case”, “Tough Upper Stuff”,
and “Baptist Jesus” is truly inspiring. The band
mixes elements of folk, Americana, and off-kilter pop to produce
a record of striking originality and great depth. “Chronological
order” is a sprawling, massive wall of ethereal beauty
that feels more English than Oregonian. Not easily labeled
or summarized, Point Juncture, Wa is a throwback to 60’s
folk blended with modern indie pop.
 PYGMY
LUSH - Old Friends (Lovitt Records www.lovitt.com)
Old Friends is an electrifying album, and that
is saying something for a largely folk-tinged disc replete
with sweeping beauty and pristine fragility. Each song is
both chilling and comforting; Pygmy Lush will make the hair
on the back of your neck stand at attention yet lovingly
embrace you as well. “Chance” is radiating and
devilishly harmonic, while “Good Dirt” is played
with a stunningly delicate touch, including vocals from
Chris Taylor that barely rise about a whisper. “In
a Well” is an ethereal piece in the sense that the
song has vast pockets of empty space freeing the track to
breathe and allowing the listener to become wrapped up in
its beauty. Produced by Kurt Ballou, who continues to prove
that everything he touches is extraordinary, Old Friends
captures the sentimentality of down home Americana with
uniquely ambient elements. The result is a collection of
efforts that sound like musical apparitions appearing from
beyond the grave to reassure love ones that all is well.
I am consistently amazed at just how quiet this record is;
one has to strain to hear “I’ll Wait with You”,
a meandering piece in which each chord, strum, and nuance
is played with painstaking precision. Old Friends’
finest quality is the pacing; nothing seems rushed as both
band and listener are given ample time to digest each song.
This is particularly true of the closing epic, “Pals”.
The slightly more jumpy “January Song” radiates
with an energy and effervescence, while “Penny on
My Deathbed” is the epitome of the paradox that defines
this band. The effort sounds as if it was recorded in the
halls of dark, foreboding monastery, yet it also possesses
warmth that defies its otherwise despondent tone. I guess
this is what happens to old hardcore guys; their hearing
is gone, the anger has faded, but their musicianship has
intensified and the end result is a stunning collection
of heartfelt anthems.
RUN
FOREVER - The Devil, And Death, And Me (Solidarity records
www.solidarityrecordings.com)
The spectrum of emotion on display throughout The Devil,
And Death, And Me is matched only by the equally broad
array of styles Run, Forever utilizes. The record is dedicated
to a fallen bandmate, Corey Wolfram, who tragically died
at only 21 years of age, and the songs ring with raw, gritty,
emotional scarring. Vocalist Anthony Huebel possesses a
voice that functions equally proficiently on stomping punk
efforts, such as “A Sequence of Sad Events”
and “The Grand Illusion” as well as more genteel
tracks. Perhaps his finest display is “When it Won’t
Leave”, an acoustic piece that resonates with suffering.
“For God or Gold”, “No Truth”, and
“10,000 Leagues” are aggressive, yet tempered
by a folk undertone that would arouse the interest of fans
of Tom Waits or Billy Bragg. The disc is a series of attempts
to reach some level of understanding as to why horrific
events occur in the lives of people we love. The aforementioned
“No Truth” includes the poetic assumption that
“when we die/we all return to God/and he loves us”.
Run, Forever are living with a loss that would destroy weaker
acts, but it is clear that Wolfram’s spirit is manifested
through the power and earnest nature of the band’s
music. These are kids are blatantly honest about feeling
confused, angry, and even hopeless at times, and their story
will resonate with anyone who has ever lost someone close.
This is the type of catharsis that only great music can
produce.
 DES
ARK - Don’t Rock the Boat…Sink the Fucker (Lovitt
records www.lovitt.com)
Des Ark’s second disc, emerging after five years of
extensive touring, is a schizophrenic release. Songs alternate
between quiet, acoustically dominate gems with the opening
“My Saddle is Waitn’ (C’mon Jump on It)”
and “Howarde Hour of Shower” among them, and more
aggressive, musically dense efforts such as “Bonne Chance
Asshole” and “FTW Y’all”. This juxtaposition
of styles allows Don’t Rock the Boat…Sink the
Fucker to be a perpetually interesting record. The unquestioned
star here is vocalist/guitarist Aimee Argote, whose voice
can ring with delicate innocence or roar with an authentic
passion and honesty. The louder, noisier, and more chaotic
songs are my favorites of the bunch as Argote’s rugged
yet melodic voice fights its way through the additional musicianship
of Noah Howard and Johnny Ward. There are tracks in which
both worlds collide, such as the soaring “Ashley’s
Song” and the captivating loud/soft dynamic of “It’s
Only a Bargain if You Want it”. With Kurt Ballou overseeing
the fiercer tracks, the production is superb and the disc
resonates with a majestic fury. An excellent overall release.
 GREEN
RIVER ORDINANCE - The Morning Passengers EP-Acoustic Sessions
(www.greenriverordinace.com)
For those in search of something as bland as the Fray and
even less offensive than Train, Green River Ordinance may
fulfill your needs. The playing on The Morning Passengers
EP-Acoustic Sessions is quite lovely at times, but I am not
moved by music that hovers dangerously close to adult contemporary.
“dancing Shoes” includes a subtle folk approach
which provides a brief flash of something interesting, but
the remaining five tracks fall into a predictable rut of gentile
piano and overly sentimental vocals. I am not a man completely
without emotion, but this sounds like the result of Bruce
Hornsby’s nephews starting a band. The sorrow of “Undertow”
could be about any lost soul as “she packed her bags
for Austin””. Even the down home Americana of
“Where the West Wind Blows” sounds prepackaged.
Soaring harmonies highlight “Inward Tide”, which
is a gorgeous song, but it feels lost in a vast landscape
of unnecessarily pulled heartstrings. “Out of the Storm”
continues the theme of self-exploration in a particularly
disinteresting manner. The songs are lush, the guys are good
at what they do, and I imagine that those fans of entirely
inoffensive material may enjoy this. However, I am not in
that particular category.
 COKE
BUST – “Degradation” EP (Grave Mistake
Records www.gravemistakerecords.com)
Coke Bust may be my favorite band in the world right now,
and I make no apologies for a ridiculously gushing review.
Grind, hardcore, power violence, whatever label one chooses
to place on this band seems insufficient as Coke Bust simply
crush everything in their collective sight. The A side boasts
a blitzkrieg of brutality that decimates the listener, particularly
“Long Gone” and Keep Out”. The B-side
proves to be diversified as Coke Bust reveals a heavier,
more groove oriented sound. While “Degradation”
is as vicious as anything the band has ever done and “No
Authority” roars behind Chris’ drumming, the
real shocker is “Deathbed”. “Deathbed”
rumbles with a thick and, unprecedented for these guys,
mid-tempo riff and is far longer than a standard Coke Bust
effort. Nicktape’s vocals are again typically strained,
but this time guitarist Jeremy and bassist Jubert demonstrate
clearly that they are more than one trick ponies. This is
essential.
