BANGLADEAFY - Housefly (www.nefariousindustries.com)

I went back to listen to Bangladeafy’s 2018 masterpiece Ribboncutter to attempt to put myself in the proper mindset before attempting Housefly, but that was a fool’s quest-there is nothing that can prepare a person for anything Bangladeafy does, which is why I love this duo. John Ehlers and Atif Haq are master noise manipulators, but rather than the metallic barrage of flesh-ripping sound that defined their earlier work, Housefly has an industrial intonation, blended with highly agitated synth. “Bloom” has traces of Devo, but the more chaotic “Miracles” is a nightmare brought to life as terrifying beats capture the terror of fleeing for your life from a faceless entity that may or may not be one step beyond you, or perhaps the entire episode is all in your mind. The sense of confusion and unease created by Ehlers and Haq is grotesquely beautiful, such as the wild noise collage, “Shortcuts”. Blending Skinny Puppy with Wes Craven 80s horror soundtracks, Housefly is a labyrinthian maze of paroxysmal percussion and turbulent synth best embodied on “Lifeforms”, a chilling salvo of Devo spliced with Foetus that gives Ehlers an opportunity to ravage his vocal cords. Even the twenty-five seconds of piano wrapped in genteel noise one hears on “Pupa” does nothing to settle or reassure the listener, for “Tar” is a frenzied ball of rage. The songs come and go quite literally within seconds, with only two of thirteen songs hitting two minutes in length. Blending qualities of punk, jazz, noise, metal, and ambient all into a churning throng, Housefly is easily the most inimitable and necessary record of 2020. “Youthanor” is every helpless feeling people have had over the past six months rolled into one festering pile of disgust, while the three sparse “Instar” pieces are paranoia-inducing soundscapes; the dichotomy of these works embody both the tortured brilliance of Bangladeafy, and also their fearless commitment to reinvention. I understand that music such as this is an acquired taste for some, but honestly, I cannot understand how people do not simply fall to their knees and worship a band like Bangladeafy. Wake up, people!!

PIMMIT HILLS - Heathens and Prophets (https://gyard.bigcartel.com/)

BLACK MAGNET - Hallucination Scene (www.20buckspin.com)

EN MINOR - When the Cold Truth Has Worn Its Miserable Welcome Out (Housecore Records www.thehousecorerecords.com)

This one could be a little difficult to explain to someone just emerging from quarantine-Phil Anselmo sings on a largely acoustic project. Anselmo, whose menacing stage presence was the centerpiece of Pantera’s metal dominance at the end of the twentieth century, has provided vocals to myriad of bands from Superjoint Ritual and Down to the Illegals, but aside from his Southern Isolation project, very little in his repertoire sounds like En Minor. One similarity between En Minor and Anselmo’s other bands is his ever-present intensity; the songs many not rival “Mouth for war” in terms of volume, but when Anselmo declares, “Love is but a word and I’m finding it hard to believe” on the opening “Mausoleums”, it is obvious that En Minor is not here to play weddings. Surrounded by guitarists Stephen Taylor, Kevin Bond, and Paul Webb, the sound on When the Cold Truth Has Worn Its Miserable Welcome Out is surprisingly dense and deeply emotive. Cellist Steve Bernal exists in lush harmony with the four guitarists (Anselmo offers guitar as well), while bassist Joiner Dover, whose brother Calvin contributes keyboards, and drummer Jimmy Bower work in unison to bring the band slowly into depths of crippling darkness on the haunting “This Not Your Day” and “Love Needs Love”, with the former including the line, ”Had she voiced her pleas, he might have killed his wife” “and the latter announces, “There isn’t a blade of grass that hasn’t been corrupted”. This type of funeral dirge is En Minor’s strength, although the band does not hesitate to experiment with structure, as “On the Floor” dabbles with a slight country twang as Anselmo declares, “Many will mourn as the headless scream, found dead on the floor”. The meandering “Black Mass” and the atmospheric “Warm Sharp Bath Sleep” are two of the finest works that mesh ethereal with gritty to produce a highly unique sound that sound like the soundtracks to vintage horror films, a topic Anselmo knows quite well. On “Melancholia”, the line “Self-loathing feels like the right way of expression” hangs in the air as ghostly guitar work glides above the sadness and confusion. It is an impressive feat to bring the darkest aspects of Americana to light in such a meaningful manner; add this to Anselmo’s ever growing list of distinctive moments.

EXHALANTS - Atonement (exhalants.bandcamp.com)

I admit, I am not a difficult man to please, and the Exhalants had me with the reference to Unsane in their bio. The music on Atonement could cure COVID by scaring the droplets right back into your filthy orifices, as the hard-hitting Texas trio marinates each track in a sonic bath of distortion and feedback that attempts to swallow lead singer Steve whole, but somehow, he fights furiously enough to strain his voice above the controlled chaos. “Bang” is a rolling machine of suffering that pummels all in its path as scorched earth vocals are mimicked by equally devastating playing. It is easy to become infatuated with the sheer force with which these guys play, but efforts such as “Richard” and “End Scenes” demonstrate the dazzling dexterity of bassist Bill and drummer Tom. If you fondly remember 90s noise, Exhalents will remain many of Stalwarts like Unwound and Drive Like Jehu as “Passing Perceptions” unleashes a seething mass of guitar hate and “Crucifix” is bult around Bill’s think bass line and Tom’s volcanic drumming. In addition to his guitar assault, Steve is a highly gifted screamer, consistently pushing his vocal cords to the precipice of destruction all the while remaining incredibly affective. “Blackened” swings a massive hook that becomes the song’s defining riff and a groove to which the band returns in between moments of shrill, piercing, beautiful clatter to produce a stunningly engaging din. It is a band like Exhalants that makes me willing to be the first in line for an experimental vaccine; I need these guys out on the road destroying clubs along the way. Until then, go find this.

ANTHROPHOBIA - Altered States / Grind EP's (www.anthrophobia.com)

After all these years, Frank Phobia may be
sh owing his age; not musically, mind you - Anthrophobia sound as raw and spry as ever on "Altered States" - but the first track on the band’s new record is called “Cliff Notes.” For those under 35, Cliff Notes were used before any online sources to help all of us avoid reading the books assigned in school; the kids today have Sparknotes and about a thousand other ways to get them out of reading, but Frank stays true to the old school mentality-quite literally. The song itself is another familiar blast of hook-laden guitar riffs wrapped around a dense low-end groove compliments of Rob DiJoseph and Dickie Delp, all topped off with Frank’s iconic vocals.

He and the rest of Anthrophobia have always perfectly blended metal, punk, and spatial stoner-rock into a deeply refreshing musical smoothie, and the same formula exists here, but Anthrophobia does not simply rewrite past material. Fans have a choice of purchasing either the standalone, 6-track "Alterted States" EP, or springing for the deluxe 15-song vinyl package, which includes 2017's "Grind" EP.

There are several unique features to this work - we reviewed the combined, deluxe package - with perhaps the biggest surprise here being the lengthy, meandering “Before the Crash.” Beginning quietly, the song is a slow boil of a track with the intensity gradually increasing over the course of seven sprawling minutes, with Brent Black’s dexterity shining most prominently. and the release of Altered States is one of the few events that is a positive during this otherwise nightmarish year.

“Running Out of Time” is a frantic speedball of a song that still retains an easily instantly recognizable melody, while the impenetrable structure of “Take One for the Team” has Phobia growling and snarling through an opaque mass of guitar creativity once again from Black. There is an abrasive, serrated edge to songs like “Grind” and “Ghosts” that exude the band’s adoration for bare-knuckled rock n roll. “Over Reactor”, “Fundamentally Cynical”, and “Cracks in the Ceiling” all roar with blistering ferocity, revealing the band’s punk roots by infusing the songs with constant energy and each of the trio barely hitting two minutes in length. Like so many other people, I want to go to sleep and wake up in January; however, if that remains a physical impossibility, at least Anthrophobia can provide a soundtrack for this current hell.

