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OH THE HUMANITY (Hellminded Records www.hellmindedrecords.com)
I would like to imagine that Herb Morrison, the legendary radio broadcaster who cried this iconic phrase during the explosion of the Hindenburg, would appreciate the scathing yet melodic punk of this Massachusetts five-piece. Oh, The Humanity bring an assortment of musical backgrounds to their blistering full length, seamlessly blending the intense with the melodic and accenting the tracks with heartfelt lyrics of hope and the tragic realization that life passes by more quickly than we ever want to believe “Never Worse” is the embodiment of what the band can do; the song is an explosion of raw guitar force that transcends three chord punk, compliments of Chris Dileso and James Silvio, with a driving rumbling bass line from Andy Hakansson. As the verses commence, the song adopts a more subdued nature, allowing vocalist Kevin Athas to being fully heard when he admits “I wish I felt better, but I’ve never felt worse/ Always hoping for the positive and thinking I’m cursed/ Outside I’m fine, but inside I’m dying”. The chorus becomes nearly buoyant as drummer Chris Santoro pushes the song forward, and the effervescent nature of the hook is a wonderfully creative mask to shield the sorrow found within the track (“My punishment for all of this is knowing every night when I close my eyes to get some rest/I’ll toss and turn all night knowing that you’re right”) While “Everyone in Gainesville (Looks Like Someone I Know)” gives a sarcastically funny albeit truthful account of the life of a punk band on the road, with tales of too many beers, too much secondhand smoke, and concerns about surviving long enough to make it to the next show, “Perspective” reveals a more mature side of Oh, the Humanity. One can feel the sense of apprehension in Athas’ voice as he says, “My life is perspective, it’s been changing over time/ As I age, I wonder how much do I have left? When will time catch up with me?”, all the while punishing riffs churns around him. The speedy “Altruism Born of Suffering” speaks to the stark differences between what kids expected life to be and the reality faced by adults, as Athas sums up existence by noted, “We’ve got our whole short lives to get ready to die/ But when we look back/ We want to know that we left our marks behind”. The members of Oh, The Humanity flirt with metal throughout the record, consummating the relationship most obviously on “Dreamer”, a thrashy track of barreling force that again demonstrates profound lyrical introspection that matches the song’s intensity. Oh, The Humanity may have saved the best for last on the closing “LHDM”, which according to the chorus, is an acronym for “live hard, die slow and/or live sad, die miserable”, and the emotional punch delivered by this song is devastating. The longest track of the punch, all fie members here shine, as the track is fleshed out with a longer guitar solo, more subtle shifts in tempo, and poetic turns of phrase that so eloquently capture the reality of living with feelings that are often beyond one’s control regardless of the attempts made to contain them (“It’s so much easier to loathe the sunrise than appreciate another day to be alive”). Oh, The Humanity deliver an emotionally taxing and incredibly cathartic record that illustrates how intellect and insight can be calling cards of great punk rock.
 ASSERTION - Intermission (Spartan Records www.spartanrecords.com)
William Goldsmith, who played drums in Sunny Day Real Estate and Foo Fighters, the latter of which I hear great things and there is a feeling they might be big someday, leads Assertion, a thunderous trio that generates serpentine blasts of sophisticated guitar rock. Guitarist/vocalist Justin Tamminga and bassist Bryan Gorder join Goldsmith, and from the opening compelling riff of “Down Into the Depths”, Assertion is a heartfelt return to a time when the phrase “alternative music” meant something special and unique. Each track is a tightly wound mass of stringent power with Tamminga’s voice deftly ebbing and flowing within a thunderous mix. On the brilliantly titled “The Lamb to the Slaughter Pulls a Knife”, the band experiments with loud/quiet dynamics in a method that makes that style seem fresh and invigorating with Tamminga howling “stay wide-eyed” with a chilling intensity. The anxious energy of “Defeated” grabs hold of the listener as one perpetually awaits a chaotic crescendo that never arrives; this is not a disappointment, but rather a demonstration of the band’s ability to masterfully control pacing and therefore the emotions of a song. Subtle use of feedback and distortion act as warm accentuations on the powerful “This Dream Does not Work” (“And after all of the trouble and all of the pain and all of the things you've done/Why don't you disappear and let it all fade away”) and the equally impassioned “The Lonely Choir”. Both songs are representative of Assertion’s ability to create musical edging; the songs reach a point of potential detonation but maintain a modicum of composure that allows listeners to take in eloquent lyrical phrasings. The heavy low-end of “Pushed to the Limit” hits with a particular ferocity and is similar to the start/stop intricacy of “Supervised Suffering”. The latter truly allows Goldsmith to shine as the force of his playing meshes wonderfully with his finite precision, and the result is a song of masterful agony and heartfelt pain. (“Calm down now my baby girl I’m here/And wipe the tears from your beautiful, big brown eyes/No one’s gonna keep you away from me”) The closing “Set Fire” is a somewhat ironic ending to Intermission, as the song remains a very genteel work with hushed vocals and a slow resting heartbeat even as Tamminga speaks the words of “set fire and burn this thing on down”. Borrowing from Thom Yorke, he conveys a world of emotion in merely a handful of sullen words. Assertion is a band that will remind listeners of the power found within well-crafted guitar rock. Go find this.
 DEATH
FROM ABOVE 1979 - Is 4 Lovers (Spinefarm Records https://www.spinefarmrecords.com)
Death From Above 1979, or as their birth certificates state,
Jesse F. Keeler and Sebastien Grainger, have enjoyed a fascinating
career of starts, stops, brilliant works, extended hiatuses,
and now a new record that continues to see the band’s
dance-punk esthetic evolve. The noisy squall that opens “Modern
Guy” morphs into a polyrhythmic dark wave effort with
heavily distorted vocals and hook that is mirrored by the
following “One + One” (“One plus one is
so romantic/Let's do something about it”). The two tracks
offer a dazzling pair to open Is 4 Lovers and mark the largely
aesthetic of the record; namely, loud yet danceable efforts
that often sound like there is an underlaying maniacal quality.
Replete with a throbbing bassline and furious tempo, “N.Y.C.
Power Elite part 1” is a roaring effort that captures
DFA1979’s highly unique sound and style. Since first
emerging from Toronto in the early 2000s, Keeler and Grainger
have witnessed legions of bands incorporate electric components
into more traditional rock structures, but DFA remain the
band who truly perfected this melding, and one hears this
perfect marriage on the hyperactive, overly kinetic energy
of “Totally Wiped Out”. However, proving that
their songwriting continues to be impossible to truly categorize,
Is 4 Lovers fittingly includes “Love Letters”,
a song with a far slower tempo but richly engrossing lyrics,
“How I’d love to say/”Let me count the ways’’/But
it’s not quite right/I can’t see the light/When
you’re outta sight/So I try to write”. Closing
with the mid-tempo grind of “No War”, Death From
Above 1979 declare that they are once again back.
 PAT
TODD AND THE RANKOUTSIDERS - …There’s Pretty
Things in Palookaville (Hound Gawd! Records https://www.houndgawd.com)
One of the great qualities of Pat Todd and his Rankoutsiders
is that do not look to do anything more than play old fashioned
rock n’ roll. From the opening bar-band energy of “All
the Years #1” and “Hello to Mystery”, to
the Stones-like blues boogie of “Turn Back the Hands
of Time”, a 1970 gem originally performed by Tyrone
Davies, the guys blend downhome grit and grime into contemporary
rock with a decades-old feel. This is a band for small clubs,
cheap liquor, long nights, and brutal hangovers, with “True
Romance” and “I Will Lie To You” providing
the perfect soundtrack. Todd’s voice, first immortalized
in his two decades with the Lazy Cowgirls, is raspy, heartfelt
delivery that spins excellent yarns about love, heartbreak,
and life’s other sources of pain. Supported by a wild
band of Rankoutsiders, guitarists Nick Alexander and Kevin
Keller, bassist Steven Vigh and Walter Phelan on drums, the
band functions as one collective, beer-drenched entity. Devoid
of studio tricks or overproduction, “…there’s
pretty things in Palookaville...” is a classic rock
record made in an age in which such simplicity is usually
shunned. Pat Todd and the Rankoutsiders are indicative of
the entire Hound Gawd label as the band tells great stories
with sincerity, plays with tenacity, and is not concerned
about becoming influencers.
 GRANDE
ROYALE - Carry On (The Sign Records www.thesignrecords.com)
If you like your rock n’ roll played with speed and
intensity, but life is busy and you only have about two and
half minutes to give to a song, then Sweden’s Grande
Royale is your band. Carry On opens with “Troublemaker”,
a two-minute explosion of buzzsaw guitar and ferocious low-end
rumble, led by vocalist/guitarist Gustav Wremer. Wremer and
his mates - second guitarist Andreas Jena, bassist Samuel
Georgsson, and drummer Johan Häll - bring garage rock
fury and mesh it with a fatal case of harmony on the bluesy
“Staying Dry,” the subtle sleaze of “Let
it All Go,” and the scorching “One of a Kind.”
Grande Royale plays down stripped-down, bare-knuckle rock
that avoids anything but the music’s most necessary
requirements: speed, attitude, and absolutely no frills. This
is the kind of band that shows up for a show, plugs in, takes
fifteen seconds to tune and then just launches into the set
and burns the place down to rubble. “Ain’t Got
Soul” and “Bang” are two more furious efforts
that are anchored by a strong love of melody. Grande Royale
is another example of a band dispelling and crushing the myth
that rock n’ roll is dead; the genre may be hurting
a bit, but it is anything but gone. As long as bands like
Grande Royale exist, rest assured that there are kids with
guitars in basements right now trying to figure out three
chords and a hook. Everything about Carry On is fun
and gives home for a mask-less world soon because these guys
would be amazing in a small live venue. Until then, play this
as loudly as possible.
 SKEGSS
- Rehearsal (Loma Vista Records
When the opening “Down to Ride” enters my ears,
I am initially convinced that I am listening to the Australian
answer to the Strokes. With jangly guitar, a rich sense of
melody, and robust energy, the song rattles with infectious
enthusiasm. However, these traits are found scattered across
the baker’s dozen worth of songs on Rehearsal;
Skegss also experiment with groove-laden surf vibes and offer
poignant acoustic works in addition to their love affair with
rock’s more foundational elements. “Valhalla”
is a rollicking blast of whimsical musicianship with a memorable
hook and classic 50s surf riff than would make the Ventures
jealous. “Picturesque Moment” shuffles like a
classic pub drinking song should and tells a story accented
by sardonic lyrics about drinking and having fun, while “Fantasising”
is a soaring anthem with Ben Reed’s impressive range
on full display. The band, rounded out by bassist Toby Cregan
and drummer Jonny Lani, captures snapshots of life’s
happiness and disappointments on the heartfelt “Fade
Away” as Reed affectively delivers my favorite lyrics
of the record, noting, “Sometimes I feel nothing but
hurt in my chest/ Almost thinking more is less/But deep right
down I know that it's not true because I know that I have
you.” Skegss built a reputation throughout Australia
for their grungy, pit-inspiring playing, and while I admire
those traits greatly, it is the band’s sweeter moments
to which I am more fervently drawn. “Running From Nothing”,
“Curse My Happiness”, and the gorgeous closer,
“Empty” (including the teary-eyed words, “You’re
more than my mate/You’re more than my soul/ And we get
to make our life/What it is as we grow old”) are insightful
and inspirational honest works of emotional vulnerability.
There is much to evaluate here, as Skeggs can be three bands
in one on Rehearsal, and someone is destined to find a style
to enjoy. Although the band has been an Aussie favorite for
quite a while, this is their introduction to America, and
a highly impressive one at that.
 ATRIA
- Moonbrain (Gold Robot Records; www.gold-robot.com)
Travis Atria is frighteningly talented and Moonbrain is
ten pieces of irrefutable evidence. The opening bombast
that kicks off the title track quickly gives way to an ocean
of sweeping, gorgeous playing that has influences from the
finest aspects of jazz, funk, and soul. The record is a
sensuous, inspiring collection of songs that revolve round
a theme of love and hope at a time when it is most needed.
Moonbrain sounds like a record from a different world and
a different time; “Love Theme” could easily
be found on any mid to late 70s soundtrack with its silky
chorus and gently pulsating groove. The gentle “Suite-What’s
the Word Coming To?” is another elegant song that
sparkles with its lyrics about the power of love (“So
much beauty in the world/love is the only perfect truth”)
and Atria’s sense of confusion about the global state
of our lives. Atria uses biblical language on “Lucky”
by quoting several beatitudes, reminding people that the
meek shall inherit the Earth” and “the first
shall be last and the last shall be first” over the
top of a buoyant groove. The funk-pop off “Shine”
shimmers with a massive wall of blissful funk that resonates
with joy. Atria’s songwriting prowess is staggering,
as each effort is intricate and musically complex, but he
also allows each work to breathe. This ability to balance
airy and sonically dynamic creates a dichotomy of smooth,
effortless sounding grooves and boundless energy. The lustrous
“Jazz Cigarette” glides effortlessly with a
pristine beaty, while the malleable musicianship of “No
Name Street” has a Zappa meets Mayfield sensibility.
This is brilliant.
 GREAT
SHAKES - S/T (catsclawrecordings.limitedrun.com)
Great Shakes may feature players from Belgium and Netherlands,
but they sound like the kids next door breaking into the local
skate park. Theis self-titled released initially saw the light
of day in 2019 but is now repackaged on cassette, and if this
one was not on your radar screen two years ago, make up for
lost time now. The two songs are warm, harmonious efforts
with rousing gang vocals and introspective lyrics. The opening
“The Flood” is among the fiercest songs of the
bunch and instantly grabs the listener by the throat. The
song’s chunky riff and punk adrenaline blends perfectly
with the aggressive melody put forth by the four earnest members,
and yet Great Shakes prove to be much more than any one label.
Beginning with “Summertime Alone”, the guys allow
their pop tendencies to shine as the song, replete with soaring
“woah-ohs”, blends Social Distortion with Get
Up Kids. “November Star”, “Confessions”
and “Falling Forever” are each slickly delivered,
speedy nuggets of discretely intense punk-pop and inspired
group vocals that will get the kids singing along at live
shows (remember those?). The latter’s chorus takes the
finest qualities of emo’s second generation and releasing
them in one cathartic explosion. There is a string of powerfully
energized punk anthems, beginning with “Ordinary Life”
and lasts across the final six songs with the closing duo
of “Never Gonna Die” and “Say Goodbye at
the End” as a serendipitous combination of punk angst
and a ferocious sugar rush. More than standard pop-punk, Great
Shakes melds 90s emo elements into a contemporary sound that
should hopefully get more attention the second time around.
 SPEED
STROKE - Scene of the Crime (burningmindsgroup.com/street-symphonies)
Hard rock that sides into the realm of glam metal often faces
an instant backlash of criticism and dismissal. To be fair,
these reactions are not fully unjustified due to the legacy
of the hairspray, make-up, and eventual predictability of
Hollywood’s Sunset Strip. The guys of Speed Stroke never
experienced the self-indulgence of Hollywood in the 80s because
they are far too young and the band also hails from Italy;
however, Scene of the Crime could easily share space with
anything from BulletBoys to Firehouse to Steelheart. The mandatory
power ballad arrives with “No Love”, the centerpiece
of the record, with nine other guitar-driven rockers surrounding
it. This style has a special place in my heart, as Shout at
the Devil was among my gateway drugs into the world of rock
n’ roll at age ten, so I really cannot batter what Speed
Stroke is doing. The minute-long intro that creates tension
before the eruption of the opening riffs of “Heartbeat”
should make people smile as this not music designed to change
the world, end racial strife, or settle humanitarian crises.
This is light-hearted escapism, and frankly, bands like Speed
Stroke will be a blast to see when masks come off and the
world allows itself to breathe and have fun again. The sleazy
grooves of the title track and “Red Eyes” combine
with the band’s effervescent energy to become unavoidably
enjoyable. Speed Stroke is a guilty pleasure of a band, a
secret you share with only the closest of friends. The bluesy
accents one hears on “After Dark” and “Who
Fk’d Who” sounds like Junkyard collaborating with
Bang Tango, and if that is appealing, then get out there and
soak in all of the excesses. The record draws to a close with
the midtempo “One Last Day” that sets up the more
aggressive closer, “Hero No.1”. While some listeners
may find this passé or cliché, and it undoubtedly
is at times, the larger lesson to be taken away from Speed
Stroke is that for all of the proclamations that rock is dead
and no one plays guitar anymore, these guys are happy to bring
back a time when seemingly everyone did.
 TROJAN
WARFARE - S/T (trojanwarfare.bandcamp.com)
Seventeen-year-old Troy Donohue from Rockstar Racecar was
clearly bored during his time in quarantine and decided to
create a little “heavy metal side hustle” with
his brother Wolverine on drums and Gerry Griffin on bass.
The songs are standard, hard-driving metal fare but I was
caught off-guard by the appearance of the immortal Ross the
Boss from the mighty Dictators and Manowar on “Chained
to the Cross”. Ross lends his guitar prowess to the
track which addresses Donohue’s disillusionment with
the promises made by faith (“Why is everyone different?
Why can't we be the same? Answer me, why'd you put everyone
Under a different race and name?”) The Thin Lizzy-esque
“Nuclear Burn” assists Trojan Warfare in the quest
to cover the most battle-tested metal themes; namely lawlessness
(“Outlaw”), ancient mythology (“Helen”)
and obviously, mass destruction with the push of a button.
Donohue is an old soul, as the work of Trojan Warfare borrows
more from Aldo Nova than Spirit Adrift. “Falling”
is a plodding, mid-tempo effort with a thick groove and easily
memorable chorus, while “Freitag” ditches the
distortion for a stripped-down, clean sound and is a warm,
pop-influenced track. The ten-minute opus “Lost in Space/Another
Day” sounds like Moon Tooth re-recording Kiss’
Music From the Elder, blending prog metal with theatrical
qualities. Trojan Warfare throws a wide array of styles and
sounds at people here, and while it may sound a touch disjointed
at times, the central trait is that this is a lot of fun.
 CAMERA
- Prosthuman (www.bureau-b.com)
Camera has only existed for a little more than a decade, yet
their sound captures the timeless elements of Kraftwerk, Can,
and other leaders within the signature “Krautrock”
movement. The vast majority of Prosthuman is simply instrumental
and allows listeners to be swept up the mechanized precision
of the songs, but to Camera’s credit, there is a boisterous
humanity felt within each track. The opening “Kartoffelstampf”
includes subtlety abrasive guitar soaring above a beautifully
hypnotic beat that sets the tone for the record. The band
plays dramatically with tone, and the fluidity of their playing
shines most brightly on “Alar Alar” with its pseudo-reggae
rhythm and delicately eerie keys. Michael Drummer remains
the one constant in Camera after the departure of two critical
pieces from the band, Steffen Kahles and Timm Brockman, the
latter of which was a founding member. However, undaunted,
Drummer built a new Camera with the additions of Tim Schroeder
on synths and guitarist Alex Kozmidi. Prosthuman is imbued
with profound emotion across the ten panoramic tracks, as
“Freundschsft” and “Chords4 Kurz Vor”
are glimmering works of surprisingly genteel musicianship
with elegant keys wafting gracefully across a tableau of sound.
This less invasive tone is counter-balanced by more aggressive
and experimental works, notably the sneer of “Schmwarf”
and the serenity of “Überall Teilchen Teilchen
Überall”, a song kissed by aspects of traditional
Middle Eastern rhythms. There is no one descriptor one can
place upon Camera other than to say the songs on Prosthuman
are refined and consistently intriguing. While much of the
record was recorded in isolation, there is not a tortured
darkness to the work of Camera’s new record, but rather
glimpses of beauty that provide hope for a better future.
The extraordinary emotion woven into the songs makes Prosthuman
a fascinating listening experience.
 FUORIUSO
- Teenage Disease (Volcano Records)
If all this time away from people has taught me anything,
it is that I desperately need more sleaze in my life. To fill
that harrowing emptiness is Italian rockers Fuoriuso, a band
dedicated solely to having fun and writing some filthy riffs.
The songs on Teenage Disease are not concerned with global
pandemic, humanitarian catastrophes, or political discord.
With titles like “Money Money”, “Sex Slave”,
and “Alien Girlfriend”, Fuoriuso is LA’s
Sunset Strip via Bergamo. Lucky and Van Toxic founded and
continue to lead Fuoriuso, and the band stays true to guitar
happy slabs of rollicking, old time rawk. However, they have
a refreshing brashness as their version of The Doors’
classic “Love Me Two Times” takes the song from
a Vietnam-era protest song and drops it into Faster Pussycat’s
rehearsal space. The harmonies on “Wake Up” and
“Sinners and Bells” cannot be ignored, particularly
on the later, as it borrows as much from the Beach Boys as
LA Guns. The title track surprises as a mid-tempo effort that
flirts with power ballad tenets, while the bluesy “Lost”
conjures up Junkyard’s accessibility. The subdued piano
ballad “Slowly Walkin’” and the Black Crowes’
inspired “Back in Town” began to sap the vitality
from the overall record, but Fuoriuso bounces back with a
timeless hard rock formula on “Everyone Lies”
and the aforementioned “Alien Girlfriend”. Both
of these efforts have a classic stomp and a raucous energy
that allows Teenage Disease to finish on a strong note. There
is nothing groundbreaking happening here, but Fuoriuso makes
music for a filthy night out that provides endless stories
and an equally crushing hangover, not sophisticated discourse.
