 HIS
NAME IS ALIVE - Black Wings (HHBTM Records www.hhbtm.com)
His Name is Alive is the long-running spawn of Warren Defever,
and Black Wings is a celebration of everything the band has
always done extraordinarily well; namely creating penetrating
musicianship through lush arrangements and bucolic, ethereal
soundscapes. Vocalist Andrea Morici possesses a starkly beautiful
tone, and she is the star on the majority of the work on the
expansive, thirty-six song release. The opening trio of “Patterns
of Light”, “Energy Acceleration”, and “You
Best Pray” feature Morici’s breathy, haunting
vocals as she is accompanied by only the sparsest amount of
musicianship. The work on Black Wings includes expansive works
of wildly passionate emotion, (“How Ghosts Affect Relationships”,
“Get Air-La”), but the four piece, rounded out
by fellow guitarist Dusty Jones and drummer J. Rowe, also
explore a more thunderous side of their collective personalities
on the guitar-heavy “Rush”, the rugged “The
Examination”, and the furious din of “Demonfuzz”.
Even “You Best Pray” is treated to a “fuzz”
version, and the song that is heard earlier as genteel and
stirring, becomes equally engaging as a far more menacing
slab of brief, noisy, fits. The band has an uncanny knack
for moving effortlessly between styles and formats, including
elements of progressive synth on the “Dragonmix I”
and “Patterns of Lights (Moog mix)”. Even brief
snippets of songs, such as “Italia”, “Memory”
and “Les Zeppelina” are beautifully arranged,
and there is purposefulness to their presence in the midst
of longer, more fleshed-out tracks. The cacophony of restraint
of “After Greensleeves” is seated comfortably
close to “White Loops”, a buried gem that sounds
like a lost effort from the Stranger Things soundtrack. There’s
even a cover of America’s “Sister Golden Hair”
thrown in for purposes known only to the band. Bands like
His Name is Alive demonstrate how much creativity there is
still in the world; one may have to look deeply to find it,
but the search is worth the effort when one encounters works
of genius such as this.
 SHARP
VIOLET “These are the Rules, Boys” (https://sharpviolet.bandcamp.com)
On a quiet Thursday night in Amityville, NY, I was fortunate
enough to catch a set from Sharp Violet, Long Island’s
contribution to a resurgent riot grrrl movement. A quick scan
of their Bandcamp page gives an introduction to a band that
is biting, musically skilled, and very intelligent. The sardonic
“These are the Rules, Boys” attacks the phenomenon
of “mansplaining”, but does so without blanket
accusations or sweeping condemnation; instead, vocalist Liz
Meehan, who looks and sounds like what could have happened
to Taylor Swift is she grew up listening to the Kill Rock
Stars roster, says, “It can be so easy/ If we got along/But
you always have to be right/Even when you're wrong”.
Accompanied by a riff straight from Bratmobile’s finest
moments compliments of Jessica Benenati, along with a throbbing
low end rumble from bassist Jasmine Fuentes and drummer Tala
diBenedetto, the track glides along with a controlled sense
of simmering frustration that ultimately explodes in the final
moments with Meehan roaring “always talking, never listening”.
Sharp Violet’s latest effort is “Domino Effect”,
taking full aim at Harvey Weinstein and his nauseating ilk;
Sharp Violet are the right band at the right time, for sadly
there are all too many stories of abuse and misogamy for them
to explore. However, while the behaviors the band chooses
to excoriate are repugnant, Sharp Violet’s music is
just the opposite. As someone old enough to remember Bikini
Kill, Heavens to Betsy and others when still in their infancies
as bands, it is inspiring to hear riot grrrl punk still being
played with such precision and rage. Go check out Sharp Violet
immediately.
 DEAD
GIRLS ACADEMY - Alchemy (Victory Records www.victoryrecords.com)
Sleazy hard rock has become a lost art sadly, but Michael
Orlando and Dead Girls Academy are here to revive the form
with all the necessary swagger and excess. However, DGA are
not mullet-sporting retreads trying to capitalize upon a sense
of nostalgia; this is an old-fashioned rock n’ roll
band employing lyrics about life’s underbelly (“Right
now I wanna feel this pain forever”) and scorching solos.
While “I Can’t Feel a Thing” has a slower,
more controlled tempo, “Everything” could have
lit up the Sunset Strip in ’87, and I love every second
of this. Edgy and overflowing with nervous energy, Alchemy
is a stirring collection of impactful three minutes blasts
of rage and frustration that may be snubbed by elitists, but
that is not going to be DGA’s audience; instead, this
band will appeal to purists who remember when rock had an
element of danger and inspired panic. I love what Orlando
is doing here, and this is a man who confronted death and
rebounded with an even stronger sense of purpose. Alchemy
represents his remarkable attempt to craft a niche for himself,
and DGA will be a brilliant second act.
 HUMAN
ADULT BAND - Sonic Enlightenment (Third Uncle Records www.thirduncle.com)
Human Adult Band is the type of outfit that still gets me
excited about delightfully odd music as if I was still doing
college radio for ten listeners. From the green, swirly vinyl
to the whimsical noise found within, Sonic Enlightenment is
a cacophony of perfectly executed chaos. “This Will
Happen Again in a Year and a Half” and “Tampa”
are two schizophrenic blats of noisy, disorganized precision.
As a huge fan of metallic din, I adore everything about Human
Adult Band-this is anti-music to confound and annoy those
who simply do not recognize the genius at play here, but for
those in the know, Sonic Enlightenment is a gem. The brief,
surf-tinged “Monopus” comes closest to a more
traditional song structure, but its droning riff still sets
it aside from one’s typical act. This could be punk,
but in essence, Sonic Enlightenment is defiance set to a polyrhythmic
structure. Only the massive “Easton Ave. Laundromat”
and the feedback drenched “Old Timey Teratological”
include vocals, and while the presence of lyrics adds something
unique to these efforts, the majority of the work eschews
any vocal presence and allows the listener to be overwhelmed
by the musical directions taken by the band. “Cosmic
Snake Bite Kit” begins with a rather benign intro before
erupting into a screeching, agitated mass of force. Closing
with “Departed Earthen Angel”, a song appropriate
for a low-budget slasher film, Human Adult Band concludes
distinct blend of no wave, experimental noise, and fearless
originality.
 MOJAVE
NOMADS - Phases (Standby Records www.standbyrecords.com)
Roaring out of Ogden, Utah of all places comes this six song
EP of danceable guitar pop with sultry undertones. Mojave
Nomads blend lush synth from Mason Hill with the highly emotive
vocals of Tyler Harris to generate the dreamy sensibility
of the opening “GIRL” and the particularly beautiful
“Talk of the Town.” While “Morning Glory”
has a swirling rock vibe, led by guitarist Colter Hill and
supported by the rhythm section of bassist Bryton Bell and
drummer Cole Eisenhower, the guys return to more somnambulistic
tones on the genteel “Strange Love”. The closing
“Heavy” truly demonstrates the warmth and breadth
of Harris’ vocal abilities. I had no idea what to expect
entering this release, and I finished Phases immensely impressed
with what Mojave Nomads are doing.
 CHANDLER
TRAVIS THREE - O Backward Crooked From the Sunset (www.chandlertravis.com)
Quirky, irreverent and highly skilled, Cape Cod’s Chandler
Travis and his Three O’s play downhome, folk-inspired
tracks that boast of unbridled irreverence. “Disappointment”
is a meandering effort that is accented by a blast of guitar
force before settling back down into Travis’ earnest
vocals. “All the Little Things” has a Buddy Holly
meets Johnny Cash vibe and the song bounces with a sublime
level of kinetic energy, while “Settling for Less”
has Travis’ traditional story-telling skills kissed
by his subtle humor (“Number one is nice I know/But
there are so many other nice numbers”). The lush piano
one hears on “Salad Days” augments a heartfelt
love song that still includes a dark sense of humor as the
female love interest confesses about all of her past loves
(and yes, there were many…) while the poor guy involved
attempts to remain above the pain that comes from hearing
about the vast number of conquests. The subtlety of the humor
matches the playing on Backward Crooked From the Sunset, for
the songs resonate with a natural warmth like the sun beating
down on a crowded Cape Cod beach on the Fourth of July, as
even the brief instrumental “Queen Rachel” has
a stirring beauty to its arrangement. The high water mark
is “The Mayor of Drunktown”, a rollicking, honky-tonk
of a song that is both very funny and too realistic for many
of us. At its core, the song is about someone having a good
time, but woven within to this is the realization of what
this behavior can do to the people around him. The closing
“Not in Service” has a rich guitar tone and Travis
sounds particularly inspired. For people who appreciate the
art of a gifted raconteur and a highly proficient crafter
of intelligence, personalized songs, Backward Crooked From
the Sunset is a perfect soundtrack for the summer.
 FOUR
LIGHTS - Kobayashi Maru (Bomb Pop Records www.bombpoprecords.com)
These Seattle pop-punk lovers wanted to make “a big,
dumb, rock record” according to vocalist and guitarist
Dan Gardner, and the result is a grand, often-hilarious, highly
satisfying listen. Kobayashi Maru (named for a test of one’s
character from Star Trek so says the internet) opens with
“Bent”, a song that rattles out of the box with
a great hook. However, once the second track, “ComRAD”
hits, it is clear one is in for a treat. With lyrics about
falling love with a Communist at a coffee shop (“She
asked me what I thought of Lenin/I told her that I really
loved ‘Imagine’”), the song is blisteringly
funny and played with effusive energy. “Jimmy’s
Song (Part 2)” slows the tempo down a bit with a chunkier
guitar riff, while “Run” and the highly self-effacing
“Let’s Burn Burn Burn” are ideally crafted
punk-pop gems. A picture on an ex’s Facebook page is
the crisis explored on “He’s Got Good Teeth”,
and the sad yet speedy track is paired perfectly with “No
Return”. It can be potentially redundant to listen to
twelve consecutive light-hearted punk tracks, but Kobayashi
Maru is expertly structured so the songs vary in tempo and
approach just enough to consistently hold one’s attention.
I found myself sad when this ended-both for the heartbreaking
stories so boldly shared on each song, and also because this
is a sterling example of a band who knows what they do well
and does so with ease.
 HIGH
PRIESTESS s/t (Ripple Music www.ripple-music.com)
Three metal goddesses (Katie Gilchrest on vocals and guitar,
bassist Mariana Fiel, and drummer Megan Mullins) simply crush
the listener through six pummeling, overwhelming efforts on
their debut release. The band became the toast of LA’s
metal scene through one demo released less than a year ago,
and everything about their self-titled release illustrates
why. Gilchrist’s vocals can be both ethereal and lush
or terrifyingly guttural, and her two band-mates support her
with thunderous low-end force, with Fiel’s bass lines
offering consistently memorable waves of devastation. Yes,
the mandatory Sabbath-inspired stomp is present, most noticeably
on “Banshee” and “Take the Blame”,
but it is not so prevalent as to become predictable. The opening
ten-minute opus “Firefly” is an atmospheric triumph,
majestic and intriguing. Mullins is a star behind her kit,
contributing brain-rattling force to the otherwise airy “Despise”,
as Gilchrest’s guitar force ebbs and flows with the
same ease with which she controls her voice. The band is not
traditional doom in terms of sounding as if they are collectively
trapped in a musical tar pit, as both “Mother Forgive
Me” and “Earth Divide” have stirring moments
of quiet that accentuate the bombast with shattering intensity.
Certainly fans of Sleep’s legendary work will find mush
to appreciate here, for High Priestess emphasize musicianship
that is sometime lost in the dirge that is doom metal. Artistic
and visionary, High Priestess create truly engaging, and even
energizing, doom masterpieces.
 ANIMAL
FLAG - Void Ripper (Flower Girl Records www.flowergirlrecords.com
Singer/guitarist Matthew Politoski is the leader of Boston’s
Animal Flag and he rightfully describes the band’s records
as each a separate “universe”. Within that single
word lies an ideal summation of his band’s latest effort,
Void Ripper. Animal Flag has witnessed numerous shifts in
sounds and members, but Void Ripper is a scintillating nine-song
experience that is occasionally challenging but consistently
engaging. The opening quiet hush of “Morningstar”
gives way to “Candace” with a sinewy aloofness,
and “Candace” assaults the listener with a massive
bass line from Zach Weeks and a groove that swings and smashes
with wild aplomb. The rumbling loud/soft dynamic of “Stray”
is simultaneously infectious and intimidating. Imbued with
a powerful hook, the song’s darkness shrouds a band
that knows how to craft sublime harmonies. Surrounding Politoski
and Weeks are guitarist Sai Boddupalli and drummer Alex Pickert,
and the four allow Animal Flag to integrate familiarity into
a sound that is slightly impossible to firmly place. “Fair”
has a panoramic sensibility; the track is expansive, but also
includes a warm, nearly shoegaze pop aesthetic. The band takes
the listener on oscillating emotional journeys on “I
Can Hear You Laugh” and “Lord of Pain”.
The latter begins with a seemingly innocuous acoustic riff
before morphing into a more complex and multi-layered effort.
The austere beauty of “Why” makes it my favorite
of Void Ripper; however, this is not an easy choice and my
feelings may change with subsequent listens, but for this
moment, the expert power heard on the track makes it a perfect
embodiment of this band’s prowess. Closing with a fury
on “Five”, Animal Ripper has a gem of modern experimental
rock with intellect, force, and precision.
 THE
BUNNY GANG - “Problem What problem” b/w “Protecting”
(Zojak World Wide www.zojakworldwide.com)
The Bunny Gang plays lighthearted, instantly infectious ska
that would act as a primer for those unfamiliar with the genre.
The A-side is a cover of “Problem What Problem”,
originally done by DoNots, a German outfit that took a little
time to research, and The Bunny Gang inject a little life
into the original. The B-side “Protection” is
a smooth flowing track about looking out for those who matter
most. The single overflows with positive vibes, and is a celebration
of kindness and affirmative messages. This is not a reinvention
of ska, but the band does not pretend to do so; instead, they
proudly display their fun-loving nature across two songs that
are equally easy in which to lose one’s self.
 PUNKEMON
– “Gotta Rock ‘Em All” EP (Sounds
Rad Records https://www.soundsradical.com)
While obvious a niche piece, Punkémon is also a celebration
of delicious punk-pop tomfoolery from some of the best in
the business. Originally recorded in 1999, the two songs on
the single sound as if they were cranked out last week. Dr.
Frank from the Mr. T Experience is joined by Chris Imlay from
the Hi-Fives, Mel Bergman from Phantom Surfers, and Lookout’s
Chris Appelgren for a wonderfully adorable time capsule project.
“Lickitung” celebrates an actual Pokémon
character, who according to his bio, has the special talent
of “licking”. It makes sense, but it almost makes
too much sense, so I though the character was a creation of
these twisted geniuses, but incredibly, Lickitung is an actual
creation generated to be sold to children. At any rate, the
brief B-side “Pocket Monsters” flies by far too
quickly, as did the window of potential success for this band.
However, it is a wonderful throwback to a simpler time in
America.
 SHARKFIST
VS. BROWN PLAID – Split 7-inch (Splits McGee https://sharkfist.bandcamp.com)
Brown Plaid has me hooked with “A Perfectly Cromulent
Song”; the track has both a title with a fantastic Simpsons
reference and lyrics about Metallica’s mid-90s make-over
(“I’m pissed off like a metal head when Metallica
cut their hair”). The guys from Long Island play traditional
punk-pop fare, but do so with a sharper than average sense
of humor. Placing the inconsistencies and general stupidity
of modern society through a sarcastic lens is nothing new
in the world of punk-pop, but with references to Doug from
“The State” (“We’re Outta Here”),
and a keen eye for pointless nostalgia (“Practice”),
the four songs are both aggressive and hilarious. Their Screeching
Weasel acumen is obvious, and there is nothing wrong with
that. Meanwhile, Sharkfist has a moniker that refers to partying
“beyond comprehension” according to their Bandcamp
page, and who can doubt their sincerity on “There’s
No ‘I’ in Party”? This loud, snarky, outfit
deliver their punk with a slightly less obvious pop affect
than their split mates and they allow “.666 (The Batting
Average of the Beast)” to breathe a little bit rather
than rushing through the effort. I suggest picking this up
digitally to gain access to the bonus tracks “Beer Pong
Champions of Long Island” and “Drink ‘Em
if You Got ‘Em”.
 RADIATION
RISKS - “Headless Horse-man” b/w “Nancy”
(Feral Kid Records ttps://feral-kid-records.bandcamp.com)
This Buffalo outfit makes it clear that all that snow and
ice can lead to cabin fever which leads to temporary insanity
which leads to this. Radiation Risks play quasi-psychedelic
punk that is somehow lo-fi, speedy, groovy, and majestically
bizarre. With lyrics referencing The Godfather, “Mr.
Ed”, and sexual fantasies involving Nancy Reagan, be
sure to share this only with people who have been acquaintances
for a long time. “Headless Horse-man” is almost
atonal at times with the vocals buried deeply into the mix,
while “Nancy” is much more clear so one can appreciate
lines such as “Hinckley is free again, Jodie…she
needs you John, to hunt again”). Throughout multiple
listens, I truly have no idea what I am hearing, and I love
it more each time.
 DIGITAL
CRIMINALS - Hell Yeah (www.digitalcriminals.com.uk)
This four-song EP from the only band from Wales that I know
of is a surprisingly danceable blend of aggressive guitar
rock and pop aesthetics. Emily Bates has a powerful voice,
and when declares that everyone should declare, “hell
fuckin’ yeah” on the title track, the line is
delivered with and infectious and undeniable authenticity.
The band has too many massive riffs, compliments of Dan Fry,
to labeled as a pop-rock act, but they are certainly not afraid
to craft easily digestible and incredibly infectious hooks.
“Just Jump” is rife with a massive chorus and
the closing “Sleep When You’re Dead” shimmies
along with a bouncing groove from bassist James Hardwick.
Playing what used to be labeled “hard rock” is
a lost art, and Digital Criminals are unapologetic in their
affinity for arena rock elements, but the foursome has an
energy that elevates them above merely posing. With many bands
of this ilk, the songs can sound a bit too overproduced or
mechanized; while there are traces of that on the four tracks
on this EP, the raw strength of Bates helps to preserve a
level of fun-loving, too-drunk-at-the-party type of vibe.
Digital Criminals are not trying to invent something new or
rewrite the way rock n’ roll is played; instead, the
focus their collective energy on crafting huge guitar-driven
anthems that do not require any analysis-the band just wants
to have fun. It’s a refreshing idea.
 PARLOR
WALLS - EXO (Northern Spy Records https://northernspyrecs.com)
Parlor Walls throws a little bit of everything at the listener
in a celebratory mass of noise, jazz, rock, and dissonant
fury. “Necromancer” is a hypnotic, dysfunctional
combination of swirling force with a subtle hint of sexuality
that makes the song a delectable slice of inspirational
chaos. EXO is a highly robust EP, giving listeners much
more than just four songs-the experimentalism and creativity
of Alyse Lamb and Chris Mulligan is reflected through a
powerful musical relationship. The songs rise and fall with
both abrasive force and supple dexterity. “Love Complex”
has a chorus that erupts with devastating volatility before
regressing back into a more genteel approach. “Isolator”
is a controlled ball of simmering force that toes the edge
of exploding, but holds itself together for a scintillating,
jazz-tinged ride. The closing “Low Vulture”
has Lamb demanding to “get out in front of it”,
with her voice slicing through the atmospheric din constructed
around her. This is a flawless effort.
 GREAT
LAKES - Dreaming Too Close to the Edge (Loose Trucks Records
https://greatlakesbencrum. bandcamp.com)
Ben Crum is a bit of a personal inspiration to me; we are
the same age and both teachers. However, the similarities
end there, as Crum is an immensely gifted singer/songwriter,
whose heartfelt, earthy songs are pristine gems of smart,
gritty rock n’ roll. Everything on Dreaming Too Close
to the Edge rambles with a fluidity and confidence, from the
opening barrage of “End of an Error” through the
understated psychedelia of the closing “You Could Have
Had Me for a Song”. The work of Great Lakes has the
honesty of Tom Waits and the pop sensibility of The Byrds,
best heard on the serene “Awaking Up Together”,
a lush, rollicking piece that sounds effortless in its delivery.
Crum’s bluesy, weathered vocals are ideal for the songs
of Great Lakes-the stories he tells are those of maturity,
self-discovery and recognition, and it requires a certain
amount of miles to deliver such tales with the eloquence and
passion they deserve. The record is highlighted by the sing
along components of “Bury the Hatchet” and the
earnest nature of “To Live is to Lose”. While
not truly country-flavored, “Kingdom Came” contains
a slight twang that provides a level of distinction from the
other surrounding anthems. Suzanne Nienaber and guitarist
Kenny Wachtel are two of the all-star caliber talent on display
here, but the entire band, rounded out by drummer Kevin Shea,
keyboardist Joe McGinty, pedal steel wizard Phil Sterk, and
multi-everything player David Gould, support Crum through
a collection of heartfelt anthems. The songs have both a battle-tested
intimacy as well as a distinct nature that makes Great Lakes
a captivating listen.
 MIEN
s/t (Rocket recordings www.rocketrecordings.bandcamp.com)
This wildly talented four-piece (whose other outfits include
Black Angels and The Horrors) offers atmospheric electronica
tempered with a classical Kraftwerk style component. The opening
“Earth Moon” has a densely hypnotic tempo structure
that dances on the edge of pop, but still retains a complexity
that elevates the song well above standard fare. “Bleak
Habit” wraps itself around a haunting groove that suddenly
drops out mid-song before reemerging with even darker and
fiercer energy. While Mien generates a specific sound, no
two songs are repetitive, or for that matter, even remotely
similar in nature. The forlorn emotion of “(I’m
Tired of) Western Shouting” steps aside for the ethereal
complexity of ‘You Dreamt”, as dance rhythms permeates
the mind of the listener, making the song an uneasy but fascinating
experience. The gentle ambiance of “Other” has
a gentle quality that offers the initial impression of a warm
embrace, but there is also a menacing component to the song,
and this speaks to what Mien does so well. As one gets lost
in the swirling masses of sound heard through the sprawling
release, the experience is both uncomfortable and somehow
serenely enveloping. Alex Maas, Tom Furze, Rishi Dhar, and
John-Mark Lapham are all limitlessly skilled, as “Ropes”
and “Echolalia” both demonstrate. The songs continue
the theme of distemper and familiarity, for both songs entice
with their beauty but one can never fully feel at ease. Each
song on this self-title release is a vast soundscape kissed
by pop hooks that allow the band to be both accessible and
confrontational. The buoyancy of “Odyssey” is
woven within a sedentary dance beat and haunting keys. Perpetually
and majestically bi-polar, Mien is a challenging listen that
is well worth the effort.
 THE
CARVELS NYC - Everything With You is a Travesty (www.thecarvelsnyc.
bandcamp.com/releases)
The Carvels NYC play five blasts of flawlessly executed garage
punk with a healthy injection of pop fun. Lynne Von Pang is
the inarguable star here, singing with a snarl dipped in delicious
sarcasm. Her assault upon a vapid partner through the lyrics
of the title track is a conversation everyone would love to
have, but simply lack the courage to do so. (“No matter
what I say, you just don’t pay attention/Then I have
to answer all of your stupid questions”) The bluesy,
controlled “Questioningly” (“I don’t
love you anymore/What do you want to talk to me for?”)
is led by the sax playing of Dave Spinley, but the band then
instantly shifts into surf-punk overdrive on “You make
Me Want to be Alone”, which is another scathing break-up
anthem. “It Wasn’t My Idea to Break Your Heart”
and “I Don’t Know What to do With You” are
rare pearls that sound like the Runaways and the Shangri-Las
sharing the same rehearsal space, with the latter highlighted
by Brian Morgan’s guitar work. Complete with beautiful
gatefold artwork and awesome stickers, The Carvels NYC do
everything right!
 NIHILIST
CHEERLEADER - Riot, Right? (Perfect Attendance Records http://perfectattendancerecords.com)
Reminiscent of, but not simply imitating, the Riot Grrl movement
that I fell in love with during the early 1990s, Nihilist
Cheerleader is a band with limitless energy and an equally
developed political acumen. This band would have been sharing
a stage with Bikini Kill and been the darlings of Kill Rock
Stars twenty-five years ago, but the world is lucky to have
them now. Akin to the calls to action commanded by Downtown
Boys, Nihilist Cheerleader attacks difficult topics with fearless
intensity. Flynne Collins has a broad vocal range, but she
is at her best when she unfurls her rage on “And She
Takes It”. Guitarist Dylan Loftin and drummer Charley
Barley run wild on the combustible “Shark Fin Soup”
and “Three Drug Cocktail”, while bassist Leona
Hinkle does a superior job of holding the songs together.