 BRAIN
F – “So Dim” EP (Grave Mistake Records
www.gravemistakerecords.com)
Brain F deliver two brief slabs of ultra lo-fi noise filled
with rage and fuzzy guitars. One can almost smell the oil
stain on the floor of the garage as this band churns out
the title track and its nearly identical twin B-side, “Symptom
Sect” which includes the lines ”All that reading’s
gone to your head/Keep the simple out of your bed/Evolution
in modern times/intelligence in steep decline”. I
concur with these kids on this point, and if you fail to
like this, you simply do not like rock n’ roll. This
is primal and majestically rudimentary in the most positive
way. The shared male/female vocals are reminiscent of X
buried in a wall of tape hiss. This is a wonderful way to
spend four minutes of your life.
 CAPTAIN,
WE’RE SINKING - “With Joe Riley” 7-inch
EP (Evil Weevil Records http://evilweevilrecords.blogspot.com)
This outfit plays speedy, jangly punk with a very raw sound.
Recorded live in the studio, the three songs soar out of
the speakers with an earnest level of immediacy. “The
Ballad of Ichabod Crane” is a fun ride of aggressive
playing tempered by a gentler interlude before again closing
with a flurry. “Manners are Their Own Reward, Gentlemen”
features a more ferocious vocal attack from past Prime that
ends too quickly. The band shifts gears somewhat dramatically
on “Foster Brothers”, for it is a far more streamlined
pop-punk effort that while harmonic, lacks the manic energy
that defined the earlier work. This is not a life-altering
release, but it is a solid slab for you pop-oriented punks.
 PUJOL
- “How High” b/w “Sliderz” (Evil
Weevil Records http://evilweevilrecords.blogspot.com)
This lo-fi punk effort is tinged with a pop veneer that
could fit with the earliest purveyor of garage rock. The
fuzzy recording adds to the overall rugged atmosphere of
the opening “How High”. The song is messy and
sloppy, but one would want to stay with it to hear how it
ends. It is not a track that will stay with you once it
concludes, but I respect the vibe. The B-side is flat out
weird. “Sliderz’ features a heavy bass line
and lyrics about being covered in snakes and having reptilian
friends. This one is intriguing at times, but consistently
strange.
 BARRY
BRUSSEAU - A Night Goes Through - 12-inch LP (barryjames@macforcego.com)
Brusseau is a native of Oregon, originally from Washington
State, and his connection to the Pacific Northwest music
scene runs deep. He was a member of the Jimmies and the
Legend of Dutch Savage, two loud punk acts. For A Night
Goes Through, the punk bluster is replaced by gentle, serene
acoustic folk that sounds unfortunately like someone doing
an imitation of a folk record. Brusseau’s voice is
warm but it lacks the range to make his stories convincing.
By the time one hits the eulogy “The Promise”,
one is either bored or rolling eyes at what this attempts
to be. The production and accompanying materials included
as part of the packaging are actually stronger and more
appealing that the music found within. Gorgeous inlay cards
are provided for each song and the photography is stirring.
Unfortunately, the songs fall flat as they become repetitive
and lackluster, particularly “Shufflin Moon”
and “Tall and Frayed”. I have the utmost respect
for any musician looking to undertake a new direction and
challenge themselves, but some people should just stay with
what they know best. Turn up the amps again, Barry.
RESTORATIONS
- Strange Behavior 12-inch LP (Paper and Plastick Records
www.paperandplastick.com)
Restorations is a band that holds an interesting spot on
the spectrum of indie rock. Their sound is difficult to
articulate, which is always a positive trait in my opinion.
The opening “Title Track” has elements of jangly
pop mixed with noisier, more angular qualities, yet there
is an intimacy about the song that separates it from the
myriad of contemporaries. “Linear Notes” smacks
of the finest qualities of 90’s indie rock, complete
with a somber set of verses and arousing chorus. The warmth
of Jon Loudon’s vocals is the real star of the song,
as he emotes heartfelt frustration: “Now I’m
pouring out my eyes, what day what time?/ Now I’m
pouring out my lies, oh where have we been?” Despite
being a brief four song EP, there is a vast array of ideas
on display. Each of the four pieces possess a unique personality
and style with “The Reappearing American Hobo”
defined by a slower, softer tempo and the richly harmonious
background vocals of Frances Quinlan. (no relation) The
song’s warmth embraces the listener and one is pulled
into a tale of a tortured relationship, concluding with
the line “And to think it all started when I said
I didn’t like Kerouac.” The closing “Documents”
harbors a classic indie/shoegazing atmosphere, only with
Loudon’s vocals sounding more strained and on the
verge of exploding as he bemuses, “I can feel it crawling
through my bones”. This Philly outfit has much to
offer as it hearkens back to indie rock’s heritage
but certainly maintains its own sense of independence.
 ALMOST
FREE - In/Out (www.almostfreemusic.net)
The kids should eat up this bubbly outfit. Reminding me
of the Killers after listening to a steady dose of The Queen
is Dead, the dance floor ready “Really Don’t
Know (About You)” includes well hidden guitars that
provide a little muscle under the decadence while “Generation
Y” simply crackles with synth pop energy I wish would
disappear forever. This is not for me, but these kids have
tapped into a new wave of lighthearted indie rock. Fans
of Crystal Cave or Naked and Famous will be attracted here,
for each song is inoffensive and bouncy with only the most
sincere of emotion on display. “Times We Used to Have”
is a fitting title, for it sounds like another time, with
touches of effects and crisp interplay between bass, guitar,
and synth. Vocalist Andy Bird has an infectious voice and
these guys are ready for the teenage hipster crowd. Almost
Free borrow heavily from the 80’s, a decade I am sure
these guys have only read about, and their fans of the same
ilk should eagerly adopt them. The one highlight for me
was the darker “Don’t Bother Me Now”,
a slightly more forceful track that eschews some of the
peripheral genteel qualities of the earlier songs for a
more direct delivery. The song also includes a well honed
guitar solo and could be harbinger of future steps in the
right direction. Almost Free’s use of sugary synth
frustrates me, but the kids seem to love it. However, to
their credit, there is a broader scope of talent on display
that could carry this band beyond a few college radio charts.
 JOE
LALLY - Why Should I Get Used to It? (Dischord Records www.dischord.com)
For most, the name Joe Lally conjures instant musical snapshots
of jarring bass lines from Fugazi’s legendary career.
However, since that band’s hiatus took effect in 2003,
Lally has continued to make music on his own that, while
wholly separate from his previous outfit, still maintains
experimental and provoking approaches. The eleven efforts
on Why Should I Get Used to It? range from the fuzzy, bouncy,
yet lyrically quite serious opener “What Makes You”
to the slow, more convoluted “Philosophy for Insects”,
a track that includes a variety of guitar effects and one
of Lally’s punishing bass hooks, albeit more straightforward
that his typical effort in Fugazi. A penchant for slower,
darker, more emotionally ambient work appears throughout
the disc, as “Fort Campbell, Ky.”, “Let
it Burn”, and “Ministry of the Interior”
are entirely unique, but also maintain a similar sense of
experimentalism and nearly improvisational structure, particularly
“Let it Burn” that ebbs and flows but never
locks into one organized groove, while the magnificent cello
of Christine Mairer highlights “Ministry”. This
challenging nature is reflective of the larger work. That
is not to say that this is too esoteric to be enjoyed, for
it is not. The damn near funky closer “Last of the
Civilized” gives a flash of a more fun-loving Lally,
while “Coral and Starfish” may broach the topic
of atomic warfare in World War II, it does so with a brisk
pace and infectious structure. Long time Fugazi fans will
eagerly lap this one up, but those who are looking for an
exigent yet cohesive piece of intelligent indie rock should
not allow this one to slide away.