This is a band that many people need-just lighten and enjoy
yourselves, will ya?!
 OMEGA
GLORY - II (omegaglory.bandcamp.com)
Sometimes a band packs a huge amount of power into a scant
amount of time. Omega Glory, the new(ish) project of former
Kill Your Idols leader Bran Meehan, delivers an EP of three
songs in roughly four minutes. With Meehan playing all the
music and vocalist Sean McCann excoriating his throat, Omega
Glory is a metalcore band wrapped in a death metal tortilla
and then deep friend in crust. In other words, I love this.
“Rule 12” devastates the listener without giving
a warning, and its blueprint of a tsunami of down-tuned force
is followed on both “Trap Doors” and the fleshed-out
“Sama” that clocked in nearly ninety seconds.
The lyrics are brief but powerful, much like the EP itself.
McCann screams “I’ve lost the will to resist/
The tides and the rising sun/Face down and carried out/Drag
me deeper I don’t want to be found” on “Trap
Doors”, and this sense of despair and anguish surmises
the band’s approach. This may not be a particularly
large sample size, but these songs provide the interested
with all they need to know.
 DEAD
REGISTER - "Don’t Fail Me" EP (AVR Records
www.deadregister.com/)
The name of this EP can either be a plea for support and help
or a dire warning marking one’s potentially final chance.
When one listens to the music of Dead Register, the latter
seems more plausible. The dark, ambient shoegaze created by
husband and wife duo M.Chvasta and Avril Che is simultaneously
menacing and stirring, as “Don’t Fail Me”
is enveloped by a dreamy haze while Chvasta’s voice
digs through the beautiful din. Methodical and crushing, the
music of Dead Register is what might happen if the guys in
Ride listened to Sleep for six straight months and then decided
to record. Surrounding the title track of the EP are three
live efforts and a very cool remix of “Failed”.
I am amazed at the intimacy one hears on “Ender”,
a tumultuous dirge of dark wave terror, and Justin Broadrick
would be impressed with the devastating opening of “Circle
of Lies” before the song’s initial devastation
wafts into a more serene, albeit no less intimidating, delivery.
“Fiber” is a glacial entity of a song, rumbling
with devastating bass and squalling, expressive guitar playing.
The song feels like it overwhelms the players themselves,
and the concluding scream encapsulates the emotive nature
of the music. The work of Dead Register is monolithic and
crushing yet also rife with beauty. The ability to balance
such distinct extremes is a tribute to the collaborative talents
of Che, Chvasta, and drummer R. Garcia. As the walls fall
down around us, I want Dead Register playing.
 THE
MERCY KILLS - "New Rule" EP (Golden Robot Records
www.goldenrobotrecords.com)
This Australian export instantly took me back to the glam-sleaze
fury of D Generation and The Black Halos with ripping guitar
work and limitless energy. This five-song EP was originally
recorded in 2010 but fits in perfectly with where the band
is in 2021, and what the world desperately needs. “I
Wanna” opens the EP with a stomp which flirts with blunt,
industrial force that anchors a sparling chorus. The song
is rousing introduction to a band that roars with ferocity
and hits with shocking power. The grime drips from “Go”
and the title track as vocalist Mark E. and Nathalie Gellé
share riffs thrusted along by the rhythm section of bassist
Jen X and drummer Josh Black. The Mercy Kills straddles the
line between classic rock song structures and punk angst across
each track, resulting in a mass of force that is also fiercely
melodic. The soaring vocals of “So Many Times”
are matched by an equally aggressive musical bed that downshifts
slightly for a slick chorus before returning to its original
power. A similar density is heard on “New Rule”,
and the song’s metallic heaviness is a direct result
of the jarring structure constructed by four undeniably talented
players. “Fall” has an intro reminiscent of Ministry’s
“N.W.O.” and is voluminous wave of dark harmony.
I am at a complete loss as to why this band is not huge by
this point; everything about The Mercy Kills, from their look
to sound, to songwriting embodies all that rock n’ roll
should be and sadly rarely is any longer. With an impressive
back catalog and an even more staggering collection of acts
for whom they have opened, The Mercy Kills are a band ready
to be moved to the front of the line of those who still prove
that authentic rock n’ roll lives.
 CARNIVAL
CRASH - It is a Happy Man (Obelisk-records.com)
For anyone familiar with Ritual Tension - and if you are
not, you should be - should recognize Carnival Crash. Led
by wildly talented Ivan Nahem, the band had a tragically
brief shelf life, but their contributions were plentiful
and celebratory. The band’s fugacious time together
resulted in two critical record sessions captured in this
seven-song compilation. The opening “Tell Tale Heart”,
a track originally released in 1982 by Ivan under the name
“Ivan X” as the B-side to “Edge of Night”,
is a bold blast of first generation post punk. The song
features an unsettling beat accented by jarring guitar,
blending Joy Division’s darkness and shards of New
Wave’s energy. “Edge of Night” is a rumbustious
anthem that is centered around a heavy low-end groove from
John Griffin and elevated to greatness through Norman Westberg’s
distinctive guitar squall, a talent which he brought to
Swans after the demise of Carnival Crash. It is easy to
find one’s self lost in the emotive, atmospheric din
the band creates, but one cannot overlook Ivan Nahem’s
vocals. While his drumming shines through on “Method
1”, his singing is integral to completing the trenchant
noise-rock brilliance of Carnival Crash. Whether coming
across as simultaneously imposing and thoughtful on ‘Edge
of Night” or reserved and grounded on “Nostalgia”,
his delivery completes the mystical nature of the band.
Listening to It is a Happy Man is more than a return to
the gritty streets of New York City at the dawn of the 1980s,
for it is an education about where rock was at that time.
The first generation of punks had burned out and New Wave
was already showing signs of fading away, therefore bands
were free to experiment wildly and ignore any particular
label or genre expectations. Carnival Crash meshed controlled
chaos with touches of beauty to redefine rock’s limitations
at the time. It would be nice to see that type of courage
rewarded today.
 LOCKED
IN - Not Dead Yet (Epidemic Records; www.epidemicrecords.net)
This blistering five song EP marks the return, after seven
years away, of Locked In, a scathing hardcore act hailing
from Perugia, Italy. The guys do not waste any time on Not
Dead Yet, as “Scandal” instantly splits skulls
with barrage of metallic hardcore played with a fervor that
reflects seven years of pent-up frustration. The blueprint
for each track is similar, but within the huge riffs wrapped
around a punishing low end and ferocious vocals that occasionally
include call and response portions, are a few subtle surprises
that gives Locked In a uniqueness within the genre. “Viper
Field” taps into the best of Hatebreed’s qualities
with a great groove and passionately emotive vocals, but I
am most taken with the suddenly clean vocals that emerge in
the middle of “Dying City” before the song returns
to a torrent of blunt force. The subtle shift in tone Locked
In displays on “Dying City” emphasizes the band’s
talents and clearly illustrates that this is not merely an
homage to American hardcore but rather, a distinctive interpretation
of the artform. “No Faith” is a thunderous, adrenaline
fueled rant that will delight all fans of Terror and Agnostic
Front, while the explosive “Godspeed” concludes
the EP with a continued blending of clean and abrasive vocals
into a refined mixture of metal and hardcore without stumbling
into any of the redundant trappings that can plague metalcore.
With a new line-up and an abundance of energy, I doubt it
will be another seven years until the next Locked In release.
 RITUAL
TENSION - It’s Just the Apocalypse, It’s Not
the End (www.onaboutnow.com; ritualtension.bandcamp.com)
Ritual Tension is a band with its roots firmly planted in
the punk, no-wave, and noise scenes of the very late 1970s
in San Francisco before moving to NYC in the early 1980s.
The brothers Ivan and Andrew Nahem led the band and Ritual
Tension remained an adorned East Village staple of musical
daring and individuality, including their deconstructed version
of “Hotel California”, until 1990. Now, thirty
years after their final performance, Ritual Tension has returned,
this time sans Andrew, as a trio on the experimental and wonderfully
noisy It’s Just the Apocalypse, It’s Not the End.
Without the presence of Andrew on guitar, Marc Sloan’s
bass dominates the record, particularly on the rattling “Come
Back, Come Back” and the claustrophobic “DanceMF”.
Woven within the seven originals are two bold and extravagant
covers, “Manic Depression” from Jimi Hendrix and
MC5’s “Shake City”. The former may make
some discomfited with its disentangling of the original, while
the guys slow the tempo and intensify the density of the latter.
The concluding “Her Big Night Out” is a fascinating
piece of rousing storytelling, as Nahem’s vocals paint
a surrealistic tale of one woman’s search for individual
deliverance (“Cuts here middle finger-jeez it’s
really bleedin’/Well she’s coming up the stairway,
comin’ down the hallway/Openin’ it up as she leans
against your door jamb”) while Sloan and drummer Michael
Shockley create a supremely controlled wave of tumultuous
beauty. Ritual Tension never abandoned their artistic interpretation
of what punk rock can be, and It’s Just the Apocalypse,
It’s Not the End is a free-flowing and fearless display
of confidence from a collection of players who have refused,
thankfully, to surrender to any expectations other than their
own. The world needs more from acts like Ritual tension right
now.
 RLND
- Zealand (Sell the Heart Records, selltheheartrecords.com)
I am not good in math. In fact, I am terrible, so when I listen
to a band like RLND (pronounced Roland), I am back in the
last row of math class feeling intimidated by the material
and awe-struck by those who understand it. RLND is an instrumental,
staggeringly talented metal band that blends Tool’s
heaviness and creativity with the free-form fluidity of Animals
As Leaders to produce nearly an hour of crushing music. Zealand
is punishing at times and then equally delicate before returning
to ferocity, and that is the blueprint of each song. What
I admire, in addition of the musical dexterity of the players,
is the band’s subtle humor found on songs titles such
as “Keith Sells…But Who’s Buying?”
and “Kurt Loader”. The record was actually recorded
in the band’s death throes, as drummer Keith Grimshaw
and guitarist Joe McClune were suddenly left without bandmates
and seemingly without a future as RLND. Fortunately, two friends,
Alex Winkley and Sam Zuerner, heard what the previous four-piece
had created and eagerly joined. Therefore, Zealand is both
a eulogy and a resurrection, and that type of dichotomy is
a perfect metaphor for all this band does. “Terry Grosse”
begins with a musical sucker punch to the chops before suddenly
hiding; the song then lays in wait until the victim has been
subdued and is then launches an assault once again. “Public
Chiefs” hears RLND blend noise and surgical precision
accented by a skull-crushing riff that acts as the centerpiece
of the effort, a song structure that one hears on the title
track as well. Perhaps the heaviest song of the bunch is the
shortest; at only two and half minutes, “Basilica Gel”
is, on average, a solid five minutes briefer than its counterparts,
but the track starts with unnerving quiet before a rumbling
doom metal funeral dirge takes over. While every song among
the seven is impressive, RLND saves the best for last with
“Specifically Arnold”. The song blends every possible
style of metal into one spr awling wall of intensity. At more
than twelve minutes, the song takes on a more powerful meaning
when one learns that RLND believed the band was ending with
the conclusion of the recording of Zealand. “Specifically
Arnold” sounds like a band that does not want to say
good-bye and will play until the lights are turned off and
everyone has gone home. Fortunately, with the band’s
return from the brink, this music will live on and perhaps
will even be performed live.
 SWAPMEAT
- Being a Weirdo Don’t Pay the Bills (swapmeat.bandcamp.com)
This Arizona outfit sounds like the product of a sloppy one-night
stand between Nashville Pussy and Supersuckers. Being a Weirdo
Don’t Pay the Bills is a loud, raucous punk record fried
in bacon fat and dipped in tobacco juice. The majority of
the songs-initially recorded in 2016 and early 2017-are quick
bursts of guitar angst. There is not much musical depth here,
but sophistication is not the point as Swapmeat is the soundtrack
to a lost weekend, not an intellectual debate. While I admire
the clamor of the chaotic “Super Destroyer”, the
groove of “Rolling Blacktop” hits more fiercely.
The dirty riff of the title track captures the rugged, down-home
sensibility of this band’s devotion to rock’s
most primal intensity. “Rock n’ Roll” is
the standout work here, as it delivers a ferocious, hardcore-influenced
blast of fury that has a massive hook and a direct message.
(“Lose your mind/lose your head/rock n’ roll,
rock n’ roll”) As the record progressed, the songs
became increasingly fiery, particularly “V is for Victory”
and the bruising “Nose Bleed”. At least 2020 helped
get this brought to the public, as quarantine allowed it to
be mixed and properly released. This may surprise people that
it is from Arizona and not Alabama, but this is all fun.
 CRO-MAGS
- 2020 (Mission Two Records; missiontwoentertainment.com/)
Most of us cannot have 2020 end quickly enough, but at least
the Cro-Mags will help take out this miserable year with a
scalding EP. The six tracks on 2020 are fuming blasts of sheer
disgust that are the musical equivalent of the scenes of anger,
destruction, and madness that adorn the cover. Even when the
band omits lyrics, as they do on the bruising conclusion,
“Confusion”, the legendary act speaks volumes.
The opening “Age of Quarantine” builds slowly
over the course of the first ninety seconds before unleashing
the classic Cro-Mags musical barbarism that has made this
band a stalwart of American hardcore. The soaring melody that
accompanies the grinding low end of the title track makes
it an equally engaging and punishing work as Harley Flanagan
continues to push the sound of metallic hardcore forward on
“Life on Earth”, a guitar-fueled punch to the
face that resonates with the energy of the band’s earliest
releases. The jazzy opening of “Violence and Destruction”
belies that song’s eventual ravaging power, as Cro-Mags
lock into a ferocious hook. The intensity flows seamlessly
into “Chaos in the Streets”, a track that could
easily be the soundtrack for the year, and its sing-along
gang vocals-style chorus is guaranteed to make the song a
crowd favorite whenever the guys can play in front of crowds
again. Incredibly, the EP is exactly twenty minutes and twenty
seconds long thanks a few seconds of crowd noise. Whether
intention or some bizarre form of dystopian serendipity, 2020
is devastating experience, and that fits the year perfectly.
 TRANSIENCE
- Chaos in Harmony (transienceli.bandcamp.com)
After merely a minute of the opening “Apocalyptic Hypocrite”
from Long Beach, NY’s Transience, I am transported back
to the mid 90s when emo was fresh and the world seemed so
much simpler. The harmonic vocals of Damien Ellinghaus are
the perfect accompaniment to the rugged guitar riffs he provides
with Kevin Guaranda as the band blasts through five songs
on this impressive EP. Ellinghaus stretches himself as a singer
and tests the strength of his vocal cords on “Spin Cycle”,
the most aggressive effort of the bunch with lyrics that are
daringly honest, with the front man stating, “You’ve
heard my lies a million times/It goes the same way as before”.
I am most drawn to the rich melody and self-deprecating lyrics
of “The Failure of Momentum” (“A constant
stasis, the basis of psychosis/ A real quick Google search
will be my diagnosis”). The song is built around a highly
controlled yet highly inspired start/stop structure with bassist
Jon Antonik and drummer/drum programmer Luigi Rueda revealing
themselves to be a sophisticated duo. “Prima Facie”
follows suit with another blast of intelligent modern punk
that balances abrasive and refined with expert skill, as a
menacing guitar hook punctuates the song’s stark lyrics
(“The evidence shows that we’re going to die/
And maybe that’s just for the best”). The closing
“Fix You” a poignant, highly impactful anthem
about one’s personal demons and learning to live with
the pain brought upon by others. The track is a perfect bookend
for a very strong release that flows exceptionally well. Each
track tells a powerful story and is its own three-minute novel.
There are few, if any, happy endings on Chaos in Harmony,
but Transience is comfortable in exposing how they, like so
many of us, live with far more questions than answers.
 TOWNSHIP
- Life Starts Tonight (Tee Pee Records www.teepeerecords.com)
Township is a collection of guys who clearly grew up as devotees
of classic rock radio, and I am sure they were told on numerous
occasions that their station of choice was the “home
of rock n’ roll”. The love of blue-collar rock
is apparent on the slickly produced, energized guitar boogey
that is the centerpiece of the opening title track. Guitar
histrionics are heard throughout the record, channeling acts
ranging from Boston to Grand Funk Railroad to Zeppelin, but
the problem is that nothing here sound uniquely original.
Township comes across as a highly skilled group of players
trying to return to a bygone era rather than bring more traditional
sounding rock into the twenty-first century. “Garden
of Our Love” has a guitar/vocal interplay reminiscent
of “The Wizard” from Black Sabbath, and while
every band reference thus far is a truly transcendent act,
Life Starts Tonight feels like an homage rather than a distinctive
work of original thought. The opening title track may be the
strongest effort of the bunch, as it retains a pop hook that
is distinctively reflective of the band and not their influences.
Townships’ groove oriented 70s rock flirts with the
blues on “Starlight, Motor Grease, and Beer”,
and the four channel their inner Bachman-Turner Overdrive
on “Ancient Creatures”. There is an interesting
backstory to this record, as it was recorded in 2009, but
due to shifts in musical directions led by drummer Greg Beadle,
frustrations among members, specifically Beadle and singer/guitarist
Marc Pinansky, the band saw a series of departures amongst
its members. Combine all that with a lack of finding a foothold
within the industry and eventually hooking up with a record
company that promoted the band’s older work instead
of announcing them to the world with Life Starts Tonight,
the guys endured a complete dismantling of the act. Within
a year, Beadle and guitarist Matt Smart were gone and Township
would later rechristen themselves Family Township and roll
on with a new line-up. The release of Life Starts Tonight
marks the closure of that chapter of the band’s career
as well as perhaps an act of reconciliation by Pinansky who
felt slighted by the band’s commitment to more driving
rock n roll. “Through the Fog” cuts a meandering
path over the course of roughly six minutes and invokes huge
arena rock tricks that connotes images of a drummer with a
huge gong behind his kit and maybe miniaturized Stonehenge
models descending down from above the band. This is not a
parody band in the least, as every member is a sterling player,
but the songs too frequently sound dated and stilted. Family
Township has new music coming soon so by releasing Life Starts
Tonight, the Boston-area outfit can truly move beyond their
previous incarnation and forge a new path.
 PETER
BLACK - I’m Gonna Cheat as Much as I Can, This Is
The Hand I'm Dealt (peterblacksolo.bandcamp.com/)
I must admit, sheepishly, that I dd not recognize the name
Peter Black, but a bit of digging into his backstory, and
I became even more ashamed. Better known to the world as “Blackie”
from the legendary, saucy Aussies the Hard-Ons, Black is a
punk rock lifer who has shared stages with bands both huge
and unknown since he was barely out of middle school. He continued
to record in various forms throughout the first half of the
twenty-first century with both the Hard-Ons and Nunchukka
Superfly, but the last decade has been committed to solo work.
Not only is Black a talented songwriter with a sense of melody
that draws inspiration from his self-described “hero”,
Paul McCartney, but he is limitlessly creative; in 2016, pre-pandemic
lockdowns, Black recorded a new, fully fleshed out song every
day of the year! With that type of output, it is not the least
bit surprising that I’m Gonna Cheat as Much As I
Can is released in tandem with If This Is The Hand
I’m Dealt, two records on one day with two entirely
different aesthetics. Cheat is a mannerly collection
of airy pieces layered with sophisticated harmonies while
Hand is a straightforward acoustic release; both
are equally inspired and reveal the varied talents of Peter
Black. The ethereal “Then I’m Gonna Lick Your
Toes” has a sweeping majesty that one may not instantly
associate with an act such as toe licking and “Incident
at Rozelle” is a buoyant arrangement with Beach Boys-type
euphony. Black is supported by an array of gifted friends,
including drummer Joel Ellis, longtime Hard-On Ray Ahn, keyboardist/producer
Jay Whalley (who truly shines on the closing “Unfurl”),
Lauren Friedman, and Heather Shannon. “I’m Not
Looking for a Hug” has a great sing-along stomp while
“Sky with Diamonds” is a shimmering blast of hook-happy
guitar rock that equally harkens back to 60s pop and 90s indie
jangle as Black speaks the truth, “and some cliche's
aren't cliched after all and some memories not memorable at
all.” There are subtle hints of Black’s punk-pop
history on the swirling “Steering Wheel Went Soft in
My Hands” and the galloping pace and rich “woh-wohs”
that dot “Safety Net”, but the music one hears
on Cheat is largely serene and overwhelmingly beautiful. Intricate
but still highly accessible, Peter Black proves that his affinity
for, and ability to produce, precise pop is limitless.
 SCARY
HOURS - Margins (Pyrrhic Victory Records)
Ryan Struck is a one-man hardcore whirlwind on Margins,
a politically charged assault upon the ugliness and hypocrisy
that emerged over the past four years but had been long festering.