Boldly embracing garage aesthetics, Nihilist Cheerleader play
the purest form of punk-the noise and the aggression are there
to make people put their phones down and listen. The swirling,
dance groove of “Your Ur Uniform”, majestically
controlled by Hinkle’s bass work, is a soaring example
of a band that is firmly in control of their sound and are
only getting better. The opening, menacing riff of “Bleach
Boy” gives way to an explosion of disgusted fury that
references several politicians who may or may not be in office
by the time one reads this. With ten songs delivered in less
than thirty minutes, this band does not waste a note. Athens,
Georgia has quite a robust military history, but Nihilist
Cheerleader may be the future of that great city.
BABY BONES - The Curse of the Crystal Teeth (Gubbey Records
www.gubbeyrecords.com)
Baby Bones utilize dark tones with a surf rock vibe to create
an incredibly unnerving and thrilling listen on Curse of the
Crystal Teeth. Borrowing Ace Frehley from Music From the Elder-era
KISS and forcing him to sit in with Night Birds begins to
explain a bit of what it is like to be bombarded by “Pay
Us in Dimes”, the thunderous second track of the boisterous
six found here. “Slick Shoes” is a rattling wall
of force that is shockingly crafted by only three players
as Dave Rucinski, Thomas Burgos, and drummer Badnewz Brandum
simply decimate the track. This song stands in direct contrast
with the sinewy, slithering “Bottom Breather”
that also infuses a healthy blues hook into the dazzling conclusion.
The psyche-noise clamor of “We’re Done Talking”
is a triumph of a merger between punk and groove-oriented
rock into one boiling mass of force, while the opening “Bought
he Farm” is a hard-driving, pulsating rock gem. These
guys have kicked around the Louisville area for years, but
Baby Bones should make them national names.
 EDITORS
- Violence (Play It Again Sam Records)
While much of what Editors does swirls with extraordinary
energy, their brand of soaring, dark wave is best embodied
by “No Sound but the Wind”. Led only by Tony Smith’s
vocals and sparse piano, the song resonates with profound
impact through its lyrical power and stunning beauty. Blending
elements of the old and the new, Editors sounds like Echo
and the Bunnymen sitting in with Interpol, and the result
is a collection of mesmerizing songs. With a stripped down
delivery, “Darkness at the Door” and “Counting
Spooks” are deceptive; a cursory listen may infer simplicity,
but repeated plays allows one to hear the complex subtleties
that make the songs so memorable. “Cold” can be
both the soundtrack to a very adult night out or the coolest
song ever played at a middle school dance, and therein lies
the brilliance of Editors. Their songs are powerful and transcend
genres and ages. When Smith says, “Baby, we’re
nothing but violence”, (“Violence”) it is
a soulful admission uttered with remarkable honesty and sensuality
as a haunting beat cascades around him. The rich harmony and
groove that drives “Nothingness” is matched by
the ethereal expanse of “Magazine”, whose dance
floor hook is addictive and anchored by Smith’s Bowie-like
crooning. I had no idea that I would love this as much as
I do.
 MARC
RIBOT’S CERAMIC DOG YRU - Still Here? (Northern Spy
Records www.northernspyrecs.com)
Marc Ribot is a genius. There is no way to deny this fact
after one hears the delightful lounge sounds of “Pennsylvania
6 6666” (“Pennsylvania, want to live there/Place
where everyone is white”). The song meanders along,
somewhat innocuously so, for four minutes before erupting
into a rousing conclusion that includes stirring horns and
cries of “don’t go back”, “white pollution”,
and “never go back”. This comes on the heels of
“Personal Nancy” in which Ribot, accompanied by
two equally brilliant players in bassist Sahzad Ismally and
drummer Ches Smith, alerts all within ear shot that he “has
the right to scream like an idiot” and to “say
fuck you!”. The entirety of YRU Still Here is just stunningly
bizarre and it is unfeasible to not find one’s self
swept away in the grunge meets surf vibe of “Agnes”
or the hard-hitting swing of “Muslim Jewish Resistance”.
The song is bellicose in nature, with John Zorn-style horn
chaos and references to Steve Bannon and fighting against
fascism. Politics are woven throughout the record with less
than subtle allusions to our current leader, “I say
the president’s dumber than an artichoke” may
be my personal favorite line, but even when the band says
nothing, they speak voluminously. “Shut That Kid Up”
and “Oral Sidney With a U” are both thought-provoking
instrumentals, with the latter borrowing heavily from 70s
Blaxploitation funk and the former strutting down the street
with too much confidence to be held by only a mid-tempo swagger.
As angelic sitar opens “Orthodoxy”, I know that
I have found my new obsession. Go tell your friends what they
are missing and get ready for the stares of wonder and amazement
once they have their lives transformed by this.
************************************************************************
 THE
LAST GANG - Keep Them Counting (Fat Wreck Chords www.fatwreck.com)
The Last Gang’s Brenna Red screams, “Through music
we will never die” on “Turn the Record Over”,
the hidden bonus track on the digital copy of Keep Them Counting,
and her intensity is palpable. While this release is the band’s
first for Fat Wreck, the trio has been kicking around in one
form or another since 2007. Keep Them Counting is ten (plus
the bonus) tracks of blistering, hyper-aggressive punk with
heart and harmony. The Last Gang places an emphasis on the
“rock” in punk rock as the opening “Sing
for Your Supper” demonstrates. With a massive riff and
an infectious melody, fans of Anti-Flag, Rancid, the Distillers,
or Damn Mondays will rightfully adore The Last Gang. Sleekly
produced by Cameron Webb, the songs are crisp without minimizing
the punch. The raw angst of “Nobody’s Prostitute”
(I ain’t for sale now/I am forever/Don’t ever
you say you don’t love me”) and the slashing riff
of “Strange Fruit” are but two of the instantly
memorable moments one finds on Keep Them Counting. Bassist
Sean Viele and drummer Robby Wantland are a thunderous combination
throughout the record, but truly excellent on the raucous
“Believe in the Poet” and the driving “Karla”,
acting as a perfect anchor to Red’s scorching vocals
and thick riffs. Red is the star here, and she proves she
has a multi-faceted arsenal on the acoustic “Secret
Sounds”, a pop-infused anthem of darkness and lonesome
travels with a damaged cast of characters. The Last gang has
all the traits necessary to become a band with broad appeal
without having to sell their souls to do so.
 LONG
NECK - Will This Do? (Tiny Engines Records www.tinyengines.net)
Lily Mastrodimos, formerly of Jawbreaker Reunion, surrounds
herself with three highly skilled players (drummer John Ambrosio,
bassist June Rose, and guitarist Kevin Kim), but truthfully,
she is Long Neck. It is impossible to avoid being swept away
by her dynamic voice throughout Will This Do? To answer that
question posed by the title, all of this does quite nicely.
On the swirling pop of “Elizabeth” Mastrodimos
channels Natalie Merchant at her most affective, and “Love
Letters” bobs with effusive buoyancy in a dazzling two
minutes, contrasting with the darker, methodical “Ashes”
that crawls along a dirty street with rugged guitar. The indie
rock goodness of “Milky Way” is a clinic in how
to produce smart, savvy, guitar pop that will impress even
the most jaded of listeners. “Lichen” is a perfect
example of how the presence of a fleshed out band changes
the dynamics of Mastrodimos’ music-the track could work
as a solo piece, as would the delicate beauty of “Rosy”,
but the additional girth of a full band makes the loud/soft
shifts more engaging. The concluding “10,000 Year Old
Woman” is a return to Mastrodimos’ roots through
a stirring acoustic work. Will This Do? is a lush, charismatic
record celebrating both combined talents and the unique gifts
of Lily Mastrodimos.
 AWAKEBUTSTILLINBED
- What People Call Low Self-Esteem is Really Just Seeing
Yourself the Way That other People See You (Tiny Engines
Records www.tinyengines.net)
Shannon Taylor may have just become my favorite singer. Similar
to Marissa Paternoster or Victoria Ruiz, Taylor tosses all
regard for her vocal chords to the curb and makes listeners
feel each syllable throughout What People Call Low Self-Esteem.
Surrounded by Borin Bou on guitar and Elijah Stoll on drums,
Awakebutstillinbed create songs that rage and recede around
Taylor’s unrelenting effort, particularly on the rattling
“Safe”, a shape-shifting anthem that alters tempo
with staggering ease. While the abrasive nature of Taylor’s
angst is instantly intriguing, the band is more than just
articulate screaming, as beautiful melodies carry “Saved”
with a greater emphasis on a hook rather than searing vocal
force, but the closing lines of “Why can’t we
fix ourselves? Is there any way out? Why is there so much
wrong with us?” is both chilling and brazenly honest.
“Interlude” is a lush instrumental that does allow
the listener to take a quick breath before being assailed
again. The band’s strength is not only how they deliver
their messages, but also what is being said. When Taylor states,
“I know I’ll stop breathing one day, and I’ll
never be able to justify the ways that I’ve lived my
life. I just want something to feel all right, something to
show for all this time”, she taps into a universal sense
of worry. Beginning slowly, with a nearly menacing sensibility,
“Floor“ eventually unleashes a cacophony of angular,
biting guitar that smashes head-on with punishing drumming.
Within a few seconds, the din subsides and Taylor’s
honest tale of betrayal shines with intrepid honesty (“You
were my best friend, but you fucked up my life”). “Closer”
gives an initial impression of a jangly, nearly pop-inspired
anthem before Taylor takes control. As the final seconds fade
harmlessly into the air, one can finally stop, exhale, and
appreciate what is an astounding experience.
 RUNAWAY
BROTHER - New Pocket (Tiny Engines Records www.tinyengines.net)
Representing Cleveland, Ohio, Runaway Brother has an emo component
to their dreamy pop. The quiet moments on New Pocket are occasionally
virulently shredded by blasts of guitar, but largely the band
plays with maturity and control. The cleverly monikered “Conscience
in Tumult” ebbs and lows with a hypnotic bounce and
90s indie rock guitar tones. Vocalist Jacob Lee has a voice
that exudes passion, but often does so through a genteel,
heartfelt delivery rather than looking to scream each syllable.
“Canopy Eyes” includes sharp tempo shifts and
Lee’s soaring harmonics that lead perfectly into the
spacious “Bully”, a song highlighted by a dynamic
performance from drummer Ian Phillips. The pristine nature
of “Cats in the Sun” makes it a one of the true
highlights of the record, as shimmering guitar and an intricate
time scheme imbues the song with a level of sophisticated
complexity. Woven into the lush sheen of “Kissing”
are lyrics that capture a fleeting moment and expound upon
it with an honesty that never seems contrived: “Revealing
peel the innermost skill/all my feelings completely naked
now”. There is a comforting familiarity to what Runaway
Brother does, from the experimental aspects of “Paws”
to the sprawling nature of “All Saints Day”, but
yet this also sounds distinctive. New Pocket is a gorgeous
demonstration of shrewd musicianship.
 ELK
CITY - Everyone’s Insecure (Bar/None Records www.bar-none.com)
Majestic, spacious, and graceful, Elk City plays pop for
people who look for depth within their musical voyages.
The instant hook of the band is the stirring vocals of Renée
LoBue, whose voice soars through a series of evocative and
emotionally charged songs. The opening “Sparrow”
begins with a low rumble of Martin Olsen’s bass before
giving way to a sinewy groove revolving around LoBue’s
partially hopeful, somewhat despondent realization that
she will never “be as free as the sparrow”,
while “He’s Having a Baby” (“He’s
having a baby/ he says he’s not ready”) is mischievous
take on falling in love with the right guy at the wrong
time. Sean Eden of the newly resurrected Luna offers lush
guitar work throughout the ten songs, most pronounced on
the gripping “25 Lines”, but also a centerpiece
on the fragile, shoegazing title track and the more rollicking
“No Depth”. “Root Beer Shoes” seems
to hover innocently in the air, guided with delicate care
by drummer Ray Ketchum, who also produced this beautiful
gem of a record, and pianist Carl Baggeley. LoBue begins
the song by asking, “Whatever happened to Cupcakes
O’Brian/she dated Bukowski for one day”, then
references Hemmingway and the simple joy of having a person’s
shoe brush against yours. These simple moments are captured
with extraordinary care and what others may see as simply
a passing event void of meaning, LoBue uses to construct
mesmerizing stories. With a combination of chilling prowess
and supreme musical command, Elk City’s brand of ethereal
pop will enthrall.
 ERIK
CORE - No War, No Where, No Peace (Abouticore Music www.erikcore.com)
Furious and hard-driving are not often terms associated with
acoustic outfits, but Erik Core is anything but a typical
act, and No War, No Where, No Peace is a series of constant
surprises. I am stunned to hear acoustic music played with
such devastating intensity, but this is a raging collection
of politically shrewd anthems, leading off with “Smart
Bombs” which acts as a blind-sided punch to the gut,
and is an ideal table-setter for a collectively brilliant
release. With only four of the ten tracks clocking in at over
three minutes, Erik Core makes his points quickly and firmly.
Even more impressive here is the fact that this is only a
trio-Core leads the din on “Devil’s Workshop”
and “Coming Loose”, but it is impossible to ignore
the machine gun timing of drummer Josh “Bulldoza”
Mendoza or the rattling low-end force of Al Stingle’s
bass. Combined, these three take punk’s primal energy
and folk’s social commentary and channel it into an
articulate amalgamation of both forms. “Peace for Pawns”
embodies this style perfectly, offering a glimpse into how
an unplugged Dead Kennedys would sound. At times borrowing
from 1960s protest songs (“Tears Running Red”
and “No War”) and often rumbling with relentless
energy (“Smoking Gun”), Erik Core exudes passion
along with sophisticated songwriting.
 DINOLA
- Up High (Saustex Records www.saustex.com
The New Orleans outfit plays think, intoxicating, blues-soaked
rock n’ roll, led by the enthralling voice of Sue Ford
to drive each track. The thunderous bass intro of “Apocalipstick”
is only one of numerous highlights from Up High, a celebratory
record of blunt force and subtle dexterity. The band’s
backstory is a fascinating, as each member (drummer and Sue’s
husband Jimmy, bassist Eddie Payne, and guitarist Eric Laws)
survived the life-altering disaster that was Hurricane Katrina.
Rather than be subjugated by the destruction, the catastrophe
became a rallying call and inspiration to celebrate the legendary
city, hence the band’s moniker. The sludgy “Shut
Up” is a teeth-rattling show of force with Ford bitterly
spitting out the chorus with a tangible disgust as Laws’
guitar work rises and falls behind her. It takes remarkable
courage to tackle Screamin’ Jay Hawkins’ legendary
“I Put a Spell on You”, but DiNola’s interpretation
is a majestic slab of sexual energy and erotic bombast. The
title track includes a gritty, Southern-boogie riff and Ford’s
most sensual performance of the six songs here. Replete with
wah-wah pedal and a rebellious spirit, the song is an ideal
example of rugged, groove-oriented rock. I loved this from
start to finish.
 SPIDER
ROCKETS - Along Came a Spider (P-Dog Records www.spiderrockets.com)
I do not envy those performing in a hard rock band in 2018;
with the genres and sub-genres within sub-genres, the music
business has become a confusing labyrinth. However, a band
like Spider Rockets cuts through the labels and plays old-fashioned,
blaring guitar rock overflowing with harmonies and all the
hooks one could hope for in eleven tracks. The old time, meat
and potatoes groove of “Love Gore” and “Adore”
is matched by snarky, self-affirming lyrics on “Love
it When You’re Wrong”. Helena Cos has a voice
that can channel the best moments of Donita Sparks or Pat
Benatar, the latter lovingly honored with a cover of “Heartbreaker”.
It is the mold of that 80s hit maker upon which Spider Rockets
model themselves, and do so unashamedly. The thunderous “Sick”
is counterbalanced by the slow grind of “Burn”,
and the pop-rock glam of “Come to Me”, all the
while the production of Dan Malsch keeps each song slick but
never with too much sheen. The most obvious constant throughout
the record is guitarist Johnny Nap who is the fuel powering
the band, revealing the ability to balance technical prowess
and catchy riffs to create songs that actually stay with the
listener instead of simply fading into oblivion before the
track emerges. The band’s strongest point may also be
their biggest challenge-they can paly a with a legion of acts,
and while much of what Spider Rockets does sounds comfortable
and familiar, there is not much out there right now that sounds
like Along Came a Spider. This is a band for people who still
like bands and not “artists” and complete records
rather than singles. I count myself among this rapidly diminishing
group, so Spider Rockets has a devoted fan in me.
 GOVERNESS
(Radical Empathy Records http://onepercentpress.bigcartel.com
/category/radical-empathy-records)
Washington DC’s Governess has one of the coolest backstories
I have ever encountered-Kim Weeks, Kieca Mahoney, and Erin
McCarly met each other while constructing a local cooperative-style
preschool for their kids and formed an angular, snarling punk
band. The three rip through eight raw, garage-tinged flare-ups
with biting lyrics and cutting observations. Opening with
“Broken Glass”, Weeks announces, “science
was my savior until I was nine/I thought I wanted a test tube
baby” over the top of a scathing yet still jangly riff.
This ability to balance emotionally charged fury while still
retaining a sense of melody is also true on the rollicking
“Zipless”. Introducing a subtle surf vibe on “Elegy”,
the band displays a deft command of tempo as haunting lyrics
about the sudden arrival of an untimely death is extraordinarily
hard-hitting, while the serpentine “Control Top”
glides along methodically with minimal musicianship, asking
“how can a full home feel so empty?”. The moody,
spatial “Patterns” closes this remarkable record,
with subtle guitar bursts and sixties girl-group harmonies
coexisting in flawless symmetry. Blending the finest elements
of Slater-Kinney with the raw energy of a band like Faunas
or Coathangers, Governess is an essential re-release by Radical
Empathy.
 THE
DEAN WEEN GROUP - Rock 2 (Schnitzel Records http://schnitzel.co.uk/)
Dean Ween has spent over three decades continuously reinventing
himself, and Rock 2 continues the astounding musical journey
that is his life. Rock 2 begins with the heartfelt “Don’t
Let the Moon Catch You Crying” then shifts all too effortlessly
to the grungy, smarmy “Fingerbanging”, oozing
with sexuality, sax, and a soaring guitar solo. After opening
with distinct styles of songs, only Dean Ween can offer “Theme
From ‘Skinhead Kicking Your Ass”, a Zappa-esque
burst of guitar wizardry dripping with sarcastic brilliance
without saying a word, while “Pussy on my Pillow”
includes references to a dog who “loved her daddy”.
“Waste Station 9” is yet another effort that would
fit perfectly alongside Weasels Ripped my Flesh from the Mothers
with its supernatural guitar word and airtight rhythms. Manically
twisted, the entire record is a throwback to a different age;
a time when experimentation was celebrated and genius was
not measured in numbers of views on YouTube. The seventies
rock vibe of “Showstopper” and “Someone
Greased the Fatman” is matched by the laser-light show
ready guitar work of “The Ritz Carlton”., and
the low-end thump of “Yellow Pontiac”. For anyone
who doubted the talent of Dean Ween, Rock 2 illustrates for
anyone with functioning ears that this man is boundless in
his talents, swaying and frolicking at times, delivering thunderous
monstrosities of force at other moments, and doing all with
equal aplomb.
 SPIT
TAKE - Frog Rock (Ice Age Records https://iceagerecords.bandcamp.com/)
This highly DIY outfit from New Haven, Connecticut blasts
through eleven noisy, punk-pop anthems replete with raw emotion
and limitless energy. Frog Rock is actually a compilation
of two cassette only releases recorded in 2016, now on one
release for mass convenience, but there are marginal differences
between the songs and that is a compliment. While the opening
“Turn the Car Around” blazes past in a scant fifty-eight
seconds, “Something Sometimes” and “Sideways”
rattle with warmth reminiscent of Archers of Loaf and other
early to mid-90s masters of controlled raucous. Vocalist and
guitarist Joe bares his soul throughout the record, admitting
“everything’s lovely ‘cuz last night you
loved me” (the aforementioned “Sideways”)
and “Behind this boy’s mask, I am an alien on
a planet alone”. (“Long For Home”) Supported
by bassist Maggie and drummer Dan, the band competently shifts
tempos enough to provide each song with a level of distinction,
which is critical on tracks like “How ‘Bout You?”
and the hyperactive “Awful Long” in which lyrics
are at a premium, and the songs are largely instrumentals
carried by vigorous riffs and a clattering low end. Abrasive
but never without heart or a penchant for a hook, Frog Rock
is an impressive introduction to an intriguing band. “A
Candle” (I'll always think about how badly/things ended
up between you and me/I'll always keep a little candle burning)
and “Rain-Soaked New York” are poignant, controlled
anthems of raw pain, while the autobiographic “The Natural
Facts” illustrate that even when one moves forward,
there is a feeling that nothing has changed (I stayed on top
of the laundry/ cleaned my clothes/ smelled a little better…but
last year was a long year/like this year is a long year”).
There is much to enjoy here and this is a record demanding
repeated listens because there is something new to discover
each time. This is not unhinged garage punk with a few pop
accents-Spit Take blend fuzzy, dreamy pop elements and aggression
into a well-balanced delivery. I absolutely want more of this
band, and I hope college kids around the country are playing
this one into the ground.
 STEVE
BARTON - Tall Tales and Alibis (Sleepless Records www.sleepless-records.com)
Musicians are always looking to challenge themselves in an
effort to expand upon their past achievements and progress.
In the case of Steve Barton, he undertakes an nearly Olympian
task with Tall Tales and Alibis; rather than release
a string of records, Barton, he of the long-time and deservedly
adored Translator, has unleashed three albums simultaneously,
each distinct in tone, sound, and approach. Collectively,
one is provided with a spotlight into the vast reaches of
a truly brilliant mind, while Barton espouses, laments, celebrates,
and mourns all of life’s events across a sprawling set
of songs that are perpetually engaging.
The first release is Star Tonight, a dazzling compilation
of buoyant pop songs that will instantly remind people of
Translator’s finest Beatles-inspired moments. Poetic
and beautiful, every effort on Star Tonight tells a stirring
story, including the Mersey Beat tempo of “I Only Want
to be Your Clown”, the seductive “Little Rule
Breaker”, and the rollicking “Levitate the Pentagon”.
Sounding like a singer/songwriter from a different era, Barton
effortlessly alternates between fun-loving optimism and spatial,
ethereal tracks. Referring to the legendary comedian, Barton
admits on “Hey, Buster Keaton”, that he and the
silent-film star could have been friends in 1922. Meanwhile,
the majestic “When She’s Lost Your Mind”
is more than just a great play on words, but also has a haunting
streak that is matched by the more somber “Vacantville”.
However, the subdued, introspective nature of this effort
is heard throughout all of album number two, Shattered Light.
For those who are fans of bluesy, somber, acoustic playing
from a man baring his soul for the benefit of an audience,
than, like me, Shattered Light will be the favorite
of the triumvirate of releases by Steve Barton. Every song
is a genteel, airy track in which each syllable can be heard,
analyzed, and digested properly before the next line is uttered,
revealing a deeply spiritual poet and raconteur throughout.
The closing “Stare at the Sun Tonight” (featuring
the line, “Is the world the way we make it or does it
make you and me?”) is driven by bare bones instrumentalism,
accented by Springsteen-style harmonica and gutsy, gravelly
vocals. Perhaps Barton’s recent move to Portland, Oregon
inspired “Northwestern Girl”, easily the most
energized of the anthems on Shattered Light, while “Breath”
and the penetrating “I’ll be Loving You”
are methodical anthems of quiet passion, with the latter enhanced
by fuzzy guitar riffs that briefly cut through the quiet in
a manner both jarring and engaging. The gut-wrenching “Tearing
Out the Roses” is gorgeous in its ability to expose
the most profound of emotional pain as Barton’s tale
of suffering is carried by lush piano work. Also including
a version of Sinatra’s 1955 hit “In the Wee Small
Hours of the Morning” and a deliberate reimagining of
Translator’s “Unalone”, Shattered Light
is a work of near perfection that, if released on its own,
would be more than most others could hope to achieve in an
entire career. However, Barton was still not done!
Before I Get Too Young is a more traditional rock
album on which Barton is backed by a sterling group of friends
including Translator buddy Dave Scheff (and for three songs,
Attraction Pete Thomas) on drums, Derrick Anderson of Bangles
on bass, and Marvin Etzioni and Willie Aron on guitar and
keyboards in addition to their producing responsibilities.