THE ATOMIC BITCHWAX - Scorpio (Tee Pee Records www.teepeerecords.com)

With all of the frustration and resentment 2020 has brought, The Atomic Bitchwax’s opening song “I Hope You Die” from their latest record Scorpio, is a perfect form of catharsis. It also reflects the mood and tenor of all of Scorpio; it is a massive, pugnacious blast of bluesy, distortion-drenched force. New Jersey’s The Atomic Bitchwax, who emerged out of Monster Magnet, features bassist, singer, and lyricist, Chris Kosnik, along with drummer Bob Pantella and guitarist Garrett Sweeny, continues their tradition of Black Sabbath stomp and latter-day Corrosion of Conformity Southern swagger. Scorpio is a boisterous blast of authentic, guitar-heavy rock n’ roll, as the appropriately titled “Energy” has a hook that sneaks up on the listener with a rich tone and blunt force melody, two traits one also hears on the thunderous instrumentals, “Ninja” and “Crash”. Both tracks roar like alcohol-fueled drag racers, leaving behind only the scent of burned rubber and gasoline in their wake. “Scorpio” channels the finest aspects of Blue Cheer as interpreted by 90s grunge bands, and the bass-heavy “Easy Action” is a sleazy brew of sweat-stained bombast. There is relentless energy throughout the record and The Atomic Bitchwax does not rest for even a note, as if the band feels compelled to get everything they have out to the listeners as quickly as possible as a musical last will and testament to the world of guitar-fueled rock before COVID takes all of us. Honestly, if this is the last music I hear before it all goes black, I can live with that. It is physically impossible to not entirely immerse one’s self in the Stones-meets-Motorhead groove of “You Got It” and “Betting Man”, as Sweeney excels on both pieces. There is a refreshing purity to Scorpio that makes it a mandatory listen as every single track will melt the walls of clubs once we are allowed back in them, but this should get crowds moving even if it is livestreamed.

NOFX and Frank Turner - WEST COAST vs. WESSEX (Fat Wreck Chords)

This is a great idea for a split LP. NOFX takes five of Frank Turner’s tracks and applies their melodic punk energy to them, while Turner selects five of NOFX’s songs and transforms them into works of poignant, emotional toil. One should not be surprised to hear that the result of this mash-up is as intriguing as it is brilliant. The bitter” Worse Things Happen A Sea” has a snarky sense of humor illuminated by Fat Mike as NOFX blaze a scorched path through the song, emphasizing the lyrics’ tale of frustration found within relationships. “Thatcher Fucked the Kids” is less a political statement as it a realistic depiction of aging (“Anyone who looks younger than me makes me check my wallet, my phone, my keys”). Bouncing with ska grooves, the song’s hypnotic energy is infectious as Mike’s gruff v oice does a majestic job capturing Turner’s shrewd social commentary. The piano-laden “Glory Hallelujah” is the most beautiful song of nihilism one may ever hear (“There was never was a god”). For Turner, he travels less-worn paths of NOFX’s career, turning “Falling in Love” into a fragile, wonderfully moving track. While “Bob” is reworked as a gritty country song, “Perfect Government” is a swaggering, rollicking rock anthem with ethereal pop warmth. Turner’s voice is smooth and emotive, and his backing band, The Sleeping Souls, take NOFX’s affable punk anthems and place a special emphasis upon the harmonies found within each. “Eat the Meek” reverberates with a tension heard on the first generation of emo bands, illustrating the chameleon-like quality of Frank Turner’s musicianship. There is always a risk on records such as this that the result may seem either too forced or clichéd fanboy adoration; neither is true here. West Coast vs. Wessex allows a collection of imaginative musicians to place their own unique imprints upon each other’s work that reflects a sense of respect and the pure enjoyment of creativity.

GARRISON - TV or the Atomic Bomb (Artic Rodeo Records arcticrodeorecordings.com)

HAUX - Violence in a Quiet Mind (Color Study Records www.wearecolorstudy.com)

The music of Haux is able to make emotional pain tangible. Throughout the poetically titled Violence in a Quiet Mind, the London via Massachusetts native sings with an angelic fragility (“You can’t get hurt if you don’t make a sound” is one of the more poignant lines) that has often invoked comparisons to Bon Iver. That is an accurate and wonderfully complimentary statement for both artists, but Woodson Black constructs songs in which lyrics and vocal delivery mesh in a manner that connotes unbearable emotional anguish with a warmth and beauty. With his voice quivering over acoustic guitar, “Salt” is terminally gorgeous, and this structure marks the tone for all of Violence in a Quiet Mind. Accented by stripped-down musicianship, Black courageously presents his soul through often-whispered lyrics of loss and heartache. The most innocuous of phrases take on a profound depth in the hands of such a gifted wordsmith. (One such example is “Hold on to love” from “Of the Age”) The serene “Killers” is highlighted by the repetition of Black’s composed admission, “I forgive you”, and this embodies the staggering power of how language can be delivered with chilling intensity without screaming. “Heavy” is both a dazzling pop song and also an engaging journal entry set to ethereal piano and minimalist percussion. A shattering sensibility is also heard on both the opening “Hold On” and the gut-wrenching “Craving “ (“Craving for your love, craving for your touch”). This is a record to play alone in the dark and simply bathe in the sorrow. 2020 may have provided enough pain for all of us, but the cathartic quality of “Gone” (“Don’t feel like myself when you’re gone”) and “Accidents” is good for the soul. Just be sure to listen to Violence in a Quiet Mind while sober, because this could easily inspire endless drunk texts to your ex whose name you just cannot seem to bring yourself to delete.

ADVERTISEMENT - American Advertisement (Patchwork Fantasy patchworkfantasy.bigcartel.com)

Advertisement’s American Advertisement introduces itself with “Freedom”, a song of buoyant pop rock reminiscent of The Fall, while fuzzier guitar tones hum throughout “Pretty Money”, a sinewy track highlighting the band’s triple guitar line-up of Charlie Hoffman, Carl Marck, and Ryan Mangione. The band fluctuates between uproarious rock energy and more subdued pieces, such as the subtle blues influence on “Days of Heaven”. The raucous “Upstream Boogie” has a Replacements-esque
bar band sensibility that resonates with the finest aspects of bare bones rock, heard later on the piano- accented ‘Shipwrecked Hearts”. “Velvet Queen” and the dark, angular “Tall Cats” take listeners back to the sound of late 80s/early 90s alternative, akin to Stone Roses or Inspiral Carpets with touches of easily accessible psychedelia and atmospheric guitar playing. The band concludes with “Always”, a sweeping, richly harmonious effort with expansive riffs and increasingly aggressive vocals that emerge over the course of seven freewheeling minutes. Advertisement has punk in its collective DNA and when they choose to select to inject elements of their history into American Advertisement, the result is powerful and authentic rock 'n' roll.

HEALING POTPOURRI - Blanket of Calm (Run for Cover Records www.runforcoverrecords.com)

BETWEEN THE RAIN – S/T (www.betweentherainband.com/)

MELODY - Teacher’s Pet (Lauren Records www.lauren-records.com)

Melody Caudill is sixteen years old. That is essential to remember as one listens to Teacher’s Pet. Caudill’s five-song EP details the challenges of navigating the waters of high school through the eyes of someone actually still in high school and not angry adults looking back with disgust. Razor sharp sarcasm abounds here as Caudill’s summation of people is quite astute and well beyond her years, while her introspective investigations of self-doubt and insecurities will resonate with those for whom high school is a distant memory. Caudill openly admits on the title track that despite her efforts to be the contrary, “who am I kidding? I am a teacher’s pet”, albeit clearly, a snarky one. The warm jangle of “Hibernate” and “Room 111” capture the authenticity of Exile in Guyville delivered with the delicate beauty of a young Jenny Toomey. “You’re not yourself, you haven’t been for a while/ So I try to help any way I can, I try to make you smile/ Because I like your smile” highlights the sincere sentimentality and innocence on “Hibernate”. Each of the five songs wrestle with the realities of teenage anxieties, as she laments, “I’m tired of making myself lonely” on “Mosquito Bites”, while unrequited love takes center stage on “Superlame”. (“I think it’s super lame that the only one I like won’t look my way”). Teacher’s Pet should be the soundtrack to the summer and Melody should be adored. However, as much I love what she is doing, I hate to break it to her that the emotions and struggles she is describing at sixteen will not go away anytime soon; although, on a positive note, this means that she will be writing amazing songs for the rest of her life.

OWEN - The Avalanche (Polyvinyl Records

SAME GODS - Worried Eyes (samegods.bandcamp.com)

There are legions of bands that are quite obvious in their homages to their respective influences, but rare is the band that openly acknowledges and celebrates that fact. Same Gods do not even attempt to hide their affinity for darker 90s alternative, as the Helmet, Jawbox, and even Hoobastank (on the bouncy “This Time”) song structures abound. The Helmet parallels I found particularly interesting, as Same Gods makes me think of a mid-90s Helmet spin-off band called Handsome that featured former Helmet guitarist Peter Mengede. Handsome had incredible potential but did not quite fit anywhere within the worlds of alternative, proto-metal and the nightmarish arrival of nu metal and so, a band with limitless talent faded all too quietly into that good night. Fast forward more than twenty years, and Same Gods may be coming together at the right time. There is a hunger for their brand of straight-ahead, harmonic guitar-dense rock, and the band sets the tone early with the methodical build up of the opening “Remission”. The song’s deliberate pace emphasizes Same Gods’ desire to wrap their heavier qualities within a blanket of ethereal force. “The Dark” and “Arrogance” both possess big hooks and melodies that can exist on an island unto themselves without needless comparisons to contemporaries because, quite frankly, there are few contemporaries to which they can be accurately compared. The band features Jon Davis of Another Breath on vocals, Brendan Flynn of Freya on guitar, and a rythym section that includes Of Fortune and Fame’s bassist Shane Conzone and producer extraordinaire Steve Sopchak on drums. Together, these four understand how to craft songs that are both radio friendly (if that still means anything) while also hitting hard enough to be the soundtrack to shoulders and back day at the gym. Conzone and Sopchak truly shine on the concluding title track, a hulking mass of an effort that closes the record with both a strong dose of intensity that is still measured by unapologetic harmony. It is obvious that the world can use the music of Same Gods; the real question is will the world get to hear it?