The opening “Worthwhile Victims” sings (screams,
really) of asylum seekers in cages, babies in cribs made of
chainlike fencing, and “Bible-thumping bigots”
over a bed of searing guitar. What I find the most impressive
about Struck’s work is the sneaky sense of harmony he
injects into each track, particular on “Normal’s
Not New”. As he roars about economic disparity and free
market, the chorus has a hook that is indefinably melodic.
There is a boldness to Struck’s work as Scary Hours
from both a lyrical and musical sense, as he successfully
covers “How Low Can a Punk Get” from punk godfathers
Bad Brains. There is always a risk in covering legends, but
this version retains the original fury but is much more than
a color by numbers style homage. “Cost of Living”
is a rightfully dark blast of angered hardcore with a devastating
breakdown and thick guitar riff that channels the best of
bands like Cro-Mags and Sick of it All. “Russian Cousin”
shifts gears slightly and returns to a less brusque form of
guitar post-punk with a blazingly quick chorus. The closing
“Shell Beach” is nearly twice as long as any of
other tracks, clocking in at nearly five minutes. This expanse
of time allows Struck to place all of his skills on display,
from rumbling bass lines to cleaner vocals, and put forth
a song of greater complexity without becoming repetitive.
The desperation of the times detailed is heard in the pained
nature of Struck’s vocals and the eight songs on Margins
truly are a soundtrack for the angst and fear that will continue
to infest the country, even if the occupant in the White House
has changed. .
 CRUSH
LIMBO - Purveyors of Mayhem (crushlimbo.bandcamp.com)
Colm Clark is Crush Limbo and his exhaustion with the past
four years of Trump’s assault upon the fundamental ideals
of democracy are exorcised on Purveyors of Mayhem.
This is an enjoyable listen due to Clark’s ability to
balance sardonic lyrics and glimmering pop, but the record
allows for a deeper exhale knowing that this pseudo-autocrat
has been gloriously fired, an announcement met with global
celebrations. “Play-Doh Monarch” and “Despot
and the Damage Done” open the record and leave nothing
to the imagination about Clark’s sentiments concerning
the now former “president” of the U.S. Featuring
phrases such as ” cognitively failing” and “morally
bereft”, along with the question, “Did his mon
and dad simply overween?”, the songs are bubbly encapsulations
of the horror show that unfurled over the past four years.
The sparse synth of “Narcissistic Prima Donna”
provides the song with Devo flavoring as Clark utters playful
lyrics (“I wanna, I wanna, Ivana, I wanna”), and
“Toxicity Testosterone” summarizes the administration
perfectly, as Clark states, “Gonna fight you tooth and
nail for that skin on bone/As I rage tweet from my mobile
phone”. The title track invokes airy, 70s AM pop as
genteel guitar accompanies lyrical depictions of the cohorts
involved in the promulgation of this cult, “Perpetual
victim on a grievous parade/Yet many still pick him to lead
the charade”. “Codependency” may include
the finest summation of contemporary America, as Clark, surrounded
by a mildly psychedelic 60s vibe, offers the line, “We
love easy answers because the tough ones won’t do”.
As one ponders recent events, it is incredibly fitting that
the last words one hears on the record is “the witch
is dead”, and Clark’s Purveyors of Mayhem, while
heavy on humor, offers a sobering assessment of one of America’s
darkest and most befuddling periods.
 REFUSED
- The Malignant Fire EP (Spinefarm Records www.spinefarm.com)
Refused have a long tradition of releasing an EP after each
record and "The Malignant Fire" proudly continues
that institution with four thrilling new tracks and the impressive
“Malfire”. Having reshaped post-punk in 1998 with
The Shape of Punk to Come, the band has continuously
looked to push the boundaries of how music can be both furiously
intense yet melodic. The grinding riff of “Malfire”
and vocalist’s Dennis Lyxzen wildly emotive delivery
about “wolves at the door” make it easy to understand
why that song is the focus of the EP. While each of the four-pack
of new works is equally impressive (the bass-heavy groove
of “Organic Organic Organic” I find deliciously
pummeling), the standout effort is undoubtedly “Born
On the Outs”. The track utilizes the primary riff of
Swedish House Mafia’s “Greyhound”, and the
guys of Refused crafted original lyrics to accompany it, and
created something entirely new. The riff is instantly recognizable
and hypnotic, but the ability to take an EDM classic and contort
it into an explosive blast of metallic guitar punk elevates
Refused above other bands who may attempt such a crossover.
The frenetic pace and energy of the closing duo of “Faceless
Corporate Violence” and “Jackals Can’t be
Bothered to Dream” make this duo a punishing pair to
finish off this fleeting treat. “Faceless Corporate
Violence” is a brazenly raw, viciously abrasive effort
that demonstrates how Refused transcends genres to produce
extreme music with an intellectual component. The song opens
with Lyxzen’s screeching the title before the band instantly
finds a muscular melody, demonstrating a sound that has made
this band unique for over two decades. This EP was initially
slated to be released before the band’s most recent
tour, but we all know what happened. Regardless of challenges
caused by a global pandemic, Refused still find a way to unleash
their distinctive brans of ferocity.
 SPENCER
CULLUM’S COIN COLLECTION (YK records www.ykrecords.com)
The opening track, “Jack of Fools,” channels “Norwegian
Wood”, and sets the stage for a record of 60's folk-rock
played with extraordinary honesty and reverence for the original
vendors of this style. Everything about the record, from the
cover art of an isolated Spencer Cullum standing solemnly
with his name adorned in Woodstock-era font, through the production,
captures a tone from a very different world, best heard on
the fragile “Imminent Shadow”. London-born but
currently Nashville-based, Cullum has a warm voice that is
powerfully soothing as he spins poetic lyrics into beautiful
yarns. Even when he decides to eschew lyrics, the work does
not lose impact, as the eight minute “Dieterich Buxtehude”
captures the atmospheric beauty of that composer’s Baroque
style. The gentle keys of “My Protector” sounds
like Pink Floyd at their most blithe, and the closing “The
Tree” has elements of Dylan woven into its tender delivery.
I would certainly not find myself running towards a record
of this ilk, but Cullum’s talent is beyond refute-he
has a gift for ethereal psych-pop that brings 1965 into 2020.
 ALPHA
HEX - Alpha Hex Index (hexrecords.bigcartel.com)
This Buffalo outfit has been kicking around since 2014, and
Alpha Hex Index is a collection of assorted blasts of quaking,
angst-filled guitar with more than a few no-wave noise touches
to keep this wonderfully unnerving. “Not the Universe”
is replete with angered vocals and equally piercing guitar
squall that combine to create a boisterous ball of off-kilter
post-punk. The rattling “Enskin” is the embodiment
of this band; two minutes of intensity wrapped around sprawling,
self-destructing riffs that somehow never fully unravel, and
incredibly emotive vocals that introduce elements of math
rock with more serrated edges. There is an undeniable art-school
experimentalism to this, but each song has a foundation steeped
in the best elements of guitar punk, as heard on the soaring
“The Goods”. “#572920” is a fleeting
interlude that acts as a bit of an intermission, and within
the “second act” of the record is my favorite
of the bunch, the antagonistic “Wrestles Snakes”
and its rugged structure and noise-rock qualities. “#1D2951”
is another few seconds of subdued improvisation which recedes
silently before unveiling the fearlessly bellicose effort
“Spiral”. The helical nature of “Third Man”
makes it one of the record’s most musically impressive
works, and a demonstration of the limitless creative that
exists within this band. With members currently occupying
spots in a variety of other Buffalo-area acts, it is uncertain
if Alpha Hex is a full commitment or another imaginative side
project; regardless of intent, this is an exhilarating ride.
 COFFIN
APARTMENT - Full Torso Apparition (Silver Stature Sounds;
silverstaturesounds.com)
I am the first to admit that some bands just have me at their
name, and Coffin Apartment is one such act. To make this experience
even more fulfilling, the seven songs waiting for me on Full
Torso Apparition were mix and matched masterpieces of chaotic
grindcore, sludgy, droning metal, and bursts of crusty death
metal with majestically placed flair. Coffin Apartment is
proof that the universe can bring geniuses together right
when the world needs them the most. Johnny Brooke had witnessed
the end of his band A Volcano, and he soon got together with
former Same-Sex Dictator drummer Justin Straw. Bassist Brody
Mennitto (former Toim) came on board and the twisted brilliance
of Coffin Apartment was born. The suffocating riff that anchors
“Scavenger of Regurgitation” is augmented by a
devastating bass line and pained, wildly emotive vocals. The
entire record is a celebration of metal’s most ferocious
and unhinged moments, resulting in a melting pot of brutality
and aggression. The atmospheric noise that concludes “The
Process of Dehumanization” is the perfect combination
of ethereal and anxiety-inducing, with the latter including
a series of well-placed soundbites from religious hypocrites
before launching into a ferocious mass of blackened death
that concludes with a wild cacophony of noise. The ability
for this band to balance varying elements of extreme metal
with jazzlike time signatures makes the listener’s head
spin as furiously as bang. “Derelict Paradise”
incorporates a Mayhem-inspired groove with power-violence
style singing and garnishes it with slashing cuts of noise
until the song ever so deftly fades into a mollifying interlude.
Slowly rebuilding in both intensity and scope, Coffin Apartment
closes the final forty-five seconds with a flurry of vehemence.
A similar construct is heard on the opening “Treacherous
Tongues”, a track that hits with the subtlety of a brick
to the face while meshing hardcore punk, death metal, and
the energy of Converge before taking a breath in the heart
of the tune and gearing up for a pummeling conclusion. The
raw speed and jaw-dropping brutality that opens the majesty
“Transient Exuberance” is remarkable, and the
guys again indulge in a free-flowing, bass and drums led interlude
before returning to finish off what is left standing. Only
the two minute “A Quagmire of Filth and Shame”
assaults unsuspecting ears without a significant shift in
tempo, and the song is a fierce barrage of crushing ferocity.
Full Torso Apparition is not an easy listen, but it is utterly
remarkable and is another significant step forward in metal’s’
evolution as a genre. I may have found my highlight of the
year and my survival guide to the next lockdown.
 JULES
SHEAR - Slower (Funzalo; funzalorecords.com)
At sixty-eight, maybe Jules Shear is starting to slow down,
but it is difficult to tell from the beauty on display with
Slower. The man perhaps best known for penning hits for Cyndi
Lauper and the bangles, along with masterminding the idea
for MTVs Unplugged series, some can certainly argue that hear
has not enjoyed the success he deserved. Slower is a gentle,
heartwarming collection of piano-driven ballads that illuminate
the warmth of his still strong vocals. Joined by John Sebastian
on harp for the opening “Sugar All Day”, Shear
articulates each word with a penetrating intimacy. Much of
Slower allows listeners to imagine that Shear is sitting at
a piano in a tiny, out of the way club performing only for
them, especially the poignant “Today Like Tomorrow”.
Songs such as “It Came Down from Heaven” and “It’s
Love” are reminiscent of Warren Zevon’s most expressive
moments, as delicate musicianship and beautiful poetry hold
hands over the course of four elegant minutes. Shear’s
sense of humor is readily apparent on the sardonic “Smart”
and “Feels Like Fall”, a Leonard Cohen style tale
in which Shear states how “it feels like fall/but it’s
spring”. The refined playing of “One Pretty Please”
and “Until Now” (with the later acknowledging
that the singer is indeed “slower”) are tender
works of a masterful storyteller. Spinning tales about relationships
and forthright introspection, Slower is a stirring work from
a master still finding new methods of expression.
 EXTRA
SPECIAL - "Lazy About It" EP (extraspecial.bandcamp.com/album/lazy-about-it-ep)
Amelia Bushell is Extra Special, both in name and talent level,
as "Lazy About It" proves. The five song EP takes
listeners on a deeply personal tour of Bushell’s struggles
and moments of clarity as a twenty-something with still so
much to figure out. The songs are individually beautiful,
poignant, and daringly forthright. The opening “I Hate
Love” is the finest example of raw, unflinching honesty
when Bushell admits that life is painful “when it becomes
a fact that the one you love doesn’t love you back”.
Wrapped around a bucolic, lush structure and Bushnell’s
enchanting voice, the song is a gift to the lonely. “True
Fear” follows a similar path, possessing a staggering
fragility. Each effort has a heartfelt courage gently embraced
by ethereal affection. The warm pop of “Thanks to You”
is augmented by elegant keys from Bushell and guitar work
from Gary Atturio, and the soothing heartbreak of “Too
Hard to Mend” is majestic slice of anguish. However,
Bushell does not allow listeners to sulk off into the corner
entirely, as the closing “My Car is Parked in Canada”
is a more upbeat, semi-traditional pop nugget with drummer
Louis Cozza given a chance to shine. "Lazy About It"
is the type of angst-filled diary that many will find relatable,
delivered by a highly adept songwriter.
 THE
NEXT GREAT AMERICAN NOVELIST - Careless Moon (thenextgreatamericannovelist.
bandcamp.com)
What a difference an album makes! I distinctly remember my
enjoyment of the debut from NGAN, but Careless Moon
marks an almost unimaginable amount of growth in songwriting
acumen. The ten pieces on NGAN’s sophomore effort are
a whimsical mix of indie pop, gentle psychedelia, and crafty
traces of grittier rock. The vast majority of what Sean Cahill
and Jason Cummings play is glimmering works of layered, richly
textured hospitable shoegaze that is accented by accessible
experimentation, as one hears on the flawless “Gravity’s
Rainbow”. The soaring guitar of “Wicked”
is a marvelous balance to the gentle piano that anchors the
lush “It’s Been You”, as the pair pays respectful
homage to various genres and talents. There are moments when
Cahill and Cummings openly declare their love for other acts,
such as the line, “I love to hear you humming to the
Fleet Foxes” on the aforementioned “It’s
Been You”, but their appreciation for genres of all
varieties is encapsulated on the closing “Ice Moon”.
Largely a waif-like atmospheric gem, the tracks builds methodically
over the course of five minutes into a noisy conclusion awash
in distortion and the ironic repetition of “Just a quiet,
peaceful death”(a subtle nod to Rage Against the Machine’s
“Down Rodeo”) as a riotous din swirls around Cahill.
The rockier bursts of “Bad Animation” and “Drag”
are a pair of songs previously inconceivable to the early
incarnation of NGAN, and the piercing riff and closing scream
of “Drag” is as authentic as the meandering country
twang of “Kubler”. The playful “Blackberry”
is driven by delightful guitar and bass interplay with Cahill’s
beguiling vocals declaring that indeed, he does “want
everything all of the time”. It is a rare to hear a
band evolve so quickly, and this only means continued excellence
as NGAN will undoubtedly continue to challenge themselves.
 THE
BOUNCING SOLS - Volume 2 (Pure Noise Records www.purenoise.net)
It is incredible to think that nearly thirty years have passed
since The Bouncing Souls emerged from teenage boredom and
became punk legends. The core of the Souls has always been
songwriting; even as a start-up act, the band always wrote
with heart and depth. Volume Two takes ten classic efforts
and completely revamps them through a wide scope of musical
lenses. “Late Bloomer” becomes a rambling, country-kissed
effort and “Gone” is changed to a gentle pop gem
and neither song loses an ounce of impact. Two of my favorites
are the centerpieces of the record, as “Simple Man”
and “Helpless Romantic” morph into acoustically
driven and bouncy pop confessions, respectively. This is a
bold step to take for any band, but The Bouncing Souls have
been evolving since their days as a ska-punk outfit that set
clubs on fire with live shows, and these guys know that fans
will stick with them. Volume Two also proves that skilled
songwriting transcends genre and superior talent stands alone,
and no one can question the skill of Pete Steinkopf, both
in and out of The Bouncing Souls along with his vast array
of producing credits. Greg Attonito’s voice sounds incredibly
strong on “Favorite Everything”, but truly hits
fiercest on “World One Fire”, the one original
contribution to the record. As he sings, “These are
days that could kill us all/We decide to do or die/Find a
reason to save our souls/What a time to be alive/It's alright
in a world on fire”, he sums up the terrifying uncertainty
that plagues so many, proving once again how adroitly The
Bouncing Sols can find the most appropriate words and tone.
Closing with two acoustic efforts, “Say Anything”
and the serene “Ghost on the Boardwalk”, the record
fades gently into silence; let’s hope it is at least
another thirty years before we say that about The Bouncing
Souls.
 LUNCHBOX
- After School Special (Slumberland Records www.slumberlandrecords.com)
This could not have been titled more perfectly-the “After
School Special” was a staple for many in the 70s and
80s and a delightfully awkward manner to gain “real
world” knowledge from TV. The acting was terrible, the
writing unbearably corny, and the stories always wrapped up
neatly, but could never question the sincerity of all involved.
The last point holds true with the music of Lunchbox-sounding
like AM radio during the days of the Vietnam era through American
malaise, the songs jangle with warm vocals and bubblegum psychedelia.
“I Really Wanna Know” is the best song The Partridge
Family never performed, as Tim Brown and Donna McKean espouse
lighthearted funk with ethereal 60s rock vibes. The result
is a vast collection of songs that help listeners forget how
awful the world is right now and might actually fill people
with a sense of dare I say…happiness? It is actually
impossible to listen to After School Special and not smile,
for the songs convey a lush innocence, as “Three Cheers
for Autumntime” blend Mammas and the Poppas harmonies
with warm horn playing shoegaze aesthetics, and “Gary
of the Academy” is the dream of any ad agency, for the
song enters your brain like a kind-hearted, bubbly earwig
and refuses to leave. The entire record is a sterling collection
of songs that rattle and shake with blissful energy, as “Melt
Into Air” conveys perfectly. McKean’s “woah,
woah, woah” on “Over Way Too Soon” sounds
inspired and genuine, reflecting a true appreciation for a
sound that was built around unforgettable melodies and hooks.
The indie rock clatter of “It’s Over Now”
takes the early 60s and early 90s and melds them into an invigorating
combination of deft musicianship and inspirational guilelessness.
Perhaps because I am listening to this just hours before the
presidential election and I have found myself sitting up at
night pondering the death of American democracy that Lunchbox’s
music sounds particularly satisfying-the world is going to
hell, but no one could tell if After School Special is playing.
I may hold on to this one as my freedom takes its final gasps.
 STEVE
AND THE NOT STEVES (Featuring Fletcher Dragge of Pennywise)
- “Cell Divide” (steveandthenotsteves.bandcamp.com)
Anyone reading his is well aware of who Fletcher Dragge and
his outfit Pennywise is (if not, boy, do you have a lot of
work to do), and Lindenhurst, NY’s Steve and The Not
Steves are among a legion of acts who are inspired by Pennywise’s
sound, making this collaboration a perfect musical marriage.
“Cell Divide” came about through a fund-raising
project devoted to aiding touring acts devastated by the ongoing
COVD-19 crisis called For the Nomads (visit https://www.forthenomads.org/
if interested in helping out). The song is a perfect blending
of seething punk with pop sensibilities that rage against
the current deterioration of America as vocalist Steve Schopp
barks, “Woke up late in the land of the free/And I won't
back down or get in line/The time is now, now is the time/Rise
up, resist/Take down, fascist hypocrites”. Dragge’s
instantly recognizable guitar tone plays a starring role here,
adding significant girth to the song’s driving groove,
as well providing a scathing solo. Backing Schopp are the
Not Steves - guitarist Michael Ravid, bassist Geoff Sondergard,
and drummer Ricky Bustamante - all highly skilled players
who work in perfect synch with Dragge as if the Pennywise
icon has been a Not Steve for years. With a timely and poignant
message and a thunderous hook, “Cell Divide” is
a modern American punk anthem that is not without hope-the
song calls for unity and sanity to ultimately rule the day;
hopefully, enough people can heed the message. The track is
four minutes of unrelenting energy that includes a brief build
up before erupting into pogo-punk fury balanced by Schoop’s
passionate yet controlled vocals. I have had the pleasure
of seeing Steve and the Not Steves live many times in the
pre-pandemic age so long ago, and this is their finest work
to date. Get over to their bandcamp, support an amazing cause,
and also check out their video featuring cameo appearances
from Sharp Violet, another of Long Island’s best bands
and sister act to Steve and the Not Steves.
 THELONIOUS
MONSTER - Oh That Monster (Immediate Family Records www.immediatefamilyrecords.com)
Breaking up in the mid-90s, Thelonious Monster have picked
a heck of a time to return with Oh, That Monster. These well-worn,
battle-tested veterans offer a record of varying tempos and
intensity levels, but each song reflects the concerns of 2020
America. “Buy Another Gun” addresses the parental
nightmare that has become school violence through a buoyant
pop-punk structure, similar to the Buzzcocks, while the opening
“Disappear” is a riotous explosion of classic
Pistols-sounding punk led by guitar players Dix Denney and
Chris Handsome. Late 70s punk aesthetics dominate “Trouble”
and “Teenage Wasteland”, with the latter being
lightly embraced every so perfectly in rock’s earliest
surf inspiration. Led by Bob Forrest, Thelonious Monster is
a chameleon of band, effortlessly shifting from hard hitting
barrages of garage rock energy to the smooth, jazz touches
of “Sixteen Angels”. The cheeky title of “LA
Divorce” has a funky bassline from Martyn LeNoble and
is held together by the steady drumming of Pete Weiss. The
genteel “The Faraway” is a wistful piece of nostalgia
that can only sound this heartfelt and truthful when written
and performed who have lived the experience of watching children
grow up and the changes life brings. It is a beautiful conclusion
to a powerful record that was an introduction for me to Thelonious
Monster. I will now begin hunting down their earlier catalog.