If Star Tonight dwelled in the land of the Fab Four, Before
I Get Too Young certainly pays an ode or two to the Glimmer
Twins. This occurs quite literally with a version of the Stones’
“Dandelion”, but “My Little Strange One”
shimmies and sways with a sexual angst comparable to anything
on Sticky Fingers, and the dirty guitar riffs that abound
on the title track capture the early energy heard in the Jones-Richards
line-up. Playing live in the studio, the songs flow effortlessly,
from the sinewy sexuality of “She Is the Girl”
to the bubbly energy of “Gimme Your Hand” and
“Now That We Have Tomorrow”. Tackling each of
these three pieces may seem overwhelming in theory until one
undertakes the task and suddenly, one record’s conclusion
simply demands that another one must begin. Steve Barton has
been a revered player for decades, and while I suggest checking
out all three of these releases, any of the components of
Tall Tales and Alibis is enough to solidify Barton’s
legacy.
 BLIND
IDIOT GOD - Undertow (Indivisible Music http://www.indivisiblemusic.com)
Originally released in 1989, Undertow from Blind
Idiot God sounds as fresh and important as ever. Blasting
through thirteen songs, three of which are exclusive to the
re-release, the record is an assault upon all musical senses.
The opening “Sawtooth” is a brute of an introduction-a
pummeling mass of guitar force that sets the table for a fascinating
ride through rock’s darkest corners of noisy power.
What makes BIG so compelling is that, while they have the
ability to simply musically dismantle the listener on each
track, they often select to reduce the tempo and volume and
create anthems that embrace delicate beauty and near mysticism.
This trait is heard on the richly textured “Clockwork”,
but the song deftly gives way to the driving intensity of
“Atomic Whip”. The pounding track establishes
a template that remains true throughout much of Undertow,
namely slashing, vicious guitar playing from Andy Hawkins
that is often accented by blast beat style percussion from
drummer Ted Epstein. “Drowning” concludes with
a wall of screaming guitar rage, while bassist Gabe Katz shines
on the darkly sensual “Alice in My Fantasies”.
Most listening to this will be rightfully intrigued by the
appearance of Henry Rollins on “Freaked”, a song
that was used as the title theme for a cult classic film by
Alex Winter (“Bill” from Bill and Ted’s
Excellent Adventure), in which Randy Quaid played a mad scientist-in
a case of perfect casting-who created a collection of freaks
for the public to exploit. Rollins is the only vocalist on
a Blind Idiot God track, and his voice and fury was at its
peak during this recording, eliciting images of Black Flag’s
most visceral moments. Undertow also includes a dazzling collaboration
with master of chaos John Zorn in another ideal musical marriage
on the schizophrenic “Purged Specimen”, a two-minute
cacophony of blissful anarchy. The work of Blind Idiot God
are showcases for three supreme musicians who relish musical
destruction, such as the crushing “Waling Wall”,
but also have the ability to contain their outbursts on the
lush “Dubbing in the Sinai”. I do not remember
how many people embraced this back when the Berlin Wall was
crumbling and George H.W. Bush was reversing his course about
“no new taxes”, but Undertow, with all of its
bluster, vehemence, and musical vitriol, could certainly act
as a metaphor for the world of 2018.
 CRAIG
WEDREN - Adult Desire (Tough Lover Records, available through
Dischord Direct https://www.dischord.com/ release/TL01/adult-desire)
Getting older is an odd experience-some adopt a “Peter
Pan syndrome” and fight the process as fiercely as possible,
occasionally clutching on to a youth that is long past, while
others, such as Craig Wedren adopt the changes life brings
and channel this new reality into a collection of majestic,
mature songs. Much of Adult Desire is acoustically dominated,
articulate stories addressing the grown up topics of love,
family, marriage, and responsibilities. Rather than lamenting
about the inevitable, Wedren embraces them, occasionally through
very direct language, such as on the title track, but usually
through clever metaphors and genteel vocal deliveries. Aside
from one explosion of guitar force on “Join the Zoo/Live
Again”, the songs are subdued, introspective gems, accented
by subtle piano and minimal instrumentation. “Be a Man”
has a thin layer of psychedelia behind its message, while
the instrumental “Amnesia Wedding March” is a
crisp piece of tender playing, sounding like a lullaby. There
are refined studio tricks on “I am a Wolf, You Are the
Moon”, and “2pristes (The Heat is On)”,
but never enough to detract from the central purpose of the
song. “Safe Home/Fadeland” and the concluding
“Face the Pillows” are superbly crafted songs
with hushed, whispered vocals that are smoothly and deeply
reassuring, like coming in from the bitter cold into a warm
house with loved ones happy to see your return. Richly poetic,
adroitly performed, and beautifully constructed, Adult Desire
is the soundtrack for a quiet, reflective evening.
 THE
HANNAS - Cut Loose (https://thehannas.bandcamp.com /album/cut-loose)
This Montclair, New Jersey band incorporates several forms
of pop-favored punk into an easily digestible aural stew on
Cut Loose. Vocalist Joey J. has a sweeping voice,
one that can easily shift from angst-fueled barks to falsetto
“woah-ohs” that dominate the opening “Porcelain
Hugs” and “Pyro”. The title track has a
fittingly relaxed sensibility, with a subtle ska quality heard
much more definitively on “Agree/Disagree”. The
six songs on Cut Loose are a wonderful primer of the band,
as The Hannas are not looking to reinvent good-natured pop,
but instead, they find a pleasant balance of bored, suburban
punk frustration and dance energy. The guys even channel goofy
dalliances on the country-fried “Goin’ Out Tonight”,
a song that may become a fun live staple, but seems to stop
the momentum built by the previous two efforts. Closing with
“Bad Juju”, the band again infuses comedy into
their story-telling (“this room’s got bad juju”),
while soft-hearted ska skips along at a mid-tempo pace before
a furious sixty seconds of thicker guitar and speed brings
the song a level of energy too often missing on the EP. As
the final thirty seconds tick away, Joey J speaks directly
to the listener, invoking a reference from Ferris Bueller’s
Day Off- a great allusion, but I wonder how many of The Hannas
fans will get it. Ultimately, Cut Loose is wholesome
fun, but not destined to alter anyone’s life.
 JOCEPHUS
and the GEORGE JONESTOWN MASSACRE - 5 Minutes to Live-A
Tribute to Johnny Cash (Saustex Records; www.saustex.com)
Before one hears even a single note on this record, it is
impossible to not be impressed with the selections of covers.
A typical Johnny Cash tribute may include “Walk the
Line” or “Man in Black”, but instead, four
more obscure anthems are treated to celebratory recreations
led by Joey Killingsworth, Brian Costner, and Dik Leddux,
but guests abound throughout this fleeting musical gem. Significant
contributions come from former Jonny Cash and Carl Perkins
drummer WS Holland, Mick Harvey and Warren Ellis, two supremely
gifted musicians who are also two of Nick Cave’s Bad
Seeds, J.D. Pinkus of the Butthole Surfers, and the indomitable
Buzz Osborne of The Melvins. The collection opens with Pinkus’
wickedly self-actualized delivery of “The Losing Kind”,
featuring the classic Cash lament of “Too proud to crawl,
too weak to run, I’d shoot myself, but I lost my gun”,
as the song is a darkly comical homage to all those who struggle.
Killingsworth takes the vocal helm on “The Sound of
Laughter”, a tragic story of how one woman’s derision
and ridicule can drive a man to murder, while “Long
Black Veil” features Osbourne’s forlorn crooning
as another misguided victim meets an untimely demise. The
title track’s vocal responsibilities fall to Harvey,
and he provides a sterling performance for a song that was
the theme song for a 1961 film featuring Cash starring alongside
an up and coming child star named Ronnie Howard. The four
tracks may fly by too quickly, but each second is worth savoring.
 SPOOK
SCHOOL - Could It be Different? (Slumberland Records http://www.slumberlandrecords.com/
Glasgow’s Spook School makes quite the impression on
“Still Alive”, the opening track of Could it be
Different? as the refrain of “fuck you, I’m still
alive” buries itself in my brain. A bold display of
courage and defiance, the song is the ideal declaration of
the band’s emerging confidence and an announcement to
the world that Spook School is primed to become a band that
will be help to define 2018. This socially progressive and
politically cognizant act laments how “it’s been
a bad year” on “Bad Year”, and while that
is undeniably true for most, their brand of infectious, guitar
rich indie pop may be enough to help get through whatever
happens over the course of the next twelve months. The jangly,
bouncy groove of “Alright Sometimes” begrudgingly
surrenders to aspects of optimism, while the bass-heavy “I
Only Dance When I Want To” is the finest New Wave-flavored
song in a decade, and showcases the dazzling talent of Anna
Cory and drummer Niall McCamley. “I Hope She Loves You”
is a new take on the traditional break-up song, as Nye Todd
acknowledges that he threw away a wonderful relationship,
and offers a sentiment of regret (“I hope she loves
you like I didn’t do”) while a furious barrage
akin to Mission of Burma jamming with Husker Du roars beneath
him. Nye and Adam Todd share vocal and guitar responsibilities
throughout the record and soar most triumphantly on the endearing
“Best Intentions” and the pop-coated “Body”,
with lyrics of positive self-reflection (“Some people
look so confident/I don’t know how they do it/You have
a lot to be proud of/I have a lot to be proud of”) juxtaposed
with reassurance given to a friend who entertained suicidal
thoughts (“Are you ok now, do you feel alright? Why
did you say that you want to die?”) The self-analysis
of “High School” is both powerfully daring in
its naked honesty, as well as preserving a poignant respect
for nostalgia and wonder about how changes to the past would
reshape the present. Leaving the failings of 2017 in the past
is healthy, and Spook School provides something to eagerly
enjoy in the new year.
 THE
WEDDING PRESENT - George Best 30 (HHBTM Records www.hhbtm.com)
Three decades after the release of their debut album, David
Gedge and The Wedding Present take Steve Albini’s producing
acumen and re-record George Best, expanding the scope and
impact of these legendary songs. “Everyone Thinks he
Looks Daft” and “What Did Your Last Servant Die
of” retain their punk-influenced manic energy, but with
Graeme Ramsay’s drumming far exceeding the original
density, the songs have a sprawling quality missing back in
1987. “My Favorite Dress” and “Anyone Can
Make a Mistake” are pristine examples of how the songs
differ from the original studio versions-noticeable shifts
in speed and energy levels allow listeners to envision themselves
in the midst of a cramped recording studio, with The Wedding
Present tracking song after song in one take with the fury
and enthusiasm of a live show. Truly, that is what George
Best 30 captures-the loose, free-flowing nature of a live
performance without the hassle of other people. Christopher
McConville’s guitar slashes across “A Million
Miles” and shines on the sleek and soaring “Give
My Love to Kevin”, while “Shatner” becomes
an even nimbler three minutes of controlled chaos. Thirty
years ago, I was not in a position to catch on to The Wedding
Present, as Motley Crue, Ratt, and the other bastions of the
fading Sunset Strip were lighting up my Walkman. However,
between then and now, I am fortunate to say I have come to
admire The Wedding Present, and while some may question the
need for the re-recording of old classics, the combined talents
of the older, wizened Wedding Present and Steve Albini illustrate
how sometimes, occasionally, magic can be recreated and even
improved.
 BLACK
WAIL - Chromium Homes (Rhyme & Reason records www.rhyme-reason.com)
This Jersey City outfit seems defiantly out of touch, and
that is exactly the point. Forgoing any concerns with contemporary
fads, Black Wail is a trip back to the most sludgy, psychedelic,
and heavy aspects of the 1970s. Opening with the Sabbath-friendly
bombast and stoner-rock riff of “They”, Black
Wail unleashes a wall of pummeling low-end force. Anchored
by the bass playing of Susan Lutin, the track is a hazy six
and half minutes of tales about kings in ancient times, courtesy
of guitarist/vocalist leader Michael Tarlazzi. Replete with
dazzling guitar work and perfectly appropriate keys, I am
instantly hooked. “Thee Ghost” includes atmospheric
keyboard accompaniment from Bram Teitalman and another massive
hook; the calling card of the band. All of Chromium Homes
includes a classic metal vibe accented by 70s experimentation,
as the band is prone to simply stop a track halfway through,
take a breath, and then unveil a thrilling barrage of force.
In the case of “Radioactive Mutation”, the song
swings with an effortless freedom, and is a swirling breadth
of musical range The title track has a more refined nature,
taking cues from Badfinger or even Thin Lizzy, contrasting
the menacing vocals one hears on “The Dead Man’s
Hand”; juxtaposing the serene and the terrifying, Black
Wail produces their most intimidating song with this sludgy
gem. The EP includes a stirring version of The Beatles’
“Norwegian Wood”, and while covering he Fab Four
can be a risky, and often fruitless, venture, Black Wail make
the song their own and it fits beautifully within the construct
of Chromium Homes. This is an injection of rock’s best
qualities into an age when it is desperately needed.
 COUNT
VASELINE - Tales From the Megaplex (Saustex Records www.saustex.com)
Stefan Murphy is the mastermind behind Count Vaseline, a singer/songwriter
with a tremendous amount of courage and a penchant for lo-fi
punk fury. On “Hail Hail John Cale”, Murphy sardonically
spits out the line “Lou Reed died wishing he could be
John Cale”, while a controlled din simmers beneath him.
The impassive nature of his delivery does not deter from very
clever wordplay throughout the record, as there are delightful
references on “What’s Your Name, Where Are You
From, What are You On?” (“I am Lawrence, I’m
from Arabia, I’m on acid now”) With only one song
reaching two minutes the length, the ideas are fleeting but
all highly worthwhile. The country-punched “Texas Band”
has references to “holding Charlie Sexton’s hand”
and ultimately buried within “Texas land”, while
“I’ll be Your Johnny on the Spot” is a loving
ode to Ween. The darker “Heavy is the Head that Wears
the Crown” glides effortlessly, guided by a thick serpentine
guitar riff. The bass-heavy “Song for Tom” tells
a tragic tale of “a very good man” who “spoke
six different languages”, who ultimately “died
alone” as a mesmerizing dance beat radiates alongside
Murphy’s richly expressive vocals. The closing “Town
of Horseheads” is a dystopian anthem about the struggle
of being “too old for revolution, too young to lie down
and die” as a subdued synth-pop bubbles throughout the
effort. I am continuously impressed and intrigued by Murphy’s
work, and Tales from the Megaplex only increases my admiration
for this truly distinctive talent.
 POCKET
FISHRMEN - The Greatest Story Ever Told (Saustex Records
www.saustex.com)
I do not know how I have missed them until this point, but
the Pocket Fishrmen are apparently Austin’s “greatest
sci-fi punk metal band”, and The Greatest Story Ever
Told is a massive thirty song collection that spans the entire
“career” of this act. Every single song here is
destined to offend someone, and in the midst of the current
political climate, maybe the Pocket Fishrmen is exactly what
this country needs-three chord blasts of dirty jokes, odd
references, and old-fashioned fun! Listening to “Go
Go Saddam Hussein” actually takes me back to a simpler
time, while “Amy Carter” is a sarcastic gem. Sex
puns are everywhere here, and I defy anyone to not incur a
serious injury laughing at “Sex Billy”, “Flaccid
is the Night”, and the priceless “Half Mast”.
The Fishrmen are not afraid to borrow and even mock previous
hit songs, turning “Angel of the Morning” into
“David of the Merkin” and even “Pot Mountain”
follows a very similar lyrical structure to AC/DC’s
“Whole Lotta Rosie”. With lyrics devoted to unfinished
Ed Wood films (“Queen of the Chimps”), delightful
diseases (“Flesh Eating Virus”) and rough sex
with a single mom (“Mommanatrix”), The Pocket
Fishrmen make the kind of punk that will earn the ire of the
straight-edge kids, but will have all the drunks at the bar
dancing and singing with alcohol-fueled confidence. Rather
than attempting to build complex, multi-layered songs, the
majority of the work is richly melodic punk-pop singed by
dark wit. Clearly, Brant Bingamon, Chris Burns, Jason Craig,
and Lance Farley are not without day jobs, but these guys
actually remember when having a slightly perverted sense of
humor did not get you fired.
 HELEN
KELTER SKELTER - Melter (Shaking Shanghai Records www.shakingshanghai.com)
Living in New York, I admit that I sometimes forget that there
is more to America than just the East Coast or what latest
trend is sweeping California. The rest of this glorious nation
is more than just cornfields and billboards about Jesus dotting
endless stretches of highway. To prove this, I offer Helen
Kelter Skelter, an Oklahoma based outfit that is truly unlike
anything people are listening to as we speak. Melter is a
swirling, sinewy mass of class rock vibes set to maximum swagger
with soaring organ play, throbbing bass lines and danceable
hooks. The slithering “Inside Out” is the best
primer for the band, as the track glides with ease from night
club dance floor to rock club to a long pause mid-way through
the effort, as if the band stops to figure out where to go
next. The song returns with an even larger beat and finishes
the next three minutes rattling one’s head and shaking
one’s memory for anything quite like this. HKS bring
all the bluster of rock n’ roll without all the angst,
preferring instead for steady doses of fun, wall-shaking groves.
From the opening “21st Century” that announces
the band’s presence with a sonic thrust of force to
the dreamy, ambling closer “Wunschkonzert”, Melter
is a dazzling record of spatial and ethereal rock that may
befuddle the masses, but I am not sure this band will have
a problem with that. Cody Clifton is the “bass thumper”,
and while he shines on nearly every song, he truly carries
“Tracers”, one of the collection’s finest
moments. “Palamino” and “Time Bomb”
inject modern psychedelia into bombastic anthems, while “Mysterio
Prevails” takes a dreamier, more deliberate approach.
Regardless of how the band constructs a song, everything works
on Melter. The name drew me in to this band, but I definitely
stayed for the music.
 PROMISE
OF REDEMPTION - Before and After (Know Hope Records http://www.knowhoperecords.com)
Shane Henderson of Valencia displays the emotional breadth
of his writing and singing on Before and After, a collection
of heart-wrenching acoustic pieces. These demos and B-sides
are able to express an intensity that may otherwise be lost
in a wave of guitar force. The delicate heartache and honesty
of “Let the Waves Crash Down” is stark and majestic,
and while Henderson ahs always had a penchant for passionate
song writing, his talents are inarguably impressive here.
Fragile piano opens “Hard Times” and when Henderson
pleads, “You gotta say that you’ll be alright/You’re
gonna make it out alive”, the song bleeds empathy. “On
and On” aches with sentimentality, while “The
Light” is a song of grand beauty. Gripping and raw,
the song speaks of holding on to love while delicate strings
play and Henderson reveals that “California is whispering”.
Before and After says a great deal in only six songs and whether
one has followed Henderson over the course of his career or
just stumbled upon this, it is impossible to not be swept
away by the sheer conviction of the playing.
 DINOSAUR
EYELIDS - Turn Left on Red (https://dinosaureyelids.bandcamp.com)
This majestically DIY outfit from New Brunswick brings back
a brash style to rock that is glaringly omitted by most bands
today. Left Turn on Red opens with “Day Zero”,
a thunderous eruption of guitar power that blends Dinosaur
Jr-style fuzz with a slight Southern boogie into a teeth-rattling
four minutes. The song embodies the band’s motto of
“we may never be rich but we will always be loud”,
a slogan later hard on the rumbling “Land and Sky”.
“Into the Woods” readily embraces the more primal
elements of grunge, most notably distortion drenched guitar
and a low-end roar. “Basilone Bridge” is yet another
aggressive track, but the band also plays with tempo shifts
a bit throughout the song, but never deviates too far from
their original purpose to be a massive sounding rock force.
With guitar solos that are fleeting at best, Dinosaur Eyelids
are not interested in technical wizardry, but are committed
to making soulful, honest music that takes cues from classic
rock as readily as contemporary acts to generate something
that is both refreshingly new and instantly comfortable. The
atmospheric aspects of “Neshanic” truly allow
Evan Staats’ vocals range to shine, and when he laments,
“If nothing is real, does anybody care?”, he could
be speaking to today’s political environment as well
as the state of music. Integrating slide guitar and a slower
tempo, “L.A. Lady” oozes regret and passion, while
the acoustic “Whiskey” is a tragic harmonica-driven
anthem dedicated to the alcohol that can destroy: “When
you’re empty, I’m empty, too”, Staats moans
while Patrick McKnight provides the sorrowful musical accompaniment.
“No Money Blues” allows the band to demonstrate
a penchant for writing genre-spanning songs before returning
to the hearty riff of “More Than Nothing”. There
is much to enjoy here, and Turn Left on Red is a welcomed
homage to true rock n’ roll.
 THOR
AND FRIENDS - The Subversive Nature of Kindness (Living
Music Duplication www.lmduplication.com)
Thor Harris and his “friends” Peggy Ghorbani and
Sarah “Goat” Gautier return for a second record,
with the brilliant moniker The Subversive Nature of Kindness,
a work created to, according to the band, “ease some
of the terror” of the world in which we all dwell. Considering
the tone and tenor of this world, that may be a lofty ambition,
but the nine songs heard here are multi-instrumental pieces
that say much even sans vocals. One cannot help but to be
swept away by the craftsmanship, often connoting images of
woodlands and deeply cloistered scenes. Harris, who spent
years touring with the Swans, is a brilliantly gifted player
of instruments few have heard of, much less actually heard,
because in some cases, he has invented the item himself. The
opening “90 Meters” features majestically delivered
light percussion in which the beauty of the song cascades
over the listener and sweeps one away into a serenity that
is sporadically interrupted by squalls that fade quickly.
The harrowing, melancholy “Carpet Creeps” is a
song of reclusiveness; haunting and poignant. “Dead
Man’s Hand” clocks in at over five minutes and
is more playful in nature, similar at times to “Mouse
Mouse”, another gentle, almost childlike effort. Sparse
at some moments, melodically dense in others, “Dead
Man’s Hand” sounds like something heard in an
aboriginal rainforest. It would be a careless gesture and
potentially an affront to select one or two songs as particular
favorites, but “An Escapist’s Theme” is
a soaring triumph. Genteel, but yet a touch speedier than
its predecessors, the song propels itself into soaring beauty,
sounding like a movie score for a masterpiece not yet made.
What makes The Subversive Nature of Kindness so appealing
is the multitude of talent who contribute to its collective
brilliance-Michael Gira from the Swans contributes, as does
Enrique Soriah, a throat singer from Oregon, and Aisha Burn
a violin improvisationist and virtuoso. The darker, more ambient
nature of “Standing Rock” is paired exquisitely
with “Grassfire!” The most expansive song of the
lot, “Grassfire!” is airy, yet replete with sound,
including fascinating vocal contributions that slash across
the landscape with penetrating impact. These constant paradoxes
make the record a masterstroke of brilliance. The closing
“Resist” continues this theme by building a series
of complex ideas on top of each other into a stirring mass
of delicate power. The finesse, originality, and radiance
of this record cannot be overstated. I do not know if Thor
and Friends will be able to quell some of the ugliness that
currently abounds, but this record will be the perfect panacea
to one’s daily stress.
 JEREMY
PORTER AND THE TUCOS - Don’t Worry, It’s Not
Contagious (GTG Records www.gtgrecords.com)
Jeremy Porter and his mates Gabriel Doman (drums) and bassist
Patrick O'Harris do not waste time with gimmicks or studio
tricks, opting for the path of traditional, greasy rock n’
roll. The third album from this Detroit act jangles and shakes
with tales of broken hearts, failed relationships, and not
giving up even after all the pain. The bluesy, whiskey-soaked
“Walk of Shame” is a straight shooting, country-punched
anthem that sets the tone for the rest of the record. Doman’s
hard-hitting nature carries the downhome “Huckleberry”,
while Porter tries diligently to impress yet another woman
who is hard to please. While the majority of the tracks here
deal with love gone wrong, it stays in the world of adult
heartache and never stumbles into any form of teenage melodrama.
Like the music they play, Porter and his Tucos have seen some
sights and are fighting off cynicism and sorrow on the reflective
“Avenues are for Heroes” and the biting title
track. The slower “Consolation Prize” is made
deeply compelling by the soaring beauty of Jennifer Westwood’s
stunning vocals, while the heart-wrenching “Torn”
invokes the best moments of Paul Westerberg’s skills
as a raconteur. “You Don’t Have to Ask Twice”
and “Worth the Wait” both have a Tom Petty vibe
made all the more poignant by that legend’s tragic passing,
while “Patty’s Not Impressed” proves that
Porter and the Tucos have a sense of humor. Accented once
again by Westwood, the song details a tough critic who “did
not like the opening band/even though they did their best”
and cannot understand why Porter’s band always plays
last. Jeremy Porter may hail from Detroit, but he has certainly
traveled south down Route 66 for inspiration on “Urge
to Cry”, an emotionally gripping anthem that is one
of the finest moments here. For those who still appreciate
honest rock, this is one of America’s best examples
of pure talent and hard work.