 ONE
WIN CHOICE - Conveyor (Jump Start Records www.jumpstartrecords.com)
The members of One Win Choice are not revolutionaries,
but they do what they do very well. Dan Kloza’s vocals
strike that oft-difficult balance between furious and melodic.
His delivery allows his rants to sound forthright but never
as a lecture. His condemnation of war in “Places”
is heartfelt, where less skilled singers could have easily
come across as clichéd. “Act Your Age”
is a glorious celebration of doing what you love, while
the gang vocals and confrontational tone of “Paint
Me a Better World” makes it a highlight of the disc.
The intensity of “If Hell Existed” also helps
to eliminate any misconception that this is a punk band
with a pop edge. Yes, much of the work is harmonic and catchy,
but it also features an exposed nerve; something raw that
prohibits the music from ever sounding too clean or premeditated.
Guitarists Pete Pieczynski and Justin Stevenson battle each
other in a series of dueling riffs and brief but effective
solos, while the rhythm section of bassist Dave Aon and
especially drummer Justin Phillips seem to be everywhere.
With this wall of talent behind him, Kloza unleashes an
array of emotions about growing older (“Frame Your
Favorite Pictures”), thanking your mentors (“Ocean,
Luzerne, Monroe”) and life’s constant challenges
(“Who Threw Out the Itinerary?”, “Release
Me”). There are times when one just wants a great
record, not a life-altering shift in music theory, and Conveyor
is that great album.
 THE
BUILDERS and the BUTCHERS - Dead Reckoning (Badman Recording
Co. www.badmanrecordingco.com)
If John Steinbeck was penning Grapes of Wrath right now,
he would use the dusty, poignant pain of The Builders and
the Butchers as inspiration. Beginning with the hauntingly
biting tale of addiction “I Broke the Vein”
through the gospel stomp of “Family Tree”, The
Builders and the Butchers offer a collection of heartfelt
narratives that stir the soul and shake the spirit. Singer
Ryan Sollee credits 1930’s America as a muse for Dead
Reckoning, and one only need to listen to the ominous “Rotten
to the Core” to appreciate this. The America of the
21st century is eerily similar to the economic, social,
and political upheaval of the 30’s, and when Sollee
says “did you know the whole world is rotten to the
core”, he is capturing a lament felt by millions today.
With a duo of drummers, Ray Rude and Brandon Hafer, The
Builders and the Butchers are a surprisingly bombastic lot
at times, particularly when one compares them to other folksy,
Americana style acts. The dense “It Came from the
Sea” rattles its way through a nautical tale, while
“Lullaby” jangles with a subtle beauty that
illustrates this band’s expansive talent. Fitting
perfectly at a church revival or back porch hootenanny in
the heartland, The Builders and the Butchers play traditional
music with tremendous intensity and passion, as heard on
“Moon is on the March”, a story of good against
evil, and the delicate “All Away”. Delivering
his lyrics with the zeal of a preacher, Sollee commands
attention, and his tales of woe envelope the listen, as
fluctuating intonations convey a multitude of emotions.
Recorded in a scant eight days, there is a sense of urgency
that permeates Dead Reckoning, making this performance to
be atypical of the conventional connotations many have of
folk. Ignoring this would be a terrible mistake.
 DEEP
SLEEP - Turn Me Off (Grave Mistake records www.gravemistakerecords.com)
Deep Sleep play my favorite brand of punk-it’s fast,
mercilessly intense, and kills you five times before you
know you’re dead. With ten songs in a blazing thirteen
minutes, put this on repeat and enjoy the annihilation.
Every song on this disc is a well produced slab of pure
anger, but if you really want to watch the pit explode,
check out “Destroy Everything” (“I want
to fuck/I want to scream, I want to destroy everything”),
“Always Run”, “Head Spins”, and
the most unforgiving pseudo-love song ever, “Be With
You” (All the shit I want to do/I just want to share
with you”). Tony Pence’s vocals are always on
the verge of self-destruction, and his delivery is reminiscent
of classic 80’s hardcore, while Nick Vance’s
guitar does more than act as a three chord buzz saw; he
delivers guitar intricacy not always associated with this
style of playing. Drummer Darick Sater and bassist Mike
Stearns lay down a steady low end that acts as a tremendous
foundation on “Play Another” and “Slow
Down”. Speedy, unforgiving, and surprisingly melodic,
Deep Sleep take all that is great about hardcore’s
legends and spins it into an impressive contemporary release.
DEZRTER - Prawo Do Bycia Idiota (Mystic Production www.mystic.pl)
If you believe that great music transcends all language
barriers, then pick up this gem from Poland. Dezerter began
their careers in May of 1981 outside of Warszawa and were
originally known as SS-20, a jab at a secret Soviet nuclear
missile. With the Communist forces breathing down their
necks, the members changed their name to Dezerter and began
playing politically subversive punk that in some cases actually
made it past the repressive government censors. This release
is not old material, but rather a fresh collection of smart,
fast punk that, although delivered solely in Polish, has
the ability to rouse the emotions of those who listen. Luckily,
the liner notes include an English translation of the songs,
and one finds politically astute and sharply crafted lyrics
that reflect a frustration with subjugation that still exists
two decades after the fall of the Berlin Wall. “Blasphemy”,
with references to Czestochowa’s shrine”, the
disappointment spewed on ‘Right to be an Idiot”
and “We the Poles” capture the still simmering
resentment of Eastern Europe, as “politics and geography
marked us for years to come/Now we wait for dole counting
on someone else’s help”. The most moving of
the collection is the closing “No God”. Written
from the perspectives of both a confused, scared Palestinian
boy and a disenfranchised Israeli soldier, the song illuminates
with startling clarity the human toll of this ongoing struggle.
All of this is set to a soundtrack of incredibly catchy,
furious playing. With a heavy low end and seething guitars,
this is for fans of any classic punk act. It is great to
see bands like this still out on the road and providing
the planet with intellectual, masterful music. Hopefully,
more of the world will have a chance to celebrate them.
 KICKING
SPIT - Psychrockbullshit (Tankcrimes records www.tankcrimes.com)
Wow, within a minute of the opening “Nothing Left”,
Kicking Spite delivers me back to my college radio station
as Dinosaur Jr.’s “Feel the Pain” and
Superchunk’s “Slack Motherfucker” fill
my head. While the name can use some tweaking, Kicking Spit
has to be commended for their chops-the guys held down positions
in bands like Seasick and Big Eyes, and spent nine weeks
touring in support of their cassette edition of Psychrockbullshit.
Cassette? I guess in the age of instantaneous downloads,
that is pretty punk. Are 8 tracks the next uber-punk move?
At any rate, Kicking Spit is raucous and the kids balance
hardcore ferocity with a sly commercialism that harkens
back to the glory days of “college rock”, but
some of this sounds too premeditated. “Sea of Swirls”
borrows as much from Temple of the Dog as it does Husker
Du, while “Way Out” is the noisiest and most
challenging of the bunch, but even this is simply more J
Mascis adoration. The vocals soar above the fray while the
combustion rattles beneath, creating a juxtaposition of
styles that is not revolutionary but still fun. This will
not leave anyone speechless, and at times, and I feel like
Kicking Spit are trying too hard to capture 1990 on “Truth
or Consequences” and “Skulls”, as if they
expect Lou Barlow or Bob Mould to sit in with them. For
those who did not experience the “alternative”
revolution for themselves, Psychrockbullshit is a fairly
commendable reproduction of the sound, but really, just
go out and buy Flip Your Wig.