SEER BELIEVER - Bent (Memory Music www.memory-music.net)

THE FOXIES - "Growing Up Is Dead" EP (wearethefoxies.com)

Any band that rails against the obsession with social media, the surefire cause of the world’s inevitable destruction, as The Foxies do with “Anti Socialite”, is sure to win my respect and I am instantly intrigued here. Huge electronic beats propel Julia Lauren Bullock’s snarky vocals, sounding like the offspring of a one-night stand between Stiv Bators and Britney Spears, as she taunts and teases on “Hyper Hypo”, asking, “I wonder what you think about me”, but the answer is obvious: she does not care what you think about her. The brilliantly titled “Call Me When Your Phone Dies” embodies “Goth Disco”, the genre created by this daring trio (rounded out by guitarist Jake Ohlbaum and drummer Rob Bodley) as a pulsating groove grinds against the listener; this is the soundtrack for that moment when you suddenly find yourself making out in a dark corner of the club with this track distorting your reality, and you never even get her name. “French Boy” is a pummeling effort, fueled by angular electro-punk , while “Neon Thoughts” teases with a huge hook and Bullock’s sex kitten vocals. The EP wraps up with a straight ahead pop gem in “Deep Sea Diver”; if this one does not appear on a soundtrack to a teen drama somewhere then the world truly is beyond help. I gravitate towards the harder hitting works on Growing Up is Dead, so “Deep Sea Diver” is a bit too conventional l for me, but The Foxies have a unique twist on modern electronically-infused rock that is undeniably impressive.

THE LOWS - This is The Lows (www.thelowsmusic.com

VARSITY - Fine Forever (Run For Cover Records www.runforcoverrecords.com)

Varsity’s Fine Forever, this Chicago-based outfit’s third full length, conveys all the finest features of contemporary indie pop by traveling back in time, but a little farther than one may expect. Fine Forever is not just a return to the jangly pop of the mid-90s, as “Runaway” and the title track are a pair of efforts that have a clear 70s vibe, particularly the soaring vocal on the latter compliments of the enchanting Stef Smith. Guitarists Dylan Weschler and Patrick Stanton are an ideally matched tandem, playing warm, airy riffs that elevate the majesty of Smith’s singing on “The Memphis Group” while the singer also weaves atmospheric synth swirls into the fabric of the expansive piece. Smith has a keen eye for detailing life’s more fleeting moments with brilliant clarity, noting, “Pillars scared of the community, grown up sleaze, they log on to find their freaks” on the soaring “Shaking Hands”. The Brothers Stolz (bassist Paul and drummer Jake) control “Reason to Run”, a driving, Beach House playing with The Feelies sounding song again equipped with Smith’s introspective lyrics (“Now you know how to push all my buttons, lying down in low gravity”). “Heaven Sent” includes my favorite couplet of the record (“I run the movie in your head, can you just act like you’re interested”) while deftly played pop warmth surrounds and the listener and gives a gentle hug. “Sicko World” concludes the record, and the song apparently has been kicking around in various stages of growth for three years before finally maturing to a point worthy of inclusion on a record, and the wait certainly worth it. Smith declares, “If anyone could read my thoughts, they’d lock me away, I’m just another headcase” as bouncy riffs and equally supple beats tumble around Smith’s beautiful voice until the record softly fades away. This is my introduction to Varsity, and for others like me, do not miss out any farther. Varsity has produced an impressive amount of music in a scant period of time, with Fine Forever boldly displaying a young band brimming with confidence and talent.

THE FREUDERS – Warrior (thefreuders.bandcamp.com)

The Freuders are a highly technically proficient four-piece from Warsaw, Poland that bring psychedelic charms to their brand of post-grunge rock. The opening “Hannibal”, with its chorus of “hanni-bal” is instantly a sing-along track as vocalist Tymoteusz Adamczyk’s voice is enveloped by dense, fuzzy guitar. ”Pulse” is fittingly driven by the bass work of Maciek Witkowski as dreamy, ethereal vocals featuring deft interplay between Adamczyk and his mates wistfully drift in the air. With subtle touches in the style of Mogwai and Red Sparowes, The Freuders have a haunting refinement to their playing, as the title track illustrates through its ability to seamlessly alternate between fragility and strength. Olek Adamski’s accompanying guitar playing helps add to the tenuous nature of the band’s sound-one is never certain if the songs with explode like a star or remain majestically composed. “Dijuth” embodies this aesthetic, and while it does continue a well-worn tradition of a loud/quiet structure, The Freuders have adeptness for constructing songs with unique hooks. The buoyant “Maria Stuart” is another exploration of nebulous guitar rock with hushed vocals and fascinating lyrics. (“Another heart broken, another life taken, another church burning, another light fades out”) Drummer Piotr Wísnioch clears a path on the darker and heavier “Barbed Wire” as Adamczyk and Adamski once again engage in a battle of shared vocal responsibilities, while “Tension” dabbles with a more pop-friendly sound with one foot still planted in early 90s indie. The concluding “Anamnesis III” is the only song no delivered in English by the Polish act and this aspect makes the song all the more captivating. The richness of the distortion-drenched guitar playing works in ideal tandem with a broader vocal accompaniment due to the performance of special guest Lukasz Zurkowski, as well as a concluding two minutes that is steeped in Mother Love Bone-era grunge. This is a familiarity to what The Freuders do, but not repetitiveness. The guys undoubtedly pay homage to influences, but do not replicate them chord for chord. This is absolutely worthy of seeking, for The Freuders merge together various styles into a compact and inspired musical package.

LET IT COME DOWN - Songs We sang in Our Dreams (Joyful Noise www.joyfulnoiserecordings.com)

CLOSE THE HATCH - Modern Witchcraft (Red Moth Records https://redmothrecords.bandcamp.com/)

Glacial in scope and speed, the thunderous sludge metal grooves of Close the Hatch take a genre that can, at least to my ears, become redundant and pepper it with unique subtleties that remain true to what past giants have achieved but also update the sound with adroit skill. The opening “Death of Wolves” easily slides between pummeling and surprisingly serene moments as Steve B’s vocals penetrate into the wall of force provided by he and fellow guitarist, Shaun O. A similar sensibility is heard on the title track, as the song begins as an airy, ethereal piece with ample room to breathe. However, as Shaun H.’s drums begin to hit more fiercely and the vocals intensify, the song becomes increasingly claustrophobic and disquieting. This ability to control mood through tempo is the goal of most sludge/doom metal acts, but it is an intricate skill not easily accomplished. I also appreciate how Close the Hatch do not feel compelled to prolong any of their works-these are not twenty-minute long opuses; instead, the foursome (rounded out by bassist Josh G.) make an immediate impact and move on to next idea. “Thorazine Empire” is three and half minutes of powerful, masterfully manipulated blunt force that revolves around a discernable riff and memorable hook; two traits not particularly prevalent in many bands of this ilk. “Cordial Medusa” and “Attunement” are similar in nature, as they two, are the length of most standard pop songs, but carry an extraordinary amount of weight within their scant time upon the Earth. Creating broad, atmospheric soundscapes that are equally haunting and heavy, Close the Hatch push this particular brand of metal forward, with “Persona Non Grata” acting a template from which legions of other acts should study. There is a celestial beauty heard within these songs reminiscent of the best moments of Candlemass, Neurosis, or Solitude Aeturnus. These guys have created six albums in under a decade, proving that they are not only skilled but also highly productive, and I for one hope that Modern Witchcraft expands the notoriety of this band well beyond their native Ohio.