 SCIENCE
MAN - SM II (Big Neck Records www.bigneckrecords.com)
It took me until my third listen until I realized that
Science Man is just that-one man. This enigmatic Buffalo
product has a guitar, a drum machine, and more energy than
middle school kids after a pallet of energy drinks, best
embodied on “The Pit”. The ten songs on SM II
have a blazing, surf-friend punk frenzy led by massive guitar
as if The Cramps mated with Drive Like Jehu and then gave
the baby to Jon Spencer. Drenched in distortion and feedback,
then summarily delivered as if in the center of a tempest,
Science Man is a one-man wrecking ball, swinging fists and
kicking feet in all directions with staggering intensity.
“Top of the Crown” is an opening sucker punch
to the jaw that would make Rick Moranis flinch, and “Hit
the Switch” is my favorite, but if you ask me again
in a week, I may very well have two or three new choices
for most cherished track. The noisy intro of “Crawling
Out” eventually gives way to a heavy yet melodic groove,
with “Give the Ghost to Me” is a blazing slab
of guitar power. I am intrigued by the experimental noise
of “Keeper of the Wyrm”, and immediately impressed
with how the song bleeds into the closing “The Gift”.
The finale is a more fleshed out effort, lasting well over
three minutes, something no other song achieves, but it
is also the subtle psychedelic nature of the song that truly
draws the listener inside. I am left wondering if this is
a possible glimpse into the future of what Science Man may
do next. Whatever form his music takes, I am already excited
about what will come next.
 THE
USAISAMONSTER - Amikwag (Yeggs Records www.yeggsrecords.com)
Colin Langenus and Tom Hohmann have not released new music
together as Usaisamonster for ten years (their last work was
the fittingly titled RIP), and while I am sure that is upsetting
for some to hear, I had not heard this band prior to this
comeback release, and I really had no frame of reference.
On Amikwag, the duo presents a vast array of playful, dreamy,
at times, blissfully disjointed pop music. “Permaculture’s
Promise” is nearly hypnotic in its serene grace, while
the first single “Rapido Amigo” plays with musical
structure with a wistfulness that is reminiscent of Zappa’s
more whimsical moments. The songs meander and become slightly
labyrinthian at times, and even while intriguing, “Verbs”
and “Side of the Road” require the listener to
work to fully grasp the entirety of the song. The band’s
moniker is even more fitting than what it was a decade ago,
and certainly a song titled “We Are Not Alone”
is also quite apropos, and to that end, this complex effort
is also the band’s best. Delivered in both English and
Farsi, the song has a somnambulistic sensibility about it
that makes the effort perpetually fascinating. I would never
run towards a band like this by choice, but I am fortunate
to have been introduced to these two multi-talented players.
Everything on Amikwag is layered, richly textured and entirely
without any traditional rules about adhering to predictable
structure.
 DEAD
END AMERICA - Crush The Machine (Southern Lord Records www.southernlord.com)
Those of us of a certain age remember when the Reagan administration
inspired some of the fiercest, most inspiring punk in American
history, with the two Bush presidencies coming close to matching
the anger expressed in the mid-80s. Now, on the cusp of Donald
Trump either losing in disgrace or winning the presidency
and thus decimating what’s left of democracy, Dead End
America arrive with four scathing pieces of politically charged
hardcore from some of the best to ever do this. “Dead
White Hands” is an opening gut-punch that instantly
recalls the finest days of unadulterated hardcore fury. The
four songs on Crush the Machine once again proves that the
kids are better off keeping their millennial mouths shut and
learning from the masters, particularly Steve “Thee
Hippy Slayer” Hanford, who passed tragically just before
the EP was finished. Committed to seeing the project through
to completion, Tony Avila of World Of Lies, Why Won't You
Die, and about one hundred other acts, joined Ian Watts from
Ape Machine and bassist/vocalist Nick Oliveri of Mondo Generator,
The Dwarves, Kyuss, and Queens Of The Stone Age to compile
rage, disgust, and unfettered hatred into an incendiary decimation
of American culture. “Bullet for 45” featuring
Eyehategod’s Mike IX Williams on vocals, leaves nothing
to the imagination, as the track rages against American stupidity
and the demise of the American dream. Continuing the theme
of a failing America, the guys lambast the gutless wonders
of social media on “Twitter Troll”, and Blaine
Cook from The Accüsed A.D. offers his indominable vocal
style to the blistering “Searching for a Reason”,
proving that a band such as Dead End America can say more
in one ninety-second song that what most bands can in an entire
career. If this election does mean the end of the American
experiment, I will ride out the last moments with Crush the
Machine playing defiantly.
 DFMK
- S/T (La Escalera Records https://laescalerarecords.bandcamp.com)
DFMK are a Tijuana, Mexico based outfit that delivers fifteen
tracks of garage style punk that captures the best aspects
of the Candy Snatchers and New Bomb Turks slamming heads with
proto punks like The Stooges. Underpinning each song is a
commitment to crafting smart, biting riffs that have unavoidable
melody to match the intensity. Any potential language barrier
does not matter here, as “Fuera de Lugar” “Obsessión”
and the caustic forty-two seconds of Espacious Vacíos”
speak a dialect that transcends translation; namely a language
of bare bones punk fury. Every second of DFMK is played with
equal savagery and includes the Ramones-inspired “Diferencías”
and the subtle surf vibes of “Rita”, reminiscent
of Night Birds’ best moments. The pummeling blues of
“Year of the Snake” concludes this gem, and I
consider myself fortunate to have been introduced to this
one. The band has a rich discography, and their progression
as a band is noticeable, and their future releases will surely
only build upon the greatness one hears here.
 ALL
SOULS - Songs for the End of the World (allsoulsband.bandcamp.com)
It had to happen eventually-there had to be someone naming
a record in 2020 about the end of mankind, and All Souls
are a fitting band to do so. Lyrically introspective and
dark but often musically buoyant, All Souls will keep your
spirits up as the world finally explodes. Songs for the
End of the World is a tightly wound group of tracks with
crunchy and guitar and somber vocals from Antonio Aguilar
that often morph into sprawling waves of post-grunge strength.
Surrounding him is Erik Trammell, and the duo soar throughout
the record, but when their classic New York punk buzz meets
the abrasive force of drummer Tony Tornay and bassist Meg
Castellanos, songs like “Bleeding Out” and “Lights
Out” become gritty stories of those on the outside
and suffering. The latter includes the lyrics, “And
hats off now to Pedro, He’s working every day and
night, He runs for cover when ICE is outside with a light/
And hats off now to Mijo ‘Cause He’s 7 and he’s
in the can”. There is obviously a tremendous amount
of fodder right now for songs about those who have been
forgotten, but All Souls do not merely lament the brutality
of existence, but instead, bring these forlorn characters
to life. The opening “Sentimental Rehash” is
a jittery, over-caffeinated burst of uncompromising punk,
while “You Just Can’t Win” is less aggressive,
but no less evocative as the lyrics lambast those who turn
misguided frustrations into imaginary tales of victimhood
(“And on the tube at night your pundits remark bomb
them straight to hell and let God sort them out”).
The centerpiece of the record is the seven-minute opus,
“Winds”. Nearly symphonic in nature, the song
is an exploding star of a work that cannot help but leave
listeners stunned as waves of guitar intersect with pained
vocal intensity and low-end bellowing that harkens to Houses
of the Holy as much as it does Windhand. The sonic shifts
on “Bridge the Sun” capture the dexterity of
All Souls, as this is a band that creates passionate and
chilling music. Songs for the End of the World may be a
perfect time capsule for where were in 2020; let’s
hope we’re still here long enough to look back and
appreciate this.
 B
R I Q U E V I L L E - Quelle (Pelagic Records, pelagic-records.com)
Belgium has not been this brutal and punishing since their
treatment of the Congo. B R I Q U E V I L L E (yes, they
intentionally place spaces between each letter) plays hypnotic,
instrumental metal that moves faultlessly from crushing
riffs to deeply soothing soundscapes. The band earned a
permanent place in my heart before I ever heard a note after
I read about a 2014 caper of theirs: The guys buried twenty
copies of their debut album in the ground and gave Facebook
followers clues as to where to dig up the vinyl. Even if
this band did truly nothing following that stunt, their
staus as “cooler than anything your band ever thought
of doing” would be permanently cemented. On top of
all of this, the guys have been wearing masks on stage long
before it was trendy or mandated by government. Luckily
for all of us, B R I Q U E V I L L E pressed on and released
a follow-up in 2017. Now, three years later, the global
COVID-19 pandemic inspires this work of tortured majesty.
The songs on Quelle are quite lengthy, with “Akte
X” clocking in at over fourteen minutes. Blending
doom and black metal with ethereal waves, the band constructs
pieces with a jazz-like ability to alter tone and direction
quickly, leading to wildly unique and unpredictable journeys.
The opening “Akte VIII” and “Akte IX”
bleed into each other as if one continues effort, differentiated
slightly by “IX” dominated by mesmerizingly
crushing riffs. Do not be unnerved by the expansive quality
of “X”, as B R I Q U E V I L L E appreciates
the idea that songs do not require every second to be filled
with sound. The quiet accentuates the loud and the interludes
of tranquility only make the inevitable blasts of force
more intimidating. The songs are truly resplendent, as the
mysterious line-up lead the listener through a harrowing
labyrinth, emphasizing serenity that precedes darkness and
demonstrates the inarguable agility of the players. The
gloom of the record permeates the listener, as each song
acts less like a self-contained world but rather a portion
of a massive story. One can listen to Quelle and hear extreme
music evolving in real time, as “Akte XIII and XIV”
are equally haunting and inspiring, capturing a refined
dystopian beauty. Recorded in isolation with each member
truly distant from each other, the songs are amalgamations
of each contributor’s ideas, giving the finished work
a profound depth and complexity. It is challenging to find
much information about his band, but simply allow Quelle
to speak for itself, even without the presence of lyrics.
 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/)
So how exactly does one move from being members within an
adored doom metal band with an impressive twelve-year history
to a blustering, blues-metal machine? Apparently, it is a
fairly easy adaptation if you listen to Heathens and Prophets,
the rumbling mass of power from Pimmit Hills. This neck-snapping
four-song EP features the opening “Baby Blues Eyes”,
a track that retains all the force of classic metal accented
by a distinctive Southern rock boogie ultimately resulting
in hook-laden doom. While this may sound like a musical oxymoron,
Heathens and Prophets is a torrent of blues-soaked guitar
crunch from Todd Ingram, whose meaty riffs dominate each track,
and with each song over seven minutes in length, no one here
is cheated. When vocalist David Hammerly announces, “She’s
a whiskey drinkin’ temptress” on the aforementioned
“Baby Blue Eyes”, the line could work with artists
ranging from Chris Robinson to Toby Keith, but Hammerly makes
it all his own, and the guys around him generate seismic energy
on “Ginger”, led by drummer Brooks and bassist
Lee Walters III. Produced by J Robbins, Pimmit Hills sound
pristine and punishing throughout the mountainous efforts.
The meandering intro of “Lost River” glides along
in an effortlessly serpentine manner towards to soaring solo
that blends aspects of prog’s experimentalism and proto-metal’s
rugged humility. The closing “Beautiful Sadness”
sounds like a lost gem from the California Jams of the early
70s with its distortion-washed guitar and rolling low-end
swagger. There is a familiarity to what Pimmit Hills does
that makes them instantly embraceable, but yet their approach
to modern blues is also highly distinctive. Metal was the
devil’s spawn of the blues, but few bands truly embrace
the result of this unholy copulation with the style and finesse
of Pimmit Hills. I did not know much about King Giant, the
former outlet for these guys, but Pimmit Hills has me excited
for their future.
 BLACK
MAGNET - Hallucination Scene (www.20buckspin.com)
Black Magnet is a one-man industrial tour de force named James
Hammontree, and Hallucination Scene is a punishing eight-song
voyage of industrialized pain. The influences abound here,
and every act to whom Hammontree pays homage is among true
giants. The thunderous opener “Divination Equipment”
has a stomp reminiscent of Streetcleaner-era Godflesh, while
“Anubis” includes a dark ambient sensibility,
more akin to Front 242 or Ministry. Where Black Magnet truly
excels as a project is the ability for Hammontree to avoid
repetition in his work, as each song possesses a strong sense
of individuality. “Punishment Map” features a
dizzying bed of drum and bass under heavily distorted vocals
and significantly fuzzy guitar. Blending noise and brain-shaking
drumbeats, Hallucination Scene hits its apex on “Crush
Me”, a bleak slab of intensity with a chorus that is
the musical equivalent of a power drill to the skull. Refined
touches of DSBM are heard on “Hegemon”, while
the closing “Walking in the Dark” has subtleties
usually found in the work of Chemlab or Pigface. Furious but
not directionless, Black Magnet takes the rage of hardcore,
the despondency of metal, and the mechanized malfeasance of
industrial to produce a record that resonates with disgust
felt by and for humanity.
 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)
Joe Grillo and Ed McNamara, two veterans from a pair of brilliant
late 90s, early 2000s bands, Stricken for Catherine and Iris,
respectively, went on to lead Garrison, a seminal Boston area
outfit that were a stalwart, but fleeting, Revelation Records
act. Having worked with the likes of Kurt Ballou, Andrew Schneider
and J. Robbins, Garrison was an incredible, but tragically
underappreciated band. It is a little frightening that a band
from 2004 seems to be from another time and universe, but
Garrison’s hard-driving, guitar charged, proto post-hardcore
intensity shines through all twelve songs, but truly glows
for me on “New Habits for Old Friends” and “I’m
a Lover”. However, do not assume that all Garrison knew
how to do was throw musical haymakers; “We Watch the
World Come Down” has a huge hook that soars across a
majestic chorus, and their raucous take of the Smiths’
classic, “Panic” is a slice of furious perfection.
I had “hang the DJ” ringing in my head for hours
afterwards, and I could not be happier for it. Blending the
power of Unwound with the dexterity of Fugazi and just enough
harmony to spice it all up gloriously, Garrison roars on “King
of the Century” and “Let’s Fight”.
“Stand Up and State Your Name” is a ferocious
assault, but has rounded edges that provide a surprising injection
of melody within the cacophony of force. “Ego”
begins with nearly a minute of deliberately emerging noise
before hammering away with a thunderous low-end barrage and
powerful vocals. “Twenty-four” is from the band’s
first demo and is a raw blast of sinewy guitar work that was
a stirring example of what the band would do over the course
of eight years. I am so embarrassed to say that I missed out
on Garrison the first time around, but thrilled that I caught
up now.
 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)
The gentle opening “Dream Vacay” has touches of
Pery Ribeiro’s “Girl From Ipanema” and that
is more than appropriate, as Healing Potpourri sounds like
a band one discovers in a time capsule unearthed after decades
of quiet isolation. Breezy, psych-pop defines the beauty of
“Blanket of Calm”(including the lyric, “it’s
been a perfect day and it’s only one in the afternoon”)
and the sweeping innocence of “Think About Us”
captures early 70s rythyms with shocking authenticity. The
band hopes to create music that “has a feeling of comfort
and healing”, and one hears this proven true throughout
Blanket of Calm. The degree to which one enjoys this style
depends on how much value one places on serenity and wholesomeness.
While “Think” connotes images of the Brady Kids
or The Partridge family, such references may be lost on many
listeners. Ingesting the wistful love song “Laney”
(“I love reading her letters ‘cuz the curls calm
me down”), makes it amazing to consider that leader
Simi Sohota has dabbled in bands ranging from punk to black
metal. Any sense of aggression or fury is stripped away here,
leaving a collection of highly emotionally charged songs expressed
through poignant lyrics that paint vast pictures with minimum
verbiage. “Dustin’s Rain Tape” includes
references to a friend’s mom’s boyfriend wearing
camouflage, changing schools after third grade, and the serenity
of listening to the rain while drifting off to sleep. “Pieces”
features some of the of the darkest lyrics on the record,
(“pieces of my skin rip open, it’s happened again,
left feeling sore, don’t wanna think no more”),
yet it is set against a bossa nova musical bed that makes
even the deepest sorrow seem palatable. A similar vibe is
captured through the effulgent tones of the instrumental “La
Vida Tranquila”. A Blanket of Calm may be what many
of us need right now-it is a luxurious collection of eleven
fanciful songs that will not elevate a heart rate, but should
reduce stress.
 BETWEEN
THE RAIN – S/T (www.betweentherainband.com/)
Between The Rain is led by Detroit ex-pat Tim Donlon, and
his intense vocal delivery and burly guitar playing hit instantly
on “Mudroom”, the opening effort of the band’s
two-song EP. Donlon moved to Brooklyn after departing the
Motor City and he was fortu nate to meet bassist Victoria
Rothman who, along with drummer Roddy Merchant, delivers low-end
bombast on both efforts. While “Mudroom” maintains
a steady, driving structure, “Fox” features varied
tempos. Beginning quietly, the track flirts with hard rock
swagger but demonstrates an impressive restraint that makes
“Fox” more impactful. Scavenging grunge’s
darker corners, Between the Rain produce thinking man’s
rock without sacrificing energy for technical proficiency.
Both songs are expansive tableaus constructed by a trio that
sounds twice as large. This self-titled release acts as wonderful
appetizer, but I am hoping for a full course of this band’s
talents soon.
 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
Mike Kinsella has a hard-earned, sterling reputation as a
singer/songwriter, as anyone knows who is familiar with his
work, including Cap N’ Jazz, Joan of Arc, and American
Football. The Avalanche, his latest solo release, is a majestic
and stirring collection of heart-wrenching songs laced with
Kinsella’s cutting self-deprecating wit. “I have
a reputation of fucking up to uphold”, he announces
on “One with the Show”, and when one listens to
stunningly beautiful expanse of The Avalanche, it is obvious
that nothing is farther from the truth. The songs are perfect
in their haunting nature with precise plays on words. On “The
Contours”, Kinsella’s luxurious delivery tells
the story of heartbreak and the frustration of never quite
getting over it. He acknowledges that he is in therapy but
notes, “Turns out all the answers are just questions”.
“Wanting/Willing” features my favorite line of
the record, when Kinsella contemplates, “I’m not
sure if I’m funny or a joke” as gentile acoustic
guitar glides sinuously behind him. Again working with Sean
Carey and Zach Hanson, Kinsella creates music that is intimate
and fragile, yet still overwhelming with its emotional depth.
The biting “Mom and Dead” includes lush accompanying
vocals from KC Dalager, and “I Should Have Known”
is a breathtaking work of self-reflection and profound sorrow.
(“Objects in the rear view mirror/ closer than they
appear/ except for you, my dear”) At times, emotionally
taxing, The Avalanche is a record of insightful, candid work
that allows Mike Kinsella’s gifts as a songwriter to
shine brightly.
 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)
Nick Manske is the driving force behind Seer Believer, and
Bent places a new spin on indie pop by merging some of the
genre’s finest qualities into a deeply emotional ride
over the course of nine personal tracks. The opening “Hard”
is one of a few efforts dealing with love and loss, as Manske
laments, “It’s been five years now, you should
know I’m not look at anyone else” as hazy guitar
hovers overhead. “On God” is an excruciatingly
beautiful ode to Manske’s brother, detailing his sibling’s
final moments and the singer/guitarist’s feelings of
loss and guilt. (“I know I should have been there for
you but I thought it wasn’t your time to move on”)
Reminiscent of Radiohead’s sneaky sense of melody woven
with more complex structures, “On God” enfolds
the listener, and it is impossible to not share in Manske’s
pain. The honesty and raw candor of the lyrics make these
songs remarkably powerful; as obtuse riffs barrel through
“So Much Like Perfect”, Manske works through his
own suffering when he asks, “Why did I ever let go of
you?”, only to realize the answer in the very next line,
“I guess the drugs they told me to”. By opening
“Breaking In” with delicate piano, the song seems
all the more massive in scope when Charlie O’Brien’s
drums kick in and the song’s tale of chemical abuse
takes on a greater poignancy. “Day 1” is another
effort that manipulates a loud/quiet dynamic with masterful
precision with Manske’s emotive vocals perfectly matching
the ebb and flow of the musical intensity. “Love Much”
adds a bit more noise to the angular guitar riffs that tears
through the heart of the song, while a pronounced bass line
is given more room to rattle the listener. Many of these tales
include sentiments of regret and even embarrassment for Manske,
as he lives with a perception (either real or imagined) that
he has significantly let down so many about whom he cares,
and “Love Much” details a person who may be beyond
saving, but still Manske wrestles with his feelings of distress.