VINYL
 CHAUCHAT
- Songs for Scaffolding (Unread Records www.unread-records.com)
Raw and enchanting, Chauchat is a mysterious duo led by
Tyler Whitney. While currently residing in New York City,
Whitney records in the far more rural and bucolic environment
of Lancaster, Pennsylvania. The result is a sparse, haunting
affair that brings a sense of foreboding to Whitney’s
folk. I am taken by the subtle touches one finds throughout
Songs for Scaffolding, a compilation of songs recorded entirely
within an abandoned candy factory. The sound of scraping
metal at the onset of “Brave Shield” is indeed
a metal lid being dragged across the floor of an empty room.
These restrained nuances make Songs for Scaffolding an engrossing
listen that requires commitment from the listener to fully
appreciate. The pained emotion embedded within “Practice
in the Rubble” and “If the Shoe Fits”
is riveting, as even the slightest shift in intensity makes
each song surprisingly powerful. Case in point is the thunderous
(comparatively speaking) “Dance Me Off a Cliff”.
Despite such a cold setting, this is a warm and appealing
release.
 SAVAGE
BREWTALITY - The Last Slice (Fest Records www.festrecords.com)
As I write this, the Middle East is on fire, Japan is in
the midst of potential nuclear catastrophe and those 2012
predictions about the end of the world seem to be potentially
valid. Therefore, why not lose yourself in some drunken
punk tomfoolery? If you have a sense of humor, an affinity
for beer, and an appreciation for three catchy chords played
on repeat, then you are the target audience of Savage Brewtality.
The Last Slice is musical equivalent of every thought that
dominates the mind of frat boys all over this great land,
(“Let’s Get Drunk”, “Nachos”,
and “Whacky Shack”) played with blazing punk
speed. I happen to find this stuff funny, for “WWZJD”
(What Would Zombie Jesus Do?) makes me laugh and appeals
to my inner idiot. Additionally, any band that makes references
to Thundar the Barbarian, or in this case, his alcoholic
cousin “Fundar the Brewbarian”, is alright with
me. With a dual guitar assault compliments of Geis and Jack,
Savage Brewtality unleash a fairly substantial set of riffs
upon the listener, while Keeth’s vocals are both entertaining
and relatively on key. This is not a band looking to push
the genre into new musical directions, but if you do not
consider yourself above pee jokes and “Weekend at
Bernie’s 2” references, take this for what it
is, smile and drink.
 BABY
FIRE - No Fear (Cheap Satanism records www.cheapsatanism.com)
When a band is named in reference and somewhat in deference
to Ottis Toole, the cannibalistic, pyromaniac serial killer
and lover of Henry Lee Lucas, I am intrigued. Tell me it
is a female duo and I’m hooked. To complete the package,
Baby Fire is captivating and instantly memorable. Musically,
vocalist and guitarist Diabolita and drummer Cha! play no
frills punk that could have been the soundtrack in Olympia,
Washington circa 1993. The riffs are solid but not revolutionary,
but that is as incidental now as it was in the early 1990’s.
What makes a band like Baby Fire noteworthy is the unbridled
honesty and raw humanity that shines throughout the disc.
Diabolita’s vocals move from a low monotone to a high
pitched shriek as she and Cha! churn out short burst of
fearless punk. Blending the bombast of Bikini Kill with
the unassuming harmony of Slater-Kinney, Baby Fire soar
on “Dark Ages”, “Bunny”, “I
Love to Cook’ and “Yellow Wallpaper”,
a great literary nod to Charlotte Gilman. This is smart
punk delivered by two very sharp minds who express consistently
subtle anger throughout No Fear. The darkness of “Worst
Things”, and “Half Sick of Shadows” along
with the melancholy terror of “Bones Soup” are
nearly palpable, and when Diabolita declares “I am
a warrior” on “Insect/Flower”, it is advisable
to get out of her way. The disc takes a mesmerizing turn
on “Soap”, a haunting track that sounds like
a journey through the mind of a madman, while the meandering,
plodding pace of “Everybody’s Got a Hungry Heart”
only accentuates its sense of impending suffering. Watch
this band closely, for there is something very special here.
 BRIDGES
AND POWERLINES - Eve (Stunning Models on Display records
www.stunningmodelsondisplay.com)
Bridges and Powerlines are a typical New York act, in the
sense that they are transients from other areas who came
to New York to take advantage of the City’s newly
rekindled interest in pop music. Unfortunately, I am not
among those who are interested in delicate, serene pop,
which is what dominates Eve. Yes, the vocals are warm, the
playing is richly melodious, the arrangements are sophisticated,
but this is simply too pretty for me. “I Remember
a Blue Sky” and “The Roman Leaders” are
far too tranquil for my liking, while the bouncy keys that
accentuate “The Jameson” frustrate more than
excite me. This is slickly produced and luxuriantly harmonious,
but one has to be a fan of such easily palatable, inoffensive
music. Some efforts, such as “Balcony” and “Gazes
Wide” simply hang around too long, as the latter includes
a tender key interlude that sets the song up for a more
explosive conclusion, but sadly that never occurs. This
is sophisticated pop, but the song structures are so intricate
that the disc never generates a truly memorable hook. I
cannot fault the playing, but there is no racket, no real
energy to be found. Put this on during a rainy Sunday when
you want to close your eyes and drift away. If you want
something more than that, this is not for you.
 OCTAVES
- Greener Pastures (Hotfoot records www.hotfootrecords.com)
Octaves waste no time in making a powerful impression.
The opening yelp of Phil Foster on “Fix the Fernback”
is like a punch to the face, but this band has a multitude
of musical tricks up their collective sleeve. Within just
this opening effort one hears elements of bruising metal
power, atmospheric interludes, intricate time signatures,
and the stunningly gorgeous vocals of Allyson Little. It
is a commanding introduction and sets the stage for what
is a complicated but richly engaging effort. In less skilled
players, this would be a complete disaster-a wave of splattered
ideas seemingly disconnected from each other. However, Greener
Pastures, despite its head-spinning song structures and
math metal characteristics, is a seamless collection of
furious rage that is always deliberate and focused. A Dillinger
Escape Plan comparison is fitting, but not wholly complete.
Octaves manage to inject elements of melody and harmony
into their swirling masses, such as “I’ve Got
Boxes Full of Pepe” and “I Am He Who is Called
I Am”. These songs will leave people in stunned awe,
for it is extraordinarily rare that a band can generate
blasting, crushing songs with such staggering precision
and attention to detail. There is not a wasted note here,
and I am left exhausted when it finishes. Guitarists Bob
Elder and Wes Young should emerge as household names, as
they alternate between metallic vehemence and jazz intricacy,
best embodied on “I’m Just Going to the Corner
to Get Cigarettes (I’ll be Back in a Minute)”.
However, should you prefer your brutality to be quick and
relentless, check out the grind-friendly “Shmohawk”,
an effort that would make the guys in Brutal Truth smile.
The splintered compositions that dominate the Greener Pastures
are simultaneously jarring and malleable, a juxtaposition
of sophistication and raw frenzy. This is a very positive
beacon for hope for fans of unapologetic hardcore.