ELIZA NEALS - Black Crow Moans (E-H Records www.e-hrecords.com)

Having loved her previous work, I am thrilled to hear the latest from blues-rock goddess Eliza Neals, and Black Crow Moan continues her tradition of forceful, classically styled blues-rock. “Don’t Judge the Blues” warns people to not prejudge the performer of this most American of all genres, noting that we are “sisters and brothers” as an all-star collection of players deliver a high-energy groove behind Neals’ commanding voice. Neals is a star with enough talent to illuminate an abandoned street corner at 3am with her performance on the sultry “Never Stray”, but her talents are illuminated through the accompaniment of well-versed musicians such as Bruce Bears, Lenny Bradford, Howard Glazer, Derek St. Holmes, and even her sister, Valerie Taylor. The slow, sexy slide guitar that drives “Why You Ooglin’ Me” connotes the sonic origins of the blues and is the type of song that should not be allowed to be played before midnight. Joe Louis Walker shines on a pair of tracks, adding to the bounce of “The Devil Don’t Love You” and helping to solidify the rousing title track as the finest gem of the bunch. Moving with a poignantly deliberate pace, “Black Crow Moan” borrows from the depths of the blues soulful pain, and the chorus is delivered with the mournful expressiveness of a spiritual. “Ball and Chain” is a dazzling exhibit of Neals’ impressive range, as she moves from guttural groans of frustration through spiraling blasts of vocal gymnastics, holding notes to emphasize the agony of those “mean, mean things” she says were done to her. The concluding volley of the words “wrapped-up” that Neals delivers to conclude the song embodies the finest aspects of what the blues has to offer and harkens back to the best who have ever done it. “Hey, Take Your Pants Off” concludes the record with a blast of old-fashioned fun that is a departure from the emotional anguish one hears on so much of Black Crow Moan. For those who appreciate the foundations of rock n roll, Eliza Neals is a must; do not allow this one to go unnoticed.

MARK LANEGAN - Straight Songs of Sorrow (Heavenly Records www.heavenlyrecordings.com)

THE DIRTY CLERGY - In Waves (Cornelius Chapel Records www.corneliuschapelrecords.com)

The opening chords of “Trials” instantly displays the deck of cards with which The Dirty Clergy plays; namely, big, arena-rock with a touch of blues in the style of Tom petty or even ELO. The deliberate pace of “Born to Lose” invokes images of honky-tonk bars with spit-stained floors and ragged bartenders, and the song’s crescendo builds steadily over the course of four and half minutes. All of this reminds me of Columbia House’s legendary offer of thirteen 8-track tapes for a penny; there is an aura of nostalgia throughout all of In Waves, and this resonates even when the guys borrow from slightly more recent times. “Young Lovers” assembles an Oasis-themed chorus, but regarded of the era from which they draw influences, the music of The Dirty Clergy is material you have heard before, just under different names. The airy, ethereal headspace of “Homesick” and “West Coast” is lovely, but the songs struggle to hold my attention, although the theme of contemporary violence, particularly among America’s youth does give “Homesick” a level of depth worth celebrating. I love all aspects of old-fashioned, no frills, rock n’ roll, but too often, the songs sounded like starting your car in the dead of winter; you can hear them revving up a bit, but the tracks never quite run smoothly. For an Alabama band, there are no country-rock sounding pieces here, and instead, the guys tend to look to crowd-pleasing anthems from the era of Watergate pardons and gas crises. “Parades” has a subtle downhome, folksy sensibility, but the vast array of the material on In Waves is safe sounding rock with just enough outside influences to stay above the trap of falling into the pit of allowing mainstream structures to become mundane. The Dirty Clergy are not here to reinvent anything; in fact, their primary mission seems to provide comfort through the familiar. To that end, they succeed.

PROTAGONIST - Fallout From the Chronicle (protagonist.bandcamp.com)

THE NEW REGIME - Heart Mind Body and Soul (Another Century/Sony Records www.sonymusic.com)

SCREECHING WEASEL - Some Freak of Atavism (Monona Records)

WITCHSKULL - A Driftwood Cross (Rise Above Records www.riseabovereords.com)

(D)JURET - De Få Som Kan Se (sv-se.facebook.com/djuretpunk)

THE DREAM SYNDICATE - The Universe Inside (Anti Records, www.anti.com)

STRFKR - Future Past Life (Polyvinyl Records www.polyvinyl.com)

THE BLACK WATCH - Brilliant Failures (A Turntable Friend Records www.aturntablefriendrecords.com)

FIRE IN THE RADIO - Monuments (fireintheradio.bandcamp.com/)

LOST ROMANCE - Strum It Again (lostromance.bandcamp.com)

THE GUNGANS - Meesa Meesa Meesa (thegungans.bandcamp.com)

MAYFLOWER MADAME - Prepare for a Nightmare (Only Lovers records www.onlyloversrecords.com)

TRUPA TRUPA -I’ll Find (trupatrupa.bandcamp.com/album/ill-find)

Building upon the success and magnificence of their previous release, Of the Sun, Poland’s Trupa Trupa return with I’ll Wait, a shimmering work of psychedelically charged indie rock. The opening “Fitzcarraldo” is a living musical dichotomy, somehow simultaneously beautiful and unsettling. The song is based on a film directed by Werner Herzog about the real life escapades of Peruvian rubber kingpin Carlos Fitzcarrald. This constant convergence of the lush and the haunting, not to mention the wildly interesting historical references made by the band through these tracks, makes I’ll Wait a scintillating and intellectually challenging listen. Grzegorz Kwiatkowski emotes the refrain, “all the way to the end of the line” (from “End of the Line”) in a manner that conveys both a childlike sense of playfulness as well as a subtle mania that demands repeat listens. Initially thrust forward by the nimble bass playing of Wojchiech Juchniewicz, the song seamlessly slides into a subdued, atmospheric realm with a tone that conveys a nursery rhyme gone terrible awry. There is a sense that something terrible is about to happen, but it is impossible to predict what exactly or when. “Invisible Door” initially strikes the listener as a 1970s psyche-pop effort as heavily compressed, almost whispered vocals meander above a bed of solemn musicianship. The song’s perceived simplicity masks a depth that reflects Trupa Trupa’s musical mission; namely, to create music that is at times claustrophobic and unnerving but always engaging. The closing title track is musically suffocating, and waves of ethereal controlled noise force Kwiatkowski’s vocals to swim against the tide while he commences with an internal battle, first declaring “I’ll find” before being told by a second, but still his own, voice, “no, you won’t”. The song is replete with nightmarish elements seemingly lucid and incomprehensible. Trupa Trupa’s willingness to address the realities of global hate, particularly the rise in anti-Semitism and Holocaust denial, gives their music an additional gravitas, but the strength of any band must be songwriting, and these four are supremely gifted.

Read Rich Quinlan's interview with Trupa Trupa here...

THE CARVELS NYC - "Late Night Heart" EP (Die Laughing Records www.dielaughingrecords.com)

SUNTITLE - "Pure Forever" EP (Know Hope Records)

LORD BUFFALO - Tohu Wa Bohu (lord-buffalo.bandcamp.com)

This is truly unlike anything I have heard before and will be impossible to forget. Blending elements of dark atmospheric, nearly metallic qualities with contemporary folk, Lord Buffalo makes music that is majestic, moving, and at times, frightening. The opening “Raziel” includes an introduction that one should not listen to alone; the first three minutes are an approaching storm from which one cannot escape, and then the voice of Daniel Jesse Pruitt appears and completes the unsettling soundscape. The vast majority of the tracks are expansive, meditative tableaus of musicianship that can be equally dense and ethereal, effortlessly shape-shifting within seconds. The enchanting title track brings the listener into a realm of melodic chanting as piercing guitar slashes through the sky. Harkening the experimentalism of acts ranging from Slint to Xiu Xiu, Lord Buffalo is a demanding listen that requires one’s highest level of attention and focus. “Heart of the Snake” creates psychedelic headspace while connoting images of vast plains and dusty, barren lands. There is tangible beauty in all that Lord Buffalo produce, from the bouncy, fuzzy, folk-kissed pop of “Halle Berry”, a song accented by angular, muscular guitar riffs and a grandiose refrain of “say hallelujah”, to the spacious, hovering “Kenosis”, an apparition of a song that conveys a penetrating sorrow. The vastness of the songs allows Lord Buffalo to create several anthems within one; even the aforementioned “Kenosis”, while largely a work of gentle exquisiteness, includes searing violin that viciously lacerates the latter portion of the track. Every attempt to introduce noisy characteristics into otherwise tender anthems works perfectly-nothing sounds out of place or forced. There is a highly intricate method to Lord Buffalo’s madness, and these songs are built in the manner of how would care a sculpture; there is a solid base and the ornamentation is added in layers to create an elaborate masterpiece. The closing “Llano Estacado” rattles with a scintillating, looping cadence that grips the listener in an embrace that is disquieting. Lord Buffalo does more than play music-they construct listening experiences.