(“I looked away so ashamed, I knew he needed my protection”)
The dreamy beauty of “Stuck Inside” masks the
dark truth about failed relationships explored by the song,
and this juxtaposition of ugly truths told through beautiful
music makes Bent a stirring listen.
 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
The Lows love rock n roll, as in classic, huge guitars with
even larger hooks type of rock n roll. It should not come
as a surprise, as the five piece calls Detroit is home, and
the heavy low end and thick riffs have a metallic edge made
famous by that city. “Road Trippin’” is
a hard-hitting, blues-drenched ode to living hard and without
fear. Saturated in distortion, the song harkens back to grunge-inspired
metal without actually crossing over into that genre. Do not
be scared away when reading about this band’s opening
slots for acts like Candlebox or Puddle of Mudd; the Lows
are not the newest imitation of 1993’s model; instead,
Angelo Coppala look to bring back a grittiness to guitar rock
that is sorely missing. Nothing about this band is airy or
ethereal, even when they try their collective hand at a more
conventional mid-tempo single with “Love Will Find a
Way”. The distortion pedal gets another exhaustive workout
on “Purple”, a soaring explosion of guitar finesse
compliments of Brandon McNall and Nick Behnan, but the guys
truly lock in as one growling machine on “Wake Up”.
An appropriate call to arms for modern rock, the song is an
explosive barrage of blunt force as Coppala” screams,
“You gotta wake up” as if he is singlehandedly
attempt to rouse the world from a state of somnambulism as
drummer Duane Hewins and bassist Johnny “Wolf”
Abel flair with the same controlled chaos as their guitarists
brothers in arms. What I admire about The Lows is they simply
want to make aggressive noise that stays with the listener
after the songs end, and “”Morning Light”
and “Let It Go” are additional examples of a band
that has found its path and is refining it to perfection.
This is arena rock energy without superfluous bravado; simply
stated, it is rock for rock fans. Blending sleaze with enough
grime and groove to kill COVID-19, The Lows are ready to launch
Detroit through yet another musical resurrection.
 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)
Kramer is a name known throughout the punk and post-punk world
dating back to the late 1970s, but many became familiar with
him trough his seminal work managing and developing the Shimmy
Disc label. Now, entering his sixth decade of musical influence,
he has joined Joyful Noise as their Artist in Residence, a
position that will see Kramer release a staggering five records
this year (!), he has announced plans to resurrect Shimmy
Disc, and released Songs We Sang in Our Dreams, a majestic
collection of serene beauty under the moniker of Let It Come
Down. Joining forces with Xan Tyler, a woman, who fittingly
Kramer has noted “hearing her voice in my dreams”,
the songs on Dreams are just that-subconscious visions brought
to life through warm, poignant vocals and stirring playing.
The songs, like dreams, range from lucid to hazy, easily graspable
to complex, and the interweaving of Kramer’s musicianship
and Tyler’s voice makes the entire collection an impactful
listen. The aboriginal tone to the opening “Moonlight”
establishes a mood that Kramer and Tyler carry through the
rest of the record. While each song is distinct in style and
substance, there is a commonality that weaves through this
immaculate musical mosaic. Precise and delicate acoustic playing
surrounds Tyler’s angelic vocals. “Forget”
opens with a Beatles-esque vibe, blending rich pop hooks and
subtle psychedelia to create a theatrical experience in barely
four minutes. The one-two combination of the stirring “Vicky”
and the sensual “Fingers” (“I love to rub
my fingers through your hair as you come and go”) are
the literal and metaphorical centerpieces of a dazzling collection
of songs which also include unique, fleeting interludes of
jazzy, spoken word, piano-kissed, weirdness (“One Moon”,
“Two Dreams”, “Three Wishes”, and
the closing “Four Hands”). The ethereal romance
of “Uh-Oh” embodies the overwhelming ecstasy of
a relationship so many wish they could have. (“Is this
too much love? Is this too much for you? Is it clouding the
sun? Or does it warm?” and “It was freezing outside/to
keep myself warm inside, I think of you”). Talents such
as Kramer are rare, and this release is ideal for both the
well versed and those new to his genius.
 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)
Mark Lanegan is most known for his work in Screaming Trees,
but that band broke up twenty years ago, and over the course
of the past two decades, Lanegan has created a remarkable
and varied collection of unique solo work. “I Wouldn’t
Want to Say” vibrates through a rich, experimental sound
with mechanized vocals and a drum n’ bass style musical
bed that quickly introduces a record of varied and profoundly
personal songs. My favorite track here is “Internal
Hourglass Discussion” which has similarities to the
opener, but with a darker, trance style that is richly enjoyable.
“Apples From a Tree” and “This Game of Love”
are both delicate and immaculate in tone, with Mark Morton
of Lamb of God contributing his skills on the former and Morton
is heard again on the equally beautiful “Hanging On
for DRC”. The latter is a heartfelt ode to Dylan Carlson
of Erath, another potential casualty of the drug-addled 90s
and early 00’s, but like Lanegan, survived (“We
should be gone/you and me still hanging on”). “Ketamine”
possesses a similar nature, with poignant and emotionally
penetrating lyrics (“Give me some Ketamine so I can
feel alright/to hide my true dark nature/to keep it out of
sight”). “Bleed All Over” contains a dance
groove that is not as robotic as “I Wouldn’t Want
to Say”, but with its astral vibes, the song resonates
with a distinctive synth-pop sentiment. When Lanegan is not
generating wildly creative and hypnotic anthems, the other
side of Straight Songs of Sorrow is quite refined. Wistful
guitar wafts throughout “Stockholm City Blues”
(“I paid for this pain I put into my blood”) accompanied
by haunting strings, and “Daylight” has an ethereal
drone that is interrupted by sudden guitar rumbles that will
violently shake anyone from rest. “Dying Rover”
features a guest spot from Zeppelin’s John Paul Jones
and includes the confession, “I’m just a sick,
sick, man”. Regardless of the critical and self-flagellating
view Lanegan takes of himself, it is impossible to not be
swept up in his ability to bare the frequent ugliness of his
own past, for he does so with both an unflinching honesty
and a keen appreciation of just how fortunate he is. When
he admits, “You could never tell me that enough’s
enough” on “Stockholm City Blues”, Lanegan
reflects back with a despondent clarity that comes through
maturity but also when one looks around to see many of his
friends are no longer alive. This is evocative music, particularly
when Lanegan strips away the electronics and allows the listener
to crawl inside his voice and truly feel the pain being (hopefully)
exorcised. Always a talented writer, Lanegan takes listeners
deep into emotions and situations few will ever find themselves
and does so with limited words; his phrasing is often truncated
and therefore more cutting. This may not cheer people up while
they are stuck inside with their families, but if one can
find time to slip away, Straight Songs of Sorrow marks the
passage of time, the agony of self-inflicted wounds, but also
the power of redemption and the resiliency to persevere.
 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)
I was introduced to the voracious punk spirit of Protagonist
five years ago, and I am very happy to hear of their return
in 2019 with a trio of pugnacious singles. In 2020, the band
brings Fallout From the Chronicle, a retrospective of sorts
that has the band looking back upon the era of their blazing
2009 release, The Chronicle. The opening three efforts are
the aforementioned 2019 singles, but the origin stories of
these songs date back to 2007. The explosive power of “The
Killing Fields” is a punishing blast of hardcore intensity
and impassioned vocals, accented by slightly ska-like breakdowns.
The song is, fittingly, homage to looking back upon simpler
times, embodied by the closing words, “I wish I was
five again/sitting back on the grass/staring at the sun, a
smile on my face/without a care in the world”. While
“Generation Lost” begins with benign piano, it
abruptly shifts gears into a shredding declaration of lost
faith (“we do not have your answers”). “Reasoning
With Time”, the briefest of the bunch, is a driving
yet richly harmonious work that keeps the angst in the forefront
but also possesses a melody that one cannot ignore. In addition
to scalding originals, Protagonist places their own spin on
a classic from two Philly heavyweights Violent Society (“Totally
Fucked”) and three tracks from The Boils (“Dependent”,
“Paper Dolls”, and “Gone Dead, and Buried”).
Acoustic versions of “Iamtheghost” and “Charge”
revel the depth of the band and their expert marksmanship
as musicians, as each song is equally poignant with thematic
similarities. Fallout From the Chronicle is both a retrospective
on what once was and a celebration of the present and what
is; however, regardless of the ages of the material, it is
great to have Protagonist back.
 THE
NEW REGIME - Heart Mind Body and Soul (Another Century/Sony
Records www.sonymusic.com)
Ilan Rubin performed at Woodstock ’99 at age eleven
and has never looked back, continuing to provide his drumming
precision to Nine Inch Nails, Paramore, and Beck among many
others. As The New Regime, Rubin plays every instrument and
does so with nearly terrifying ease, moving from NIN-style
dark ambience on “Destructive Patterns” to arena-rock
vocal harmonies on “Surreal Disasters”. Along
the path of these two extremes, one is treated to richly harmonized
songs that could even make me dance, namely “Feel No
Pain” and the title track. Rubin explores a multitude
of styles on Heart Mind Body and Soul, from the haunting and
poignant acoustic driven, “She Had Me Wrong” to
the anthemic alterna-rock of “I’ll Never Let You
Let Me Down” and “It’s Gonna Be Ok”.
It is on these aforementioned latter efforts where Rubin truly
astounds, as he blends the warmth of Muse and the hook-laded
components of Thirty Seconds to Mars into a swirling mass
of sound that has mass appeal. The chorus of “Surreal
Disasters” is a musical earwig as Rubin’s voice
soars and balances aggressive guitar playing and sensitive
lyrics with deft ability. The overwhelming majority of the
songs have a likability factor reflective of bands that could
play a Super Bowl halftime without selling their souls, and
for that alone, one must pay immense tribute to Rubin’s
extraordinary faculties. Released in three separate segments,
Heart Mind Body and Soul has distinctive personality shifts
throughout, but there remains cohesion of raw emotion and
vulnerability that unifies the sixteen songs. The soft, wistful
“Tell Me What You Want” exists perfectly along
side the Trent Reznor influenced, synth rage of “Turning
a Blind Eye” as both songs are wholly reflective of
Rubin’s passionate songwriting. Twenty-one years after
opening Woodstock ’99, Ilan Rubin is still dazzling
people.
 SCREECHING
WEASEL - Some Freak of Atavism (Monona Records)
Atavism, by definition, is to revert to an ancestral action
or quality, and one can say that Ben Weasel does just that
here. This is not a concept record or anything esoteric; instead,
SW returns to what the band is always best at doing, which
is of course, snarky, pop-slurped punk songs about love, frustration,
and the general stupidity one finds in life. The opening “She’s
Not Your Baby” is a MXPX-esque warning to would-be controlling
tough guys out there as Ben instructs, “She’s
not your baby, little man” if “this is the one
you want to marry”. Naturally, to some, this will be
Ben Weasel lecturing about how to treat women which may arouse
some angst, but all I know is this record is a declaration
that Screeching Wesel wants to once again hold a master class
in pop-punk brilliance. While there are some speedy, quick
hits like the rambunctious “Brain in a Jar” and
the rockabilly feel of “Problematic”, Some Freaks
of Atavism also contains “Bleed Through Me”, a
four minute, hard driving effort with a big chorus and rollicking
guitar. Failing at love remains a central theme of Ben’s
life as “Crying Shame” captures Joe Queer’s
aura (“That ain’t nothing but a wedding ring/
a piece of metal on your finger/no one cares”) and “Never
Been in Love” which may either be a song of regret or
boasting (“I’ve never been in love/I haven’t
got the time or inclination”). At their core, Screeching
Weasel has always been able to offset punk’s energy
with an injection of harmonies to soften the edges without
falling into a sugary abyss, and “To Hell With You”
and “Dead By Dawn” are the finest examples of
this skill. I was truly hoping that the latter was a Deicide
cover, but when Ben declares, “tonight I’ll swallow
your soul”, one hears a subtle nod to the legendary
Evil Dead II. The lanky kid who made BoogadaBoogadaBoogada
over thirty years ago may have grown up, declaring himself
a “twenty-first century man” in “God Help
Us”, but the fundamental instincts of Screeching Weasel
return triumphantly on Some Freaks of Atavism, and we are
the beneficiaries.
 WITCHSKULL
- A Driftwood Cross (Rise Above Records www.riseabovereords.com)
I will happily admit that when a band called Witchskull lands
in my inbox and the opening track is a CTE-causing blast of
rumbling sludge and psychedelic metallic riffs called “Black
Cathedrals”, I am instantly transported back to middle
school when pentagrams, backwards messages, and the symbolism
supposedly found on the covers of Ozzy records had me heart
and soul. This entire record brings me pure happiness, and
if this quarantine never lifts, at least I can go insane listening
to one of most glorious metal records I have heard in a long
while. The thunderous nature of the opener is merely an appetizer
for the darkness one hears from this bombastic Australian
trio. Yes, the Sabbath influences are obvious and plentiful,
such the menacing gallop of “Nero Order”, but
the groove of “Baphomet’s Child” cannot
be merely imitated by listening to Vol.4 on repeat; there
is a purity to what these guys do that makes them more than
a collection of heavily bearded (two-thirds of the band, anyway)
veterans yearning for the 70s. Guitarist/vocalist Marcus De
Pasquale has a vocal delivery as distinct and dominant as
his guitar playing, most prominently heard on the lumbering
juggernaut, “The Silent Place”, while bassist
Tony McMahon simply devastates people on both “Black
Cathedrals” and the tsunami of blunt musical force that
is “The Red Altar”. Collectively, Witchskull prove
that speed and ferocity does not always translate into truly
heavy music, for the scream that announces the chillingly
fierce hook of “Nero Order” will keep listeners
up at night. “The Red Altar” is a monolith of
a song moving at a glacial pace that allows the listener to
hear each bone shatter and ultimately smell their own rotting
body before finally succumbing to the pain. The fury of each
song is held together by the perfect time keeping of drummer
Joel Green, who spent time in Australia’s legendary
speed metal beasts, Armoured Angel from the late eighties
into the mid-nineties, and his pounding strength impels the
speedier, deflagrated nature of “Dresden”. Sleep-meets-Cathedral
style stoner rock dominates the ironically warm tone of “March
of Winter”. The closing title track is a towering wall
of fuzz-out force that envelopes all in its way through a
sinewy song structure and obstreperous concluding two minutes.
Bang the head that does not bang while listening to this,
but if that does not seem like fun, have a couple of edibles
and watch to see where Witchskull’s journey takes you.
 (D)JURET
- De Få Som Kan Se (sv-se.facebook.com/djuretpunk)
Literally translating to “animal” in Swedish,
Djuret is a very different type of punk animal. The music
is everything one would want in a punk act-the songs are aggressive,
fueled by huge guitars, and have a plethora of gang vocals.
However, there are instantly noticeable differences about
this band that extends far beyond the Swedish language delivery.
The work of Djuret are anthemic and fleshed out in a manner
that separates De Få Som Kan Se from other punk works.
“Trîtt” contains pummeling drums compliments
of Könas and an abundance of sing along segments that
have the resounding energy of a crazed soccer stadium due
to the combined vocals of Förman Fred, Trädgårdslyktan,
and Martin Sven Martinsson, the last of whom also delivers
spoken word to the opening “Tellus Ab” without
sounding the least pretentious. “Piller” has a
ska-style breakdown peppered by precise injections of guitar
noise while still surrounded by chorale vocals and stirring
guitar from Fed. Additional percussion and synth touches are
added by Ämil Hednamannen and Dolph, respectively, and
nothing done here seems out of place. The alternative version
of “Piller” blends aspects of folk, punk, and
even the symphonic dissidence of Scandinavian black metal
into a nine minute, richly tumultuous, aural stew. This is
guaranteed one of the most unique releases of the year as
multiple art forms collide in a fascinating experiment that
shatters expectations and ignores traditional boundaries.
 THE
DREAM SYNDICATE - The Universe Inside (Anti Records, www.anti.com)
I am always intrigued by bands that play their music in a
fearless manner; often, this means that these artists create
music that dare the listener to stay with them, challenging
the traditional constructs of what songs should be. The Dream
Syndicate certainly throw down the proverbial gauntlet on
the twenty-minute opener, “The Regulator”, setting
the stage for a swirling, exhilarating journey through five
expansive works of musical brilliance. While the band first
raised eyebrows and generated confused gazes from those ill
prepared for their musical visions in the early 80s, Steve
Wynn and longtime counterparts, Dennis Duck and Mark Walton
will certainly have The Universe Inside met with furrowed
brows and gaping mouths. Despite only containing five songs,
The Dream Syndicate treats listeners to roughly an hour of
music that is highly non-conventional and yet traditional,
psychedelic and still grounded. The luxuriant soundscapes
that define “The Regulator” are created through
sinuous musicianship, led by the indomitable Steve Wynn, but
it is the accompaniment of saxophonist Marcus Tenney and sitar
from Stephen McCarthy that make the song such a treasure.
Blending Eastern flavoring with soaring electronic jazz and
controlled experimentalism, the song is a complete listening
experience more than a singular song. The title track is a
fittingly morose effort, moving with greater deliberation
driven by restrained noise compliments of Wynn’s guitar
and his soulful vocals. The subtle alto sax woven so beautifully
within the effort gives the song a sensuality and profound
emotional power. “Apropos of Nothing” features
a more conventional arrangement, but even here, The Dream
Syndicate plays with the parameters of pop by infusing subdued
dissonance and ambient touches into the song’s vast
expanse. With dashing sax work, a jazz-funk bass line, Latin
American-inspired percussion, and a serpentine nature that
hurdles towards a noisy crescendo before calming its nerves
once again, “Dusting Off the Rust” is reminiscent
of Miles Davis’ most brazen and inspired moments on
Bitches Brew. The Dream Syndicate is a band of visionaries
and virtuosos, two adjectives one hears too infrequently today.
The Universe Inside is just that; a cosmic, sprawling demonstration
of lush poetic beauty. After nearly fifty minutes of extraordinary
playing, I am saddened to come to final effort, “The
Slowest Rendition”. Gentle and celestial, kissed by
elegant sax work and Wynn’s Lou Reed-esque spoken lyrics,
the closer is a tender farewell to a record of exquisite grandeur.
It will difficult to be moved more profoundly by another work
this year.
 STRFKR
- Future Past Life (Polyvinyl Records www.polyvinyl.com)
Strfkr, the labor of love from Josh Hodges with the delightfully
cheeky moniker, returns with more airy pop sweetness. The
record has a winding narrative in regards to its creation,
as Hodges collaborated with Mathias Janmat and David Hoogerheide,
two strangers who became friends while Hodges was in Amsterdam.
The pair was introduced to Hodges through a mutual acquaintance
who happened to be staying Hodges pace while the singer was
in Amsterdam. Once back home in the States, Hodges took the
ideas and skeletal songs structures to bandmates Shawn Glassford
and Keil Corcoran, and the result in Future Past Life, a collection
of danceable, disco-esque dance pop with a tangible Euro flair.
However, while keys float across songs like “Never the
Same” and “Second Hand” like apparitions
in the one room in the house the previous owners never told
you about, the band also demonstrates how acoustic guitars
were the building blocks for these songs. The duo of “Better
Together” and “Budapest” (the latter featuring
fellow Polyvinyl pals Shy Boys) has far more pronounced guitar
playing and the keys act as accompaniment. What makes this
record work is that each song, regardless of form or tone,
works and ultimately succeeds in its goal of creating infectious,
albeit sugary, dance music with just enough atmospheric touches
to provide Strfkr with an instantly distinctive sound, as
if the Pet Shop Boys hung out MGMT. The fragile “Palm
Reader” comes and flees quickly as Hodges chokes out
the fading message of “just be honest with yourself”
around minimalist playing that acts a powerful departure from
the upbeat tempos that dominate the record. The band provides
an intriguing paradox of sentimental, and at times profoundly
meaningful, lyrics wrapped around silky compositions with
a production quality that results in a dazzling sheen, best
heard on tracks like “Dear Stranger” and “Sea
Foam”. “Pink Noise” flirts with shoegaze
and softened noise, but still retains a cheerful keyboard
riff as the centerpiece, proving that the band takes chances
but does not sacrifice their true mission. “Cold Comfort”
concludes the record on a false cloud of serenity, for th
ere is a highly uneasy nature to the song as the keys sound
more ominous than relaxing and the understating loop of noise
offers a inescapable feeling of claustrophobia. This final
effort was my favorite of the bunch as Strfkr moved away from
blissful keys and tuned them down to create musical anxiety.
The uncomfortable atmosphere remains after the song fades,
and illustrates to me how Strfkr can offer a wide array of
musical options to an equally diverse audience.
 THE
BLACK WATCH - Brilliant Failures (A Turntable Friend Records
www.aturntablefriendrecords.com)
This is the eighteenth (!) record from The Black Watch and
I have no idea how I missed the first seventeen, but Brilliant
Failures is a fine introduction to this band if you are like
me and have apparently lived under a large rock for the past
two decades. The Black Watch’s sound is a largely dreamy
approach to lush pop songs hugged tightly in the arms of jangly
guitars and soulful vocals compliments of John Andrew Frederick,
who also happens to be a professor of film and literature.