 BY
THE THROAT - One Good Night (Winter St. Records myspace.com/winterstreetrecords)
By The Throat play old fashion, no frills, punk rock. In
other words, this band will remind you why you first fell
in love with the music. There is no hyphenated tag here,
no “core” tag at the end of their style. “Break
Away”, “Western Front”, and “Nowhere
to hide” highlight a blistering and all too brief
five song EP. These slabs of classic punk stylings maintain
a modern touch while still clearly paying homage to acts
of yore. The dual guitar assault of Niff (who also handles
vocals) and Sean Dimwit is a buzzsaw of force, while Chris
Dimwit and Chris Brat are a furiously tight rhythm section.
The guys do not just bash out sixty second burst of speed
(although there is nothing wrong with that either), but
craft highly structured pieces that reflect more sophisticated
songwriting reflective of musicians who have done this for
a while, as embodied by “Ask Yourself Why” and
the centerpiece of the EP, “Disagree to Agree”.
By the Throat give their respects to the fundamental principles
of punk’s history while also displaying enough dexterity
to elevate them above a simple clone of the past. Go find
this.
 SAMIAM
- Orphan Works (No idea records www.noidearecords.com)
Samiam strikes me as punk’s version of Bruce Campbell-everything
about them is likable and they should have become huge stars,
but it was just never meant to be. Orphan Works
puts together the finest moments of Samiam’s career
and reminds many of us of just how skilled these guys really
were and continue to be. “Capsized” was the
one “hit” for the band, but there are numerous
efforts that will either illicit wonderful memories or create
new one if you are neophyte concerning the band’s
career. “Bad Day”, “Stepson” (with
Jason Beebout’s visceral yelp of “burn the house
down”) and “Don’t Break Me” are
all smartly crafted pieces that go beyond the three chord
wonders that dominated much of the early 90’s post-Nirvana
partitioning of the punk rock continent. Samiam construct
songs that convey a range of emotions, not just frustration
or blinding anger, but do so with a sonic fury that can
challenge anyone. Orphan Works is more than just a greatest
“could have been” collection, however, for it
also provides alternative takes, live performances, and
two scathing covers (“Search and Destroy” and
a dead-on “Here Comes Your Man”). The raw energy
of the live performance of “Sky Flying By” proves
how beastly this band can be and why they are still out
there on the road today-Samiam is a testament to working
hard and never surrendering. The best aspect of this disc
is that is not a farewell to a band, but a celebration of
why they still matter.
VINYL
 THE
BETTER LETTERS (4:3 records www.thebetterletters.com www.4-3records.com
)
Brooklyn’s the Better Letters take you back in time
to the dawn of the 80’s and the onset of twitching,
jangly punk that will certainly invoke numerous Talking
Heads and possibly some Feelies references. Vocalist Joe
Palumbo (formerly of sh-sh-sh-Shark Attack! Fame) has a
nervous yet somehow infectious voice. The bouncy “Container”
smacks of Freedom of Choice era Devo without some of the
histrionics. However, the Better Letters also blend pop
elements that make the band come across as an Americanized,
male Shonen Knife. If you are a touch confused, do not worry;
simply take your time, give this multiple listens and I
promise you’ll be hooked.
 MIEZEKATZE
(4:3 records www.4-3records.com)
4:3 records is building quite a little stable just from
Brooklyn. This one is a noisy, lo-fi punk platter delivered
predominantly in German. Try to imagine Nena singing for
the Stranglers or the Voidoids and you get a sense of what
this is. “Check Please” and “Boy in Every
Town” have both English and German lyrics, but the
latter is my preferred track of the two. “Boy”
harkens back to core of classic punk with a vibe reminiscent
of the Heartbreakers and even the Ramones until the chorus,
which sounds as if vocalist Simone Huelser needs an oompa
band to back her up appropriately. This is not easy, but
worth the effort.
THE DROVES - Out of Herself (Eastern Spurs Records www.myspace.com/thedrovesnyc)
The Droves have a rare ability to create harmony in the
most exigent of places. The riffs and song structures throughout
Out of Herself are challenging, yet still inexplicably accessible.
The opening “Mackenzie” is the best song J.
Mascis never wrote, while “Dying Fits of Laughter”
takes a somber tone but still infuses it with infectious
hooks. “Plexi and Tandem” includes both a soaring
falsetto and a wall of guitar, accompanied by thundering
drumming. This fluctuation between fragility and forcefulness
keeps the record perpetually interesting, as heard on the
beautiful “Sheila” which also includes a boisterous
solo of guitar squall. I am instantly hooked with “All
Lies Begin with I”, an off-kilter masterpiece of rhythmic
construction with layers of guitar work and Christian Gibbs’
majestic voice. The band is fully committed to all things
gloriously rock n’ roll until “Agatha”,
a thick, bass-heavy dance track with huge cymbal crashes
supplemented with distorted guitars and keyboards. The band’s
moodier moments, such as the title track and the enchanting
“Wasted” are fascinating works of intricate
playing. “Better Than You” is Neil Young’s
“Heart of Gold” for the twenty-first century,
while the closing “Then There Were Three” is
an explosive instrumental that acts as a perfect bookend
to the disc’s impressive opening. This is a rich,
diversified record worthy of ample appreciation.
 QUIET
LIFE - The Big Green (Safety Meeting Records www.safetymeeting.net)
How can a bunch of guys from New Jersey who spent time
in Connecticut and now reside in Oregon capture the folksy,
down-home nature of midwestern America? I have no idea either,
but it happens on The Big Green. The Quiet Life
sound as if they would be right at home in heartland with
the opening “Storm Clouds”, a song that would
make all fans of Levon Helm and the Band weep with happiness
, while “No Surprise” is a stripped down examination
of one’s life played with controlled finesse and highlighted
by Sean Spellman’s engrossing voice. The guys are
not front porch hootenannies, however, as “Nighttime”
and “The Boss Man” ratchet up the noise factor,
but the reserved playing makes “Cove Country”
and “Sweet as Molasses” more appealing and alluring.
Admirers of talents ranging from Neil Young to Dr. John
to Wilco will be enraptured by the dexterity of Spellman
as a raconteur, while his bandmates, including brother Ryan,
generate absorbing hooks to compliment appealing choruses.
Springsteen’s more earnest moments (The River, Nebraska,
etc.) do emerge here, which proves that no matter where
they travel, this is at heart a Jersey band.
 THE
GET UP KIDS - There Are Rules (Vagrant)
I have long respected the Get Up Kids for their willingness
to experiment with tempo and tone throughout each of their
releases, and the same is true on There Are Rules. My personal
tastes lead me to the more energized pieces, such as “Regent’s
Court” and the closing “Rememorable”,
as they both are well crafted guitar anthems with fluent
lyrics and bold riffs. There are a few misses here, such
as the ineffectual “Rally Round the Fool”, and
“overly bouncy “Shatter Your Lungs” but
more often the band locks into a fuzzy, agro-punk/pop energy
such as the stirring “Birmingham” and driving
“Better Lie”. The Get Up Kids have evolved far
from their early days when they were saddled with the ill-fitting
emo tag. Since the band’s return to the music scene
in 2008, the Get Up Kids seem to be more intense and more
driving as a musical force. This record, available on both
Vagrant as well as the band’s own Quality Hill label
is a strong return for the guys, bringing guys like me into
the fold. I was never fully engrossed by the band, but There
Are Rules are louder and more challenging than previous
releases. The Get Up Kids have grown up and through break
ups and set backs, this album is an affirmation of their
talent.