RABID FLESH EATERS - R.F.E. (rabidflesheaters.bandcamp.com)

When I first found speed metal, many, many years ago, it was Rigor Mortis’ blazing “Foaming at the Mouth” found on The Decline of Western Civilization II: The Metal Years soundtrack that instantly caught my attention and now, over thirty years later, it is still among my favorites. I mention this as Rabid Flesh Eaters openly pay a lovingly heavy homage to the fellow Texas legends on R.F.E., including the final recordings of legendary vocalist Bruce Corbitt. Throughout R.F.E., the band honors the proud past of Rigor Mortis with updated versions of three scalding RM classics, “Die in Pain”, the enchanting instrumental “Welcome to Your Funeral”, and the all too timely “Contagious Contamination”. While this trio of tracks are my personal favorites for both musical and nostalgic reasons, one should not undersell the intricacy and heaviness of the other five songs found on R.F.E. The expansive “The Fall” is over eight minutes of elaborate, classically delivered metal on which vocalist Ricky Wilson displays his remarkable range and guitarist Mike Taylor formulates challenging riffs without overwhelming listeners. The band’s ability to experiment with tempo and volume make the song an intriguing musical journey that could only be achieved by truly battle-tested and accomplished players. The title track is perhaps the most poignant moment on the record as Wilson exchanges vocal responsibilities with Corbitt, and the late RM/Warbeast singer delivers his lines with a fury and passion that makes his passing all the more morose. Rounded out by John Hill on bass and drummer AJ Tate, Rapid Flesh Eaters boldly and proudly wave the flag of pure speed metal that punches quickly and with blunt force, but balances this assault with dizzying song structures. Rabid Flesh Eaters is not simply mimicking the blueprint of Rigor Mortis; the music on R.F. E. is committed to commemorating both Corbitt and Mika Scaccia, the former RM/Ministry/Revolting Cocks guitarist who passed away in 2012. Scaccia once worked with Rabid Flesh Eaters, and the desire to honor two tragically fallen metal forces flows though the eight songs on R.F.E. This is ideal for those looking for traditional metal free from breakdowns or feet-flying pits.

ERIK CORE - Last Call (erikcoregunpowder.bandcamp.com)

JONNY POLONSKY - Kingdom of Sleep (https://jonnypolonsky.bandcamp.com)

THE GLOOMIES - Are We Getting Better? (thegloomies.bandcamp.com/)

The Gloomies often live up to their name aesthetically, although they may take their moniker from an obscure collection of blue aliens from the Care Bears carton. Regardless, Andy Craig leads The Gloomies through a collection of songs that are warm and lush haunted by fragile vulnerability. On “DNTGTBTTR”, the vocalists admits, “I miss the way we felt when we were young, magic everywhere, screaming in your ear”, acknowledging a sense of loss and a woeful plea for redemption. Even the fleeting DIY “Voice Memo”, of which there are three, take the listener into the band’s creative process and the burgeoning beauty of the ideas that dominate this stunning record. “Sick Like You” hoovers elegantly with intricate guitar playing, and the gorgeous “Mess We Made” is a serene ballad with ghost-like backing vocals of delicate beauty. The fittingly titled “Calm Now” is an ideal closer, as the song is played with refined musicianship that is mesmerizing in its lavish splendor with Craig’s voice sounding as if he lost at sea. The Gloomies are an intriguing band and the work on Are We Getting Better is an impressive illustration of this band’s vision.

ACID TONGUE - Bullies (Freakout Records www.freakoutrec.com)

JAH WOBBLE - A Very British Coup (80 Proof Records https://www.averybritishcoup.com)

One may see this as a Public Image Limited reunion of sorts, and the timing is perfect. Jah Wobble, John Wardle on his birth certificate, was PIL’s bass player who famously exited the band in 1980 under scurrilous conditions before releasing his own solo record Betrayal. Forty years later, the need for unique takes on failing British culture and stale pop music coincide on “A Very British Coup”, as Wardle is joined by former mates Richard Dudanski on drums and guitarist Keith Levene. The song is a delightful mixture of atmospheric pop, throbbing bass, understated but impactful drumming, and Levene’s soaring guitar playing. The riff carries the track, seamlessly blending metallic touches with soaring beauty as Mark Stewart (Pop Group) takes the helm vocally and provides a string of sarcastic observations about a nation on the verge of departing the European Union and embarking upon an unknown future with far more economic and social questions than answers. Phrases such as “sordid sentimental, sick souvenirs” and “hypnotism by the radio” are woven within elements of dub step, post-punk, and jazzy disco. Accompanied by tape loops and even Chinese harps, the song is a universe of varied sounds and styles meshing together into a gloriously beautiful condemnation of contemporary England. Only the Brits could be so sardonic and lovely at the same time. Regardless of your interest, or lack thereof, in English politics, this should be required listening, as it brings together legends with decades in their pasts who create something that sounds entirely new.

SHARP VIOLET - “She’s So Strange” (sharpviolet.bandcamp.com/track/shes-so-strange)

THICK - 5 Years Behind (Epitaph Records www.epitaph.com)

DEADRISEN - S/T (AFM Records www.afm-records.de)

Remember when metal was defined by gargantuan guitar riffs, pummeling drumming, and banshee wails from vocalists with nearly inhuman pipes? Well, DeadRisen clearly does because this band has each of these features plus much more on their self-titled release. The members of DeadRisen have highly impressive resumes, but bassist Mike Lepond truly stands out with his work in Symphony X. Superbly produced and played with breath-taking proficiency, DeadRisen bring back the days when bands were compiled of members who were virtuosos more interested in exploring the bounds of their instruments than gaining likes on social media. I know I sound like the old guy in the neighborhood, but DeadRisen resurrects a quality lacking in many bands-irrefutable talent. There are endless traditional metal components on this self-titled release, such as the power balled “Reach for the Sun”, but also quite a few very pleasant surprises, such as the flamenco guitar work from Rod Rivera that spices up “The Maker” and “Visions”, as Rivera is the son of a flamenco guitarist and he brings his familial talents effortlessly to DeadRisen. However, at their core, DeadRisen are an old-fashioned metal band determined to breathe new life into the genre’s conventional structure. The galloping riffs that drive “Prophecy” and “Chains of Time” never grow tiresome for old metal fans like myself, and DeadRisen nicely accent this playing with adroitly placed keyboards and messages of rebellion and strength (Vocalist Will Shaw commands listens to “never give up, never give in” and to “conquer our fears” on the aforementioned “Chains”). To help demonstrate their metal chops and pedigree to any potential doubters, DeadRisen take on the always risky task of covering Metallica, the equivalent of covering Zeppelin by an up and coming rock band, with “For Whom the Bell Tolls”, and to their credit, DeadRisen pay homage to the masters (of puppets) with flawless execution. Will Shaw may not have the James Hetfield’s menacing growl, but the end result is a thunderous, nearly symphonic take on a masterpiece. This is not merely a rise backwards in time, but rather a celebration of metal’s heritage as well as its future.

PET CROW - Take the Edge Off (https://petcrow.bandcamp.com)

It is ironic that Pet Crow named their sophomore release “Take the Edge Off”, as the record sound as if it is perpetually on edge; a rattling, noisy, ball of 21st century Feelies pop. “Insomnia” wraps a jangly guitar riff from Sean around the listener and squeezes as tightly as humanly possible while Baz pounds away on drums to create a blast of controlled chaos. The subtle surf grooves of “NOCD” and “One Whole Summer” are propelled by Danielle’s soaring vocals and the song captures the central theme of the band, which is to mesh fun, light-hearted playing with tales of frustration and disillusionment. Pet Crow put together a total package on “What We Doin’?”, a fast-paced gem of garage pop that reveals the skill of bassist Connor whose low-end thump gives the song a more noticeable punk aesthetic. The most interesting of the songs on Take the Edge Off is easily “Controlling”; with its extended length of nearly five minutes, Pet Crow experiment with their sound by allowing the song to breathe and interspersing classic surf-punk riffs with blasts of blunt force and Danielle’s elusively sultry vocal delivery. The title track overflows with 90s indie energy and makes for an excellent contrast with the darker “Hostage”, as the latter is a festival of loud/soft timing and possesses a menacing atmospheric quality not heard in Pet Crow’s other work. There is quite a bit occurring just below the surface with this band and what may strike some as upbeat pop songs upon a cursory listen will ultimately reveal far more when one listens again. The concluding “Prick” has a disarming sensibility until one hears the lyrics “you make me sick/such a waste of life” delivered with chilling impassiveness from Danielle. This intellectual and emotional depth helps to make Pet Crow a tremendous listen and a truly promising band.