 SEAN
KIELY and JEFF TAYLOR - Willow, Texas 7-inch (https://sean0sean.bandcamp.com)
The two-song effort includes a pair of delicate folk beauty.
Kiely’s “Echo” has a haunting ambiance about
particularly as he repeats the chorus of “Echo”
while fragile guitar hovers beneath. His voice, just above
a whisper, conveys tremendous depth as Kiely paints a vibrant
picture of loneliness in only a few words. The equally compelling
“Song in Texas” by Jeff Taylor is a stark piece
of folk-inspired country that also explores a sense of isolation,
as Taylor says “There is a song in Texas that I may
never sing”. Both artists have distinctive styles and
vocals, and each is deeply skilled at maximizing their minimalism.
----------------------------------------------------------------------------------------------
 AMINAL
- In With the Gnu (https://www.facebook. com/AminalMusic)
First off, it is indeed Aminal, and while the name may be
slightly challenging, one is only getting started with the
oft-putting nature of this incredibly unique band. (Although,
remarkably, a quick search will find several bands with this
moniker) Perhaps we are living through times of unparalleled
blandness, but regardless of decade, this is scintillating
in terms of its originality. “The Kid is Still There”
bounces and shakes with the energy of Zappa at his most charged.
Searing, fuzzy guitar slash through the heart of the song,
while bass lines that are equal parts jazz-fusion and thick
funk drive the track forward. This wildly brazen and invigorating
disregard for pretention or genre boundaries continues on
“Underwater Catastrophe”, which again borrows
from a Mothers of Invention style playbook, blending complex
song structures and fluid time changes to produce a anthem
that requires the listener to work. Aminal label themselves
“molten rock”, which is fitting, for there is
no label one can accurately apply to this band. Perhaps their
finest moment is “It’s No Picnic with Snazzlepants,
Baby”. With an infectious bassline, vocal tricks, and
deceptively obtuse lyrics, this invokes the finest experimentalism
that used to be far more ubiquitous in rock n’ roll.
One can clearly hear the influence “Dynamo Hum”
or “Peaches En Regalia” throughout the six songs,
and I am particularly intrigued by the rambunctious nature
of “Insex”, as the band effortlessly moves between
rock, pop, jazz, and blues with lyrically puns abounding.
The funk-fueled bass that commands center stage on “No
Way, Know How” seems to have climbed off a 70s detective
show, but when blended with equally groovy, wah-wah-kissed
guitar, the marriage is one of perfection. Those with limited
miles on them will likely shake their heads in amazement and
confusion when introduced to Aminal, but others, whether more
experienced or more adventurous, will embrace this and rightfully
honor it for the bold tableau of ideas it is.
 UNDERLINED
PASSAGES - Tandi My Dicafi (Mint 400 Records http://mint400records.com)
This Baltimore outfit plays lush pop with stirring vocals
that injects a youthful joyousness into each syallable. Michael
Nestor and Jamaal Turner are supremely gifted in crafting
songs replete with powerful sentiments without ever becoming
self-indulgent. This is partly due to the fact that their
songs are a manageable three minutes in average length, but
also because of their remarkable prowess as players. “Feelings”
has elements of an early 90s homage, but while it strikes
initially as a straightforward pop gem, there is so much more
beneath the surface. The atmospheric dynamics present the
song as something far larger than the work of only two men
(accompanied by bassist Gary Hewitt). The richly melodic guitar
riffs cascade over the listener while Nestor delivers lyrics
that bare his soul as he smiles wryly. There is warmth to
“Your Bedroom” that makes the song deeply sensual,
nearly tactile, in its emotion. The track conjures images
of two people alone imagining (perhaps secretly hoping) that
they are the last people on the planet. In less proficient
hands, this kind of ethereal pop can wander into areas of
desolation, but instead, Underlined Passages offer gorgeous
celebrations of brilliant musicianship. Equally stirring as
its predecessors is the emotionally effusive “Bottlerocket”,
as Nestor sings “I know you’re waiting for me
now”. While the line is intentionally ambiguous, given
the tone of the track, it carries extraordinary weight and
purpose. “Thinking on a Sunday” is shorter experiment
in genteel pop, but “Ruthina” rattles with a sharper
drum tone. Once again, Nestor shines vocally, and when he
admits, “We don’t know who we are”, there
are lively feelings of hope and wonder more than confusion
or self-doubt. The closing “The Days Were Golden My
Friends” has an aura of nostalgia that is both painful,
for one realizes that the moments being honored are passed,
and also majestically celebratory, and this latter attribute
exemplifies the band. Underlined Passages are the band to
listen to when all seems bleak, for there is an optimism and
a purity to their playing that is uplifting, reassuring, and
triumphant. I am so happy this one came my way.
 CROWN
OF PITY - Everlasting Sunday (https://crownofpity.bandcamp.com)
I am immediately hooked with “Leviathan”, the
opening effort on Crown of Pity’s newest release. David
Dutton and Natalie Rakes are a devastating duo, integrating
fuzzy guitars into an atmospheric haze that adds a level of
mystery and sultry danger to the track. Hazy but not lo-fi,
Everlasting Sunday has much going on within its six
songs, with them often bathed in feedback and distortion while
programmed drums rattle and shake. Crown of Pity immerses
punk energy into a sea of 80s-era Sonic Youth hum, resulting
in a gem like “Lost Heirs”. Possessing a harmony
that defies convention, driven by Rakes’ thunderous
bassline, the song is a pristine example of the pair’s
ability to produce furious melody. The mid-tempo “Siren
Song” glides effortlessly along with an unmistakable
sense of darkness and longing, ultimately meandering with
a tempo reminiscent of 90s shoegaze glory. Rakes takes the
helm on “So Be It”, a reserved effort that allows
her haunting vocals to shine brightly, accompanied by minimalist
instrumentation until a swaggering conclusion erupts around
her. The sludgy “Never Say Ever” and the lush,
concluding “Bake Sale” display a refined sense
of power. Everlasting Sunday is a stunning release
from a dazzling band.
 NEW
AGE HEALERS - Where the Tragic Happens (https://newagehealers.bandcamp.com)
Owen Murphy’s New Age Healers hit hard and often on
the emotionally driven and cathartic Where the Tragic Happens.
A melancholy guitar riff commands “He Took a Bullet
to Heaven” as Owen ominously declares “some of
your friends are going to die/ they’re going to die
young”. When Murphy asks “do you like surprises?”
on the closing “Surprise Party”, one is inclined
to scream “no!” an ran quickly away, for Murphy
sounds both menacing and genuinely curious about the answer.
This paradoxical nature drives the record, as Murphy blends
beauty and fear with majestic efficiency. On “Stop”,
Murphy declares that he has “a mind for sin”,
and one can only imagine what that truly means. While he is
surrounded by a wide array of talented friends, New Age Healers
is nearly a one-man show. Murphy sings, plays guitar, bass,
drums, and even contributes “drum ideas”, making
him truly the mastermind of this release, with his talent
evenly distributed among the eight distinct tracks. He plays
with sentiment and tempo with stunning deftness, as “The
Drowning” is a slower anthem, but each word is accented
with dramatic bursts of force that provide tremendous weight
to each syllable. This is contrasted with the breathy, bass-heavy
“Disasters Offshore”, a song that simmers consistently
but never boils uncontrollably, or the distortion-soaked guitar
that mirrors a line about “distorted schemes”
on “With Regrets”. Everything on Where the Tragic
Happens is both somehow irreverent and wholly accessible,
accenting their darker moments with fun-loving pop aspects
to soften the edge a bit without ever becoming dull.
 TEENAGE
HALLOWEEN - Eternal Roast (https://tngehllwn.bandcamp.com)
One has to appreciate a band with a track called “Shitty
Person” in which vocalist Luke Henderiks admits that
they are “a lying liberal with painted nails/been throwing
my pennies at peace.” This level of honesty is refreshing,
as is the music of Teenage Halloween - the soundtrack to an
angry, politically charged, cynical party in which everyone
is fed up and drunk. Accompanying Henderiks is a wide arrange
of players including Connor Egan on trombone and flute, Kevin
Sabik on trumpet, and Brandon Hakim on saxophone. However,
rather than attempting to be another ska knock-off, the band
integrates horns and Danni May Ciminnisi’s keyboards
into the heart of each song, producing a highly energized
brand of eclectic rock with a subtle pop sensibility. The
enthusiastic horns that open “Jerk” and the furiously
paced “Moving Song” establish a light-hearted
vibe that defines the song, but not the band in general. Lyrically,
the kids in Teenage Halloween are a confrontational punch
to the chest of authority in the name of free expression and
personal liberties. Supported by drummer Brian DeSeno and
bassist Lynn Tuimill, Henderik’s raw confession on “Invalidate”
becomes all the more powerful: “I will never be there
while the risks you’re willing to take will eventually
die”. Eli Frank’s guitar may get lost at times
in the midst of the bombast, but he controls the pace of many
of the tracks and shines on the aggressive declarations of
“Car Sick”, as this call is put forth by a confident
Henderiks: “Organize and assemble too, the salt the
penetrates the wound/We won’t stop scheming til we’re
free/Wipe the blood right off the floors, kids under all these
trap doors/We won’t stop scheming til we’re free”.
The closing “666!” is a brilliant pun on the once
(I guess Mike Pence is still afraid of it) frightening numerical
calling card of Satan, and just before concluding with delicate
piano, Henderiks declares one final battle cry with “Gag
me in plain sight/ And Tell me what we’re doing is wrong/
Just some raging queer kids/ And we’ll sing our own
protest songs”. Not much is known right now about these
bold New Brunswick residents, but I hope that changes soon.
 THE
FRONT BOTTOMS - Going Grey (Fueled by Ramen www.fueledbyramen.com)
It can be difficult to make a statement like “Holy fuck,
I’m about to die” sound light and fun, but somehow,
The Front Bottoms do just that on the opening track of their
new record, Going Grey. This mixture of sardonic darkness
and jovial enthusiasm is the crux of the release and one hears
it overflowing on a number of tracks. The pop sensibility
of “Peace Signs” can be immediately interpreted
as ultra-light fare, but there is a subtle complexity to the
music of The Front Bottoms that make their modern pop anything
but disposable. This depth helps to make Going Grey constantly
engaging, even when they introduce a song called “Bae”.
I was more than a little nervous when I saw this name flash
on my screen, but rather then being treated a middle school
dance anthem, I am hit with the line “When you realize
the crew you roll with/Is actually what makes you anxious”,
a brilliant nugget of a statement that is quite similar in
nature to the dance floor energy of “Grand Finale”
(“It felt good before but now its getting older/’cause
there’s no more empathy”.) Relationships and the
complexities existing within them cut a swath lyrically through
the disc, highlighted by “Don’t Fill up on Chips”
(“Feel most complete when we’re asleep/My head
even with your hips/I hug your knees/Who’s to blame,
I don’t know/I feel no responsibility, though”),
and “Trampoline (“I try to fake it/But you know
me better”.) The quite literal “Far Drive”
celebrates long rides with the ones a person loves to go see
the people a person loves, while the 80s buoyancy of “Everyone
But You”, also quite literal, details hating all people
except that special one-the name you do not erase (“Got
into a bit of a state last night/Deleted every contact in
my life”). Ultimately, The Front Bottoms should continue
to grow their audience with a collection of tracks that are
instantly catchy and unapologetically energized. For those
with a few more miles on their lives, the multiplicity of
the lyrics will hold interest, and the little ones can fantasize
about lives more interesting than those being currently lived.
 ANTHROPHOBIA
- Grind (https://anthrophobia.bandcamp.com)
The Philadelphia area has produced some important aspects
of American history-the Continental Congress, Liberty Bell,
the announcement of the Declaration of Independence come
to mind-but perhaps nothing more fun than the work of Frank
Phobia. Anthrophobia, a band that just refuses to die, returns
with a five song blast in the form of Grind. Produced by
the legendary J Robbins, the guys sound more animated than
ever with Frank again looking back while simultaneously
pushing the band forward. The title track is a celebration
of skateboarding coming from a man who says it is been his
favorite love since the “spring of 1975”. This
track, like those that surround it, are muscular slabs of
aggressive, rugged rock n roll with punishing guitar grooves
and Frank’s instantly recognizable snarl. “Over
Reactor” is a searing two-minute punch to the gut
while “Ancient History” is boldly rhythmic and
again allows Frank to carry a surprisingly soulful chorus
on top of a heavy low end. “Time won’t stop
for no one/Time is vicious and cruel”, he laments,
but one would not be able to tell the miles on this band
from listening to Grind. Vibrant and even a little cheeky
(“the breakdown of “Ancient History” appears
to borrow liberally from classic Van Halen), Anthrophobia
are back to announce once again that retirement is boring
and the remind the world just how badly it needs this band.
“Before the Crash” shows a different side Anthrophobia,
as the closing track is a nearly seven and half minutes
in length that ebbs and flows with varying intensity as
it cuts a wide swath across a heavy musical landscape. I
have no idea what Anthrophobia has left in its collective
tank, but as long as these guys have the desire, I hope
they never stop.
 PROFESSOR
WHOMEVER - Wounded Brightness (https:// professorwhomever.bandcamp.com)
Maybe the funkiest figure to emerge from Mama Coco’s
Funky Kitchen, Professor Whomever is a buffet of psychedelic,
folk, rock, and experimental brilliance. Wounded Brightness
is a soaring masterpiece of a record-a massive collection
of esoteric complexities that consistently amaze and will
leave listeners wondering from which time warp did this genius
emerge? Opening with the acoustic psychedelic “ Find
the Dog”, Professor Whomever alerts all within earshot
that is far from a typical release. “The Bardo”
is audibly stunning, with its panoramic beauty as bold anything
Pink Floyd ever created, but the striking, sweeping “Examining/Wounded
Brightness” will befuddle, mesmerize, and entrance as
twenty-two dazzling moments wash over those with the stamina
to endure. The sentence “we’re in the age of stupidity”
emerges from the majestic din and in one fleeting second epitomizes
everything that Professor Whomever is attempting to do-he
is single-handedly smashing all preconceptions of what musical
expression can be and forcing people to look around at just
how limited the world has become. “Conflict” features
an internal dialogue made public as a pair of voices argue
about the state of humanity as one concedes that he is “done
with people who are done with me”, and is ultimately
challenged prior to the song’s triumphant conclusion
with the question, “do you even know the Pledge of Allegiance”?”
The closing “Wandering Ghost” is a lighthearted,
jaunty track that seems to usher all out in a good mood after
experiencing a mind-altering assault upon the senses. Of all
the moments of brilliance, I am most intrigued by the paradoxical
nature of “Freedom”. The song revolves around
every child’s fantasy-a beloved plush toy coming to
life; in this case a panda bear. However, rather than experiencing
happiness together, the young girl separates herself from
the bear in the woods and gazes upon the unsettling scene
of the now mortal creature as it is attacked by insects before
the doomed being wanders into a local mall dazed and injured,
only to be shot dead. The song concludes with an emotional
burial for the object as the words “ I watch the people/Walking
by, I wonder if they're evil... We all wanna be free/But do
we even know what freedom means?” Twisted, menacing,
yet also intensely thought provoking, I have honestly never
heard anything quite like the work of Professor Whomever.
People like Zappa or Beefheart or even the Crazy World of
Arthur Brown come to mind here, but that is merely a distant
comparison, for Wounded Brightness proves that in a desert
of mediocrity and redundancy, there can be an oasis of true
originality.
 THE
HARMONICA LEWINSKIS - Bring Back Bush (https://theharmonicalewinskies.
bandcamp.com)
I have been a longtime fan of The Harmonica Lewinskis since
the first time I saw their name in print, and with an album
titled “Bring Back Bush”, I knew I was in for
a treat. The minimalist opener “I Wanna Laugh”
includes the refrain of “I wanna laugh/I wanna cry”,
and this sums up both the state of contemporary American
society as well as the state of the band. During the recording
of the record, leader/singer/guitarist Dan McLane passed
away, and it is very difficult to separate one’s sorrow
from listening to Bring Back Bush. Therefore, the usually
upbeat, snarky, and energized punk-soul one hears is tinged
with gut-wrenching sadness. The swinging, “What is
it You Want to Know” invokes Beatles-esque style harmonies
as the song breaks away from its rollicking chorus, while
“My Babe” is a heartbreaking piece of acoustic
beauty with the brilliant opening line, “I met my
babe when I was only one from eleven”. Even “My
Little Girl” has a sullen verse about a girl with
tracks on her arms before a more triumphant conclusion.
Perhaps nothing is more celebratory than “Grateful
Ducks” that includes a loving tribute to Maxine Nightingale’s
1975 hit “Right Back Where We Started From”.
“Get Some” features a dirty, bluesy riff that
sounds like it woke up on the whiskey soaked floor of a
Southern brothel and is paired nicely with the noisy, start/stop
pomposity of “Comme Le Thon”. In the wake of
McLane’s death, “Remember Monica” becomes
particularly poignant, as the heartfelt, reminiscent lyrics
and soaring harmonies are the finest treasures amongst a
varied collections of gems. Fittingly, the band closes with
a rousing, feel-good anthem in “Smile Today”,
a boisterous rockabilly stomp that completes another collection
from a genre-smashing, wildly talented band.
 DOWNSWING
- Dark Side of the Mind EP (Rise Records www.risercords.com)
Downswing are not interested in playing games, mincing words,
or experimenting-this is a knock out your teeth hardcore band.
While the guitars have an expected heaviness with a strong
affinity for thunderous grooves, it is the low-end of this
Albany outfit that impresses most significantly. The drumming
is speedy, but also overflowing with fills, time shifts, and
other trickery not often associated with hardcore, giving
the band a unique approach to their aggression. The opening
“Bitter” smacks of Vision of Disorder at their
finest, while “Disease” is a raging detonation
of blunt force. Clear the room of valuables before listening,
and do not be embarrassed of a one-man circle pit as “Disease”
kicks in to its Hatebreed-esque final moment. I am overwhelmed
by an immediately visceral reaction to Downswing, and the
metal-tinged “Enough” flirts with death-growl
vocals, making it my favorite of this all too brief EP. “Hell”
is a chaotic, slashing track that ultimately finds its way
into a classic Agnostic Front style dropkick. The closing
“Immolation” is enough to demonstrate how Downswing
can hang with any headliner at metal/hardcore festivals as
it throttles the listener with a thunderous assault. The band’s
influences are paid homage, but there is extraordinary originality
here.
 HERETIC’S
FORK - Greed (https:hereticsfork666 .bandcamp.com/album/greed)
Travis Lee is the twisted genius behind Heretic’s Fork,
a prolific curator of mind-altering “cybergrind”.
I know I am one who tries to eschew labels, but I do find
“cybergrind” to be not only cool, but also a highly
accurate description of the swirling din that is Greed. The
opening title track is abrasive, terrifying, and relentlessly
intense; the song is the musical equivalent of a dentist’s
drill to a raw nerve when the patient is strapped down, wide-awake,
and immobilized. The pain is excruciating, and ultimately,
the body just goes into shock and accepts the torture. I love
every blinding second of it, as Heretic’s Fork taps
into the classic experimental bedlam of Merzbow or Whitehouse
on “On the Weed Ting” while tinny, rattling percussion
drives “Equations, Equations, Equations” and the
twenty-second orgasmic release of “Audio Asbo”.
This is not music for everyone; in fact it is designed for
very few, but for those daring enough to allow their heads
to be rattled and their nerves decimated by “My First
Trap Song (please like and follow mix)” will be better
for the experience. Heretic’s Fork is the ultimate rejection
of conventional music-it surpasses even the most barbaric
of metal and enters into a schema that few performers can
reach. As is the wont of artists such as Lee, the songs are
fleeting, but much is achieved in only a few seconds. Find
this and stun those ignorance of this brilliance.
 PA
ANGELO - Neurotica (https://paangelo.bandcamp.com)
This three piece from Flemington, New Jersey opens Neurotica
with a lo-fi blast on “TASB” as PA growls ominously
for others to “take a step back” as a droning
guitar riff and a thick bass line from Mike Thompson swirls
around him. “Clouds” is a driving, simplistic
anthem that features raw, aggressive vocals and a surprisingly
melodic chorus. The song is emblematic of the band in general-loud
but not barbaric, abrasive yet still controlled. The meandering
“Summa Time” trips over itself due largely to
length-the song is simply too long-and in an attempt to capture
some form of 60s style tone of innocence and fun. The guys
in PA Angelo are better when they are feeling feisty. Lyrically,
the band scratches out a few lines and repeats them, therefore,
not much is left to interpretation as “Breathe”
reinforces. “Breathe in, breathe out, say hello, mellow”
are the only words heard as the song flirts with a more melancholy,
benignly ethereal approach. “Spiders” is a return
to the more furious sound of the band, highlighted by a burst
of chaos before a lengthy interlude of quiet ultimate submits
to a violent conclusion. I struggle to take “Spiders”
seriously, as the song tries too hard to be dangerous. The
music of PA Angelo is akin to being the toughest kid at the
country club-sure, it’s something, but what are you
really? When “Pigs” continues the animal titles
theme, the song embraces a tuned-down, surf vibe sounding
like an angrier Dead Milkmen. The song rumbles along until
another quiet conclusion, mirroring its predecessor. “Am
I Hear?” clocks in at nearly eight minutes and really
made it point long before it clocks out, and the closing “Tunnel
of the Abyss” simply runs out of fuel. In all, PA Angelo
works diligently, and there are fragments of songs here, but
nothing on Neurotica is all fully formed. \
 NURSES
- Naughtland (https://nurses.bandcamp.com)
Aaron Chapman and John Bowers is a wildly inventive pair of
thinkers that could only emerge from isolation, the type of
isolation one would experience in Idaho Falls, Idaho. From
that remote locale, the duo eventually settled in Portland,
Oregon, another town long known for its courage to embrace
those traditionally considered outside of the norm. Together
as Nurses, they return after almost six years with the powerful,
vividly expressive Naughtland. The ten songs are heavy on
synth, understated beats, oddly-tuned vocals, and lyrical
virtuosity . “Heavy Money” may sum up the band’s
approach, as “you’re telling me all these words/And
they don’t mean a thing/It doesn’t matter much
to me/ When I feel my fortune is free”. With hushed
vocals, wonderfully placed intermittent beats, and keys that
hang heavily in the air, the song is a wormhole into another
musical universe. Nurses are a challenging act for the uninitiated,
for the songs are delicate, lush, and layered with a breadth
of remarkable precision. The title track’s heavily tuned
vocals demand attention and are nearly menacing in tone, and
this is reflective of the band’s broad palate of emotional
levels. “Names You Know” has a groove that frolics
with playfulness, while “Pillow Talk” is delectably
sensual and almost tactile in its musical embrace. “Silver
Moonlight” is both the midpoint of the collection and
the center of the pore heard on Naughtland. Replete with chilling
lyrics, one is paralyzed and fascinated by declarations such
as “I’m out here I’m all alone/I’m
all alone and I’m leaving behind the weight of the world/The
weight of my life”. Dark, poignant, and descriptively
impactful, Chapman and Bowers are above all, dazzling raconteurs,
even if their messages are not always easy. The airy “Yours
to Keep”, a song apparently motivated by Aaron Chapman’s
recent marriage, finishes the release with a dreamy, nurturing
embrace. The warmth of the song resonates and brings a spiritual
experience to a haunting conclusion.
 BRIXTON
RIOT- Close Counts (https://thebrixtonriot.bandcamp.com)
Lovingly referred to as “dad rock” by Jim Testa,
Brixton Riot are four Jersey guys who play hard driving, you
and the open road style rock n’ roll. There no frills,
no tricks, and nothing artificial about their brand of The
Knack style power pop, and much of the work on Close Counts
is highly infectious. The opening “Can’t Stop
Now” has a driving backbeat from drummer Matt Horutz,
big guitar hooks, and the yeoman vocals of Jerry Lardieri.