 VULPES
VULPES - Caffeine Eyes (www.facebook.com/vulpesvulpesband)
This New Jersey indie is a promising act that blends electronics
and synth into a rock construction with surprising ease.
At times, such as the instrumental “Island of Pandilla”
when they band comes across as simply a bubbly dance act
without much real substance. However, Vulpes Vulpes blend
synth with more traditional rock fury on “Tease to
Seize” and the almost playful electronics are a welcomed
addition and not simply gratuitously adhered to the song,
while ”Maneki Neko” is a noisy, swirling ball
of condensed force that teeters on the verge of explosion
as the keys enter and leave sporadically. “Gavin the
Narwhal is in Good Health Pt. 1” is another stellar
example of the band’s musical dexterity, for the track
alters tempos between periods of oft-kilter calm before
unleashing passionate vocals and a riff that smacks of kids
who have just discovered classic alternative. The band dances
and flirts with a number of genres and creates one of their
own on this brief introductory EP. “Gavin the Narwhal
is in Good Health Pt. 2” is a collection of ethereal
synth and samples that are off-set by angered vocals, and
the song works for a time but becomes frustrating when it
ceases after a minute and half only to return with an additional
two minutes of downtrodden, melancholy keys that were repetitive
and not reflective of this band’s ability. Caffeine
Eyes is an interesting listen; it is occasionally maddening,
but often engrossing and the EP does what any EP should
do-it keeps the listener wanting more.
VINYL
J.MARINELLI - Pre-Emptive Skankery Sessions (Commodity
Fetish Analogue www.mysapce.com/jmarinelli)
Sounding like it was recorded in a closet through a boom
box onto a third generation used cassette from Radio Shack
circa 1985, J Marinelli is a rare and raw punk rock gift.
There is nothing even remotely approaching pretension from
this raucous one man band as he hollers and stomps through
fourteen scrappy nuggets. The rough and tumble feel of “Comrade
K” encapsulates the entire record, as Marinelli drowns
in reverb while unleashing a bluesy, filthy ditty. This
puts a new “lo” in lo-fi and Pre-Emptive Skankery
Sessions is not always an easy listen, but that is the point.
This is an artist putting himself out for both adulation
and condemnation, and while “The Ballad of Eddie Freedom”
and “Last Year’s Party” are too lethargic
for me, I am fascinated by “Weak Enough”, “Your
Ethos is Like a Drug to Me”, and “Keep Morgantown
Weird”. I am still hesitant about the concept of the
one man band, but Marinelli largely changes my opinion with
this slab of unsophisticated basement brilliance.
 X
- Under The Big Black Sun (Porterhouse Prime Vinyl www.porterhouserecords.com)
All hail the brilliance of Steve Kravac and Greg Hetson!
No longer should these men be lionized solely for their
producing and musical gifts respectively, but for their
perseverance and forethought behind Porterhouse and now
Prime Vinyl records. Prime Vinyl has already re-released
critically important works from the Circle Jerks and now
unveils Under the Big Black Sun from seminal LA punk geniuses
X. What makes this such a marvelous effort is the astonishing
attention to detail; the vinyl is heavy and of incredible
quality, and the liner notes are as they appeared in 1982.
This is not a re-issue with unnecessary essays from contemporary
hangers-on pining for the long departed days of yore. This
is like being transported back thirty years in time and
hearing this record for the first time. For those too young
to accurately recall this prize, Under the Big Black Sun
is a collection of intelligent, articulate punk highlighted
by “Riding with Mary”, the title track, and
the blistering “Because I Do”. It also includes
the poignant tribute to Exene Cervenka’s mother Mary,
“Come Back to Me”, the stomping “Blue
Spark” and the scorching “Real Child of Hell”.
Joe Doe, Exene Cervenka, D.J. Bonebrake, and Billy Zoom
have much to celebrate here, and all of us benefit from
the return of this long out of print gem.
JOHN EYE - Cannonicus 3:14 (www.h1Massive.com)
Dark, ambient, and edgy, John Eye is a surprise. I am off-put
at first by the fact that it appears as if Eye takes one
idea and simply reformulates it seven times and slaps on
one extra track for fun. Instead, despite using “Cannonicus”
in seven of the eight titles, this is not an EP of one track
simply remixed. Each of the seven “Cannonicus”
efforts is distinctively in personality and intensity. The
brightest highlight for me was “Sun Dance”,
a majestic, traditional Lakota Sioux performance which is
riveting. The opening drum pummeling and atmospheric nature
of “Ride” is instantly enticing, and opens the
floodgates of Eye’s remixes and reconstruction of
the title song. The destructive force of “Song of
Cannonicus” uses metallic force and heavily distorted
vocals to rattle one’s brain for a punishing six minutes
and this one is on repeat for me. “Cannonicus Rivetburn
Mix” features a hypnotic groove that could melt the
walls of any club. Each song also includes the beats per
minutes, with a riotous 128 bpm’s occurring on half
of the efforts! This would not be a traditional listen for
me, and I was unaware of Eye’s work prior to this,
but he is highly prolific and worth of investigation. Fans
of his earlier material should find reasons to celebrate
this latest piece.
THE F BOMBERS - “Nobody’s Hero” Pledge
Allegiance (Jailhouse Records www.jailhouserecords2.bandcamp.com)
This single is the lead track from the upcoming Pledge
Allegiance record on Jailhouse records, the label responsible
for unleashing the Pink Lincolns upon the world. The F Bombers
are energized, hook-laden, and instantly engaging. The track
is three and half minutes of pure, gritty punk with a tremendous
sense of harmony. With aggressive vocals and a raw, yet
melodic riff and big chorus, the song follows the blue-print
of how to generate accessible punk. There is nothing not
to like here, and this track bodes well for the full length
effort. Check checking out the jailhouse website for details
on a highly promising act.
THE LAST STAND (www.myspace.com/thelaststandnyhc)
This blink and its over EP is four songs of traditional,
thunderous New York hardcore. The members of The Last Stand
have been doing this for a while and there is nothing revolutionary
about this effort. However, that does not detract for its
power and fury. Those who appreciate Agnostic Front, Madball,
and other no frills hardcore acts will revel in this. There
is nothing not to like if you consider yourself a hardcore
fan-the guitar riffs are concrete thick slabs of power compliments
of Dion De Nardo. Surrounding him are fellow former Shutdown
mates Stephen Della Croce on bass and drummer Jimmy McCormack.
Together, their playing is an impenetrable fortress of aggression,
acting as an ideal musical bed for the rage expunged by
vocalist Mike Scondotto. The most satisfying aspect of this
disc is that there is a level of sophistication to each
of the four efforts, particularly “Opportunities Lost
and Found” and “Life’s Questions”.
This is not a bunch of kids screaming about a world they
do not understand-these are still fuming, frustrated adults
using hardcore to vent real dissatisfaction. If you are
still angry after all these years, go find this one.