STRANGE LIPS - Too Bitter (https://strangelips.bandcamp.com)

ROSS THE BOSS - Born of Fire (AFM Records www.afm-records.de)

HUMAN IMPULSE - Human Impulse (humanimpulse.bandcamp.com)

MONDO GENERATOR - Fuck It (Heavy Psych Sounds www.heavypsychsounds.com)

TALK ME OFF - Cursed (Smartpunk Records www.smartpunk.com)

TRAVELS WITH BRINDLE - Greetings From Rocky Point (travelswithbrindle.bandcamp. com/)

ANTI-FLAG - 20/20 Vision (A-F Records/Spinefarm Records http://a-frecords.limitedrun.com)

ANVIL - Legal at Last (AFM Records; www.afm-records.de)

OF MONTREAL - UR Fun (Polyvinyl Records www.polyvinylrecords.com)

WARHAWKS - Stardust Disco (New Rivals Entertainment http://newrivalsent.com)

THE INNOCENCE MISSION - See You Tomorrow (theinnocencemission.com/music)

MOTIHARI BRIGADE - Power From Below (mbrigade.com/)

DEAD KOSMONAUT - Gravitas (High Roller Records www.hrrecords.de)

MR. ELEVATOR - Goodbye, Blue Skies (CastleFace Records www.castlefacerecords.com)

PV KNUDE - The Anti-Terror Album (Released through the Museum for Contemporary Art, Denmark; samtidskunst.dk/en)

TRUPA TRUPA - Of The Sun (trupatrupa.bandcamp.com)

ALL TAKEN - “Monsters Anonymous” (https://ampl.ink/Wjqor)

THE KRUEGGERS - Hysterical Cold Side and Dark Memories (Eclipse Records)

PINEGROVE - Marigold (Rough Trade Records www.roughtraderecords.com)

FACILITY MEN - It’s Fun to Disappear (Big Neck Records www.bigneckrecords.com)

FIREHEADS/SEX SCENES - Split EP (Big Neck Records www.bigneckrecords.com)

SWEET KNIVES - I Don’t Wanna Die (Big Neck Records www.bigneckrecords.com)

SASHA BELL - Love Is Alright (https://sashabell.bandcamp.com/)

CRYSTAL VIPER - Tales of Fire and Ice (AFM Records www.afm-records.de)

HUSTLE AND DRONE - What An Uproar (hustleanddrone.bandcamp.com/)

GRADUATION SPEECH - Maintenance Needed (Black Numbers Records www.theblacknumbers.com)

VON HAYES - Moderate Rock (https://vonhayes.bandcamp.com)

…AND THE BLACK FEATHERS - Sociallusions (andtheblackfeathers.bandcamp.com)

GABRIEL BIRNBAUM - Not Alone (Arrowhawk Records https://arrowhawkrecords.com/)

GROW RICH - Frantic Semantic EP (growrich.bandcamp.com/)

EVEN EDEN - A Ghost (eveneden.bandcamp.com)

Even Eden creates a swirling, atmospheric sound that pulls the listener into a densely harmonious realm on “Taking Flight”, the rumbling, pummeling track that opens the four-song Ep. Madeleine St. Jacques has a lush vocal delivery overflowing with warmth and while her delivery is composed to the point of being nearly understated, each word she utters has profound impact. She reveals a broader range on “Minefield”, a track that is dense and heavy, but intriguingly melodic as she speaks of “rising waters”, “shifting sands”, and “revelations” in a spiritually engaging effort. Mike Random, who many should recognize from his lengthy career as a Jersey area stalwart, plays drums here and whether he is pounding away on “Taking Flight” or playing with refined bombast on “Welcome to the White Room”, his powerful playing is the centerpiece of the band. The tracks are built around this thunderous foundation, with Zachary Smith’s bass playing and St. Jacques opaque guitar playing completing Even Eden’s wall of sound. The juxtaposition between intensity and delicacy makes the band’s style difficult to accurately summarize but limitlessly interesting to hear. “White Room” has traces of haunting 90s shoegaze pop across the breadth of a sprawling, feedback drenched tableau, while “Armoured” has an off-kilter, grinding post-punk structure and richly poetic lyrics. It is rare to hear playing that is truly distinctive, and Even Eden is a band that requires multiple listens.

RIVER DRIVERS - Big Oak Road (riverdrivers.bandcamp.com)

THE DREADNOUGHTS - Into the North (Stomp Records)

IT’S KARMA IT’S COOL - "Hipsters And Aeroplanes" EP (www.koolkatmusik.com)

TSUNAMI BOMB - The Spine That Binds (www.alternativetentacles.com)

PHONY - Songs You’ll Never Sing (Smartpunk Records www.smartpunk.com)

DISJAWN - Loud Kush Assault (Ranch Jams Records ranchjams.bigcartel.com)

ESPECTROPLASMA - “Pyramid” b/w “Monster” (Devil in the Woods Records www.devilinthewoods.mx)

NIK FREITAS - “Aviso Amor” (Devil in the Woods Records www.devilinthewoods.mx)

Nik Freitas is remarkable in his soulful delivery on both tracks of this beautiful single. “Aviso Amor” is a truly unique take on the standard piano ballad with an up-tempo vibe, soaring vocals and rich production. Meshing Roxy Music with indie college rock tones, the song is an invigorating love song without ever sounding trite. When Freitas says, “I want to tell you how it feels to be connected to a heart that wasn’t yours”, it is difficult to not be swept away by the earnest nature of his playing. “Normal #3” is a lush, piano based pop song that floats effortlessly whose lyrics are utterly heartbreaking. (“The buildings grew too tall, I get kinda used to feeling small”) The song’s pacing allows for the tale of sorrow and loneliness to fully impact the listener as Freitas’ voice radiates an emotional honesty reminiscent of Double Fantasy-era Lennon. A limitlessly gorgeous release.

THE FULL COUNTS - Next Up (Phratry Records www.phratryrecords.com)

MICHUL KUUN - Great (Then After Awhile, It Didn’t Mean Anything to Them) (Ranch Jams Records www.ranchjams.bigcartel.com)

THE CUTTHROAT BROTHERS - Taste for Evil (Hound Gawd! Records www.houndgawd.com)

MAGNAPOP - The Circle is Round (HHBTM Records www.hhbtm.com)

MARK LANEGAN BAND - Somebody’s Knocking (Heavenly Records www.heavenlyrecordings.com)

A.M. NICE - “Scooter” b/w “Man On a Wire” (Phratry Records www.phratryrecords.com)

INHUMANWICH - Original Soundtrack (Phratry Records www.phratryrecords.com)

SLEEPCRAWLER - “HTN” b/w “Albatross” (Phratry Records www.phratryrecords.com)

WESDARULER - Ocean Drive (HHBTM Records www.hhbtm.com)

BLACK BEACH - Tapeworm (blackbeachma.bandcamp.com)

VINNY CARUANA - Aging Frontman (Know Hope Records www.knowhoperecords.com)

CROSSED KEYS - Saviors (Hellminded Records www.hellmindedrecords.com)

DAYSTAR - The Complete Recordings (daystarpdx.bandcamp.com/)

JAIL WEDDINGS - Wilted Eden (Tru Vow Records ;jailweddings.bandcamp.com/album/wilted-eden)

SUGGESTED FRIENDS - Turtle Taxi (HHBTM Records hhbtm.com)

SHARP VIOLET - “Domino Effect” (https://sharpviolet.bandcamp.com/track/ domino-effect)

BIG CHEESE - Wild to Be Born (bigcheeseband.bandcamp.com)

When a band uses a Nirvana song as their moniker, it is safe to assume that classic grunge qualities will abound, and that is certainly true of Big Cheese. However, rather then coming across as a collection of fanboys attempting to recapture Bleach-ear Nirvana, the Brooklyn outfit places a new spin on the early 90s movement. “In This World” is a song dedicated to celebrating confusion and isolation, whole “Golden” is a snarky relationship song that is a glorious mockery of happy couples, as the song addresses how it feels when one is the victim of mistreatment by someone entrusted with your heart. This honesty is a significant component of the band’s lyrics, making them awkwardly relatable through the acknowledgment of their own failings. “Nowhere Scene (Get Free)” is a violent cacophony of raw guitar-driven punk that will remind most of In Utero Nirvana when that band abandoned pop sensibilities and challenged the millions of kids who bought Nevermind to see if they could stomach a more abrasive record. The song flies by like scenery on the highway when driving eighty miles an hour and leaves the listener exhausted. “I don’t care if you find me appealing” announces Adam Patten on “In the Living Room” as drummer Justin Iwinski hammers away at his kit with no regard for his safety, creating a foundation of relentless energy that is the hallmark of the band. Sure, the influences are obvious on “I’m A Sloth”, a Mudhoney-like barrage of rumbling dynamism, but it does not matter for this band honors the past with reverence. Before anyone think of this band as a repetitive group of trickster, the buoyant “Blank” abandons reckless chaos for a more streamlined delivery anchored by a blunt low-end groove as “Pattern” screams “I’ll just fade away” again with a scream born of earnest frustration. Wild to be Born concludes with the more reserved “Long Way Off” that does reduce the tempo but not the band’s adherence to cutting guitar work and angular song structure. This may be a trip down memory lane for some, but Big Cheese brings some haughtiness to rock at a time when it is desperately needed.