Lardieri shares guitar responsibilities with Mark Wright,
and the duo offer riffs that harken back to the salad days
of FM rock radio; Brixton Riot is a band that if asked to
describe their sound, one can only reply “rock n’
roll”. This is most obvious on the cheeky “Ballad
of Pete Best”, as Lardieri sheds some light on the lament
of the original Beatle when he says, “thank you John
Lennon, thank you Ringo Starr, I was the original drummer,
should have learned to play guitar”. These biting lines
are delivered within a song structure straight from With the
Beatles, and it is both a little snarky and a tribute to the
music of that era. The second half of Close Counts increases
in intensity with “Maybe Tomorrow”, “A Little
Spark”, and “Move On”. This trio of tracks
includes more aggressive guitar playing, speedier tempos,
and Lardieri barking his vocals a bit forcefully, revealing
an edgier side to Brixton Riot. “Caroline” and
“Closer” feature more methodical songwriting,
replacing speed for a heavier bass line from Steve Hass, particularly
on the latter. The rollicking, blue-collar effort of “Talk
About Nothing” is a celebration of what the band does
best, while the concluding “Surrender to the Void”
completes Close Counts in a melancholy manner, but the listener
is still left feeling encouraged by the complete picture painted
by Brixton Riot.
 THE
MOMS - Doing Asbestos We Can (Bar/None Records www.bar-none.com)
From the title of the record, it is obvious that the Moms
have a great sense of humor about what they do, and this ability
to not take themselves too seriously shines through Asbestos.
The opening “Good Job” is the perfect table-setter
for this disc, as the song is a festival of punk-pop fun.
Bouncy, overflowing with jangly guitar and bountiful hooks,
the three Moms-Joey, Jon, and Matty-embrace the rock’s
quirkier components. Much of this reminded me of Weezer at
their best, particularly “Push/Shove” and “Longshot”,
which may be the best song Rivers Cuomo never wrote. The vocals
are strained at times, lyrics can discuss the darker nature
of existence, but the guitar tone and the band’s animated
style always remind the listener to have fun. The Moms have
the ability to vary their techniques, for while “Channel
Surfer (Obsidian)” has a chunkier riff, “Soup
Song” embraces a free-flowing, borderline Byrds-style
harmony. “Rock the Boat” is the band at the most
pointed; a fiery blast of destructive energy that is gone
is just over a minute and then the record shifts again into
the New Wave feel of “Heartless”. This penchant
for consistently avoid reproducing the same idea gives the
Moms an advantage over other indie punk acts, as this band
is deceptively difficult to pin down musically, and thus,
it is impossible to grow tired of anything done here. Bar/None
has been doing this for a long time now, and it is obvious
that the label’s ability to seek out and find intelligent,
wholly unique acts is still strong.
 DAMFINO
- One Wrong Move and I’m Yours (https://damfino.bandcamp.com/
album/one-false-move-and-im-yours)
This talented four piece from Dumont, New Jersey play a folk-inspired
brand of everyman rock. I first heard these guys on the most
recent Mama Coco’s compilation Transmutations, and it’s
exciting to hear a full length from them. “American
Healthcare” has lyrics that are less protest song and
more a prepared speech; a speech more articulate and empathic
than any current politician. (“American healthcare as
bad as it gets/A choice of insurance/In my state there’s
none”). The frustration vented throughout One Wrong
Move is real, and there is nothing playful or satirical about
Damfino. The rollicking” Visit to the Women’s
Planet” includes well-placed piano and solid guitar
groove. “Quarter One” has a country twang to it
and references to NBA games and financial woes, playing a
quirky word game with the title. “Twenty-two Months”
is a classic tale of a struggling relationship, as the song
both celebrates the happiness and laments the failures, while
“Shedding” ends with the haunting refrain of “Annie,
don’t give up our baby, somehow we’ll find the
money”. The songs on One Wrong Move are heartfelt, poignant
vignettes of American society; the band is not providing answers
or letting anyone know that it will be alright in the end,
because frankly, most likely it will not be. “You Are
Every Shade of Urine to Me” may have a disturbing title,
but the song resonates with a greater bombast than the majority
of the songs here, and “Lonely, Sad Port Antonio Night”
swings with the effervescent bounce, led by the vocals of
Alan Bachrach. The closing “To, For, and Because”
has a dreamy, lush quality that resonates warmth before exploding
into waves of distortion heavy guitar that conclude the record.
This came highly regarded by one Jim Testa, and it easy to
hear as to why.
 MY
TICKET HOME - UnReal (Spinefarm Records www.spinefarmrecords.com)
In an effort to emphasize the worthlessness of musical labels,
the guys in My Ticket Home refer to themselves as “puke
rock”, a ridiculous, meaningless moniker intended to
do nothing but confuse the feeble-minded. One can dispose
of any silly tag once UnReal comes on, for the Columbus, Ohio
outfit unleash a torrent of harmony and noisy, distortion-heavy
grunge accented by equally rich harmonies. The work of Derek
Blevins and Matt Galluchi is brought to the forefront on “Thrush”,
indicating the band’s penchant for punishing guitar
blows, while the dream-like vocals of Nick Giumetti hover
like an apparition before changing direction and embracing
a more menacing tone. “Flypaper” is a darkened
slab of passion delivered with an intimacy and fury. “Hyperreal”
and “Time Kills Everything” are the two brightest
stars in this musical universe, as both experiment with tone
and tempo, but never fully abandon the ability to be a boisterous,
monolith of power. “Redefine” is another example
of a song that shakes with an uncontrollable energy, and the
band certainly channels the best of the grunge era on “Cellophane”
and “Gasoline Kiss”. My Ticket Home craft songs
that hit with a blunt intensity, including the impenetrable
mass that is “We All Use”. I placed the majority
of these songs on repeat, and with each passing play, I became
more infatuated with all this band does. Very impressive.
 J
MARINELLI - Stray Volts (Twin Cousins Records (https://twincousinsrecords.
bandcamp.com/music)
The one-man band who holds court and dominance over Morgantown,
West Virginia returns with Stray Volts. J Marinelli plays
a form of lo fi minimalism with real bluster and punk aesthetic.
Peerless and free of pomposity, “Brand New Glasses”
starts the record with a stomping bluntness while injecting
an art-world sophistication into the din. Marinelli strips
rock down to its most basic and brazen elements and performs
without the shelter of fuzz, distortion, or studio tricks.
The songs on Stray Volts are raw, exposing life’s both
fleeting and poignant moments, at times simultaneously. “Madison
Girls” is heart-breaking as Marinelli says, “I’m
counting bruises where no bruise should ever be/While you
spread doubt about the spawn of you and me/But when the dope
runs out you’ll spend the week indoors/And resurrect
the ghost of what we had before.” The song’s emotional
depth is made all the more obvious through the subtle shifts
in tone of the vocals, something heard throughout the record.
The fifty-six seconds of country baked speed that is ‘Humble-Brag
Man” introduces a set of tacks that barely crawl past
one minute in length, but achieve great feats in little time.
“Cocaine Activist” marches along with a rough
and tumble bombast, replete with sardonic wit. The acoustic
groove of “Evil of Two Lesser” invokes aspects
of 60s folk and captures Marinelli at his best. The ephemeral
“Common Come-On” is both a sterling play on words
as well as a showcase for biting bursts of guitar while also
utilizing the word “Australopatheticus”. The tempered,
deliberate “Creak and Sway” is a wrenching story
of giving up and surrendering to one’s darkest sorrow:
“Put my neck into the loop last night/Pulled the rope
‘round a red throat tight/Cut the gas and read me my
last rites/Creaked and swayed in the window light”.
Somehow both gorgeous and excruciating, the song is mesmerizing
in its ability to precisely capture pain. J Marinelli ahs
been doing this for a long time and his talents are obvious.
 THE
SKULLERS - Meet The Skullers (www.theskullers.com)
Gritty, bluesy rock and roll that sounds as if it woke up
on the beer-soaked floor of a bar deep in the heart of Texas,
but this all comes from Jersey. Jack Skuller has a Springsteen-esque
story telling talent while he and mates play ZZ Top riffs
on “Eyes Open” and the sinewy “Pressure
Face”. “Meet Me in Memphis” captures rock’s
blues-inspired origins, including rhyming couplets for lyrics
accompanied by soaring harmonica and the controlled fury of
Gabriel Scholis-Fernandez on drums. “Peace with You”
is a meandering monolith with a rich tone and infectious groove,
led by bassist Liugi Sardi. The energized “One Foot
in the Grave” clamors with a Replacements-like glee
and is the shining star of the five-song EP. There is a tremendous
amount of talent within The Skullers, and when one considers
that Jack Skuller was already a rock n’ roll veteran
at age 14, the options are limitless for this outfit.
 VERSING
- Nirvana (https://versing.bandcamp.com)
It finally happened-twenty-three years after Kurt departed
this mortal coil far too soon, a band from Seattle takes the
chance and names a record Nirvana. I think Cobain would approve
of Versing’s cassette release and its continuous rounds
of jagged, energized punk. The explosive burst of feedback
that introduces “Call Me Out” is a fitting start
for this band, but the song quickly adopts a more stilted
vocal delivery, compliments of Daniel Salas, and a choppy
musical structure that acts as a template for much of the
record. The playing of Salas, guitarist Graham Baker, drummer
Max Keyes, and bassist Kirby Lochner is somehow both familiar
and unnerving. Versing’s sound is perpetually walking
a serrated edge of vulnerability and self-destruction. The
perpetual nervousness that permeates the record never allows
the songs to ever truly relax, and thus neither does the listener.
Even the more spacious anthems, such as “Body Chamber”
and “Running Thru” retain a feeling that the songs
are running violently towards an undetermined destination,
creating an anxiety that defines the band. The playful, noisy
picking one hears on “Cloaked” and “Swollen
Rivers, Forgotten Sons” instantly connotes moments from
In Utero, while the title track possess a massive guitar hook.
When Salas bellow “and you die” on “Dii”,
the sentiment is more than the centerpiece of the track-it
is a resounding call to arms. The song is shredded by angular
bursts of guitar noise and brute force. It may be an appropriate
time to think about a new way to interpret Nirvana.
 HANG
TIGHT - Grind (http://standbyrecords.merchnow.com/)
It is wonderfully fitting that Grind, Hang Tight’s new
EP, has a bright pink color scheme, for the band exudes upbeat,
energized, summertime punk pop. As I write this, the forecast
calls for ninety degree temperatures on Long Island in late
September, so the summer feel is still here and Grind makes
a perfect accompaniment. The five songs are exuberant, infectious
anthems starting with “The Rents”. Overflowing
with a blissful ignorance and optimism, the song celebrates
living life in which the only care is the girl next to you
and trying to enjoy each moment-no worries about the unpaid
rent or the dead-end job. “Digital Age” has a
blatant Blink-182 vibe, borrowing a cadence similar to “First
Date”, but the line “look at me, not your screen”
rings so true in so many different situations. The guys in
Hang Tight capture the hopeful nature of youth, and the band
celebrates the beauty of romance with fearless honesty on
“Be Mine”, as “I miss being your superstar/Just
cause I can play guitar” is one of the vulnerable admissions
uttered as the song draws to a close. The free-flowing pop-punk
goodness of “Forget About It” includes an ode
or two to Sum-41 riffage, while “Pretty in True Blue”
opens with a dreamy, hazy intro before unfurling a jangly
riff and a vocal delivery that will have every kid in the
audience screaming back. My advice to the guys out there would
be to learn each syllable this band says and when you go to
the show, watch your girlfriends-I would not leave them alone
with Hang Tight.
 HOT
WATER MUSIC - Light It Up (Rise Records www.riserecords.com)
Chuck Ragan and Hot Water Music are back after five long years
away, and Light It Up is a celebration of a collection of
tough-skinned, hardened pros who write sophisticated post-punk.
The gruff vocals and rugged melodies that have always defined
the band abound on Light It Up , and Ragan never sounds more
prophetic than on “Never Going Back” when he declares,
“If you rest, you rust”. The opening “Complicated”
has a controlled aggression that feels continuously combustible,
but remains contained, while the title track is a blistering
eighty-eight seconds of hardcore fury. The massive hook of
“Show Your Face” makes it my favorite track on
Light It Up and that is a difficult choice, but the record
is a richly melodic journey of powerful, introspective songs.
The darker tone of “Sympathizer” pushes Ragan’s
voice to an edge in which his intensity rages, and his line
that “Can’t build a wall if we don’t want
to” I find particularly engaging. “Bury Your Idols”
launches itself at the listener, while George Rebelo simply
barrages his kit with relentless energy, and “High Class
Catastrophe” merges Hot Water Music’s gritty,
barebones musical angst and Ragan’s sharp, self-deprecating
view of himself into a flawless anthem of guitar force, anchored
by Chris Wollard. The closing “Take You Away”
is slightly more subdued in nature, but this only allows Ragan’s
already poignant vocals to become more impactful. This Gainesville
outfit has nothing to prove, and they paly with a freedom
few bands will ever experience, as the record is a progression
of an already legendary career. However, rather than make
fans compare this to what once was, Light It Up should make
people excited about the future of Hot Water Music.
 TIM
BARRY - High on 95 (www.chunksaah.com)
“I’ve always been thirsty/I’ve always been
a wreck”. With those two lines, I am immediately a fan
of Tim Barry’s new release, High on 95. The man known
and rightfully adored for his work in Avail offers a collection
of stripped down, country fried slabs of raw honesty. Reflecting
back upon his life, contemplating aging, and thinking about
the future, High on 95 celebrates life’s tribulations,
struggles, and celebrations through Barry’s gritty vocals
and forthright troubadour style. Whether he describes the
long and winding road on the title track or contemplating
abandoning the “bills and rent” of his current
life and heading out West on “Riverbank”, Barry
is a man of constant conflict and internal debate. Within
these anthems are lessons learned from a life lived on one’s
own terms and colorful characters such as “Gumshoe Andy”,
a front porch hootenanny piece that is a combination of swagger
and Southern twang. Brooklyn calls back to the Virginian on
both “Slow Down” and “Chelsea”, with
the latter concluding with the bitter lines “I can’t
explain the pleasures of being betrayed/Its in your best interest
you take everything you need/ It’s about time you leave”.
Barry saves his best work for deep in the record with the
stirring “Running Never Tamed Me”. An autobiographical
examination of personal strengths and failings, (“Run
when I am angry, Drink when I get sad/Running never tamed
me Lord/ And Drinking turned out bad”),
the song’s haunting violin and Barry’s advice
to his newborn child of “Son, don’t do like me/Take
only what you need” is beautifully heartbreaking. A
lush collection of bold individualism and majestic poetry,
Tim Barry delivers stirring Americana.
 CHOKE
UP - Stormy Blue (https://chokeup.bandcamp.com)
Four best friends from Boson deliver a classic emo sound with
a few subtle twists throughout the highly passionate Stormy
Blue. While none of the songs hit particularly forcefully
musically, the depth of the talent is evident. “Saturday
Night” opens the disc with a meandering, rumbling build
up that ultimately reveals a steady stomp. The throbbing emo
sensibility of “Joyride” and the sustained energy
of “Blue Moon” both have the finest components
of Taking Back Sunday and Jimmy Eat World. One unique twist
arrives on “Borderlands”, as the band injects
a folksy tone with group vocals destined to inspire massive
sing-alongs. With the lyrics, “isn’t it pretty
to dream”, one is given insight into Choke Up-there
is an innocence and hopefulness about the band that is refreshing.
The bluesy “Roadside Graves” is my favorite track
of the bunch, and the heartbreaking lyrics paint a dismal,
but all too honest snapshot of American life. (“I never
knew what I wanted/Except for you and the wind in my hair/Now
those blue eyes are haunted/ And ash is in the air”).
“Fireworks” is another effort featuring a slow
boil and controlled burn, but I begin to drift off during
the muted nature of “Level Me”. However, the closing
“Sunday Morning” includes slashing guitar blasts
and notable force. I do not know if one can announce an emo
renaissance, but if one does begin, Choke Up should be among
the leaders.
 WITH
THE DEAD - Love From With the Dead (Rise Above Records www.riseaboverecords.com)
The legendary Lee Dorian returns as the voice of sorrow and
despair of With The Dead. With heavily down-tuned and distortion-bathed
guitar, WTD is everything a doom devotee would want, but there
is much more than simply desperate darkness on Love From With
the Dead. Much of doom metal can be frustrating, for in the
hands of lesser talents, it often plods along and features
minimal diversity in tone or structure. The seven tracks on
Love From With the Dead are certainly jarring waves of musical
barbarism, but Dorrian, Tim Bagshaw along with new members
Leo Smee on bass and drummer Alex Thomas inject a blast of
speed to kick off “Egyptian Tomb” and soaring
wah-wah pedal on “Reincarnation of Yesterday”.
The songs revolve around layers of soul-crushing tales of
loneliness and loss that seem to embody a global sense of
hopelessness. The opening “Isolation” is mesmerizing
in its stark beauty-the song is harrowing and punishing, utilizing
Dorrian’s decades of experience to produce doom metal
that feels invigorating-not an easy feat. What I appreciate
most about With the Dead is that the band is not interested
in producing answers for the misery; yes, the world is collapsing
around us and there does not appear to be any respite from
the agony, so rather then mire in the cathode ray of a television,
the answer may be to submerge one’s self in the thick,
Sabbath-inspired riffs of With the Dead and die ensconced
in mind-rattling serenity. “Watching the Ward Go By”
plays out like a psychological horror story with only a tragic
ending as Dorrian murmurs, “I fear the claws of death/
Sinking into my chest/Taking out my soul/As the pain of reality
eats me”. The bluesy “Cocaine Phantoms”
adds another layer to WTD’s interpretation of doom force.
One may think that doom metal would seem redundant in a world
as bleak as our current environment, but in actuality, doom
is needed now more than ever-it is nice to know we are not
alone.
 GENE
LOVES JEZEBEL- Dancing Underwater (Westworld Records)
There are some bands that seemingly disappear from the face
of the Earth and when they return, there is great fanfare
and excitement. Gene Loves Jezebel is not one of those bands.
It is not entirely their fault-the band had a couple of minor
hits in America-“Jealous” was in moderate MTV
rotation in 1990-but this was not a band that made my blood
pressure speed up upon learning of their return. However,
with all of that said, GLJ, led by jay Aston stays true to
their Goth-inspired pop. “Charmed Life” and “Izitme”
have slick grooves, with the latter kissed by wah-wah guitar
work from James Stevenson, and frankly, the song could work
in 2017 or 1987. Unfortunately, when the record stumbles,
the misstep is obvious, none more painful than “How
Do You say Goodbye (To Someone You Love)”. The spoken
vocal delivery is pallid and the song never finds any semblance
of genuine energy, resembling the grisly power ballads of
the 80s, while “Cry For You” is a genteel, mid-tempo
effort that begins with innocuous piano and evolves into a
moderate piece of disposable pop. One highlight is “Summertime”,
as it resonates with a fitting warmth, proving that it is
still within the guys to craft a winning single. While “World
Gone Crazy” begins with a strong volley of guitar force,
the track dissolves a bit into an overly bouncy, sugary-sweet
celebration about “having a good time” but lacks
enough conviction to make the listener believe that a good
time is actually being had; instead, it sounds as if GLJ are
trying to convince themselves and those around them that this
is fun. The closing “(I Don’t Wanna) Dance Underwater”
is the most soulful effort of the bunch, alternating between
acoustic playing and a sweeping classic rock chorus. Ultimately,
Dance Underwater has its moments deserving of celebration,
but it does not leave any permanent memories.
 KRISTIN
HERSCH - Wyatt at the Coyote Palace (HHBTM Records hhbtm.com)
Kristin Hersh has been making incredible music since she was
barely out of middle school, and decades later, her talent
is as robust as ever. Wyatt at the Coyote Palace
(the title is a loving homage to her son) is a sprawling collection
of heartfelt, sinewy songs of love, frustration, hope, and
angst. Largely just Hersh and an acoustic guitar (the panoramic
closer “Shotgun” includes a backdrop of angular
guitar haze), one is given unmistakable insight into the prolific
and richly metaphoric mind of Kristin Hersh. Even when it
sounds as if she is predicting doom as she does on “Bubble
Net” (“there’s no tomorrow”), there
is a warmth in Hersh’s voice that makes the song an
ode to blissful ignorance and experimentalism, a fearlessness
that evades so many. “Secret Codes” may be the
most poignant of the songs, as Hersh emits “Just ache
with hope ‘til it goes away/You only know secret codes”.
One may think that a twenty-four song double album may eventually
grow weary, but not the case here; the funky bassline of “Detox”
is one of many assorted surprises that exist fleetingly, but
whose presence adds a depth to the tracks and fleshes out
already lyrically gripping songs. While it may be tempting
to simply hit play, turn off the lights, and allow Hersh’s
storytelling skills to wash over, my suggestion is to sit
with the lyric sheet and read along, for Hersh is a master
of communication through highly descriptive and expressive
phrasing. On “Killing Two Birds”, she announces
that “You’re my nightmare in shining armor”
and admits “I’m so hungover I’m ashamed”,
while on “Some Dumb Runaway”, Hersh describes
herself as “doubled over on my knees again/only way
I know how to be”. Erudite and passionate, there is
little to fault on Wyatt; instead, it should be revered as
a majestic work by a singular artist.
 PRAWN
- Run (Top Shelf Records www.topshelfrecords.com)
Despite being in existence since 2008, Run is
my introduction to Prawn and I am continuously delighted
by what I hear. From the opening seconds of “Hunter”,
Run is an audibly dynamic display of controlled
intensity and heartfelt emotion. One could certainly lump
Prawn into an “emo” category after a listen
to the lush intro, but that is selling this band terribly
short, as the four New Jersey natives wield their instruments
with a deft precision. The rugged “Snake Oil Salesman”
injects greater guitar force offset by interludes of deliberate
quiet, while the hazy embrace of “North Lynx”
features an infectious energy. Prawn has an uncanny skill
to adroitly balance the delicate with the aggressive without
simply parroting a well-worn loud/quiet dynamic. “Empty
hands” is the epitome of this methodology as a massive
wall of sound exists but the song is structured so that
each member is allowed to individually shine brightly. While
“Short Stem” slows the tempo a bit, the song
loses none of its intended power as the intimacy of the
playing envelopes the listener. “Rooftops” is
an emphatic celebration of guitar bite in the style of Dinosaur
Jr.’s best moments. The juxtaposition of angular and
tender guitar on “greyhounds” is another sterling
example of the vast talent possessed by this band. Run took
two years to write, and the painstaking attention to detail
makes this a celebration of intelligent and soulful songwriting.
 THE
65's - Wolves and Men (Pyrrhic Victory Recordings www.pyrrhicvictoryrecordings.com)
The 65s bring traditional, gritty rock n’ roll back
into vogue through stripped down guitar crunch and the scotch
and gravel voice of Joe Pugsley. “Wolves and Men”
hammers away at the listener for four rumbling minutes, driven
by the rumbling bass of Ryan Struck and deafening drumming
of John Steele. When Pugsley pleads, “please don’t
leave me behind”, he is boldly baring his soul for all
to consume. “As My Body Numbs” is another straightforward
slab of bare bones rock that embraces the grittiness of New
Jersey. The 65s do not want to be fancy or a fad; they write
tight, powerful songs that will remind those who may have
forgotten what rock’s true mission is.
 GRAND
HEAD - Melting the Fuse EP (Gorbie International Records
https://gorbieinternationalrecords. bandcamp.com)
Darker and more menacing, Grand Head return with a record
dripping in feedback, reverb, and a general disdain for the
world. The punishing “Melting the Fuse” is an
immovable slab of guitar sludge and thunderous drumming. This
is a band whose self-titled full length left me speechless,
and the same sense of awe returns instantly with this release.
The track shifts gears like a self-medicating bi-polar patient,
abandoning the dirge tempo for a punk-infused blast of speed,
only to return again to the curb-stomp groove that truly defines
the song. Borrowing from My War-era Black Flag, the B-side
“B.I.R.D.S.” has a slightly more bluesy-inspired
swing, meshing classic metal styles with a jazz-like freedom.
Those fortunate enough to download the EP are also treated
to the skull-crushing “The Crossing”, available
on the band’s website and Bandcamp pages. Barry Brusseau
and Tim Ward make a devastating pair; they embrace rock’s
finest excesses in terms of sonic volatility and dynamic range,
while also utilizing a solid grasp of harmony to construct
a powerful and instantly recognizable sound. Gran Head is
an assault upon mediocrity and complacency, reveling in bombast
and indulging in fury. I also strongly suggest the fourteen-minute
“Genocide”. A mind-altering din of noise, this
home recording uses silence as a weapon and avant-garde experimentalism
to expose yet another aspect of this band’s talent.