THE LOWBOTS t (www.myspace.com/thelowbots)
I am never in a mood mellow enough for this. Tony Low is
a talented singer with a rich, textual voice, but I am not
a fan of this style of playing. Part folk, part trippy pseudo-psychedelia,
the Lowbots jingle and jangle through twelve non-threatening
efforts. Songs like “Puffin” and “Like
a Dream” are sure to be appreciated by those who wish
the 60’s never faded, but I am bored. “Virtual-made
Man” is a sarcastic look at today’s technologically
driven world, but it is not truly critical; it comes across
as a poorly delivered sarcastic rant and not a song of any
real cultural substance. Other pieces, such as the mundane
“Ride With Me” and “Been Here Waiting”
take one idea and exploit it for too long. Musically, Low,
along with Peter Tyler and Mike Glock are more than competent
at their respective instruments, but the gentle tempos,
harmless delivery, and bland arrangements leave me frustrated.
In fact, as I listen to this album of polished, pop-rock
nuggets, I am becoming increasingly angry. Save this for
the coffee house circuit, if one of those still exists,
but please keep this from me.
JIM TESTA The Wurst of Jim Testa: Music to Eat Sandwiches
By (www.facebook.com/jimtesta)
I know I am going to sound like a suck-up by enjoying this
and praising it, but I am not some easy-grader who is here
simply to fawn over Jim’s musical adventures. Our
friend Jim plays fun folk rock with a great sense of humor
with nods to pop and even doo-wop without sounding fabricated
or trite. Every word is delivered with brutal honesty and
Testa is a skilled raconteur who can reference Justin Beiber,
Elvis Costello, and the Ramones within the same track and
have it make sense (the wonderfully sardonic “Blow
Up Your Radio”). Granted, there are times when one
must be of a certain age to truly appreciate the references,
but if you know Jean Shepherd (everyone has seen “A
Christmas Story”, so you need not be familiar with
his early radio career) or fondly admire Husker Du (on the
slightly punchier “Lunch with Husker Du”), Testa
speaks directly to you. Testa paints teen angst with raw
emotion on “I Was a Teenage Frankenstein”. Set
in New Jersey in 1978, the narrator is every kid who ever
pined for the homecoming queen and could not get a date
for the prom, i.e. dorks like me. However, rather than ending
the story in a teenage basement with a copy of Hustler,
Jim takes you into the current state of that once gorgeous
girl: four times pregnant, fat, and married to the former
quarterback who is now bald. It’s a classic example
of nerd revenge and it rules! Testa’s insight into
the pseudo-hipster universe shines thrown on “Planet
Williamsburg’ and “Sally’s Got a New Tattoo”,
while his endearing self-depreciating humor is evident on
the now somewhat dated “(I Need the) Queer Eye (For
the Straight Guy)” and seamless double entendre of
“Third Class Male”, which mirrors early Elvis
in delivery. He even captures the spirit of “indie
rock camaraderie” on “The W.E. Fest Song”,
a tribute to emergence of a true grass roots festival success
story. What makes The Wurst of Jim Testa so likeable is
how Jim, whether you know him or not, comes across as an
everyman; he is an earnest, insightful guy who sees through
all the nonsense and exposes it with an acoustic guitar
and a smirk. Besides, how can one not like a guy who pays
homage to Festivus? Now it is time for the feats of strength,
Jim!
JOHN SHIPE - Villain (Involushun Records www.johnshipe.com)
For those who appreciate the beauty of Americana, you will
undoubtedly fall into the velvet embrace of John Shipe’s
Villain. Ten albums in, Shipe seems to be hitting his stride
on this lush collection of highly descriptive tales of love
and woe. The highlight is the stunning “Hard to Believe”,
a stirring duet with Halie Loren, but there will be undoubted
debate about which effort truly stands out. “Love
Belong to Everyone” is a warm, luxurious effort that
defies a title that sounds a bit corny. The bouncy and pop-infused
“Another Disaster” stands in contrast to more
somber and wrenching “No Use Crying Over a Spilt Life”,
but the two make a tremendous one-two combination arriving
deep in the record. The latter is particularly cutting for
those who find them unhappy in their current situation,
but as Shipe reminds the listener that one should not complain
when one “got a job and you love your wife/ no reason
to fall on your knife”. The entire disc resonates
with an intimacy through the production skills of Ehren
Ebbage. John Hiatt and Jeff Buckley fans will instantly
gravitate to this, particularly the witty and intelligent
lyrical play of “What Right Do We Have to Fall in
Love?” and the powerful piano ballad “Dead Kite”.
This is atmospherically beautiful and harmonically sensual;
a rich combination of musical dexterity and lyrical erudition.
This is a striking record worthy of immediate attention.
 FORMER
GHOSTS - New Love (Upset the Rhythm Records www.upsettherhythm.com)
Dark, expansive, and intriguing, New Love is a musical
investigation of loneliness, obsession, and suffering. The
soundscapes of Former Ghosts fluctuate between sparse and
fiercely penetrating. The opening “The Days Will Get
Long Again” introduces Freddy Ruppert’s morose
interpretation of pop. Even when the record becomes bouncy,
such as the kinetic “New Orleans”, there remains
a sense of uncertainty and potential despair. “And
When You Kiss Me” will enthrall Joy Division fans,
for one can feel Ruppert’s anguish in its raw, beautifully
tortured manner, while the soaring vocals of Roza Danilova
accentuates the majesty of “Chin Up”. Fittingly,
Ruppert made a song titled “Trust” an instrumental,
as it is a appropriate metaphor for the vacuous loss of
faith and hope which dominates the disc. With ear-tantalizing
rhythms and synth that can be pop-tinged or angular, New
Love is a sanguine display of musical manipulation. The
morbidity of Ruppert’s vocals are haunting on “Taurean
Nature”, with its simple beats and gentle synth, while
the up-tempo groove of “Right Now” masks the
soul-wrenching sorrow found within. Yasmine Kittles provides
a voice that is innocent yet infused with yearning on “I
am Not What You Want”, making it the most infatuating
effort of the bunch. The most excruciating demonstration
of emotional suffering is on the fittingly titled “Bare
Bones”. Ruppert laments about his state as he bemoans
“I would sacrifice anything just to see you smile”
and “love, keep it away from me” over an ethereal
musical bed. His voice quivers and radiates with tangible
agony-this is a troubling but deeply engaging examination
into the depth of longing.
SOUTH CRY - Blue Moon (www.Southcry.com)
As I listen to this I am overwhelmed by a desire to angrily
turn it off and throw away someplace very far, particularly
following the band’s mid-tempo attempt at “Help!”
by the Beatles. Yes, those Beatles. However, as I regain
my composure and the blood slowly drains out of my face,
I am somewhat glad that the disc continues on, for not everything
South Cry does is so cringe-inducing. Following this debacle,
which is the fourth track on the self-released disc, this
Brazilian act produces a collection of yeoman style rock,
occasionally touching on mainstream boogie, a la the Kings
of Leon on “Actually’ and “Russian Roulette”.
However, this is extraordinarily ordinary in every respect.
South City are about as bold as Counting Crows, a band from
whom they seem to draw inspiration on “Lord of Sound”
and the closing “She!”. It is an unremarkable,
but not entirely joyless listen, but you will never rush
to hit repeat. If you have a friend who has never heard
rock before and wants the most generic, flavorless approach
to the genre, play that person Blue Moon. For the rest of
us, keep on walking.