The title track includes the line, “all you’ve
ever known is brilliant failures”, and despite the use
of the term “failures”, there is still a positive
quality to the phrasing, solidifying the belief that one learns
best from the missteps in life. The ability to find hope in
the midst of despair reflects the musical beauty of Brilliant
Failures in general, as The Black Watch examines a wide array
of pop sensibilities here. “Twisted Thinking”
sounds as if the Replacements decided to quarantine themselves
for a year with only the Smiths catalog for companionship,
while “Crying all the Time!” has a rougher approach
that is more aggressive than its counterparts, but still fits
majestically within the expansive ocean of sound one hears
within. The songs are breezy, often ethereal slices of precisely
detailed anthems of profound emotion, best heard on the trippy
pop aesthetics of “Red Dwarf Star” and the late
80s/ MTV’s “120 Minutes”-era characteristics
of “Mind You Know”, a song that also includes
my favorite lyrics of 2020 (“Being happy isn’t
easy/It isn’t easy being happy”). “Hodophobia”
has a soaring energy that accompanies its hazy vocals and
folk-pop structure, accented by gentle waves of guitar, while
“One Hundred Million Times Around the Sun” somehow
possesses both a dusty stomp and a pristine serenity. A similar
tone is heard on “What I Think”, a song that throbs
along at a bristling pace matched by immaculate production
and a strong delivery. “The Personal Statement”
has a despondent beauty as Frederick captures Robert Smith’s
poetic melancholy with hints of psychedelic qualities. There
is a nearly limitless amount of aspects to love about this
record; it looks like I have a lot of music to catch up on
concerning The Black Watch.
 FIRE
IN THE RADIO - Monuments (fireintheradio.bandcamp.com/)
The third release from the Philly-based four-piece radiates
energy from the opening blast of “Let’s Get to
the Start”. Each song is a controlled explosion of guitar-driven
indie rock goodness with just a pinch of pop sweetness and
cleaver lyrics (“gravity has always pulled me down”
from “Gravity”). Japandroids’ Jesse Gander
handles the production of Monuments that offers a bit of insight
into the flawless constructs of Fire in the Radio. Each instruments
shines and shimmies with infectious hooks, and the band meshes
rythym driven alterna-punk with rich harmonies, particularly
the glimmering “Rewind”. Monuments brought me
back to the 90s as memories of Ned’s Atomic Dustbin,
the Doughboys, and Manic Street Preachers came flooding back;
however, Fire in the Radio take that foundation and injects
a modern kick in the vein of bands like Beach Slang and Surfer
Blood. With each track hovering around three and a half minutes,
Fire in the Radio never wear out their welcome or overuse
an idea; in fact, efforts such as “I Said” and
“Breaking” leaves the listener desperately wanting
more. The stampeding “Ex-SF” proves that the band
has the capacity to rattle some walls as they tap into a Jawbreaker-style
vibe, and the song’s intensity is magnified by its juxtaposition
with the more sullen “This is My Document”. “Sing,
Sang, Sung” is a classic break-up song with the cutting
line, “Will you miss me when I’m gone/You say
we will move on”. I adore this, and Fire in the Radio
perfectly embodies the potency of the golden era of indie
rock and play with outstanding talent. This will cheer people
up as we all attempt to figure out how to exist within the
confines of our homes.
 LOST
ROMANCE - Strum It Again (lostromance.bandcamp.com)
The ability to play truly effective power indie-pop is a fine
art and one hears a great representation of this style on
Strum It Again from New Brunswick’s Lost Romance. Each
of the eight songs are rollicking, guitar-fueled anthems about
broken hearts, frustrations, and yes, lost romance, but nothing
about them is formulaic. Instead, guitarist and vocalist Gerry
Perlinski has complete control over his voice and never pushes
himself beyond his boundaries, thus keeping the songs neat
packages of well-constructed, grounded rock n’ roll.
There is an authenticity to this that cannot be forged, and
efforts such as “Heart On a Wire” and “Turn
Away” bash away with forthright energy. When Perlinksi
says, “It tears you apart from the inside” on
the aforementioned “Heart”, one also hears an
indomitable rythym section of bassist Dan Haag and drummer
Mohamed Amine Smires. This roaring pair provides ample muscle
throughout the record. While the songs may address affairs
of the heart that lean towards one’s sensitive side,
the stories of emotional pain are contrasted with a smash
and grab musical philosophy that highlight the poignant “Come
Down” and the gritty rumble of “I Want You”.
The fuzzed-out tone of “State I’m In” takes
me back to mid-90s college rock with a distinctive Archers
of Loaf vibe, while “Face to Face” is a slickly
delivered slab of jaunty guitar pop, and when the refrain
of “let’s go!” hits, it is impossible to
not get fired up and sing along, even if you are currently
locked away in an effort to escape a global pandemic. A positive
energy permeates Strum It Again that is uplifting and fun
without minimizing the band’s ability to also grab listeners
by the shoulders and shake them. Lost Romance borrows from
successful formulas of the past but delivers those ideas through
their own distinct lens.
 THE
GUNGANS - Meesa Meesa Meesa (thegungans.bandcamp.com)
For those of you who are too young, too cool, or too scarred
to remember, the title of the Gungans release is a reference
to infamous Star Wars character Jar Jar Binks, who was a member
of the Gungan species. His role in the Star Wars prequels
and the irreconcilable damage wrought by this CGI nightmare
should be saved for another time (or revisited by traveling
back in time about twenty years), but what cannot be denied
is the delightful madness of Grim Deeds, the mastermind behind
this side project. As a man who has written songs on topics
ranging from divorce to public suicide to a eulogy of Oderus
Urungus from GWAR, and even co-wrote and recorded “So
Listen, Ben” with a certain Jersey-based fanzine editor,
it is not a surprise that he would attach his skills to a
culturally maligned, albeit highly acrobatic, side-kick from
possibly Lucasfilms’ lowest moment; I only add the caveat
“possibly” because the interaction between Natalie
Portman and Hayden Christiansen may still be worse. Still,
“I Love Jar Jar Binks” is only one song. For the
rest of the album, we’re treated to ten rapid-fire,
easily memorized blast of sugary, punk-pop heaven. Every song
is equally great, but there are some that are more equally
great then others. Screeching Weasel/Mr. T Experience riffs
run rampant throughout Meesa Meesa Meesa, but particularly
buoyant rhythms and appropriately light-hearted backing vocals
highlight “Action Figure Collection” and “He’s
a Brony”, a loving homage to that distinctive slice
of male humanity “obsessed with My Little Pony.”
“I Love Jar Jar Binks” wraps itself around a tightly
wound riff and a lyrics of true independent thought by declaring
“I don’t really care what anyone else thinks/I
Love Jar Jar Binks”, and is followed by the delightfully
goofy “I Want to be Japanese” (“I want to
read more manga everyday”), a track similar in tone
and tempo. The Gungans pick up speed for the closing trio
of tracks, particularly the Ramones/Queers surf-punk vibe
of “I’m a Cretin” and “Laptop Punk”,
a song that acknowledges that as “a middle-aged dad”
with a “real day job”, it can be tough to be in
band, so just Grim has to accept the fact that it is cool
to “have fun just writing songs at home”, even
if he does so with a “hand me down iPad”. Grim
Deeds possesses an ability to both celebrate and properly
mock the importance of pop culture and his talents shine brightly
once again with The Gungans.
 MAYFLOWER
MADAME - Prepare for a Nightmare (Only Lovers records www.onlyloversrecords.com)
Oslo’s Mayflower Madame introduce themselves perfectly
with the opening chords of “Prepare for a Nightmare,”
as coarse, haunting tones instantly transport listeners back
to the nuanced dark wave of Joy Division, Sisters of Mercy,
and Red Lorry Yellow Lorry. Trond Fagernes has a voice reminiscent
of Peter Murphy as he emotes his lyrics with a sense of controlled
torment on “Vultures” when he states, “I’m
cynical, I’m sick of it all, how did it come to this?”
as atmospheric keys from Kenneth Eknes float around his words.
A steady, low throb is the fuel for the vast majority of the
work here, including the stunning, mid-tempo trauma, “Swallow”
(“When you see me tremble at the end of the rope/When
you see me stumble at the sight of hope”). The band’s
crescendo may be the highly apropos “Ludwig Meidner”,
as the song’s stifling nature is reflective of the menacingly
tense work created by the legendary Expressionist, with Fagernes’
repeating the ominous line, “I’ll be dancing on
your grave”. The band began rehearing in a nearly abandoned
industrial building, and one can hear the emptiness and despondency
of such conditions throughout the record. The circuitous nature
of “Never Turning (In Time)” surrounds the listen
with a blanket of suffering and impenitency (“You’re
my favorite time to kill/the last flight before my body dies”),
an aura also felt on “Sacred Core”. The latter
includes a shoegaze pace and ambient vacuity with a terrifying
promise from Fagernes, “I’ll get you back at whatever
cost”. Mayflower Madame proves that there is beauty
in terror and majesty in discomfort; the band never allows
the listener to relax, for this is music to be experienced
more than simply enjoyed. The songs penetrate those who hear
it as brief streaks of guitar delivered by both Fagernes and
Håvard Haga intermittently scorch the air, ethereal
keys and evocative poetry permeate the atmosphere, and exist
to be repeatedly played, analyzed, debated, and the meanings
about which will likely never be fully agreed. “Goldmine”
is a tale of embittered romanticism (“I gave my heart
away to an endless charade…I caught you stealing from
my goldmine”) played with just a hint of greater pop
efficacy, while “A Future Promise” includes a
nuanced hook and places Fagernes on the outside of the action.
He is the omniscient narrator here, noting how “she’s
sick of giving in/she’s got no patience, she just wants
to win”, taking listeners through the tale of one woman’s
desire to break free of a failed “romantic notion”.
Depending on one’s outlook on life, this could be either
the best or very worst band in the world with whom to self-quarantine
right now, but personally, this will help me fight through
the current pandemic. A band like Mayflower Madame only intensifies
my hatred of this virus, for I want this band able to travel
to the States and bring their poetic destruction to fans here
in a live setting. Indefinably lush, gorgeous, and profoundly
moving, Mayflower Madame reinforces all of my cynicism about
romance and relationships in one glorious ten-song collection.
 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)
The Carvels NYC, one of America’s great treasures, return
with three more blues-drenched explosions of swinging, punk-inspired
rock n’ roll. With their focus on rollicking guitar,
wailing saxophone, and Lynne Von Pang’s distinctly powerful
voice, Carvels NYC sound like a band from a different era
but are urgently needed now. The title track of the Late Night
Heart EP invokes images of clean-cut kids dancing on American
Bandstand with its 50s doo-wop structure and clever metaphorical
lyrics, but it still hits with an undeniable ferocity due
to the always steady playing of drummer Steve Pang. The same
holds true for “Bitter Pill”, a dirtier sounding
effort in which von Pang brazenly addresses the failure of
a relationship and refuses to apologize for anything by noting,
“I am a bitter pill/ that got caught in your throat”.
Danny Ray provides flawless sax work throughout each effort,
and he plays with an intensity that provides both swirling
blasts of force but also a soulful depth as well, reminiscent
of Fear’s angst-riddled “New York’s Alright
if you Like Saxophones”. “Out in the Streets”
is the most conventional track of the three, as the song steamrolls
along with von Pang perhaps never sounding more dulcet in
her vocal delivery and guitarist Brian Morgan given a greater
chance to shine. A wondrous addition to the band is former
King Missile bassist RB Korbet, as her backing vocals are
noticeable across the trio of tracks, but perhaps more prominently
on the closing “Streets”. The Carvels NYC craft
another flawless collection of musical enchantments; from
song configuration to attitude to production, the "Late
Night Heart" EP is a delight.
 SUNTITLE
- "Pure Forever" EP (Know Hope Records)
This South Jersey outfit have refined their skills over the
past year or so with a seemingly endless string of opening
slots for big name acts (Knuckle Puck, Set It Off, X Ambassadors),
and that work led to the creation of a stirring four song
EP in the form of "Pure Forever." The opening “Big
Jawn” is a kick to the teeth of guitar force that breathlessly
meshes into a dreamy, shoe-gaze track accented by powerful
drumming and impassioned vocals. “Squirrel Hill”
adopts a similar sensibility with Joe McGarvey and Kyle Fisher’s
heavily distorted, droning guitar majestically interwoven
with powerful vocals (“Sorry that I’m not sober/Just
for a minute/II guess I missed it”) and understated
low-end prowess from Peter Bariexca and drummer Dan Mattera.
The fleeting title track is the most unique piece of the four,
as minimalist playing wafts elegantly past the listener as
McGarvey asks the poignant question of “Why can’t
I be pure forever?”. The band returns to a classic 90s
alterna-vibe on the closing “Milligram” as Suntitle
blends start/stop symmetry with intensified singing, a massive
hook, and a richer grove. The song is deceptively heavy and
truly stands out following the subdued quiet of “Pure
Forever”. There are many interesting aspects to this
band, and if the quality of this EP is any indication of what
the future holds, their time as an opening band will be short-lived.
 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)
I had no idea folk music could be this much fun. Imagine Tom
Paxton singing for the Circle Jerks and one can begin to place
a big toe in the wild musical pool that is Last Call. Released
in early 2019, this is a mandatory listen for people (or fools)
like me who missed it upon its initial emergence and is a
wonderful primer before Erik Core releases a new collection
in 2020. Blending country forthrightness, hardcore energy,
and metal ferocity, Core, supported by buddies Al Stingle
and Josh Mendoza, blasts his way through eleven songs about
living hard, nearly going too far, and somehow being smart
enough to see the lessons in past mistakes. The relentless
vivacity of “Wild Fire” is matched by the scathing
“Rock Stars”, whose refrain of “Don’t
believe your rock stars/making all their profits/selling you
their dreams” just drips with years of frustration.
When the trio slows the pace down, as they do on the dusty
“Last Call”, there is a melancholy realism that
can only be truly expressed by those who have lived what they
write (“Hoping for a better tomorrow/Wishing for a better
today/Knowing that even as these words are spoke/Another set
of eyes closes for good”). “Freedom of Spirit”
retains a hardened Southwestern vibe, while the uproarious
“WTF” is simmering mix of combustible angst and
sardonic wit about the rampant spread of “heroin in
the Midwest”. The band’s greatest skill is that
while they have all clearly cut their teeth playing aggressive
music (Core founded Gunpowder), the songs on last call are
varied in length and intensity level, with “After the
Fog” moving deliberately as Core speaks of “tassel
dancing peepshows”, “Sandinista, rum drinking
partner”, and a “full time demon fighter”.
This is an intriguing listen, but the overwhelming high point
for me was the expansive, beat poetry nature of “High
Noon”. An explosion of authenticity about the suffering
faced by so many of the ignored in America, the song takes
the listener into jail, the agony of waking up strung out,
“covered in piss, puke, and shit”, dying to be
saved but not seeking salvation. The track is a masterpiece
of fearless writing performed with painstaking strength. I
cannot wait for the next record from these guys.
 JONNY
POLONSKY - Kingdom of Sleep (https://jonnypolonsky.bandcamp.com)
Jonny Polonsky has had an amazing life; as a teen, Black Francis
plucked him from an ocean of musicians fighting to be noticed,
and he went on to perform with Maynard James Keegan in Puscifer.
Throughout the years in between and around these events, Polonsky
has played with everyone from Neil Diamond to Tom Morello.
On Kingdom of Sleep, the Brooklyn native makes richly atmospheric,
and at times, even futuristic sounding music on a record that
plays out like one metaphysical experience. “Ghost Like
Souls” is a majestic work of with truly other worldly
sounding vocals delivered with fragility over a lush, keyboard-driven
soundscape. “The Weeping Souls” rattles with a
poignancy matched by a visceral sensuality woven within its
indie pop/folk structure. (“Oh what can you say after
you cry yourself to sleep/And there are no tears left to weep”)
It is difficult to avoid using the term “dreamy”
to describe the work of Polonsky, but the term is fitting
on “No Tears” and the delicate eroticism of “You
Turn Me On” (“Let me taste you again/I won’t
waste a drop of you”) as breathy vocals hover like a
low cloud ceiling above emotionally charged and haunting musicianship.
“Aenerone” returns to the meditative dance grove
first introduced on “Ghost Like Souls” and is
equally beautiful as the opening track. Ethereal keys waft
effortlessly into the closing “Willing Eye”, a
jangling nugget of heartfelt emotion. The entire record is
achingly beautiful and a testament to this man’s boundless
experimentalism.
 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)
Seattle’s Acid Tongue is a fascinating combination of
classic indie rock stylings and an unrelenting DIY spirit.
This conjures images of the heyday of the 90s indie rock explosion,
particularly the title track as Guy Keltner announces how
“rich kids are bullies” in a falsetto whose innocent
sound belies the pain the song exposes. This dichotomy of
complex, emotional sorrow and ethereal, musical deftness is
expressed on “Jenny Lewis” with the scathing line,
“our love is just another inside joke”, and the
mid-tempo crawl of “Liars” as Keltner admits,
“they don’t tell you it ends like this”.
Acid Tongue delivers music that is both somehow highly sophisticated
and instantly relatable, like reconnecting with old friends
who have changed but still retain much of their old charm.
The crawling pace and self-deprecating honesty of “Sometimes”
is a heartfelt confession that will be undoubtedly relatable
(“Love is a strange world/Love isn’t kind/making
me crazier, time after time”). When Keltner declares
“bad medication is not the only thing you hide”
as he opens the bouncy, nervous “Walk Don’t Run”,
he introduces a twitching, infectious effort that perfectly
captures the unease of the world in which we live. The driving
bass line reverberates with a slickness of 1970s studio chic
but somehow still captures the ethos of a garage band playing
together for the first time. Keltner, who is accompanied by
a wondrous band of skilled players, including primary partner
Ian Cunningham, have compiled a collection of heartfelt, occasionally
desperate tales, but rather than feel sad about how dark times
may be, Acid Tongue tells us on “Forty Years”
that, despite it all, “we might as well enjoy the ride”.
Not bad advice.
 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)
Long Island’s most exciting band returns with a new
single that demonstrates increasing refinement of their sound
and growth within their collective songwriting talents. “She’s
So Strange” begins with a controlled, fuzzy mid-tempo
riff while vocalist Liz Meehan celebrates strength through
individuality (“Her temper runs hot but her shoulder
is cold/A child at heart with a soul so old”), but the
song changes dramatically once it reaches its furious curious.
Driven by the low-end force of Jasmine Fuentes’ furious
pounding and a rumbling bassline from Marie Tornetto, along
with the dual guitar crunch of Jessica Benenati and Allison
Sondergard, “She’s So Strange” becomes an
explosive blast of angular punk accentuating some of Meehan’s
most poetic writing (“She's So Strange/In proportion
to obscurity/Draining my money and my sanity/ She likes the
color but hates the taste/ She can't make up her mind so she
makes up her face”). One of punk’s founding principles
was to celebrate those who are traditionally on the outside
of what is considered “acceptable” or “normal”,
but in a world of mass conformity in which one’s self-worth
is driven by likes on social media posts, it is refreshing
to hear a song once again celebrating the idea that people
should be who they are and have pride in doing so. When Meehan
states, “She’s the queen of the scene/even if
it’s in her own head”, she captures a sentiment
many feel and does so with her band mates sounding at their
best thus far. Overflowing with energy and clearly exhibiting
continued musical prowess, Sharp Violet hits fiercely here,
providing more proof as to how they are one of the best and
most intelligent punk bands playing right now.
 THICK
- 5 Years Behind (Epitaph Records www.epitaph.com)
Thick is a Brooklyn trio of socially astute punks and 5 Years
Behind is a collection of acerbic examinations of how frustrating
modern life has become. Thick has released a series of highly
impressive singles and EPs, so it with great anticipation
that one finally gets their full-length debut, and there is
not a wasted second here. On “Bumming Me Out”,
vocalist Nikki Sisti says, “anxiety gets the best of
me but it won’t bring me/everything that I read is bumming
me out” as a warm yet intense guitar riff envelopes
the listener. The band has the ability to inject some pop
harmonies into their work, such as the sing along “Sleeping
Through the Weekend” with its’ blistering funny
take on relationships (“I don’t care about your
new job/I don’t wanna hear about your paintings”),
but the forty-eight second slash and burn blast of “Fake
News” leaves nothing to the imagination, and the biting,
Ramones-meets-X-Ray Spex “Your Mom” is an instant
classic. “Mansplain” begins with forty-seconds
of inane comments the members of Thick, including bassist
Kate Black and drummer Shari Page, have actually had said
to them over the course of their career (“they sound
really good for women”) before leaping into a roaring
blast of punk aggression. Thick’s ability to balance
melodic playing with lyrics often steeped in cynicism and
angst, such as the poignant juxtaposition of nostalgia and
regret on “Home”, grants 5 Years Behind its profound
impact. “I Won’t Back Down” reads like both
a personal mantra for Sisti but will ultimately become a battle
cry for limitless listeners as well as the band delivers a
forceful declaration of independence while condemning the
overwhelming ocean of hypocrisy that people battle each day.