THE HANGED MAN’S CURSE - 3 Song
EP (Terranodon Media www.facebook.com/Terranodonmedia)
The Hanged Man’s Curse is a perfect embodiment of the
struggles so many bands currently face. Forming in late 2011,
THMC have only been able to properly release one record, and
that was done on a shoestring budget and not truly to the
band’s liking. Now trying to raise money through Kickstarter
and other crowd-funding sites, these “Tex-Mex Western
Death Doom Thrash” players have great talent, and I
hope more people have an opportunity to check this out, for
it is something quite rare in today’s world: It is original!
“Say Goodbye Amigo” is a sprawling, haunting effort
that is largely acoustic, but still resonates with a doom
metal vibe. Almost excruciatingly methodical, the song intentionally
emphasizes fading notes of fleeting guitar noise, as if providing
the soundtrack for an Old West showdown. “Tales Without
End” opens with another riff that could easily nestle
within the credits of a Clint Eastwood spaghetti western,
as one can envision Josey Wales meandering across the dusty
terrain before heavier more menacing guitar inject themselves
into the mix. While the “thrash” may not take
center stage on this EP, the band’s other listed traits
certainly do and I am greatly impressed with the vocals of
Lobo Sangre. The live recording of “Scent of Prey”
may be a bit rough around the edges, but it too is another
menacing, tightly wound ball of force. I feel that THMC is
holding back a bit on these efforts, or that may solely be
a result of the quality of the recoding, but there is a great
deal of talent and potential bubbling under the surface. I
absolutely hope these guys can scrape together the funds for
something more representative in the near future.
 PROTAGONIST
- Jean Jackets in June LP(Smartpunk Records www.smartpunk.com)
Produced by Pete Steinkopf, Florida’s Protagonist play
bellicose, yet richly melodic hardcore on Jean Jackets in
June. The five songs here reveal various tempos, styles, and
skills of the band, but ultimately they coalesce together
to honor an act that only continues to improve with each release.
The opening “Oklahoma” is both a road journal
and also a testament to perseverance as vocalist Peter Marullo
declares, “We are the stray dogs/Exploited mutilated
and beat/There’s no surrender/There’s no retreat”.
The mixture of frustration and hope in these words reflects
Protagonist’s ability to craft songs that are powerful
and personal, making this EP a perfect next step in a career
that somehow began in 1999. The mid-tempo “Hideaway”
is a celebration of having someone in which a person can find
peace before the blazing “Titan” and “Let’s
Get It” demonstrates the band’s more aggressive
nature. “Titan” is a furious two minutes of force
as guitarists Brian Forst and John Marullo lay waste to the
listeners as Peter declares “Our youth has been wasted/We
are all titans/Drenched in blood/Side by Side/We won’t
expire without a fight/We are bastards of lions/Our bloody
battle of attrition”. Raw in its intensity and compelling
in its honesty, the song is my favorite of the five. However,
the melody of “Jean Jackets in June” and the poignant
self-examination of “Let’s Get It” (“Please
just give me your hand/We’re gonna find a way out of
here/It’s not giving in, it’s not giving up/We’re
gonna find a way out of here”) are equally compelling.
In short, Protagonist is skilled in every area (rounded out
expertly by bassist Marcus Kora and drummer Kyle Macdougall)
and needs to be a more prominent name. The frustration vented
on this EP is hopefully not a harbinger of a band ready to
quit but instead, a band ready to benefit from years of sacrifice
and commitment to a craft.
 HERETIC’S
FORK - Blasphemy (https://hereticsfork666.bandcamp.com)
The world of grindcore and power-electronics can be a lonely
one, but being a one-man act does not limit the destructive
force of Heretic’s Fork. Emerging from Edinburgh, Scotland,
Travis Lee blends elements of down-tuned grind with a blackened
atmosphere over the course of five fleeting tracks. The appropriately
titled “You Call That a Microsong? This is a Microsong!”
is a rousing one second in length, obviously throwing down
the gauntlet and challenging the godfathers of grind Napalm
Death and their infamous “You Suffer”. While the
opening “Intro” is fourteen seconds of spoken
word horror, leaving only three other songs clocking in at
less than four minutes combined, Blasphemy is not a disposable
collection of comedic anti-music. Rather, Lee has a full command
of his chaos on “100 Corpses Litter My Floor”,
a scathing assault of swirling noise with percussion that
is, dare I say, highly rhythmic. Finally offering his voice
to the world on the title track, Lee unleashes an unholy incursion
of fury that will scare any demon out of your house. The mixture
of powerviolence and ethereal terror is skillfully delivered,
layering waves of force around a devastating wave of looping
aggression. The concluding “Equations” picks up
immediate where “Blasphemy” departs and features
additional synth tricks to provide a unique personality for
the song. It is this ability to generate both a recognizable
sound without simply spewing forth a redundant monolith that
makes Heretic’s Fork so engaging-yes, the record may
be over far too quickly, but all this does is lure the listener
to hear what else Travis Lee is concocting. To do that, check
out his primary outlet, Bitter Lake, but do so after fully
immersing one’s self in the churning Dante-esque nightmare
of Blasphemy.
 RAINER
MARIA (Polyvinyl Records www.polyvinylrecords.com)
The return of Rainer Maria is akin to having coffee with a
long-lost friend; regardless of the years of separation, the
conversation is easy, the laughs frequent, and the connection
is instantaneous. S/T (short for “self-titled”
but this is not a self-titled record), Rainer Maria’s
first release since 2006, sounds instantly familiar but is
also enhanced by the diverse life paths and personal growth
experienced by the band’s three members. Kaia Fischer
engaged in an intensive study of Buddhism and William Kuehn
spent time in Yemen and Syria, while Caithlin De Marrais enjoyed
a more traditional route, releasing two beautiful solo albums.
The myriad of events encountered by these three come together
to form a record of superior intellect and delivery. The opening
“Broke Open Love” is a pristine slice of shoe-gaze
pop that instantly returns to the listener to the band’s
mid-90s origins, but as S/T continues, the songs become increasingly
more compelling and intricate. “Lower Worlds”
soars with De Marrais’ voice prominently commanding
a track brimming with low-end rumbling, while “Suicides
and Lazy Eyes” has a buoyant energy fueled by a tightly
wound ball of bass-driven riffs. “Forest Mattress”
is both deliberate and delicate, perfectly meshing the varied
skills of the trio, and the haunting beauty of “Possession”
is a torrent of sensuality and passion with a throbbing bass
surge and fuzzy guitar embedded deeply within its expansive
walls. The atmospheric, esoteric splendor of “Ornaments
of Empty” emerges as the record’s climax; subtle
in its darkness and relentless in its controlled fury, the
song is a masterstroke of flawless song crafting. The plodding
“Hellebore” strikes me initially as a disappointment,
but after repeated listens, the power of De Marrais’
voice is given ample room to roam, although the preceding
“Communicator” may have made for a more fitting
conclusion with its thunderous dynamic range. However, that
peccadillo side, I am thrilled to have Rainer Maria back.
 THE
CAPITALIST KIDS – Brand Damage (Eccentric Pop Records
www.eccentricpop.com)
The Capitalist Kids may hail from Austin Texas, but they unabashedly
embrace the California sound made famous by the legions of
bands that made up the Lookout Records stable. In a style
inspired by Mr. T Experience, among many others, the Capitalist
Kids rip through their songs as if they were paying for the
studio time by the second, but verbose stories and massive
riffs are compacted into limited spaces. “Decent Proposal”
is a modern love song in which even the simplest detail is
not omitted, creating a rich tale that becomes instantly relatable
as a couple stumbles through an increasingly awkward marriage
proposal. (“You can’t do this here, Jeff; you
know I just peed on that tree.”) Capitalist Kids make
no effort to hide the fact that these tracks are love songs
of the purest form, even having the guts to sound a bit sappy
on “No.472” (You’re in my hopes/my memories/my
minor notes in major keys, and I wouldn’t do without
you”), but the playing is so focused and furious that
the songs explode with raw intensity. “Brute Force”
and the Trump-smashing “Anti-Immigrant Song” are
two bruising pieces of political commentary, but the band
truly excels on the biting “Standing Still.” With
lyrics referencing fifty thousand dollar Kickstarter campaigns
for potato salad and luxurious “whoa-oh” backing
vocals, the song is a soaring gem of pop-punk beauty. “Alternative
Facts” is thirty seconds of dissident noise reflective
of the topic for which the song is named, while the sun-kissed
“Bye” clocks in at 2:40 and sounds like an epic
in comparison to earlier efforts, but the song is rightfully
given room to breathe and expresses profound sorrow juxtaposed
with a bouncy exterior. This is a celebration of impressive
modern punk with a nod to a classic approach.
 THE
SLOW DEATH - Punishers (Rad Girlfriend Records www.radgirlfreindrecords.com)
The Slow Death deliver grimy rock n’ roll played with
swagger and angst. Punishers features a controlled fury and
these Minnesota gents can handle their instruments. While
some of this can be intimidating upon introduction, a more
refined listen reveals a sense of fun that flows throughout
the record. “Picking You Up” pumps up New Wave
energy and injects domineering muscle, while “Overrated”
and “For All We Know” smash and batter their way
through three minutes of searing guitar and howled vocals.
“Classic Dilemma” and “Rick James Dilemma”
both deliver knock-out blows in under thirty seconds and contrast
perfectly with ‘The Ballad of Amy From Esco”,
a work with daring vulnerability and sweetness. The aggression
of “Voice 47” and “Bored to Death”
sweat blood and are stellar tracks. Talented and raw, yet
still refined, The Slow Death decimates my expectations on
Punishers.
 EXIT
EDEN - Rhapsodies in Black (Napalm Records www.napalmrecords.com)
This is a fascinating release, both in terms of the scope
of talent and the power of the performances, but one cannot
help but feel a bit cheated by Rhapsodies in Black. Exit Eden
features four stunning female voices, as Amanda Somerville,
Clementine Develay-Thieux, Marina La Torraca, and Anna Bruner
sound majestic both together and solo, but each song here
is a cover. There are no true failures on Rhapsodies in Black,
and frankly, these dazzling singers only enhance the quality
of each track they attempt, but I am eager to hear original
material. It is a tricky proposition to take sugary pop and
make it sound convincing as power metal, and that is what
one hears on Rhapsodies, but there are moments when the songs
become nearly caricatures of themselves. This is particularly
true with Lady Gaga’s “Paparazzi”, for despite
her recent performance with Metallica, Gaga is largely tween
pop and dance floor saccharine. With four lush vocalists each
offering their own unique interpretation of the song, “Paparazzi”
takes on the qualities of an overblown and self-indulgent
Broadway show gone wrong. The musicians playing behind the
women of Exit Eden are a tightly wound machine, but I dare
people to not smirk sarcastically when the chorus of Katy
Perry’s cringe-worthy “Firework” kicks in
under a barrage of legitimate drumming and orchestral vocals.
Perhaps this is more of a struggle than it should be due to
my lack of fandom of the originals here-I had not previously
heard Rhianna’s “Unfaithful” in its entirety
until Exit Eden’s version, for example-but I continuously
sat hoping to hear the limitless talent used in a more meaningful
manner. This is akin to the Three Tenors performing Justin
Bieber-yes, they will certainly the increase the magnitude
of the original, but why is this being done? I cannot find
a favorite voice here, and the remarkable talent is matched
by equally stunning beauty, so Exit Eden has much with which
to work and the future for this band is extraordinarily bright
once they separate themselves from the label of a “cover
band”. Oh, and did I mention there is a version of Bryan
Adams’ “Heaven”? Yes, that Bryan Adams-now
an answer to game “Dead or Canadian?” (Just Canadian
for right now) As the sweeping refrain of Bonnie Tyler’s
mammoth MTV-era hit “Total Eclipse” washes over
me, I hear elements of Nightwish, Within Temptation, and Evanescence,
all bands that have thrived with strong female vocals and
melodic, driving musicianship; therefore, there is a model
upon Exit Eden can build, for if one wildly skilled vocalist
is great, then four is exponentially better. One cannot find
a complaint about any of the performances one hears on Rhapsodies
in Black, and I am in awe of four of these women. However,
the material that they have been given to perform detracts
from their overall presence and make them feel like a concocted
novelty act instead of what they truly are, which is a brash
new interpretation of melodic metal. Imagine mid-80s Doro
singing simultaneously with three clones and one begins to
slightly scratch the tip of the talent possessed by Exit Eden.
Cannot wait for the sophomore release, but hopefully this
band can sing their own words next time.
 CLUB
NIGHT -Hell Ya (Tiny Engines Records http://tinyengines.limitedrun.com)
Growing organically out of the Oakland, California's DIY scene,
Club Night is a swirling, blissfully chaotic mass of noisy
keys, obtuse guitars, and exuberant vocals equally delivered
with a laissez-faire approach that is both rebellious and
celebratory. “Shear” is a jarring ball of kinetic
excitement that introduces the band’s fearless commitment
to individuality and self-expression. Much of the vocals have
a childlike quality that incorporates a sense of desperation
and raw, visceral humanity. “Hair” is a wormhole
of synth din compliments of Rebecca Lukens, introduced by
an innocuous phone message that quickly dissipates after barely
ninety seconds. “Rally” should be the theme song
of the summer party that is talked about until Christmas,
as it’s reckless refusal of traditional song structure
makes the track a glorious example of daring writing. Josh
Bertram and Ian Tatum’s guitar work exist in a form
of bi-polar symbiosis in which each man is playing what is
in his own head, but the divergent ideas mesh perfectly together.
The low end of Devin Trainer on bass and drummer Josiah Majetich
propel each song rather than anchor them, so to the credit
of Club Night, this exploratory invention is alluring. The
closing eight minutes of “Work” flies by effortless
and the song is an amalgamation of the finest qualities of
the band’s four previous efforts on the EP. Frenzied
but not without constraint, the song clamors and clatters
with piercing guitar riffs and scorching polyrhythmic audacity.
The members of Club Night are not here to please you or placate
listeners with easily digestible playing-this consistent juxtaposition
between complexity and minimalism only happens in the hands
of the few trained enough to master it. This is a wonderful
surprise to my summer.
 M.O.D.-
Busted, Broke, and American (Megaforce Records www.megaforcerecords.com)
The legendary Billy Milano returns to resurrect the mighty
Method of Destruction, and it is not a moment too soon.
Busted, Broke, and American is an immediate and
furious assault of crossover thrash that retains the purity
of the past without sounding dated. Milano first made an
impression on me thirty years ago when I picked up the cassette
"USA for MOD" and was utterly blown away by the
fury and the unapologetic nature of the work. I worry that
far too many people today will not get the sarcasm of Milano’s
writing, but for them, he does have a new anthem in the
form of “You’re Fucking Dick”. Busted,
Broke, and American certainly broaches political concerns
but not nearly as many as I expected in the age of Trump.
Rather, Milano speaks poignantly about his own experiences
on “Shattered Dreams and Broken Glass” as he
reflects upon the early days of New York hardcore, certainly
delivering his lyrics with Agnostic Front, Cro-Mags, and
the legions of others in mind that paved the way for one
of America’s most recognizable sounds. The record
opens with a segment from Dwight D. Eisenhower’s farewell
address to the nation in which he warned of the rising threat
of an “industrial military complex” - words
that were not instantly recorded as precautionary or even
significant at the time of their delivery, but just as the
owl of Minerva flies at dusk, history has proven the General
to be tragically correct. This is bookended with a five-minute
segment of a speech from John F. Kennedy railing against
governmental secrecy and the potential abuse that emerges
from a closed society. Ironically, in Donald J. Trump’s
(and Ivanka’s) America, Kennedy’s message would
be viewed as potentially treasonous as the legendary leader
called upon newspapers to inform people, challenge the administration,
inspire their readers about international events, and “even
anger” public opinion. Billy Milano, the man who created
firestorms with songs such as ”Aren’t You Hungry”,
and “Speak English or Die” is today honoring
the great liberal voice of JFK and his call for true freedom
through the vital protection of the press. I do not know
if M.O.D. will be labeled “fake news”, but I
would love to see someone try and challenge Milano on that.
These esoteric moments are surrounded by wild, thrashing
blasts like “Fight”, “Hooligan”,
and the “Rowdy” Roddy Piper-inspired instrumental
“All Out of Bubblegum” (If you do not know the
reference, go look it up, my young readers). The title track
celebrates what matters to most to Milano, namely his family
and his dog, as the song erupts into a classic dirge against
frappachino sipping losers who should “get outside
and enjoy your life”. The album’s high point
arrives early for me in the form of “The Final Declaration,”
a raging call to arms of primal hardcore aggression led
by the lungs of a grandfather who can still destroy those
more than three decades his junior. Milano’s Fox News
leanings aside, I have long respected his fight and his
commitment to maintaining a style and never cowering to
fads. Busted, Broke, and American is another M.O.D.
classic; I certainly hope that the rumors are not true about
it being the band’s last release.
SUNSHINE AND THE RAIN - In the Darkness of My Night (https://sunshineandtherain.bandcamp.com)
The husband and wife team of Justin and Ashley Morey have
an unparalleled ability to seamlessly mesh 80s new pop with
gritty punk. In the Darkness of My Night opens with “Let’s
Go”, a sprawling anthem of blasting drum machine generated
beats and Ashley’s fuzzed-kissed bass throb that perfectly
sets the stage for ten masterful efforts. It is the grime
along the edges of each pristine track that makes Sunshine
and the Rain so captivating, as Ashley’s soaring voice
and energized bass playing are prominently featured in the
mix, courtesy of the legendary Jon Spencer. “Little
Rag Doll” and “I’m Not Your Girl”
incorporate rock’s primal foundations into a swirling
panoramic accented by girl-group harmonies in the same vain
as the Ronettes or the Shangri-Las, while “Come On Baby”
rattles with effervescent excitement. The kinetic “Merchandise”
is a Ramones-style performance combined with Fear Factory’s
drum machine and Justin’s brilliantly noisy guitar to
ultimately construct the most abrasive and alluring of pop.
“Going the Wrong Way” invokes Echo and the Bunnymen
style moodiness as Justin’s backing vocals and rugged
guitar playing scaffolds his wife’s beautifully melodic
voice as Ashley delivers a sardonic farewell. There is a consistent
balance between sweet pop sensibility and angular blasts of
intensity, as one hears perfectly on “Can’t Stop
Thinking about You”, a lush love story slashed by piercing
guitar riffs and feedback. In the Darkness of My Night is
a nearly flawless release from two Jersey natives with extensive
and impressive histories who are making newly brilliant work.
TUNABUNNY PCP Presents Alice in Wonderland (HHBTM Records
www.hhbtm.com)
This is truly among the most bizarre, fascinating, and delightfully
perplexing records to which one can ever treat one’s
self. Tunabunny is a wildly creative act that demonstrates
a vast breadth of influences and talents across the scope
of PCP Presents Alice in Wonderland Jr. The opening “Cartesian
Theater” is barely more than minute of swirling noise
as the words “There’s someone inside my head looking
at someone inside my head” is off-putting, disconcerting,
and instantly intriguing. Tunabunny invokes delightful pop
on “Incinerate” and equally raucous riot grrl
force on “Noise Problems”. The fact that Tunabunny
rejects any level of predictability makes the collection-released
on vinyl as a majestically packaged double album-a ride of
beauty, chaos, and limitless experimentalism. “Seek
Consequence” has lyrics that ominously reflect, sadly,
what some may feel about contemporary American politics (“Careful
what you do and say/For some it’s a police state”),
while “Blackwater Homes” is anchored by a gorgeous
chorus, and “It Could be Something” is peppered
by bursts of searing synth noise. “Start It” and
“Winter’s Mind” come across as a twenty-first
century Bratmobile and “Boundless Informant” is
perhaps the must hauntingly beauty songs of the sprawling
twenty-six song release. Tunabunny subtly injects political
critiques throughout the record, as “Nevermind the Cobblestones”
revolves around a biting refrain of “anywhere is better
than here”, and “The World the World Works”
includes this shrewd diatribe: “You cling to a victim
status/Justify your apparatus/lament your existence in pop
culture/Fail to see the real torture”. This is intelligent,
sophisticated musicianship from a band fearlessly displaying
a deliciously reckless appreciation for anything traditional,
as one hears on “Shiftchanger”, a lengthier track
that repeats solely the title phrase. Even when the band attempts
some form of a traditional relationship anthem, Tunabunny
travels down a unique path, for “Me and Nancy”
tells a tale in which the protagonist says “When I come
home/I come home to you/ When I go out, I go out its’
with Nancy”. “Julia” and “NRC”
are barely more than a minute combined, but the fleeting noise
is memorable. “Pretending to Bend” integrates
more aggressive guitar playing accompanied by a powerful bass
line, while “Images of Future” revels in a 1960s
style psychedelic vibe. The eight and a half minute closer
“I Thought I Caught it With You” follows an almost
shockingly brief blast of clatter on “Pitocin Enduction
Hour” and the longer din of “Revolution None”.
There is no other band quite like that of Tunabunny, for what
they do is not a mass coagulation of directionless chaos,
but rather, a cunningly construction array of limitless imagination.
This is a challenge, but it is worth each second.
 BEST
EX - Ice Cream Anti-Social (Alcopop!; https://bestexnj.bandcamp.com)
I love the name of this EP but the music of Best EX, the work
of Mariel Loveland, formerly the curator of Candy Hearts,
is far too bubbly and poppy for my liking. Granted, this is
the type of collection that screams summer romance, particularly
when Loveland says “Baby I’m bad news/But I am
good for you” on “Girlfriend”. While her
delivery is alluring, Best Ex ultimately sounds like what
would happen if someone gave Taylor Swift an imagination and
Selena Gomez’s producer. The buoyant “Lonely Life”
is another anthem for the lovelorn teen, but the morose tempo
of “February 4th” is a struggle to complete. Perhaps
I am getting, or am official old, but the refrain of “Someday
we’re gonna get it/Someday we’re gonna get it
right” (from “Someday”) does not move me;
in fact it just angered me. “See You Again” has
a sturdier bass line that drives the song in a Go-Gos direction,
making it the strongest of the six on display, but “Jellyfish”
closes the release with a song that is sadly neither inspirational
nor memorable. Save this on for the kids having their first
kiss or learning what beer tastes like-I already know how
these stories end, and trust me, it is usually crushing.
 NOT
A PART OF IT - The Nine Lives of the Night Life (Act Out
Records https://notapartofit.bandcamp.com)
Portland’s Not a Part of It blatantly flaunt classic
late 70s punk style throughout The Nine Lives of the Night
Life, and the guys channel Stiff Little Fingers or Sham 69
on “Hostile Populace” and “Coast to Coast”.
Both songs bounce with a loose, free-flowing groove. The latter
celebrates the lost power of radio as Jason Burton snarls
“Hey! Hey! Do you wanna be in radio/do you wanna hear
a story?/Do you wanna talk to everyone?” , resurrecting
ghostly images of Joey Ramone lamenting rock n’ roll
radio all those decades ago. “We Have the Right (Not)
to Work” honors the power of individuality and the choice
to avoid the conventional, as Burton invokes the privilege
“not to work, pursue, anything within in reason that
we wanna do”. The song is an ode to self-fulfillment
on one’s own terms, and this theme is heard on the aggressive
“Fearless, Tearless, Peerless”. Not a Part of
It
rejects mass conformity and materialism and do it all while
also writing a great hook. However, within the raucous playing
are warnings that need to be heeded, particularly the life
lessons in the title track. “Nine Lives” is an
abrasive track telling the stories of fictional characters
like Cocaine Carl who “acts rich but can’t afford
to eat” and Mary Eve who “majored in biology”
but is just throwing her life away. Fittingly, “Stick
‘Em Up Rude Boys” injects a ska sensibility surrounded
by a great bass line and a tale about a life of crime. “Bilateral”
finishes the record with a blazing blast of guitar angst and
a lesson for many living within our country: “Don’t
ask me and don’t ask him-we’re all ignorant. Let’s
take the time to learn about what’s going on outside
America!” An excellent and timely collection of smart,
invigorating punk that demands an immediate listen.
 RAT
FANCY - Suck a Lemon (HHBTM Records www.hhbtm.com)
Rat Fancy, in additional to being another wonderfully monikered
act, play an infectious form of sweet, jangly, indie pop.