 ROBERT
POSS - Settings: Music for Dance, Film, Fashion, and Industry
(Trace Elements Records www.TraceElementsRecords.com)
Robert Poss is responsible for a record that is mesmerizing
and stunning in scope. This richly textured release features
pieces commissioned for choreographers Alexandra Beller,
Gerald Casel, and Sally Gross. This collection is a beautiful
manipulation of sound, a droning amalgamation of artistically
challenging brilliance. Leaving his guitar and wall of distortion
at home, Poss generates songs of quiet, genteel serenity,
almost to the point of not moving. Ethereal yet still piercing,
Settings is a journey of enchanting beauty which hovers
precariously on the verge of chaos. The opening bells of
“Other Stories Interlude” (which return on “The
Pleasure of Stillness”) and the engrossing “Feed
Forward” are two of the works created for Beller,
and two of my favorites. Longer efforts, particularly “Border
Crossing March”, crafted for Casel, and the complex
“Stare Decisis” are absorbing experiments of
tone and structure. There is still room for remarkable warmth
and beauty as exemplified by the lush strings on the majestic
“Tourniquet Revisited”. The sophistication of
Settings is staggering, for the record transcends soundscapes
and enters rarified air usually reserved for only the most
exemplary classical works. While each song is elegantly
performed with a wholly unique personality, there is cohesion
throughout the record as the fourteen tracks possess an
intimacy and immediacy that defines the larger work. It
is soulful and powerful in its scope and subtle force. Poss
is a genius at creating atmospheres that are intimate yet
expansive, daunting yet personal. Only on the concluding
“Robert Palmer Tribute Coda” does Poss’
more traditional side emerge, as the song is a scathing
eighty-five seconds of guitar squall and feedback. This
is a triumph.
 WE
ARE HEX - Hail the Goer (Roaring Colonel Records www.myoldkentuckyblog.com)
This evocative disc is a charming combination of blunt
force and delicate darkness. Throughout the record, the
drumming is incredibly powerful and robust, quite literally
the driving force behind each track. Conversely, there is
sparse guitar work and even a little flute present, resulting
in a band whose sound is truly genre-bending. However, what
will undoubtedly enrapture the listener is the vocal style
of Jilly. Her voice can be warm and comforting or a shriek
of anguish, both done with equal command and power. Seemingly
to borrow ideas from bands such as Bauhaus, Nirvana, and
early Cure, the listener is dragged through a cathartic
darkness on efforts “Teeth Collection”, “We
are the Goer”, and the furious closer “Cutter/Given”.
Clocking in at less than thirty minutes, We Are Hex does
not waste your time-you are drawn into their fury and rattled
until they decide to release you. There is no one style
name to affix to this band, but it is a highly imaginative
listen from an act unafraid of challenging people. I suggest
multiple spins, for one will become a bigger fan with each
listen.
 JUKEBOX
ZEROS - City of Bother and Loathe (Rank Outsider Records
www.rankoutsiderecords.com)
Philly’s Jukebox Zeros give you four songs of awesome,
honest, American rock n’ roll at a time when it is
desperately needed. The title track has a chorus you will
remember for weeks, while any song that includes the line
“I killed a six pack just to watch it die” (“Goin’
Down to the Cop Shop”) is an instant classic in my
book. The band manages to be both gritty yet still pop-laced,
particularly the fabulous “Let’s Get Zooed Out”.
Peter Santa Maria’s gruff and soulful vocals carry
each track while raw energy oozes out from behind him. You
may not have more fun with an album this year.
 O’PIONEERS/
JUNIOR BATTLES - Split EP (Kiss of Death records www.kissofdeathrecords.com)
O’Pioneers is the big winner of the two here, for
their forceful approach is tempered by a subtle melodic
balance that makes “Hey!That’s My Blood”
a tune with more than just a great name. A huge guitar riff
and a jagged chorus give this song an abrasive edge which
I love. Rare is the band that is so aggressive yet so melodic.
I want more from these guys. Junior Battles, oddly enough
the band backing vocalist Eric Soloman from O’Pioneers,
do not capture the ferocity of the A-side. Junior Battles
is a band with a much safer approach; they blend elements
of punk-pop, heavy on the pop, with traces of more dexterous
musicianship. The result is “Passing Out”, a
song that possesses a well framed harmony, but was simply
too pedestrian for my taste, although the talent is obvious.
 RAPID
CITIES/MOCK – Split EP
(myspace.com/ilovehaterecords)
Why is the world not singing the praises and celebrating the
obvious brilliance of Rapid Cities? This act was born too
late, for they would have defined the Dischord roster in the
90’s. Pointless nostalgia aside, these guys are amazing
and need to be heard. “Techno After Party” has
a moody, start/stop aesthetic which is soaring in terms of
beauty and intensity. The guitar work is pristine, the vocals
and powerful, and the rhythm section is flawless. This was
so good, even my cat sat down and listened. Find this immediately
and make these guys rock stars.
Germany’s Mock is a bit tougher to grasp than RC.
Their song structure on “Count and Release’
is more complex and angular, making it both fascinating
and frustrating. Therefore, it does what good art is supposed
to do, which is confound and engage, and the deliberate
vocal style and challenging guitar riff will do just that.
Mock finds a disjointed quality within their harmonies,
but the convoluted nature of “Count and Release”
goes on for too long. There is a great idea in the center
of this song; it just requires a great amount of work to
enjoy it.
 REASON
TO FIGHT/CHESTY MALONE AND THE SLICE ‘EM UPS- Split
EP (United Riot Records www.unitedriotrecords)
Always nice to give some love to my home state of Rhode
Island, and the nation’s most historically defiant
state is well represented with Reason to Fight. If you like
old fashion hardcore with rumbling bass, searing guitar,
and shout-out along vocals, climb up front and get prepared
to be punched silly. Reason to Fight roar on both tracks
here, including the classically-trained unity anthem of
“Dying Breed” and the celebration of the blue
collar workingman, “Hard Working, Hard Drinking, Hardcore”.
There is nothing fancy here; just a crisply played, well
produced slab of hardcore honesty.
Do you really need a review of a band called Chesty Malone
and the Slice ‘Em Ups? It’s safe to imagine
what you will get, and you will fall to your knees for this
act. Oh, if GG Allin was alive today-he would probably be
a huge mess, but he would also be on the road with these
feisty characters. The role of Chesty is filled out (ha!)
by Jaqueline Blownaparte (Ok, just awesome), and her snarling
vocals are the highlight of “The Brain That Ate New
York” and “Quest for Flesh”, two of the
sterling nuggets here on this release. The playing here
is raw and vicious and must make for a great live show.
This is a perfect release for punk fans who do not mind
a little humor with their circle pits.
 TEARS
OF FRUSTRATION- Live at CBGB’s (United Riot Records
www.unitedriotrecords)
This five song release captures the spirit and vitality
of the CBGB’s matinees. The urgency and energy of
the playing is obvious as Tears of Frustration as a hardcore
machine. The raging “Old America” gives way
to a duo of scathing anthems, the blistering “Hold
My Breath” and “No Retreat”, my favorite
of the bunch. The production level is raw and you feel as
if you are immersed in the sweat and grime of the club-this
is not just a great hardcore act ripping up a legendary
venue, it is a celebration of a spirit that is sadly now
just a collection of memories. However, wipe away those
tears and turn this up loud, for the B-side includes a pair
of covers, highlighted by a scorching rendition of DRI’s
“Yes Ma’am”. United Riot hits again.
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MELT
BANANA - Fetch (