THE MONOCHROME SET - Fabula Mendax (Tapete Records www.tapeterecords.com)

SANTACRUZ - Katharsis (M-Theory Audio)

CHERUBS - Immaculada High (Relapse Records www.relapserecords.com)

JACK AND THE ME OFFS - Greatest Hits Vol. II (Universal Warning Records ; store.universalwarningrecords.com/ pages/news)

MESSTHETICS - Anthropcosmic Nest (Dischord Records www.dischord.com)

MONOGRAMS - Living Wire (Paper Cup Music www.papercupmusic.com)

PINEWALKER - Migration (pinewalker.bandcamp.com)

UNIVERSAL THEORY - The Most Attractive Force (universaltheory.bandcamp.com)

YAWN MOWER - Why Work Harder Than You Have To? (Mint 400 Records; yawnmower.bandcamp.com)

ALL EYES WEST - Like Lightning (Jump Start Records www.jumpstartrecords.com)

THE DRIPPERS - Action Rock (The Sign Records www.thesignrecords.com)

PAT TODD & THE RANKOUTSIDERS - The Past Came Callin’ (Hound Gawd Records www.houndgawd.com)

DE LA NOCHE - Blue Days, Black Nights (Get Loud Records; getloudrecordings.bandcamp.com)

FLORAL PRINT - S/T (floralprint.bandcamp.com)

OUTSIDER - When Love Dies (Flatspot Records www.flatspotrecords.com)

PETER LAUGHNER - Peter Laughner (Smog Veil Records www.smogveil.com)

For those too young to remember the career of Peter Laughner as it happened, this massive five volume retrospective will provide people with a thorough overview of his visionary brilliance. While Laughner’s career began in the mid-60s, he truly emerged as a burgeoning rock n’ roll legend in the early to late 1970s, and the focus of this box set is the heart of his expansive repertoire between 1972 until his tragic passing in 1977. From his time as part of the brain trust that comprised Pere Ubu to his immortal status within Cleveland’s long-standing place as a musical haven through bands like Rocket From the Tombs and the Fins, few encompassed so much of rock’s potential as singer, songwriter, and performer, and all of his genius is captured in this wide-ranging box set. Along the way, listeners are treated to a range of musical visions that are poignant, heartfelt, and remarkably intimate. Volumes One, Three, and Five are acoustic, authentic and intense pieces of Americana that sound as if those listening are sitting with Laughner in his living room as he introduces the songs and plays gritty bur delicate anthems about loneliness (“Love Minus Zero”), drinking, (“’Drunkards Lament”,) and New York City (“Sidewalks of New York”, “Eyes of a New York Woman”). The blues played a significant role in Laughner’s music, and one hears the influence most obviously on “Hesitation Blues” and his majestic versions of Robert Johnson’s “32-20 Blues” and “Me and the Devil Blues”, but also on efforts such as “Dear Richard”, a song introduced as “an answer to an unwritten suicide note”. Each of the tracks, lovingly restored by Maria Rice and Jeff Lipton, sounds fresh and overflowing with lively passion, which defined Laughner as an artist. His music was both a tribute to rock’s glorious and occasionally unsteady inception as well as a predictor of what punk and indie rock would become. His grimy, angst-ridden classic “Ain’t It Fun” drips with the same rage and frustration later spewed forth by Stiv Bators and the Dead Boys featuring former Rocket From the Tombs member Cheetah Chrome.
I cannot decide which style of Laughner’s work I appreciate and enjoy more deeply; the rollicking, noisy garage rock or the more genteel acoustic work. “Junkman” is heartbreaking as Laughner laments about “the blues you get from reading other people’s notebooks” and how “my sister sold her heart to the junkman”, while “Sylvia Plath” includes lyrics that cannot help but make one smile “Sylvia Plath was never too good at math/but they tell me that she finished at the head of her class/ And if she lost any virginity, she didn’t lose it too fast”) despite being a song about a melancholy figure. The various covers are scintillating and reveal the breadth of Laughner’s musical knowledge and his daring. He and band slow “All Along the Watchtower” to a soulful crawl, embrace the electric Bob Dylan that caused a near riot at the Newport Blues Festival with “It Takes a Lot to Laugh”, and deliver a loving and whiskey-soaked version of “Wild Horses” found on Volumes Two, Four, and Five respectively. At sixty-one songs, this is both comprehensive and perhaps exhaustive for one sitting, but it is difficult to turn away from the box set once it gets rolling. The concluding Fifth section contains haunting works that hang wistfully in the air, such as “Come On In”, a fragile love song that is immensely powerful in its barebones, Mississippi Delta blues delivery in which the lines of “I got a lot of plans/I’ve got a lot future” are uttered which become all the more heart-rending when one considers Laughner’s early death. The collection finishes with a high-energy acoustic take on Eddie Cochran’s “Summertime Blues”. At only one minute, this truncated interpretation acts a metaphoric representation of Laughner’s life-inspired, energized, and over far too soon.

GOOD SERVICE - Please (https://goodservice.bandcamp.com/)

HIGH ON FIRE - Bat Salad (eOneMusic)

PEARER - A Healthy Earth (Tiny Engines Records www.tinyengines.net)

THE DARLING FIRE - Dark Ceremony (Spartan records www.spartanrecords.com)

SPIDER - Energy Gone Wrong (CPYRT CNTRL RCRDS)

DIVINE DIRT - From the Underworld (www.facebook.com/Divine-Dirt)

UV-TV - Happy (Deranged Records www.derangedrecords.com)

CHEMTRAIL - Collider (Good Fight Records https://goodfightmusic.bandcamp.com)

SUB DIO (undercomm.org/records.sidewithus.com/)

CRO-MAGS - "Don’t Give In" EP (Victory Records, www.victoryrecords.com)

THE GIRAFFES - Flower of the Cosmos (Silver Sleeves Records https://www.facebook.com/ silversleeverecords)

LOLA MONTEZ - Dissonant Dreams (lolamontezband.com)

BRUCE SPRINGSTEEN - Western Stars (Columbia Records www.columbiarecords.com)

Springsteen's strength has always been his ability to capture a fleeting snapshot of American life and make it broadly relatable; on "Drive Fast (Stunt Man)", the protagonist lists his ills and the lasting suffering caused by his profession. In the hands of a weaker writer, the story could come across as clichéd, but Springsteen makes the tattered stunt man an analogy for anyone who has been battered and bruised by life's struggles. The work here is gentle, largely acoustic, and richly country-flavored, with Springsteen's gravely, well-worn voice and stunning musicianship granting each syllable uttered increased significance, accented by stirring strings, such as the lushly constructed "Stones" ("I woke up this morning/stones in my mouth") and the desperate self-deprecation of "Hello Sunshine" ("I always had a soft spot for the rain"). While "Sleep Joe's Café" is a divergence from this style with its buoyant tempo, "Moonlight Motel" has a lullaby sensibility and a haunting fragility in which memories flood back as the speaker gazes at a location of transitory contentment and offers "one last shot" of Jack Daniels to honor a place of past happiness, acting as a template reflective of the collective work of Western Stars. The career of Bruce Springsteen has included numerous aspects of rock's best qualities, but there is nothing in his catalogue that sounds quite like what one hears on Western Stars. The familiarity of the lyrical style remains in tact, but the musical structure takes the legend down yet another path, this one dusty and isolated replete with cowboys and the big sky of the West. Sit by the campfire and allow New Jersey's best to transplant all who listen to a majestically heartbreaking corner of the world.

AAN -- Losing My Shadow (Fresh Selects Records www.freshselects.bandcamp.com)

CORPORATE CITIZEN - A Brief Moment of Sanity (El Topo Records www.eltoporecors.com)

PRETTIEST EYES - Vol. 3 (Castle Face Records)

TOMMY AND JUNE s/t (Fat Wreck Chords www.fatwreck.com)

ELECTRIC FRANKENSTEIN - How to Make a Monster (Re-issue) (Victory Records www.victoryrecords.com)

HAYBABY - They Get There (Tiny Engines Records www.tinyengines.net)

NECKING - Cut Your Teeth (Mint Records www.mintrecs.com)

ACQUAINTANCES - 8 ½ Lives (File 13 Records www.file-13.com)

B-BOYS - Dudu (Captured Tracks www.capturedtracks.com)

LITE - Multiple (Topshelf Records www.topshelfrecords.com)

PRETTIEST EYES Vol. 3 (Castle Face wwwcastlefacerecords.com)

SUMMER CANNIBALS - Can’t Tell Me No (Tiny Engines www.tinyengines.net)

CHERRY POP - Sue Me (https://cherrypopli.bandcamp.com/releases)

STRANGEWEATHER - Of the Reeds(strangeweatherpdx.bandcamp.com)

ABOLITIONIST - Ugly Feeling (Between the Days Records; http://betweenthedays.storenvy.com/)

MYKEL BOARD AND THE CLEAN BOYS - “It’s Punk Rock” EP (The Only Label in the World; facebook.com/mykel.board)

THE CANDY SNATCHERS - Moronic Pleasures (www.houndgawd.com)

ROD HAMDALLAH - "Think About It " EP (www.houndgawd.com)

NEBULA - Holy Shit (Heavy Psych Sounds; www.heavypsychsounds.com)

THE NEXT GREAT AMERICAN NOVELIST - I’ll See You in the Art You Love (store.cdbaby.com/ cd/thenextgreatamericannove2)