“I Can’t Dance to the Smiths Anymore” is
a heart-bursting tale of faded love. “Words lose their
meaning, and they’ve lost their feeling” are lyrics
of which Morrissey would certainly approve. Former member
of the Sweater Girls Diana Barraza is at her best on “Five
Fingers” when she asks “Remember when you told
me all of your secrets?/I don’t know how you can carry
on”, capturing the best of acts like Tiger Trap or The
Softie as she dismisses a former love with a biting and painful
tone. My one regret here is that Suck a Lemon is only six
songs, but the title anthem brings me back to the cuddle-core
sarcasm of cub when Diana coos “I’d rather suck
a lemon than talk to you”. The song is also delivered
in a more meandering pace as “Suck a Lemon II”,
and it is not a throwaway filler, but an intoxicating revision
of the original. With four releases already in 2017, Rat Fancy
is prolific and poised to become your new indie darlings.
Each track scores perfectly, such as the a soaring slice of
fragile pop honesty and airy dreamscape of “Beyond Belief”.
The one blast of potential optimism is “About You”,
certainly the least crystalline of the songs here, as Gregory
Johnson’s guitar is much more crunchy and tangible,
along with the drumming of Gavin Glidewell. As Barraza bellows
“What I love about you” five separate times, this
may be the “couples song” of the bunch here. What
I love about Rat Fancy is everything and with their penchant
for creating new material, I imagine their next work should
be out in a few weeks.
 LO
TOM s/t (Barsuk Records https://www.barsuk.com)
With 125 years of musical experience flowing through their
immensely talented, collected veins, the members of Lo Tom
understand how to through a great set of songs together. That
is largely the story of this debut collection, as eight songs
were pieced together from fragments of ideas over the course
of free moments and a couple of weekends. This will depress
people who have worked for years on their music and continue
to struggle to produce interesting material, for this was
truly a compilation of friends bouncing ideas off of each
other for the sheer joy of working together. Led by David
Bazan of Pedro the Lion, the troupe gallops through eight
pieces of smartly crafted indie rock that sounds both complimentary
of the past and celebratory of the present. TW Walsh and Jason
Martin, who contribute to Pedro and Starflyer 59 respectively,
handle the guitar responsibilities and shine throughout, highlighted
by the jubilant tone of the closer “Lower Down”.
While “Covered Wagon” opens with a rugged groove,
“Overboard” has a smooth, classic indie tone,
rattling and shaking with excitement. “Bubblegum”
is anything but lighthearted pop fare, as Wilson and Martin
churn out a riff that coalesce perfectly with the low end
thump of Trey Many (another Starflyer59 member). “Bad
Luck Charm” has a fuzzy, mysterious quality also heard
in the rollicking “Find the Shrine”. My favorite
track is the swaggering, mid-tempo “Pretty Cool”.
Aptly titled and supremely played, the song’s sultry
demeanor reveals another aspect of the vast, chameleon-like
qualities of the gifts on display here. The quality of this
should not come as a surprise to anyone who knows the histories
of the members, but the finished product is a celebration
of shared musical visions.
 RATBOYS
- GN (Topshelf Records www.topshelfrecords.com)
With a name like Ratboys, one may be quite surprised with
the sound of GN (short for “good night”). This
Chicago outfit revolves around the stunningly exquisite
vocals of Julia Steiner who channels Tonya Donelly’s
most emotive tones. The songs address rather complex emotions,
starting with the opening “Molly” in which Steiner
says, “I just want to love my family”. “Elvis
is in the Freezer” displays both Steiner’s ability
to draw listeners into intimate moments of her own life
as well as Dave Sagan’s limitless guitar talents.
The song includes a half-shrouded country twang sitting
parallel to unhinged, slashing riffs, as well as controlled
melody, and each style only accents Steiner’s supreme
gift for storytelling. Steiner will rightfully garner the
lion’s share of praise when one hears GN, but Sagan
is an understated anchor on each track. His playing can
be as fragile as Steiner’s most exposed lyrical deliveries
or as furious as a burst of machine gun fire, quite often
within the same song. The meandering “Crying for the
Planets” is a deliberate, methodical piece of musical
construction, holding the listener’s hand as the song
continually ascends to a dazzling explosion of controlled
passion. To add to the band’s intellectual acumen,
“Crying” is a first-person tale told by Douglas
Mawson who explored the Antarctic. Cerebral without even
becoming supercilious, Ratboys play music that demands numerous
listens to capture the various nuances inserted so casually
into each track. The closing “Peter the Wild Boy”
continues this academic strain of songwriting by detailing
the life of an abandoned child in Germany who was eventually
adopted by the King of England-not your typical topic. “Dangerous
Visions” features Steiner at her best as she alternates
between momentarily vulnerable then instantly defiant; her
voice is scintillating as Sagan adroitly unleashes waves
of noisy guitar violence behind her. On “Wandered”,
Steiner revels that “rock n’ roll is my escape”,
and while this is a sentiment expressed by many throughout
the music’s history, there is a depth to her words
that make a potential cliché sound like an act of
liberation and self-discovery. The acoustic-led title track
harkens back to the style of the duo’s earliest days,
but well-placed slide guitar and other elusive tricks provide
a quirky imaginative quality to a poignant piece. The dreamy,
jangly pop of “The Record” is a straight forward
love song, and a nearly perfect one at that. Ratboys again
play with tempo through this song, allowing the loud/soft
structure to its fullest potential without ever sounding
redundant. This is a triumphant declaration by a limitlessly
talented duo.
 GLENN
MORROW’S CRY FOR HELP (Rhyme and Reason Records http://rhyme-reason.com)
Bar None Records owner and legendary Jersey scene presence
Glenn Morrow may have heard the final wave of feedback fade
from Maxwell’s in 2013, but that did not mark the
demise of Morrow’s musical ambitions. Glenn Morrow’s
Cry For Help plays sophisticated, refined, and superbly
crafted rock with a bluesy aesthetic and a warmth that embraces
the listener. “Comfort Zone” highlights Morrow’s
charming vocal style, while he and fellow guitarist Ric
Sherman’s playing wafts serenely about a solid backbeat.
“Pony Express” revolves around a wave of rich
backing vocals and an unavoidably sing-along chorus in addition
to an increased guitar presence through Sherman’s
solos. Mike Rosenberg and Ron Metz hold each song together
on bass and drums respectively, and on efforts such as “Let
the Kid Come Out” and “When Night Falls”,
their talents are particularly noticeable. Morrow and his
mates have an obvious affinity for the fundamentals of rock
n’ roll and “Days to Come” and “Electricity”
are two gems that reveal Morrow’s skills as a raconteur
and his band’s penchant for driving riffs and propelling
grooves. Even when the band slows the tempo down to an amble
on “44”, Morrow’s haunting lyrics and
understated delivery illuminates a tragic story with raw
emotion (“In the end, my friends, I’ve got my
44”). Closing with “Return of the Wild One”,
the band again intensifies their punch with a thick bass
line and peppers the song with cheeky references (Morrow
saying “excuse me while I kiss this guy” at
one point). Glenn Morrow’s name is synonymous with
the best of what the East Coast can offer, and it is inspiring
to hear the musical fire burning with such continued intensity.
In an interview with Jim Testa, Morrow lamented the current
condition of rock n’ roll, and admitted that it “in
many ways, it does feel like rock is dead;” but listen
to this collection of songs and it is obvious that there
are plenty of reasons to hope for its future. Veterans like
Glenn Morrow should act as a call for rock’s next
batch of leaders, reminding kids that electronics have their
place, but there is no substitution for musicians with real
instruments in their hands sweating out heartfelt, inspired
songs.
 THE
COATHANGERS - Parasite (Suicide Squeeze Records
Julie Kugel of The Coathangers said that all she wanted to
do was scream and curse during the recording of the band’s
brilliant new five-song EP Parasite, and the world is better
for this decision. While the title track is the only one of
the bunch that truly utilizes screaming, The Coathangers put
forth a collection of powerful and musically diverse songs
just in time for your summer. The grimy, gritty riffs that
permeate “Parasite” have a blistering quality
matched only by the acidic nature of Kugel’s heartfelt
frustration exorcised on the track. “Wipe Out”
is a long way away from the Surfaries as bassist Meredith
Franco takes lead and details stories about an acquaintance’s
penchant for blacking out, drying out, and refusing to apologize
for stupidity. The first single from the EP is the swinging
power pop of “Captain’s Dead”, featuring
a highly contagious chorus surrounded by a throbbing bass
line and sultry vocals. Revisiting last year's Nosebleed Weekend,
the band re-records “Down Down” and the result
is an intoxicating blend of noisy guitar blasts, supremely
controlled low-end force, and profoundly melodic vocals. The
concluding “Drifter” introduces the delicate vocals
of drummer Stephanie Luke, and the song is highlighted by
an understated twang hovering through the beautiful closing
ballad. Parasite is akin to hearing five different bands over
the course of one listening experience, as The Coathangers
are equally devastating when playing raw, raging garage punk
angst or textured finesse.
 ARMAN
MAQAMI - No Life (https://www.arman.nyc)
So here is what I know about Arman Maqami: He lives with his
parents in his native Manhattan, attends NYU, and makes music
alone in his bedroom. I have no idea how old Maqami is, if
his parents are pleased or horrified with this living situation,
and if anyone outside of friends actually hears his music.
That being said, the three songs on "No Life "are
each a distinct universe unto themselves and reveal the early
stages of a potentially engaging musician. The title track
is a moody piece anchored by electronica elements that support
the song without overwhelming it, and a buzzing guitar riff
accents the chorus. The track is well constructed and musically
adroit as Maqami works himself into an increasingly more frenzied
lather. The fleeting, speedy “Bully” is an angry
blast of punk force that hums with fury for roughly one hundred
seconds before vanishing just a quickly. “The Future
of Drone Warfare: China 2056” is an unsettling dreamscape
of sentimentality that is clearly covering darker energy.
There are a number of highlights here, and I hope Maqami continues
to make music because he has an inventive mind and is not
beholden to any one style. Go check this out.
 HOLLOW
EVERDAZE - Cartoons (Deaf Ambitions Records www.deafambitions.com)
With a name that encapsulates their dreamy sound, Australia’s
Hollow Everdaze produce a vast tableau of psychedelic pop
that harkens back decades. The title track of Cartoons
bounces with a Beatles-esque lightheartedness as Dylan Young’s
keys and Daniel Baulch’s ethereal vocals envelop the
song. “Poisoned by Nostalgia” could perhaps be
a criticism of the band itself, but the song does invoke images
of Oasis with solid guitar playing and gently emotive vocals,
while “Catastrophe” and “Still Ticking”
saunter along at a mid-tempo pace, the latter accented by
warm acoustic guitar. Throughout Cartoons, I hear
nothing but lovely music, but the tracks seem to lack impact.
As lush as “Never Going Back” is, it inherits
too mush from its early 70s influences, ultimately acting
as a track that is richly melodic but lacking in grit and
sadly, staying power. The record floats by rather innocuously,
briefly interrupted by the jarring opening of “Flat
Battery”. However, even that song quickly fades into
overly sentimental pop, leaving me struggling to focus by
the time “Running Away” wafts serenely towards
my ears. The genteel, overly sentimental delivery one hears
on Cartoons hovers softly, and while majestic in
intent, I find myself waiting for a significant impact that
never arrives. “Same Old Story” is frankly, painfully
slow, and “Warcry” sounds like Captain and Tennille
rather than a fresh interpretation on psychedelic pop efficacy.
For those seeking for carefree AM merriment, Hollow Evergaze’s
time warp sound may intrigue and delight; I’ll skip
the bubblegum escapism, however.
 EROTIC
NOVELS - Debut (http://weekendquality.com)
Erotic Novels is anchored by the luxurious and heartfelt vocals
of Shannon Perez, a longtime New Jersey powerhouse known through
her work in I Hope You Die and Side Bitch, among others. The
cover of Debut features the bloodstained face of
Fabio, and this glorious juxtaposition between pain and perceived
beauty resonates across all five efforts. The gritty, driving
style of “Hocus Pocus” celebrates Perez’s
throbbing bass lines and snarling delivery, and when she declares,
“you walked me into the dark/you taught me how to be
cold”, there is a chillingly sexy appeal. Debut overflows
a with a vast range of emotions, as Chris Tull’s guitar
force churns and rages throughout “I’m Not Willing”
(“I’m not willing to hurt myself anymore/After
grandma asked me about the scars that are on my arm”).
“Maiming Faces”, despite its ominous title, has
a softer, more rounded edge to its delivery from Perez as
she laments about her own insecurities (“when I fall,
I fall hard”), but drummer Bobby C smashes with thunderous
fury. “Out West on My Own” continues the themes
of introspection and self-discovery as Tull and Perez hold
a dialogue at times within the song, as the vocalist proclaims,
“It was a weird year/Thought I was in love but I’m
not”. Recorded by Chris Pierce, who skills have helped
to illuminate the Night Birds’ finest qualities, Debut
is a magnificent introduction to a band with limitless potential.
The five blasts pass by quickly, but all that does is inspire
repeated listens.
 FAT
DUKES OF FUCK - A Compendium of Desperation, Morality, and
Dick Jokes (https://clownpenisdotfart.org)
Oh my god! Where has this band been all of my life, and where
the hell have I been to miss this outfit until now?! In a
world of political upheaval, domestic insecurity, and global
strife, there is an increasingly frightening dearth of music
to which one can truly escape-welcome, if you dare, the Fat
Dukes of Fuck. Yes, the name is potentially unnerving, but
the music is scintillating, and one examines the line-up,
the chaos, brutality, and finite musicianship makes sense.
With Dale Crover of the Melvins producing and contributing
and David Yow of the equally legendary Jesus Lizard offering
his distinctive voice, band leader Brent Lynch leads a dazzling
gathering of talent across a sprawling collection of tracks.
The opening title track is a brief instrumental which sounds
like the theme from the most nightmarish and exhilarating
circus on the planet-a schizophrenic, swirling coagulation
of noise, loops, buried samples, and primal terror, I am instantly
a lifelong devotee of this band after less then two minutes.
“Whiskey and Bath Water” has a dark, pseudo-sensuality
hat oozes out from each pore and leaves a permanent stain,
as the song ebbs and flows through a series of climatic explosive
choruses and subdued verses. The furious “Full Metal
Jackoff” is a classic metal groove with equally aggressive
vocals and hilariously off-color lyrics. “Side by Side”
has a shockingly accessible blues riff, while “Where
Assholes Come to Die” is a speedy piece of proto-thrash.
“Tasteful Roy” is more expansive and experiments
recklessly with tone and temperament, as it flirts with Zappa-like
playfulness and a dynamic low-end swagger sans vocals. At
nearly seven minutes, the fuzzed-out, meandering “No
Single Men” has the listener waiting for a violent upheaval
that finally occurs with roughly two minutes left before expiring
breathlessly. The killer grind of “Kodiak Arrest”
may level your neighborhood in only thirty seconds. While
the majestically titled “The Monotonous Adventures of
a Hopeaholic” (“your ironic tank-top just makes
all the ladies drool”) is currently my favorite track
of the thirteen, “Promise Keepers” is remarkably
brilliant with its gospel-like refrain about “being
ready Lord”. The concluding “I’ll Tell You
When it Hurts” has a reference to Dire Straits’
“Money for Nothing” and is a plodding, pummeling,
dirge of sludgy force with jazzy scatting concluding this
extraordinary achievement.
 ANN
BERETTA - “Kill the Lights” b/w “Forever
Family” (Say 10 Records www.say-10.com)
Richmond, Virginia’s Anne Beretta return after a fourteen
year hiatus with a new single that will have fans waiting
anxiously for the full-length. A fourteen-year break would
render most bands obsolete and forgotten, but one listen to
“Kill the Lights” instantly recaptures the band’s
richly textured guitar work and mastery of pop-tinged punk.
With a massive hook and an unapologetic appreciation of harmonies,
“Kill the Lights” is the result of players with
years of experience and tremendous confidence in their talents.
The chorus latches itself to the listener, channeling a punk
style that exists in that perfect realm between having fun
and remaining impactful. “Forever Family” is the
band’s ode to others like themselves; a loving yet stark
celebration of life on the road, the track celebrates the
authenticity and intimacy of life as a touring band. The track
is nearly two decades old, but retains its original youthful
buoyancy. This is a perfect teaser for what should be a big
year for Ann Beretta.
 NERVOUS
TRIGGERS - Do the Drool (https://nervoustriggers.bandcamp.com)
This Jersey shore outfit play light-hearted punk about serious
topics, specifically the state of the world under America’s
current leader. Vocalist Jay Insult adopts Jello Biafra style
snarls as he condemns those who allow themselves to bask in
their own ignorance while fascist rule envelopes the nation
in plain sight. “Do the Drool” may have simplistic
lyrics (“So let your eyes glaze over/let your brain
shut down/and start getting used to being kicked around”),
but the message is significant. The warp speed tempo of “Zero
State Solution” takes apart the disaster that is Middle
Eastern relationships, drawing a comparison with the conflict
that besieged Northern Ireland for decades. The song adroitly
illustrates the hypocrisy of the use of violence inspired
by organized religion without targeting any one specific group.
The song also turns a mirror on the United States to demonstrate
the moral and political failings of this nation (“We
have no right to turn our backs on the refugees from the wars
that we create”). Subtle keys add a 60s surf vibe to
the somber messages of “The Final War” as Insult
declares, “a natural death these days ain’t the
worst because you have to survive this world first”.
The closing “Brick and Mortar” introduces a country
jangle as the song as the band finds lines of symmetry between
Fallujah and Kabul with New York and Ferguson. These four
guys may offer a first impression of a cheery little punk
act just having a few laughs at the expense of the political
quagmire in which the nation finds itself, but upon a more
studious listen, there are a multitude of astute points raised
and discussed. Do the Drool with briefly make people smile,
but more importantly, it will make people think.
 TRU
S/T (Destroy All Monsters Records https://ohhhhtru.bandcamp.com)
Any band that bills their work as “sad music for sad
people’ has fan in me, but there is much more to this
Montclair, New Jersey four-piece than sorrow. The opening
“Take a Peek” sounds like an artifact found in
a 1993 time capsule for all the best of reasons; a swirling
and surprisingly heavy track, the song borrows the finest
elements of 90s grime, highlighted by the dual guitar presence
of Pat Defranisci and Keith Williams. The four-song EP does
borrow much from the decade of the World Wide Web and Lewinsky
scandal, but nothing about Tru sounds recycled. “Trouble”
matches the opener in terms of the breadth of talent, but
the intensity to the song resides more subtlety within the
waves of guitar and deeply harmonic vocals. Cindy Ward and
Steve Cerri handle the bands low-end, and the opening pair
of tracks are a promising demonstration of their abilities.
I am most intrigued by “Kristi”, a song that begins
rather innocuously but steadily builds upon a mountain of
pristine guitar work and effusive lyrics that are both subversive
and heartfelt. (“You’re sweet and tender under
me/You’re the only one for me”). Closing with
“Hand in Hand”, Tru again demonstrates a penchant
for luminous hooks and ethereal experimentation. There is
a complexity to the music of Tru but they do not overwhelm
the listener with technical excess, for the four tracks cascade
effortlessly at first, but one can hear the burgeoning greatness
of this band.
 WALK
THE PLANK - Cemetery Vacation (Say-10 Records www.say-10.com)
DC hardcore makes a thunderous return on Cemetery Vacation
from Walk the Plank, a band whose rage and ferocity matches
the frustration felt by many in the country about the state
of the nation’s capital. Everything about this record
pummels the listener, dares the victim to get up, only to
destroy the poor soul yet again. The vocals of Ian Crocker
are spat out with a vitriolic mixture of nihilistic disgust
and raw vehemence. This is heavy, abrasive punk that could
easily come from the streets of New York’s Lower East
Side as much as from the scene around K Street. “I Don’t
Believe” and “Sea of Scenes” are awash in
a thunderous grove, while the meaty breakdown on “Pity
Party” breathes new life into that occasionally overdone
hardcore element. Walk the Plank straddles a sound that is
both frighteningly violent and yet melodic, a combination
of styles few can truly master. “Dead Broke” is
a bit longer in length (only one track, “Emptying My
Head” gets past the three minute mark) and features
more expansive playing from Alex Reimer and Aaron Keller.
“Dying on the Vine” is classic, circle-pit, broken
teeth inducing hardcore. The song is a brusque dirge of blunt
force with an equally crippling riff. The blinding sixty seconds
of “Scapegoat” and “Unaware” leaves
a person breathless. Chris Faust and Tim Bean round out this
impressive line-up on drums and bass, respectively, and their
airtight camaraderie anchors the band’s sound. Sounding
like both a tribute to the past and the voice of future, Walk
the Plank will remind the cynical why hardcore is so important.
 THE
EX-OPTIMISTS/ECONOMY ISLAND – Split EP (Twistworthy
Records www.twistworthy.com)
The opening “Take Heart” is a gritty, bass-driven
track with a distinctly moody and provocative sound from College
Station, Texans The Ex-Optimists. With vocals buried somewhat
in a mix of droning feedback and waves of distortion, the
song acts a blaring introduction to a band about which I want
to learn much more. While their original has me hooked, two
Guided By Voices covers seal the deal for me. “Drinker’s
Peace “ is a bold choice to tackle and the band supremely
captures the original’s jangly energy without simply
re-recording it. The acoustic intro of “14 Cheerleader
Confront” gives way to a steady stomp and demonstrates
the vast talent found within The Ex-Optimists. Economy Island
delivers the emotionally charged, atmospheric “The Jerk”
complete with a massive, fuzzy hook and impassioned vocals.
This Austin-based outfit offers its own Guided By Vices cover,
an imposing take of “Pantherz” dominated by furious
guitar playing. The band, like Ex-Optimists, does far more
than recreate Guided’s work; rather, Economy Island
rubs some dirt into the original to produce a cover that will
delight Guided fans while also increasing the already rapidly
growing reputation of EI. This split is five outstanding tracks
from two of the best Twistworthy Records has to offer.
 BOSS
EYE - Plays Cottage Vortex (Twistworthy Records www.twistworthy.com)
Opening with a wild cacophony of sound, “More Than a
Kiss”, Boss Eye unleashes a furious ride of loud, noisy,
explosive force. This continues on the immediately intriguing
“Albino Blood” as angular guitar and melodically
aggressive energy dominates the opening salvos. Featuring
four members who have been in over thirty bands combined throughout
the years, Boss Eye is a gathering of well-tested, independently
minded musicians who take aspects of punk and inject an artistic
streak that challenges traditional song conventions. “La
Quinta” features a meandering, punishing groove, while
“You’ve Gone Too Far” is a more visceral
attack. “Saucer Boy” takes Devo’s love of
off kilter song structure and smashes it head-on with noise-rock
bombast to produce my favorite track of the record. “Chalky
Aderall” has a guitar tone as brilliantly twisted as
the song title, while “They’re Coming (For You)”
is a soaring, challenging gem. This is not an easy listen,
but Boss Eye is simply awesome.
 ECONOMY
ISLAND s/t (Twistworthy Records www.twistworthy.com)
Economy Island play deeply melodic, 90s-inspired guitar rock.
The heavy, plodding “The Mountain” is a thunderous
barrage of low-end density and an instantly infectious riff.
“White Liar” has an expansive sound and another
expansive guitar hook compliments of Richi Fatheree and John
Christoffel. “Flower” and “Nothing Left
to say” are prime examples of emotionally charged songwriting
with a sharp ear for harmonious structure. The sprawling “Typically
Weak” is over seven minutes of guitar-soaked brilliance
as the band plays with a controlled burn distinctly unique
to this song; Economy Island clearly a has a distinctive sound,
but within that larger construct, they are not afraid to experiment
with tone and tempo. This is an intelligent and well-crafted
record.
 FLESH
LIGHTS - “No Longer” b/w “You Don’t
Know” (Twistworthy Records www.twistworthy.com)
The Flesh Lights offer two pieces of punk-tinged garage rock
with just enough pop hooks. “No Longer” is a raw,
unapologetically rock n’ roll song that worships at
the altar of 70s guitar force. “You Don’t Know”
is driven by Max’s guitar riff and vocals working in
perfect tandem, while Jeremy’s bass and Elissa’s
drumming solidify the song’s dense yet melodic nature.
 GHOST
KNIFE - Garrote Guarantee (Twistworthy Records www.twistworthy.com)
Ghost Knife is a gifted, bluesy, loud, grove-driven band that
embraces rock in its purest sense. “The Haunted House
Adjacent to the Cursed Cemetery” is a rollicking anthem,
dripping in grime and distortion. With a knowing wink to their
own campy qualities, Ghost Knife blast away on the opening
“RC Cola”, a song as worthy of praise as the underappreciated
beverage for which it is named. The Austin, Texas influence
is obvious on the subtle twang of “City Titties”.
“I Know, I Know” is the most streamlined assault
and my favorite of the bunch. The band takes 60s beach rock
exuberance an injects a punk aesthetic to create a wild, four
song trip.