While it would be easy to simply see the world as a place
of unrestrained suffering and ignorance with no hope of improvement,
Thick is encouraging people to not quit and to keep having
fun even in the midst of the mind-numbing stupidity. This
sense of realistic optimism is the record’s most endearing
quality; it is angry but not hopeless. Sisti, Black, and Page
do not simply scream about the state of the world, but instead
want everyone who is fortunate enough to hear 5 Years Behind
to know that as alone as people may feel, there are others
just like them out there. I am forever a fan.
 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)
Brooklyn’s Strange Lips makes riot grrl punk that is
biting, sarcastic, and incredibly relevant on their blistering
six-song Too Bitter EP. Each song is a furious musical and
lyrical assault led by powerhouse vocalist/guitarist Stephanie
MacIntyre, including the sardonic and subtly painful “I
Wish Cher Were My Mom” (“She’d be proud
of me, just like she is of Chaz, She’d support me, no
matter who I am”). Strange Lips, rounded out by Vivian
Keating on bass and drummer Jouie StaRomana, take aim at the
trivialization of creative people on “Something Simple”
(“And they told me make something fresh/You’re
got to make something snappy/You lose me-it’s too complex”),
and simply annihilate contemporary society on the perfect
“Am I Woke Yet?” Obliterating male feminists (“let
me talk over you”) and the naïve (“I’m
a white girl, I’m so energized/ The Women’s March
was my first protest ever”), the song is a brutally
honest deconstruction of hypocrisy in less then two minutes.
“Change” is a frantic opener that is destined
to be a favorite amongst anyone who ever been in a doomed
relationship-therefore the entire world-as MacIntyre says,
“I’m giving you permission to dig my own grave”
with a delivery full of equal parts rage and regret. The closing
“Pretty Soon (You’re All Gonna Die)” is
dedicated to the NRA and the politicians who suckle at its
economic teat, with MacIntyre brazenly declaring, “Well
you take your blood money/ Love your semi-automatic/Hush,
hush,‘til the red dries to brown/Well I hope you still
love it/ With your mouth ‘round the barrel/Suck it down,
old man, suck it down”). I absolutely adore this band
and the awareness they are attempting to generate; it would
do this country indefinable amounts of good for people to
listen.
 ROSS
THE BOSS - Born of Fire (AFM Records www.afm-records.de)
As one of the founding members and preeminent guitar player
for metal heroes Manowar, Ross “the Boss” Friedman
demonstrated his penchant for scathing riffs and an acute
appreciation for melody. Friedman also played a critical role
in punk’s early life with The Dictators, and his legacy
now slides into its sixth decade with Born of Fire. Everything
on Friedman’s latest effort screams of classic metal
aggression, invoking acts like Metal Church and Armored Saint,
while obviously channeling Manowar’s earliest, fiercest
moments. Soaring, wailing vocals cascade across a tableau
of driving rythyms and overwhelming speed. The sludgy stomp
of “Fight the Fight” is matched by the thrash-inspired
“Denied by the Cross”, but each track is punctuated
by the octave shattering vocals of Marc Cotoia, particularly
the symphonic title track and the pummeling “Godkiller”.
“Demonic Holiday” will satisfy your fetish for
ostentatious 80s metal excess and “Waking the Moon”
is soaked by blues groove reminiscent of metal’s earliest
days. Perhaps the finest message one hears on Born of Fire
is “Undying”, a rallying cry that can be applied
to Friedman as easily as the genre to which he ahs given the
majority of his life. AFM once again finds the ability to
release music by important artists that may otherwise be tragically
overlooked. Find this, revel in the skill displayed, and keep
seeking out this label’s roster.
 HUMAN
IMPULSE - Human Impulse (humanimpulse.bandcamp.com)
There is always a need for angry metal-inspired punk, but
our current global climate makes this music more important
than any other time in recent history. The Minneapolis trio
Human Impulse, featuring veterans of other bruising acts including
Ambassador Gun and Path of Destruction, unleash a torrent
of fury across six songs that are the musical equivalent to
a curb stomp. “Behind Your Back” begins with a
deafening wave of guitar force from Andy Hefner who works
in perfect tandem with bassist Luke Olsen and drummer Bob
Cahill. “Reassessed” is a master class in how
to produce scathing metalcore without ever relying upon tired
breakdowns, while “The Darkest Hand” is the band’s
magnum opus, clocking in at over three minutes. The song’s
galloping rhythm is counterbalanced by raw, flesh-searing
riff played with savage intensity before burning itself out
and fading away in a cloud of distortion. “Pharmacaust”
has a classic punk feel, as if Knocked Loose was suddenly
possessed by the Damned, with a buzzsaw guitar hook and aggressive
backing vocals. The closing “New Wave” is a tank
of a song that leaves nothing but a razed landscape upon its
completion, as Hefner once again channels Johnny Ramone through
Lemmy’s amp to produce a flawless effort that honors
the true legends of the genres these guys clearly adore. Go
buy this immediately.
 MONDO
GENERATOR - Fuck It (Heavy Psych Sounds www.heavypsychsounds.com)
Nick Oliveri returns with Mondo Generator after an eight-year
hiatus, and he announces his return with blistering intensity.
The ferocity of “Up Against the Void” is all one
has to hear to grasp the power of Oliveri and his mates Mike
Pygmie and Mike Amster. Blending hardcore fury with dense
metallic riffs, “Void” is a skull crushing blast
of force that is merely an appetizer for a massive, squalling
entrée. The blues-dipped, psychedelic grunge power
of “Kyuss Dies” is matched later by “There’s
Nothing Wrong” as Mondo Generator demonstrate an endless
supply of energy across the landscape of this scorching record.
The speedy “Turboner” pays homage to pills, fast
women, and all other forms of debauchery that makes life tolerable,
taking classic rock imagery and creating a thunderous slab
of antagonism, while “Death Van Trip” is the leading
song on a soundtrack to a horror film not yet made. Mondo
Generator never allows the listener to come up for air over
the course of fourteen rumbling songs of impending musical
destruction. “ “When Death Comes” is a high-speed
burnout that blends buzzsaw guitar and blastbeats into a seamless
slab of sleek vehemence, a sensibility matched by “It’s
You I Don’t Believe”. “Silver Tequilla-666
Miles Away” is the noisiest drinking song ever recorded,
and “S_V_E_T_L_A_N_A_S” is a highway pile-up set
to music with burly guitar riffs and a bone-shattering low-end
thump. Oliveri, Pygmie, and Amster sound like a small army
rather then a trio, battering away on “Listening to
the Daze” and the menacing “Option 4”; both
tracks reveal the band’s penchant for writing devastatingly
heavy grooves that are also sneakily catchy, revealing the
vets appreciation for both technicality and the almighty hook.
Mondo Generator has everything that metal would want, but
this band cannot be contained within just one label-with aspects
of classic rock, punk, metal, and even slight shoegaze, stoner
tempos thrown in for spice, Fuck It is a cauldron of guitar
fed rock at a time when we all need it.
 TALK
ME OFF - Cursed (Smartpunk Records www.smartpunk.com)
Cursed is a record for all the frustrated, self-doubting,
and exhausted members of society; therefore, the vast majority
of us. Vocalist and guitarist Holly Herzog leads Talk Me Off
through a dozen blazingly fast spurts of sing-along punk that
revolves around the central theme of general disgust with
the quality of one’s life. The opening trio of the title
track, “Worry Wart”, and “All is Lost”
express sentiments that are readily relatable, namely how
fleeting happiness is, and even when one gets a taste of satisfaction,
most people cannot even allow themselves to enjoy it, as they
are racked by the sense of impending dread that inevitably
supersedes success. This may sound dreary and more akin to
a one-man black metal outfit, but Talk Me Off balances the
sorrow, self-loathing, and angst with rapid playing and an
unquenchable thirst for elastic hooks. This is not punk-pop,
but the buoyancy heard within Ryan Cacophony’s bass
playing, even on “Cut It Out”, a diatribe against
the ignorance spouted by people in the name of religion, and
“Insidious”, an unflinching self-examination about
just how easy self-sabotage can be and how so many simply
continue to repeat the same mistakes will encourage people
to bob their heads more than throw punches and spin kicks.
Rounded out by drummer Christian Moquin, Talk Me Off will
bring in a wide circle of punk fans, from those who worship
at Joe Queer’s altar to those who celebrate bands like
The Casualties and The Distillers. Some of the band’s
hardest hitting tracks close out Cursed, as “Enough”
and “Get Out” and raw and thunderous headshots
that prove that like the best punk records, there is not a
second of wasted time or any filler to be heard. Richmond,
Va has graced the world with some great bands and talk me
Off is certainly continuing a proud tradition.
 TRAVELS
WITH BRINDLE - Greetings From Rocky Point (travelswithbrindle.bandcamp.
com/)
When one reads that a band prominently features the ukulele
as a primary instrument, it is far too easy to imagine Don
Ho singing “Tiny Bubbles”, and with all due respect
to Mr. Hu, Chelsea Spear makes her ukulele rock throughout
a collection of six poignant tracks. Greetings From Rocky
Point includes first person perspective stories that are elegantly
played and lovingly delivered. The opening “Summer Stock”
is a blissfully naïve tale of dreams for stardom on Broadway
despite “having only one line” during a summer
theater stint. Overflowing with youthful glee and tempered
by the inevitable disappointments of adulthood, the song is
a snapshot of a beautiful memory when responsibilities were
almost nonexistent and life revolved around trips to the beach
and fantasies of future greatness. Spear’s voice has
a warm, richly engaging tone that makes “Happy Birthday,
Chicken Boy” endearing, and her attention to finite
details makes her songs captivating and extraordinarily vivid.
On the fleeting “Where’s Francesca?”, Spears
notes how the “wallpaper felt like birch-bark”
as she is delicately backed up by cellist Marshunda Smith
and Hilary Lahan on percussion. My personal favorite is “Feather”,
a heavenly slice of sarcastic suffering highlighted by the
use of a singing saw by Leigh Calabrese and Spear noting,
“Winter in New England got me feeling like an elephant/Saddled
with a day job and seasonal depression”. Spear conveys
Liz Phair’s blunt honesty delivered through lo-fi perfection,
allowing each word to have resonance and depth as she spins
tales of insecurity, fleeting optimism, and enthusiastic hope
with a combination of confidence and vulnerability, best heard
on the closing “Small Change”. (“I hear
that small change in your pockets/ why don’t you throw
that small change my way? With that small change I’ll
make your morning good”) A Bostonian by birth and now
self-described “New Englander in exile” (she currently
lives in Berlin), Chelsea Spear is a wondrously talented singer
and storyteller. One needs not have traveled to Texas (“Texas
Tourney”), acted in small summer theater, or have any
idea who Chicken Boy or Francesca are to enjoy a majestic
collection of heartfelt songs. Hustle over to her bandcamp
page and brighten your day.
 ANTI-FLAG
- 20/20 Vision (A-F Records/Spinefarm Records http://a-frecords.limitedrun.com)
Anti-Flag has never backed away from a political fight and
there is no fight more daunting or nation defining than the
upcoming US presidential election. Perhaps taking this title
before Mike Bloomberg inundated any type of media known to
man with his “hindsight is 20/20” ad onslaught,
Justin Sane and his mates in Anti-Flag fiercely expose the
monstrosity that has been the Trump presidency and offer a
heartfelt call to arms for any individual who cares to listen.
What has always impressed me over the twenty-five years of
listening to Anti-Flag, first falling for them with the opening
chants of “Die for the Government”, was their
fearlessness in terms of how they delivered their music. The
band never simply delivered two-minute blasts of punk fury,
and that trend continues here with the pop-laden title track
and the closing “Resistance Frequencies”, an anthem
accented by subtle horns. In between these extremes, one hears
a collection of flesh-searing blasts, including “Christian
Nationalist”, which places the David Duke worshipping
racists who feel covered by this current administration on
blast, and “Hate Conquers All”. The latter is
the opening salvo of the record and features a Trump quote
about how, back in his version of the “good old days”,
police would treat protestors “very, very rough”
in an effort to dissuade them from marching again. The irony
of course, is that the so-called Commander-in-Chief is referring
back to the days of the anti-Vietnam War movement, a military
conflict for which he conveniently found artificial bone spurs
just in time to avoid. “Don’t Let the Bastards
Get You Down” and “Unbreakable” are two
inspirational rallying cries to those who may feel disheartened
by the unflinching support the Trump regime continues to receive
or the occasional sense of dread that this criminal may once
again be selected to sit in the White House. Anti-Flag reminds
all who hear that, like the country in general, all people
go through difficult periods but the strong continue to fight
through them and become stronger. These anthems of hope and
positivity are offset by the expected and completely appropriate
bursts of rage, namely “A Nation Sleeps” and “You
Make Me Sick”, a pair of blistering modern protests
songs that strip away all pleasantries in favor of the stark
ugly reality in which America finds herself. The track I find
most intriguing is the acoustic “Un-American”;
a Springsteen-esque snapshot of young Americans who realize
that all they were promised was a lie. The factories are closing,
the churches are crumbling, the tales of hope and anticipated
success faded into the bleak emptiness of the lives crushed
by policies of a self-obsessed, entitled, narcissist. Anti-Flag
has never hidden themselves away from the truth, and they
do not want you to think that everything is going to be alright,
because there is a good chance that it may not be. However,
the band also reminds each listener that change lies within
them and if they are not galvanized to save the soul of their
nation, we will all look back with no one left to blame but
ourselves.
 ANVIL
- Legal at Last (AFM Records; www.afm-records.de)
Before anyone jumps to the 2009 documentary that has come
to, rightly or wrongly, define all that Anvil is, one must
remember that this is the band that gave the metal world “666”
and “Metal on Meal”, two all-time classics that
stand up even with today’s heavyweights. I say this
because Anvil has become a living punch line for many over
the past decade, a sort of cartoon brought to life or Spinal
Tap without the Stonehenge debacle. Maybe it’s the old
guy in me, but I am so happy to hear Anvil’s newest
work, Legal At Last, their third consecutive record with producer
Martin ‘Mattes’ Pfeiffer, as it resonates with
tangible commitment to a lifestyle of classic metal for all
that terms entails. The guys certainly have the legalization
of marijuana on their minds on the opening title track, and
the comical condemnation of the inconsistencies of U.S. law,
“Nabbed in Nebraska” (“Prohibited substance/In
different states/While crossing boundaries/Police lay in wait”.).
This proud Canadian export have been celebrating the need
for marijuana reform for a long time, and Legal At Last is
both a nod to their home nation’s decision to uniformly
legalize weed, but also a subtle nod that maybe, after all
the toil, heartbreak, rejection, and long, sweaty tours with
little if any profit to show for their efforts, Anvil be finally
be an acceptable vice to publicly discuss. “Talking
to a Wall”, “Chemtrails”, and “Gasoline”
do indeed take complex global issues and make them relatable
to people on a seventh grade level, but so what?! I am not
listening to Anvil in search of a doctoral dissertation on
the instability of global financial markets; I want raw guitar,
rugged vocals, and a pummeling low end, and that is what the
band delivers. Steve ‘Lips’ Kudlow sounds reinvigorated
on “I’m Alive” and the rythym section of
legendary drummer Robb Reiner and bassist Chris Robertson
are airtight throughout all of Legal At Last, from the mid-tempo
grind of “Nebraska” to the Accept-style groove
of “Glass House”, and the wall-shaking, blues-kissed
quality of “Said and Done”, a late-night sucker-punch
of a song that oozes a Motorhead influence. “Plastic
in Paradise” is a cynical summation of contemporary
society’s obsession with convenience and speed over
long-term concerns, and the song’s message is delivered
over a thunderous rumble that will undoubtedly motivate a
frustrated thirteen year old somewhere to care about the environment.
I remember learning about environmental threats through bands
like Nuclear Assault and Testament, and my early interest
in history was sparked through Anthrax and Iron Maiden, so
no one should snicker at what Anvil is doing here. This is
also flawlessly executed, meat and potatoes metal with limitlessly
massive riffs and absolutely no subtlety. The solo on “Bottom
Line” and the opening of “Food for the Vulture”
will melt any metalhead’s face, regardless of age or
sense of “cvltness”, and there is something to
be said for the lost art of crafting songs that are anchored
around memorable hooks. This is not a voyage of nostalgia;
Anvil are still putting all of themselves into creating metal
that harkens back to the past but is still desperately needed
today.
 OF
MONTREAL - UR Fun (Polyvinyl Records www.polyvinylrecords.com)
Of Montreal has been challenging musical boundaries for a
quite a while now, and while Kevin Barnes has always been
the mastermind behind the band, for UR Fun he actually is
the band. Spending his days, sometimes up to twelve hours,
in complete isolation constructing hypnotic dance beats and
programming drums and synths, UR Fun has a breezy, light-hearted
sensibility about it. Barnes admitted that Cyndi Lauper and
Janet Jackson were on his mind as he recorded, and certainly
the classic MTV aesthetic of the cover coincides with the
dance party frivolity of “Polyaneurism” and the
handclaps that propel “Get God’s Attention by
Being an Atheist”, song that one could easily envision
a teenage Anthony Michael hall dancing awkwardly to at the
school prom. “You’ve Had Me Everywhere”
is every terrible 80s cliché rolled into one song and
I honestly do not know if Barnes is just trying to challenge
himself and thusly his listeners, or if he is simply messing
with people. The track is a tender declaration of love but
done as if Barnes was singing with Mr. Mister or Mike and
the Mechanics. Coming as the follow-up to the autobiographical
White is Relic/Irrealis Mood, UR Fun is less about being swept
away by new love but rather allowing one’s self to be
truly enveloped by the happiness of being in love and celebrating
the innocence of feelings that provide as much comfort as
they do nervous energy, best embodied on the mid-tempo synth
“Carmillas of Love”. Not all of UR Fun is kind-hearted,
overly romanticized naiveté, as “Don’t
Let Me Die in America” is a sharp, beautifully sarcastic
take on the state of the U.S., with Barnes noting “I
don’t even want to haunt this place” as new wave
guitar riffs swirl about his head. The darker, “Deliberate
Self-Harm” is another effort that takes people by the
shoulders, shakes them a bit and reminds them that “having
boundaries is abuse”. The trippy closer “20th
Century Schizofriendic Revengeoid” asks the pertinent
questions: “Why does everyone seem fake? Why does it
all seem so unreal?” in the midst of a mildly intensive
ayawaska experience. It has always been challenging to capture
what Of Montreal is truly about as a band, and even when “they”
are only Kevin Barnes, the difficulty remains, and for that,
we are fortunate.
 WARHAWKS
- Stardust Disco (New Rivals Entertainment http://newrivalsent.com)
New Jersey’s Warhawks are furiously hard working guys
who have produced a small fortune of music in the past two
years, and Stardust Disco picks up where their last releases
stopped; namely six blasts of driving rock with a healthy
smattering of punk and indie touches. The opening “deliver”
is a high-energy mass of roaring rock played in a gloriously
stripped down style. With its mixture of thick guitar and
massive drums, it would be easy to assume the Warhawks to
be a band that only knows one speed until “Dire”
comes across your ears. Blending an infectious and soulful
chorus with New Wave tines, the song is a mainstream radio
gem that will hopefully be picked up by any mainstream radio
stations left standing, or at last let it be the backing music
to a popular truck ad. As slick as “Dire” is,
that song sounds like Viking power metal when compared to
“Don’t Give Up Your Heart”, a sugary dance
track that affectionately embraces the last gasps of disco
that dominated the early 80s. “I can’t wait”
jumps back even early and utilizes a 60s vibe to generate
a sense of contagious energy and pure fun. I entered into
this Ep expecting something very different than what I ultimately
heard, but it is highly engaging. The synths that anchor “Other
Side of Life” sound like something from Blotto’s
immortal “I Wanna Be a Lifeguard” and that never
makes for a bad day. I am curious to hear where Warhaks go
from here, as they are either a band in musical transition
or they are having limitless creativity and want to capture
it all.
 THE
INNOCENCE MISSION - See You Tomorrow (theinnocencemission.com/music)
The Innocence Mission play music so delicate that it seems
as if one even moves while listening, the songs will shatter,
but there is incredible depth to every piece they create.
Like gazing into the grey waters of a winter’s ocean,
See You Tomorrow is a record of tranquility and gravity. The
genteel sway of “I’m Always on Your Side”
is a sentiment of both confidence and unwavering love. The
warm piano on “The Brothers Williams Said” accents
the heartbreaking qualities of vocalist Karen Peris’
voice, as she makes the phrase “see you tomorrow”
sound like a poignant promise rather then a simple pleasantry.
The bucolic nature of “I Would Be There” and the
fleeting “Movie” highlight the guitar talents
of husband Don Peris. While his playing never rises above
a level of elegant tenderness, it is the structures he formulates
on “We Don’t Know How to Say Why” and the
opening “At Lake Maureen” that give the songs
such haunting serenity. This is music for the darkest of days
when one needs a ray of beauty.