This New York City band eschews the dirt and grime of the City in exchange for beautiful, richly harmonious folk with a healthy dose of pop. What is easily appreciated here is the juxtaposition of buoyant playing with shockingly dark lyrics, as one hears on “American Queen” (“Here I am with the razor blade/ too good for my body”) and “Clover Color Blooms” (“Love will bring you laughter/then hang you from the rafter”). The songs are delivered with a sense of hopelessness that conveys early adulthood depression with the reality of life through the passionate vocals of Sean Cahill, who channels the best of Elliot Smith on “Mental Highway” and “Blue”, a song in which Cahill laments, “Nobody’s on my side”. The band has subsequently evolved from the release of Art You Love to become a louder act, as Cahill joined forces with Jason Cummings and Danny Sher, but the delicate beauty of the songs here are deeply moving. The sadness is unavoidable throughout Art You Love, and the record plays like one long break-up, but for anyone who has ever had their heart broken, the songs are a testament to a pain that is all too real and often indefinably penetrating. What I admire most here is that Cahill remains devoted to his suffering; there are no happy endings to these songs nor is there any silver lining-everything he feels hurts and he is boldly exorcising these obsessive thoughts for all to hear. Despite the similarities in tone and topic, the songs never become redundant, and even the six minute “Prosthetic Memories” moves along briskly and poignantly. Closing with the ethereal title track, the record closes with a breathy, solemn statement that reinforces the anguish Cahill feels. His suffering is the world’s gain and I can clearly understand why the Boss of Jersey Beat wanted this one to get some attention.

NOT A PART OF IT - Defiant Indifference (Next 7 Exits Records https://www.facebook.com/next7exits)

HEATHER WOODS BRODERICK - Invitation (heatherwoodsbroderick.bandcamp.com)

KITTENHEAD - NYB (www.kittenheadla.com)

THE YAWPERS - Human Question (Bloodshot Records www.bloodshotrecords.com)

THE GET UP KIDS - Problems (polyvinylrecords.com)

MEKONS - Deserted (bloodshotrecords.com)

RICHARD VAIN - Night Jammer (bigneckrecords1.bandcamp.com)

SWEET JAP - Be My Venus (bigneckrecords1.bandcamp.com)

GANG OF FOUR - Happy Now? (Gilmusic)

“We’ve got so much catching up to do”, says vocalist John Sterry on “Toreador”, the first track on gang of Four’s new record, Happy Now?. Blending mechanized and industrial with pop aesthetics is never easy, but all of Happy Now? is biting and drenched in sarcasm. Certainly the presidency of Donald Trump has brought a sense of concern to the world, but Gang of Four shoot for Trump’s most sensitive area with “Ivanka: My Name’s On It”. With references to Moscow hotel rooms embedded within a steady, throbbing beat, the song is much more than a wave of insults hurled at the current occupant of the White House; it is an exploration of the hyper-sensationalized age in which we all find ourselves. Gang of Four, led by sole original member Andy Gill is not here to answer questions or provide solace-the guys know the word is a mess, but hopefully we can get through this together. The danceable darkness of “I’m a Liar” moves effortlessly into the foreboding “White Lies” that warns, “time destroys empires”. The more up-tempo but equally serious “Alpha male” is another example of the band’s ability to spotlight bassist Thomas McNeice and drummer Tobias Humble. Gang of Four first illuminated the world forty years ago with Entertainment!, a brilliant, biting post-punk gem. Four decades later, Gang of Four has changed personnel, altered their sound, but the remarkable insight and creativity remains.

CLUB NIGHT - What Life (Tiny Engines www.tinyengines.net)

LO-PAN - Subtle (Aqualamb Records www.aqualamb.org)

CLOWNS - Nature/Nurture (Fat Wreck Chords www.fatwreck.com)

GIRLS ON GRASS - Dirty Power (https://www.girlsongrassband.com/)

HEAVENSAKE - Post-Chroma (https://heavensake.bandcamp.com)

FAT CHANCE - Do Not Resuscitate (https://fat-chance.bandcamp.com)

JONNY KOSMO s/t (https://jonnykosmo.bandcamp.com)

ELIZA NEALS AND THE NARCOTICS s/t (www.elizaneals.com)

JEFF WHALEN - 10 More Super Rock Hits (Supermegabot Music www.supermegabot.com)

CHOKEHOLD - With This Thread I Hold On (Good Fight Music https://goodfightmusic.merchnow.com)

MASKED INTRUDER III (Pure Noise Records http://www.purenoise.net)

DEAD SWORDS - Enders (Human Blood Records https://deadswords.bandcamp.com)

THE DEAFENING COLORS - Run Pass Option (www.thedeafeningcolors.com)

SUNBATHERS - A Heat Wave (https://sunbathersmusic.bandcamp.com)

FEMME DE CHAMPAGNE - Impulsive Sky (reverbnation.com/femmedechampagne)

NAT FREEDBERG - Better Late Than Never (Rum Bar Records rumbarrecords.bandcamp.com)

THE SUCK - In-Cog-Neat-O (Mom’s Basement Records www.facebook.com/MomsBasementRecords)

THE CARVELS NYC - “Life Is Not a Waiting Room” EP (Tarbeach Records www.tarbeachmusic.com)

DOC ROTTEN - Illusion to Choose (docrotten.bandcamp.com)

LOST WAX PROCESS - “Mix Tape” b/w “Pushing Out” (Sonopherique Records https://lostwaxprocess.bandcamp.com)

TULLYCRAFT - The Railway Prince Hotel (HHBTM Records www.hhbtm.com)

PAVO PAVO - Mystery Hour (Bella Union Records www.ballaunion.com)

THE SAXOPHONES - "Singing Desperately Suite" EP (Full Time Hobby Records www.fulltimehobby.co.uk)

AGEIST - Babyface (Arctic Rodeo Records http://arcticrodeorecordings.com)

JD HANGOVER s/t (Hound Gawd Records www.houndgawd.com)

BOB MOULD - Sunshine Rock (Merge Records www.mergerecords.com)

WILLIAM TYLER - Goes West (Merge Records www.mergerecords.com)

DAN FRANCIA Come Back to Life (Exploding in Sound Records http://www.explodinginsoundrecords. com)

Much of Dan Francia’s new solo record was written as he was working at New York’s Noguchi Museum, and that is important to note; for like the legendary sculptor, Francia does not adhere to any one school of thought in regards to his art. His songs are consistently beautiful in nature, but vary in degree of experimentalism, from the refined beauty of the title track (including the poignant lyric, “tell me you love me before you go to bed”), to the subtle cacophony of “Pass it On” to the more direct, sixteen-second noise-fest “I’m Not Insane”. With polyrhythmic structures merging with free form horns, “Ghost Stories” is a perfect embodiment of all Francia is as an artist. The song begins as if it is simply a collection of gifted players each performing a solo piece collectively en mass before settling into a more cohesive groove until that structure completely unravels into a John Zorn-like eruption of sound before once again finding a more well worn path, and then launching into a full meltdown as the song moves towards its conclusion. Challenging, intriguing, and even a little exhausting, it is a fascinating four minutes of creative genius. The fist single is the antithesis of much of the record, as it is an iPhone recorded pop gem called “Stereotype” that features Nora Dabdoub of Shea Stadium as the centerpiece of the song, and Francia harkens back to Lou Reed’s work from the 1980s as a source of inspiration for the song’s tone. Meanwhile, the keys that carry the nineteen seconds of “I’m Ready for Death” possess a haunting quality to them and they mysteriously dissipate in favor of the lush “No Matter What”, clearly the most conventional of the works here. With gorgeous backing vocals, the song is a delicate ode to trust, optimism, and love. “Can’t Forget” opens rather serenely before devolving into a furious mountain of rage with noisy, angular guitar ripping and shredding through the air as brazen and relentlessly intense vocals define the song’s vitriolic nature. This is a brilliant start to the new year.

-----------------------------------------2019-------------------------------------------------------

GRIM DEEDS - Gree! (https://grimdeeds.bandcamp.com /album/gree)

KLEENEX GIRL WONDER - White Lacuna (Reasonable Records https://kgw.me/album/white-lacuna)

OBNOX - Bang Messiah (Smog Veil Records www.smogveil.com)

THE BLANKZ - “It’s a Breakdown” b/w “You’re Not my Friend Anymore” (Slope Records www.sloperecords.com)

BURLY - Self Titled Demon (Five Kill Records https://www.fivekillrecords.com)

GRANDCHILDREN (https://grandchildren.bandcamp.com)

MARSHMALLOW COAST - Memory Girls (HHBTM Records www.hhbtm.com)

NIGHT BEATS - Myth of a Man (Heavenly Records http://heavenlyrecordings.com)

TRANSGRESSORS - They Made Her a Criminal (Super Secret Records https://supersecretrecords.bigcartel.com)

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