 HEATER
s/t (Twistworthy Records www.twistworthy.com)
This Fort Worth, Texas outfit sweaty, aggressive punk with
a true DIY approach. The bombast is genuine and organic, with
the band roaring through four blistering tracks. Opening with
“Reaching for Things Unknown”, Heater crafts songs
with lyrics that are reflective of the band’s sense
of self-reflection (“We’ve looked into our mirrors/with
nothing left inside/We’ve looked into our mirrors/With
nothing left to hide”). “Take a Look Around”
sums up the state of our world today with the observation
“Take a look around and see what we’ve become/we
segregate ourselves with ignorance and hate/ What is race?
What is gay? What is straight? What is woman? What is man?
Still we hate”. The appropriately titled “Rattled
Walls” is a thunderous low-end assault that intensifies
the hardcore elements of the band. Finishing with the equally
powerful “Blur the Lines”, Heater is a promising
band with a tightly wound fury, explosive musicianship, and
shrewd lyrics.
 MICHAELIRONSIDE
- So Dynamic (80 West Records https://michaelironside8888.bandcamp.com)
So a talented, young, editor told me in an informative email
this act that “Michael Ironside is not a person but
a band”, and that is partially true. There is a Michael
Ironside and his IMDb page is worth some exploring. However,
Michaelironside is indeed a band, and an odd one at that.
Jeff Wasserburger and Adam Lepkowski play music that varies
from cartoonish to hard driving, and seem to do so with little
interest in what others may think. “Fixin’ for
a Yeti” has an oddly melodic groove amidst its ridiculous
premise, while “Frosty Tunez” is uniquely quirky
and fun. With challenging time schemes and a bizarrely pretty
structure, the song defies any contemporary style. The same
is true of “Ape Lord”, with lyrics “He was
an ape/He was a lord/Didn’t carry a gun/He carried a
sword”. Fittingly, “Deathrage” is more aggressive
but is forgotten pretty quickly when “Da Boof”
comes along; a slice of lo fi, noisy, childlike fun about
a creature that can “eat your face”. It sounds
a great as it seems, and my only complaint is that the song
is far too brief. “Naked Girls” has a wonderful
title, but its slow tempo and muffled vocals does not hold
my attention. “Albany” has a traditional 80s hard
rock riff and hushed vocals which is a winning combination
and gets even better as the song deliciously breaks down into
chaos as it concludes. “Fade” is a return to atmospheric
chill, wile “Mr. Observer” has a subtle funk-jazz
flavor before injecting a more rambunctious riff. The closing
“In the Mind” starts gently but its driving chorus
concludes the record on a soaring note. There are moments
of brilliance on So Dynamic, but I leave feeling a bit unsure
of what I am hearing. I applaud these two guys for boldly
challenging the boring, but I will always take anger over
bubbly goodness.
 SEETHER
- Poison the Parish (Canine Riot Music www.concordmusicgroup.com)
I had no idea that Seether has now released seven albums and
I have no idea who buys them, but this South African outfit
keeps chugging along and produces slick, well produced hard
rock that the middle aged divorced dads play too loudly as
they roll the mid-life crisis mobile into the Little League
parking lot to impress all the ladies. If you enjoy predictable
rock, boy howdy, you are in luck. Watering down late 70s rock
riffs to the lowest common denominator, Seether gives the
masses the opiate they deserve. Nothing on Poison the Parish
is riveting, as the band scolds the modern generation for
preferring instant fame over talent on “Stoke the Fire”,
but I am not sure if Instagram-obsessed Kardashian fans will
take Seether’s warnings to heart. There are theater
sing-along anthems (“Something Else”, “Saviors”),
the ubiquitous mid-tempo, emotionally charged tracks(“Up
and Down”, “Feel Like Dying”), and the songs
that start with acoustic riffs before really getting the fans
hyped when the track switches to electric (“I’ll
Survive”, “Sell My Soul”). There are fifteen
(!) songs on Poison the Parish which is just more Seether
than anyone needs.
7-Inch Singles
 FITS
OF HAIL - Belmore (Sound of the Sea Records www.soundofthesea.org
This Cleveland four-piece delivers a lush beauty on “Clutter”,
a song that is anything but jumbled as a clean, mid-tempo
pace accompanies Chris Anderson’s rustic vocals. “Came
Through the Change” rattles a bit more than its’
predecessor, but again embraces a sense of heartfelt Americana
and richly vivid lyrics. The song’s ascending chorus
makes this effort the preferred of the two vinyl selections
for my taste. The brief but endearing “Brandywine”
is available through download only and is well worth the effort
of paying these guys a few scant bucks on Bandcamp.
 STINGER/MAULER-
Split 7” (Serenity Now Tapes www.serenitynowtapes.bandcamp.com)
This single saved my weekend and it can make even the worst
day better. Stinger plays relentless, metal-tinged hardcore
at a breakneck pace with vicious, head-stomping intensity.
There is nothing one cannot love about the simmering power
of “Swine Churn”. Brutal, abrasive, and full of
unresolved anger, this is one to put on repeat. The low-end
bombardment of “The Scum Files” punches the listener
with the fury of classic Warzone or Agnostic Front. In short-you
need Stinger in your life. Very little information is given
about Mauler, but with “Despot Desires” and “Power
Snake”, there is no need for words. The grindcore fury
of this band has me instantly hooked and all three songs-get
the digital version-are punishing and unapologetically raw.
Mauler is the band that plays a basement show and the house
crumbles around them. Serenity Tapes has just jumped up to
the top of my favorite young labels.
 DEEP
STATE -Thought Garden (Friendship Fever Records https://store.friendshipfever.com)
Deep State is a highly emotionally charged band that meshes
numerous punk infused styles into a richly rewarding listen.
An off-putting yet attention-grabbing instrumental opens Thought
Garden before the more straightforward punk aesthetic of “No
Idea, Pt. II” explodes out of one’s speakers.
Vocalist/guitarist Taylor Chmura is clearly shaking with frustration,
but not every syllable is blindly screamed into the void;
instead, he incorporates sweetly harmonic vocals with a sweeping
hook on “Mountains” and utilizes a dense riff
on “Death Waltz”. Fellow guitarist Ryan Gray Moore
holds a masters degree in guitar performance, and his skills
shine throughout Thought Garden, even when the band takes
on a minimalist approach for the title track. There is a subtly
to Moore’s playing that reflects the larger theme of
the band-the material here is intricate but not overwhelming.
The songs have room to breathe even though there is a burning
passion to get the thoughts out quickly and deliberately.
Drummer Michael Gonzalez and bassist Christian Deroeck rumble
together on “Heavy Lunch”, while sharp, jarring
riffs rip through the heart of the song. The band is not afraid
to show off their influences and penchant for varying styles,
as “Nothing Speaking” swings with a mid-tempo,
bluesy sound, while an infectious, jangly, indie-pop sensibility
dominates “Infinitesimals”. Continuing to challenge
and push themselves forward, Deep State introduces dark noise
on “Eights” before quickly fleeing for the closing
“Urn”. Starting with a nearly Beatles-esque attention
to harmony, the song ebbs and flows seamlessly before a dust
storm of choking guitar finishes off the record with a soaring
climax. Inspired and progressive, Deep State is a deeply promising
act.
 FIRE
IN THE RADIO - New Air (Wednesday Records http://www.wednesdayrecords.com)
Philly’s Fire in the Radio have fittingly titled their
second release New Air, as the band takes far more chances
here than their 2015 debut. The guitar playing is crisp and
the songs are more sophisticated yet do not lose any of the
harmonies that made Telemetry such a encouraging release.
“Drug Life” is the centerpiece of the record and
the song’s dreamy vocals, compliments of Rich Carbone,
are tinged with darkness, a juxtaposition of pop melodies
and peripheral sadness that carries much of New Air. While
the title track and “Vacant States” have very
clear 90s qualities, specifically Superchunk, Velocity Girl,
and Jawbox; however, rather than hearing these songs as merely
paying homage to influences, Fire in the Radio is inspired
to take that blueprint and combine other spatial elements.
“Adeline” is a lovely, haunting track that moves
at a brisk pace without losing any sentimentality. And “Lionel
Hampton Was Right” gets a blistering start out of the
gate and features a soaring riff that anchors Carbone’s
passionate delivery. The songs are tightly wound and the urgency
is tangible. This record is the product of a band desperate
to be heard and is committed to making music that is both
significant and stirring. “I Don’t Know, I Don’t
Remember” is my favorite type of aggressive indie pop-the
song is aggressive, powerful, and overflowing with hooks.
Philly has long been a city for bands that play with tenacity
and little regard for trends; Fire in the Radio take all the
finest elements of 90s indie rock and grinds them into an
awesome new form.
 MARK
LANEGAN -Gargoyle (Heavenly Records http://www.heavenlyrecordings.com)
Mark Lanegan is an interesting tale of persistence and drive.
At fifty-two, Lanegan is a long-term veteran, scarred and
replete with legions of stories about trying to survive as
a musician. Gargoyle is a record that could only be made by
a man of this ilk; sweeping in musical scope, the songs are
dense, majestic, and richly textured. The opening, six-minute
opus “Death’s Head Tattoo” establishes a
theme for Gargoyle, namely a mixture of swirling darkness
and understated beauty. The warmth is, as is the uneasiness
created by the steady backbeat and swaths of guitar. “Beehive”
has a bassline that would be the envy of Peter Hook while
Lanegan’s gruff voice adds an additional layer of earthy
grittiness to the track. Other efforts borrow a similar structure,
such as the impressive “Blue Blue Sea” and the
haunting “Sister”. The latter has a meandering
pace and ethereal keyboards that allow Lanegan to fill all
empty space with his vocals that sound like John Hiatt taking
on Leonard Cohen in a whiskey shot drinking contest. “Emperor”
rattles along with a structure reminiscent of Iggy Pop’s
“The Passenger” while the brilliantly titled “Drunk
on Destruction” features guitar playing the weaves powerfully
from subtle to punishing. “First Day of Winter”
is appropriately depressed in both tempo and spirit, as Lanegan
sorrowfully takes listeners through an empty town and an equally
desolate past. Compelling and spiritually engrossing, it is
my favorite of the record despite (or perhaps due to) its
melancholy nature. Gargoyle concludes with “Old Swan”
as Lanegan gain blends a Sisters of Mercy atmosphere with
poignant lyrics and a heartfelt vocal performance. Mark Lanegan
has been, perhaps inexplicably, off my musical radar until
this point, but gargoyle will certainly inspire more research
on my part.
 ROUND
EYE - Monstervision (Sudden Death records www.suddendeath.com)
Described as the “loudest, sexiest, and hairiest”
band in China, the avant-garde, sax-punk geniuses Round Eye
announce their return with a viciously beautiful release.
Joe Bob Briggs makes numerous appearances on Monstervision,
bringing his late night cable access television persona to
an already mind-altering record. At one point, Joe Bob simply
asks, “what the hell was that?”, and that query
about sums up the relentlessly original approach taken by
this band. Once banned from touring in China and forced to
truly play “bunker shows” (famously documented
by VICE News), Round Eye is a fearless combination of punk
audacity and noisy defiance. “Cosmic Blues” sounds
like Black Flag jamming with the Flying Luttenbachers, but
the band then applies a more Cramps-like sentiment on “Billy”,
a song about a deliberately violent cop. “Sifter”
is a touch more poppy, with the ubiquitous sax sounds increasingly
reserved when coupled with a more traditional effort. However,
this respite does not last long as “Troma” includes
angular, jagged playing that pairs itself nicely with the
lo-fi chaos of “Hey Dudes”. The debauchery of
“Pink House” is my personal favorite among this
vast collection of genre annihilating, confounding, and engaging
musical visions. Round Eye defies any contemporary comparisons,
as evidenced through “Cat” and “Richie”.
While the former holds on to a subtly harmonious groove only
kissed by a sax, the latter begins with a scream and unleashes
a menacing explosion as the phrase “reality TV never
looked so good” is repeatedly shrieked. The closing
“Crinkle” has vocals buried in a casket of waves
of suffocating sound, and the song is a churning mass of jittery
energy that is the musical equivalent of being water boarded.
It is a fitting finish to a record that is equally captivating
and obtuse.
 AYE
NAKO - Silver Haze (Don Giovanni Records www.dongiovannirecords.com)
The term punk rock can rightfully be used to address a
multitude of styles and Aye Nako continue to help redefine
the phrase. Led by Mars Dixon and Jade Payne’s fearless
aggression, Silver Haze is a showcase of deeply personal
songs propelled by angst-driven energy. “Sissy”
is a mass of guitar force and defiant lyrics (“Off
world, shrill lisp/Hormonal bliss, spit in my face”),
while Dixon and Jayde barrage the listener with both angular
guitar work and highly charged singing on “Half Dome”.
Rounded out by bassist Joe and drummer Sheena, the band
excels on “Nightcrawler” with its noisy contained
chaos, reminiscent of former touring mates Screaming Females.
Noisy and abrasive, but always with a clear sense of parameters,
“Muck” encapsulates the band’s ability
to straddle a line between blunt force and refined beauty.
Injecting more traditional pop sensibilities on “Particle
Mace” does not in any way lessen the impact of the
song, while the waves of distortion on “Arrow Island”
and “Spare Me” infuse the tracks with a darker,
more intimidating sensibility. The menacing nature of “Nothing
Nice” roars with frustration that boils over into
rage tinged with fear (“You detonate in the front
room/They call it discipline/You detonate in the front room/I’m
not safe at home/I do what I’m told/I do”).
A suffocating wail of feedback opens “Tourmaline”
as a brutish riff eventually gives way to a more subdued
vocal style. Stunning in both breadth of force and intensity
of delivery, Aye Nako is an astounding act.
 THE
PLANES - Wax Diamond (https://theplanesnyc.bandcamp.com)
I often find myself becoming overwhelmed by bands attempting
to make their music as technically superior as humanly possible.
Yes, the playing is dazzling at times, but there are occasions
in which one simply wants a hook and a quick, smart song.
The Planes deliver just that over the course of eight soaring
anthems. Basking in the purity of simplicity, the band has
a penchant for lush harmonies and fuzzed-out pop throughout
Wax Diamond. The opening “Red Shift” bounces
back and forth between the Feelings and Dinosaur Jr. with
ease, with the latter sound dominate the chorus. With only
two of the tracks crawling to the four-minute mark, The
Planes pack quite a punch and never overstay their welcome.
Lead vocalist Stephen Perry has a sly, self-deprecating
humor on “Stick Around” when he admits “I
learned a language just to speak to you/And I grew accustomed
to the sound/But now I'm talking to myself/As if I don't
need no one else/I kinda wish you'd stick around.”
Blending heart-melting lyrics with buoyant guitar playing
and a steady backbeat is not redefining rock n’ roll,
but The Planes bring a timeless sound into a period of time
that needs this sound. The unexpected body slam heard in
the midst of “ATMs” is the band’s finest
trait-one cannot simply press play and forget about Wax
Diamond. The songs crackle with energy but can suddenly
shift personalities and adopt a more aggressive nature before
returning to their original personas. The support behind
Perry’s guitar playing and emotionally charged vocals
are bassist Jaclyn Perrone and drummer Jason Maksymillian,
who carry the chugging “College Crush”, perhaps
the best song ever penned about the topic. Perry bravely
exposes himself as a love-struck frat guy who is “in
the kitchen bartending”, begging and hoping for the
object of his affection to come talk to him. The honesty
of the song is immediately enduring, and is matched by the
powerful “River” (The sun was out and I was
flying/ I didn't know if this would last for long/ We have
a love that's free and wild/ But I don't know if you and
I belong”). Young and talented with a great sense
of history, The Planes move indie rock forward by embracing
the past.
 EUREKA
CALIFORNIA -“Wigwam” s/t “Only Birds No
Feathers” (HHRTM Records www.hhbtm.com)
With a thick rogue wave of distortion opening “Wigwam”,
I am immediately taken by the latest from Eureka California.
The duo of Jake Ward and Marie Uhler blast away at a pair
of garage-pop gems and a wildly entertaining cover of Superchunk’s
ubiquitous college radio anthem “Slack Motherfucker”
on a single that passes by far too quickly. The noisy, nervous
“Wigwam” toys with pace and tempo; the track rises
and fades, only to rise again with flawless precision, as
these two find harmony within chaos. The song is two and half
minutes of pure joy and gives way to the 90s vibe of “Only
Birds No Feathers”. When Ward barks about “how
simple of a life do you really deserve” and asks, “does
it look like I care”, one does not know if he is smirking
or snarling, and that embodies the band. Eureka California
is defiant, dismissive, and entirely engaging. Go find this,
as the band is selling it directly to fans for only three
bucks in an effort to recapture a time when singles were affordable
for all, but cost should not matter-pay the mark up price
somewhere and support these kids.
 GHOST
OF A GENTLEMAN - Empty Room (https://ghostofagentleman.bandcamp.com)
This New Jersey outfit plays moody rock with introspective
lyrics and an intrepid honesty. Stories of pain, loneliness,
and failed relationships dominate the record, but the feelings
the work elicits are not disparaging. Rather, one is captivated
by the constant balancing act the band performs throughout
he record. The guitars on the opening title track hover gently
above scathing lyrics while the song fluctuates between fragility
and bombast. This trend continues on “Front” as
well, although it is a more traditionally structured track
(“What I’m trying to say is it seems OK but its
not OK”). The majority of the work is preoccupied with
the massive struggles of relationships, describing even simple
communication as a challenge in “Masquerade Ball”
(“when I talk to you, I walk on rice paper”).
Ghost of a Gentleman allow themselves to become a touch heavier
and darker on “Can’t Take This Anymore”,
and insert a vibrant, modern rock sensibility highlighted
by aggressive guitar work on “Smothered”. (Every
twisted truth you think I can’t untie begs for me to
see right through your eyes”). “Street Signs”
has a delicate introduction fitting for the song’s tale
of fragile sanity, sleep deprivation, and a struggle to balance
all of life’s pressures. The atmospheric “Nineteen
Eighty-Five” with wraithlike lyrics buried deeply in
the mix precedes a trio of songs dedicated to former band
member James Kelly: “Just Breathe” channels the
Foo Fighters while “Plastic Boy” is a genteel,
largely an acoustic piece with a rich, heartfelt delivery.
“Jersey State of Mind” concludes the triumvirate
of dedication tracks as well as the record. Like “Plastic
Boy”, it is also stripped down, but the song is brimming
with hope rather then the pessimism and weariness that previously
dominated Empty Room. Emotive and intelligent, Ghost of a
Gentleman should certainly become more than just a local favorite.
 KISSING
IS A CRIME s/t (Don Giovanni Records http://dongiovannirecords.com)
Matt Molnar is the leader of his outfit that creates a beautiful
record of airy, classic guitar pop. “Noise at Night”,
with Liz Hogg on vocals, is unabashedly and unapologetically
harmonious, with a chorus that is equally stirring and scintillating.
“Kids” begins the second side with a massive,
soaring hook, while the more subdued “Sheila’s
Gone” is intoxicating in its directness. The opening
“Nervous Condition” sets the tone with jiggling
guitar work and lush vocals. Molnar spent his early years
bouncing around in a string of punk bands, and his roots reemerge
on the more aggressive “You Would Never Understand”,
but his true gift is the ability to generate infectious pop
with swirling musicianship and pristine refinement. “Crown
Royal” bounces with a highly dynamic groove and highlights
the drumming of Alex Feldman. The evocative “Bling Bruises”
is another standout with a burst of rugged guitar coexisting
within the broader expanse of the song’s pop sensibilities.
Molnar is a visionary with a genuine appreciation for bands
that place majestic harmonies and intriguing lyrics as priorities.
Once again, Don Giovanni finds another gem.
 MODERN
ENGLISH - Take Me to the Trees (http://modernenglish.me)
I was roughly ten years old when MTV invaded my home and changed
my life. One of the ubiquitous videos of that age was “I
Melt with You” from Modern English. If you remember
watching the clip, a primitive yet earnest effort, congratulations-you
are old! I always remember the video clearly, as I was usually
waiting for it to end in hopes that anything from Ozzy or
Judas Priest might be next. At any rate, a full generation
has come and gone since that massive hit, and the original
members of Modern English return with their first full-length
release in thirty years! Incredibly, rather than a pallid
attempt at rehashing 80s pop, the band brazenly and adroitly
constructs pop in a contemporary vein while also subtly paying
homage to their heritage. The opening “You’re
Corrupt” opens with a throbbing bass line and a clearly
articulated social commentary about greed and excess. Conversely,
“I Feel Small” is a mid-tempo churner of a track
that wraps Robbie Grey’s instantly recognizable vocals
around a stomping groove. “Dark Cloud” has a clean,
crisp retro sound as one could imagine Gary Numan singing
along to this one. One of my favorite moments is the effervescent
pop goodness of “Moonbeam”- a sugary blast of
rich harmonies that will make Martha Quinn smile. The meandering
“Something’s Going On” is deceptively unnerving,
and despite its plodding tempo still possesses a mystical,
ethereal quality also heard on “Sweet Revenge”.
The closing “It Don’t Seem Right” is a dreamy
effort that again proves that Modern English have the chops
to reintroduce themselves to the world of relevance.
 THING
ONE - Fair Weather Friends WP (www.thingonebandcamp.com)
Thing-One creates an uneasy atmosphere throughout the three-song
Fair Weather Friends EP. The title track laments a now irreconcilable
friendship with haunting lyrics (“my friend, you are
dead/in my eyes you’re gone”) and an infectious
dance beat. The closing “Far Too Bright” includes
smoldering guitar woven into an ethereal tapestry of heartbreaking
beauty (“Your face, your eyes, you’re far too
bright”). “Nice Wife” is a stirring, powerfully
emotional anthem in which Thing-One tells a stirring narrative
through warm and gripping playing. A lullaby with a potentially
explosive personality, the track attempts to pull the heart
out of one’s chest with devastating honesty. I cannot
believe that this latest release from Thing-One came with
a flyer announcing their opening slot for Gin Blossoms, of
all bands. I cannot image their fans appreciating this. Thing-One
should out on the road carrying their own tour, not opening
for relics from the 90s.
7” Singles
PETER HOLSAPPLE “Don’t Mention the War”
(Hawthorne Curve Records http://peterholsapple.bigcartel.com)
I have long lamented the lack of a good protest song for contemporary
issues, but Peter Holsapple may have solved the problem with
“Don’t Mention the War”, an ode to the horrors
of combat and PTSD. With gripping honesty and a delivery reminiscent
of the finest 1960s storytellers, the song is a gut-wrenching
tale of isolation, suffering, and struggling family members.
When Holsapple says “don’t mention he war”,
it is an ominous warning as much as it is a piece of advice.
The B-side “Cinderella Style” is a beautiful,
delicate tale that, while not as dramatically forceful as
the A-side still demonstrates Holsapple’s innate sense
of human emotion. This is a pair of soaring, vastly powerful
songs and I am immensely taken with this.
SANTA ANA KNIGHTS - "Knight School" EP (Red Brontosaurus
Records http://www.redbrontosaurus.com)
Santa Ana Knights play speedy guitar pop with a punk varnish
that makes it tougher than your standard three chord posters.
Sounding like a troubled troubadour on “”How’d
I Get Home” and the title track, both featuring a touch
of country-fried twang. “How’d I Get Home”
includes the scathing lyrics “I don’t need hugs/
I Need Your Drugs!!” “The Bartender” kicks
off the effort with the amazing advice of “Don’t
Need Jesus/ Just be your own boss/ I’ll be the bartender
when you need to drink”. I know nothing about this band,
but this introduction is enough to make me seek out more.
SOMERSET MEADOWS - "We Will Rock" (Brain Genius Records
https://somersetmeadows.bandcamp.com)
Somerset Meadows play 60s rock with a SoCal punk energy. “Hey
Girl” bubbles with a hopeful enthusiasm as Richard Somerset
hopes the girl of his dream will go away with him. This energy
is matched on the early Green Day-inspired “She Makes
It”. The record starts with “She is Waiting”,
and while it never really hits a stride, “Time to Shine”
is a rollicking burst of infectious pop guitar. As I write
this, Long Island is in the midst of a mid-March snow squall
and all I see when I hear Somerset Meadows is sunshine, girls,
and summer. For that alone, I love this.
JerseyBeat.com
is an independently published music fanzine
covering punk, alternative, ska, techno and garage
music, focusing on New Jersey and the Tri-State
area. For the past 25 years, the Jersey Beat music
fanzine has been the authority on the latest upcoming
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