 MOTIHARI
BRIGADE - Power From Below (mbrigade.com/)
“The more you watch/less that you know...More that you
consume/more you’ll disappear”. These calls to
resistance and change highlight the opening title track from
Motihari Brigade’s contemporary take on protest music.
Perhaps at no time since the turbulent era of the Vietnam
War and Richard Nixon has the country needed a genuine cry
to raise collective voices and demand greater accountability
for those in power, and Motihari Brigade brings this call
to fruition through 1960s and 70s blues, funk, ska, and rock
riffs with some horns thrown in for good measure, as heard
on “We Don’t Have Real Choices”. The record
is a celebration of classic rock styling and modern frustrations,
including the dark comedy of “Talking to Crazy”.
The song is a clear homage to dealing with people on both
sides of an argument who do not want to listen to fact, but
merely “know” what they know based on what they
feel. The band takes a cue from early rock n’ roll and
meshes rollicking rythyms with current political concerns,
creating a form of “Bernie Sanders meets Helter Skelter”
as their bio states. “Revolutionary Sweetheart”
and “Invisible Hand” are both garage rock anthems
of Strat-friendly guitar and buoyant hooks then clearly illustrate
the well-honed talent within this outfit. Then there is the
band’s bold cover of Lennon’s immortal “Power
to the People”. It is always a potential stumble to
cover a genius, but Motihari Brigade takes the song and reverently
constructs a boisterous ska effort that should hopefully excite
people to move and to think. “The Leader” sounds
like The Byrds at their height, and “What Side Are You
On?” wraps this telling question around cooler-than-you’ll-ever-be
blues configuration. This is revolutionary rock for a new
era of revolutionaries.
 DEAD
KOSMONAUT - Gravitas (High Roller Records www.hrrecords.de)
I must admit that I am a sucker for a great moniker, and it
is difficult to beat “dead kosmonaut” in my book,
but this Swedish band has much more to offer than just an
eye-catching name. It requires a certain level of confidence
to title one’s second full-length album “Gravitas”,
but the band’s playing is deserving of such a superlative,
for the five-piece borrow influences from metal’s earliest
days and create something both familiar and fresh throughout
eight panoramic efforts. The opening “Black Tongue Bar”
engages in late 60s/early 70s headspace aesthetics before
diving deeply into classic rock’s penchant for big hooks
and guitar riffs thanks to Fredrik Folkar and Pär Fransson.
The slower, bluesy “Iscariot’s Dream” has
a familiar stomp, revisited on the groove-heavy “The
Spirit Divide”, but Dead Kosmonaut avoids becoming too
embroiled in the past. Whether embracing Iron Maiden’s
erudite storytelling or UFO’s adoration of soaring choruses,
the common denominator is the stirring talent of vocalist
Pelle Gustafsson. Rather then only presenting his words in
a banshee falsetto, Gustafsson varies his delivery while always
displaying a staggering range of harmonics. This is the type
of metal that fans of Dragonforce, Helloween, and Dream Theater
will truly enjoy, for experimentalism is a central component
of the band, and they do not follow a traditional “metal”
playbook. From the melancholy piano that acts as a centerpiece
of “Hell-Heaven” to the Gregorian-esque chants
that open the majestic “Dead Kosmonaut Part I”,
Gravitas is a record without boundaries or any adherence to
predetermined constructs. The closing, ten minute oeuvre,
“Dead Kosmonaut Part II” begins with a methodical,
low-end rumble from bassist Mattias Reinholdsson and drummer
Henrik Johansson as Gustafsson’s vocals soar overhead
with Dickinsonian dynamism. The song wriggles steadily for
over six minutes before a burst of cathedral keys accent the
already spectral nature of the work. Dead Kosmonaut never
reaches the speeds of a “thrash” band or even
punches with the continued ferocity of an early Sabbath, but
they push the boundaries of contemporary metal by looking
to the past through fresh eyes and ears. This will not inspire
pits, but with the proper lighting and mood, Gravitas is an
immersive listening experience.
 MR.
ELEVATOR - Goodbye, Blue Skies (CastleFace Records www.castlefacerecords.com)
Tomas Dolas is currently the keyboardist for The Oh Sees,
but in his other life, he is Mr. Elevator, a trippy, keyboard-driven
act that takes the uplifting strains of 60s psychedelia and
meshes them with 80s synth into a one mass of fascinating
music. In the midst of “Alone Together”, I was
convinced for a fleeting second that he was about to break
into the theme song to Sanford and Son before returning to
Blues Magoos meets 13th Floor Elevators pop goodness. The
ethereal instrumental “Waiting” opens the record
in the most delicate of manners and Goodbye, Blue Skies evolves
over the course of the ten songs, only a smattering of which
hang around for any particularly length of time. “Bamboo
Forest” is exceeding airy and lush, with soft keys hovering
like a low-lying cloud ceiling, again eschewing vocals. A
similar vibe is created on “Anywhere” and “Brobdingag”,
with both tracks sounding like the perfect accompaniment to
soothing deep-tissue massage with exquisite serenity. A nearly
tangible Pink Floyd motif is constructed on “Down”
through heavily reverb-socked vocals and panoramic organ notes
that shimmer and resonate with warmth. Dolas does not merely
focus on music for self-contemplation and meditation, however
as both “Live Again” and especially “Kompressor”
takes 80s synth and up-tempo beats to sound like the soundtrack
to action scenes from Stranger Things. Goodbye, Blues Skies
is 1960s music made for those born long after that decade
ended but done so with a loving appreciation for the nature
of the original sound. This is the kind of record that one
puts on and simply allows it to play straight through until
completion, as Dolas’ work cascades with a resplendent
cohesion that should not be interrupted.
 PV
KNUDE - The Anti-Terror Album (Released through the Museum
for Contemporary Art, Denmark; samtidskunst.dk/en)
Injecting politics into one’s music is always a hazardous
proposition, as like with any performer, there is a risk of
alienating or even losing, potential fans due to one’s
views. When Peter Voss-Knude announces, “This white
mainstream folklore not worth fighting for” on “The
More”, he is making his ideology quite clear, and whether
one agrees with him or not, the beats that are constructed
throughout The Anti-Terror Album are inarguably refined and
impressive. Spoken word protests are woven within trip-hop
grooves, jazzy interludes, and the Danish’s performer’s
smooth pop vocals. Opening with “A Racist Nation”,
PV Knude throws down an artistic and political gauntlet and
he remains committed to this vision throughout the collection,
as one hears his defense of immigrants and the condemnation
of the ignorance of looking to blame those different from
themselves for crime on “Who is Your Criminal?”
(“I am not afraid of minorities…I am not afraid
of Muslims”.) This is contemporary protest music with
significance and depth; nothing on The Anti-Terror Album is
just a slogan, but is rather a deeply analyzed and passionate
opinion set to a modern soundtrack. “I’m Begging
You” contains a glittering hook while august horns accent
the beauty of the track. “The Wound of Cinema”
condemns the irresponsible nature of filmmakers who celebrate
and romanticize wars, both past and present, and the poignant
“Jacinda” honors the New Zealand Prime Minister
Jacinda Ardern who took dramatic steps within her nation following
a tragic mass shooting that targeted mosques in March, 2019.
This was an education for me, as I never would seek out music
such as this, but I am better for hearing it and will definitely
search out more from one of the most enchanting and erudite
performers I have heard in a long time.
 TRUPA
TRUPA - Of The Sun (trupatrupa.bandcamp.com)
Some bands are larger than the music they perform, and Poland’s
Trupa Trupa embodies that statement, although what they deliver
musically is incredibly stirring. I became aware of this band
through an article about lead vocalist, guitarist, and lyricist
Grzegorz Kwiatkowski’s efforts to combat Holocaust denial
and misrepresentation in his country and the band’s
hometown of Gdansk; as a topic about which I care deeply and
to which I have devoted years of study, I was instantly intrigued
by Trupa Trupa’s messages of remembrance and the power
of history. The band’s calls for commemoration are made
all the more impactful through the unique song structures
and distinct harmonies one finds throughout Of The Sun. The
opening effort “Dream About” is ideally named,
as Kwiatkowski’s vocals float effortlessly within a
tense, atmospheric soundscape, creating a song that is equally
lush and unnerving. There is a perpetual sense of uneasiness
to the work on Of the Sun, as “Angle” comes across
on first listen as a gentle, acoustic effort, but there is
a subtle maniacal quality about it that never allows the listener
to feel completely relaxed. Equally unsettling is the title
track whose sparse piano is terrorized by strands of noise
wafting menacingly behind the tenderly kissed keys and Kwiatkowski’s
ghostly vocal delivery. The collection of songs are consistently
edgy and challenging and yet hauntingly beautiful as well.
“Longing” has moments of stomping power offset
by serene vocals and deftly executed, understated guitar playing.
The events of the Second World War are most apparent on “Remainder”
as Kwiatkowski and his mates repeatedly cry, “well,
it did not take place”, boldly challenging Holocaust
denial while invoking early Sonic Youth. For Kwiatkowski,
the song’s message is more than artistic creativity-his
grandfather was a prisoner in the Sutthof concentration camp,
a labor and death camp located near Danzig that took the lives
of more than sixty-five thousand people prior to Soviet liberation
in 1945. Gdansk was also the location of the macabre discovery
by Kwiatkowski and some friends of a collection of shoes from
the prisoners of the camp that ultimately came to number more
than half a million. Hopefully Trupa Trupa will continue to
educate and inform people while also entertaining them, as
Of the Sun is a complex collection of work that sways from
delicate and refined in nature to sweltering and thunderous,
occasionally within the same song. The indie pop warmth of
“Anyhow” fades wistfully into “Long Time
Ago” and the two tracks act as a perfect illustration
of the dichotomy of this band; the former maintains a glistening
beauty while the latter builds steadily to a crescendo of
squalling guitar force. There is remarkable musical acumen
within both songs, revealing a collection of impeccably skilled
players. There are voluminous post-punk influences here, perhaps
embodied most effectively on “Turn”, a short blast
of controlled madness channeling Gang of Four and Wire while
hanging out at a Suicide show that is simply exhilarating.
The closing “Satellite” is a sprawling, ethereal
effort that harkens back to Pink Floyd’s Piper At the
Gates of Dawn era and concludes an enthralling and critically
important release.
I also strongly suggest checking out this
interview to learn more about this band’s inspiring
efforts.
 ALL
TAKEN - “Monsters Anonymous” (https://ampl.ink/Wjqor)
I was fortunate enough to come across this talented LA based
band on Twitter, thus proving that not everything about social
media is pure evil, and I instantly loved what I heard. Forming
and releasing material since 2015, “Monsters Anonymous”
is the latest single and my introduction to All Taken, and
there is much to celebrate. The band, a trio led by Daniel
Daghlarian on guitar/vocals and drummer Avo Karapetyan, later
joined by bassist David Eye, plays a style of throbbing rock
with pop elements that sneak up on you much like the zombies
they describe lyrically. The song is both an airtight piece
of guitar-friendly rock and a snarky take on one’s perpetual
search for self-expression and individuality (“What
scares me is I don’t you scare you anymore”).
Built around a perfectly synchronized bass line and backbeat,
Daghlarian is given ample room to show off his warm vocal
delivery and busy but still catchy guitar playing as he admits,
“I’m a spirit bound to this earth/Been struggling
with my self worth”. Recording steadily since their
inception, I hope 2020 brings more from All Taken, as this
could be one of those rare bands that proves that there are
still fresh ideas in the punk-pop-rock world.
 THE
KRUEGGERS - Hysterical Cold Side and Dark Memories (Eclipse
Records)
The title of The Krueggers’ new record instantly connotes
images of Korn and other 90s nu-metal acts, and the music
one hears within is a trip to the not so distant past when
grunge was dead, metal was adding DJs, and no one was really
sure of what defined heavy. As the dust settled and the new
century began, metal ditched the industrial components and
scratches for more “core”, but these four young
dudes from Sao Paulo drag the 90s back whether anyone wants
it or not. “Lying Machine” opens with a Trent
Reznor inspired noise wave before launching into a Coal Chamber
meets Korn loop, while “Freak Out” is a hard driving,
Static X-style stomp. The Krueggers, led by brothers Randy
and Rafael Fiora, hit an impressive stride on “Overreaction”
as a bluesy riff slithers around a groove-fueled beat constructed
by bassist Rikke Galla and drummer Luca Rorato, and the band
embraces a more traditional metal style on “Dark Parade”
as they integrate the most morbid aspects of Seattle’s
grunge underbelly into a thunderous dirge. When The Krueggers
eschew the noisier, messier aspects of their songs and focus
on the riff as the heart of the song, as they do on “I
Set Myself”, the results are impressive, for they channel
Black Sabbath muscle and latter-day Metallica hooks. The band
truly embraces its penchant for melody on “Bring Me
Shine”, a song that borrows from grunge’s well
traveled soft/loud path, but The Krueggers imbue the track
with an a refined anger edge that will make it both commercially
viable and a fan favorite. The title track travels deep into
the underbelly of Seattle’s grimiest grunge moments
for a Gruntruck-style metallic punch offset by subtle harmonies
that occasionally stray too far into Dope Show-era Manson.
There is tremendous hope or The Krueggers; once they begin
to rely more exclusively on their own originality and eschew
blatant homage to their influences, there is a band with great
promise.
 PINEGROVE
- Marigold (Rough Trade Records www.roughtraderecords.com)
One may expect this eight-piece outfit to hail from somewhere
within the heart of America’s “fly-over”
states rather than Montclair, New Jersey, but Pinegrove masterfully
capture an indie rock Americana vibe through Marigold. Evan
Stephens Hall has a robust voice that is particularly impactful
on the refined fragility of “No Drugs” and “Hairpin”.
Marigold is a lush collection of modern folk as “The
Alarmist” flows like a gentle steam with Nandi Rose
and Dug hall booth providing warm, richly engaging accompanying
piano. “Phase” is the sturdiest track of the group,
as the song progresses around a tightly wound guitar riff
from Hall and fellow guitarists Nick Levine and Sam Skinner
while drummer Zack Levine sets a rollicking tempo, a trait
one hears sparingly from the band. “Dotted Line”
crawls along with lumbering pace but Hall’s enticing
vocal delivery takes the listener on a story woven intricately
through highly descriptive writing and daring honesty. The
delicate nature of the playing one hears on “Alcove”
and “Endless” makes both songs stirring pieces
of deeply poetic, alt-country beauty, while “Neighbor”
is devastatingly poignant as each note strikes the listener
with a profound emotional force. (“I’m trying
to do right, but I guess I desecrate everything, I loved my
neighbor, I loved her courageous behavior”) The title
track is an intimate, elegant work that gently concludes the
record with the most nurturing of sounds that are soft, soothing,
and deeply comforting. Marigold is a truly beautiful record
from start to finish.
 FACILITY
MEN - It’s Fun to Disappear (Big Neck Records www.bigneckrecords.com)
When Teodor Lazar yelps, “I’m anti-social”
on the opening “I Forgot You Were My Enemy”, one
is launched headfirst into a concrete wall of musical density
in the form of Facility Men. Angular riffs collide with bellicose
force across the expanse of a dozen tracks of authentic postpunk
disdain for all that s conventional. “The Day the Symbols
Died” channels Margin Walker-era Fugazi without becoming
a karaoke-style imitation. The song structures are intriguing
in their claustrophobic sense of panic, highlighted on “Reunion
Show”, which is the musical equivalent of a bundle of
frayed nerves accented with off-kilter guitar playing and
desperate vocals. The band’s bio reads that Facility
Men deliver “some of the most singular aggressive sounds
to come out of Buffalo’; while early Cannibal Corpse
may stand as a challenge to that claim, It’s Fun to
Disappear would certainly work as a soundtrack for the parking
lot table diving and drunken lunacy of the legendary Buffalo
Bills “mafia”. The rumbling power of “The
Factory” rolls over the listener with lyrics of working
struggles, cages, and minimum wage; the song also kicks off
the centerpiece of It’s Fun to Disappear. The triumvirate
of “Factory”, “Silver”, and “The
Ladder” are fiery and relentless, a trio of bustling,
frantic masterpieces fueled by the guitar work of Matthew
Smith and bassist Traci Volker. The intensity of the playing
never wanes, as “Morning Business” generates an
overwhelming visceral response, while the musical detonation
of “My Son” is built around hyperactive riff and
exhausting drumming from Paul Gizzarelli. The longest track
among the group is the eponymous closer. At a respectable
3:30, “Facility Men” is a rattling, unsettling
song that does not allow the record to go quietly into that
good night, but rather, it leaves one wearied and waiting
more.
 FIREHEADS/SEX
SCENES - Split EP (Big Neck Records www.bigneckrecords.com)
Fireheads live up to their name with six tracks of blazing
punk on this Wisconsin-centric release. Take the sloppy but
glorious sounds of The Candy Snatchers and Night Birds playing
as if wild dogs were chasing them and one gets a sense of
this band’s sound. “Way We React” and “Dumb”
are relentlessly energized and drummer Alex Ross must collapse
at the conclusion of a show, for his Keith Moon meets Dave
Grohl vigor carries every second of the Fireheads’ blunt,
basement show intimacy. Fuzzy guitars from Bobby and vocalist
Tyler blaze away on “Contempt” with a riff that
is subtlety down-tuned for extra crunch, while bassist Rick
adds an additional thumping line. The bombast is inspired,
as Fireheads prove that classic punk with nothing more than
a loud and fast aesthetic is alive and well.
Fireheads’ counterpart on this split release is Milwaukee’s
Sex Scenes, and every song here is over quite quickly, much
like my own sex scenes sadly, but each work also delivers
a glorious money shot. The twenty-eight destructive seconds
of “Siiick” driven by drummer Gregg Twigg and
guitarist Harrison Colby, is exhilarating, while “One
Foot” is a curb stomp of a effort, pummeling listeners
with Connor Lamur’s low end roar. Sex Scenes base their
playing around garage-band energy and a musical recklessness,
akin to taking a handful of unknown pills given out by a stranger
at a party. Vocalist Zach Otto leads the band through a classic
Damned sound on “Warlord” as he cries, “kill
the priest, I am the beast you heard about”. In the
midst of this glory lies my favorite of the bunch, “Devil
Dog”; imagine Danko Jones locked in a room with the
Stooges during the recording of Raw Power and the MC5 kicking
out the jams and one just begins to grasp the extraordinary
potency of this band. The Cheesehead state is well represented
here.
 SWEET
KNIVES - I Don’t Wanna Die (Big Neck Records www.bigneckrecords.com)
Before espousing upon how talented Sweet Knives are, I have
to celebrate the amazing layout and packaging of this release.
Four songs are divided into two seven-inch singles in a stunningly
beautiful gatefold style, with Timmy Vulgar constructing dazzling
album art. This release would be worthy of your purchase for
the appearance alone, but then one listens to Sweet Knives,
and this gets even better. The term “synth rock”
make may some people uneasy (i.e.me), but Sweet Knives is
a musical delight. The four songs on “I Don’t
Wanna Die” are bubbly, shimmering songs highlighted
more frequently by guitar than synth. The opening title track
rattles with stirring energy carried by Alicja’s warm
vocals. “U Don’t Mind” is dangerously infectious
due to its insatiably danceable hook and soaring vocals. This
is a burst of sugar-fueled sunshine that merges acts like
the Dollyrots and the Regrettes with Blondie’s best
elements, especially on “Ugly Mugly”. “Some
People” takes a 60s garage rock vibe and combines it
with a grimy, gritty riff to produce a thunderous conclusion
to a brilliant release. Come for the art and definitely stay
for the music.
 SASHA
BELL - Love Is Alright (https://sashabell.bandcamp.com/)
Sasha Bell sounds as if she was dropped into this world from
a different era; a more simple and hopeful time to be sure.
It is too easy to focus on the1960s style musical idealism
one hears on Love is Alright, but it is also impossible to
ignore. From the title track to the happy-go-luck bounce of
“Sparrow” and the fantastical nature of “Heavy
Doors”, the Missoula, Montana resident sounds like she
just made her way back from Haight-Ashbury but politely declined
all the drugs. Equally impossible to overlook is Bell’s
glorious voice as she manipulates her tone to be seductive
(“Molly’s Got a Talent”) or playful (“Candy
Mountain”) with equal ease. This is unabashedly sugarcoated
pop goodness, but that does not invalidate Bell’s obvious
musical chops. “Lemonade” resonates with a infectious
warmth that harkens back to the indie pop heyday of the 90s
and may be the closest Bell gets to a contemporary sound,
but even here, she references “your dirty magazines”,
which I am fairly sure are not really needed anymore in the
glorious age of the internet. (Although, to be fair, I am
not sure of the Wi-Fi capabilities in Montana) With supple
playing, Love is Alright is the musical equivalent of a permanent
grin; an irresistible mix of innocence and sophistication
from a woman whose skills know no bounds.
 CRYSTAL
VIPER - Tales of Fire and Ice (AFM Records www.afm-records.de)
There are only a few items in the world that will always make
me smile-cat videos featuring a mother cat talking to her
kittens, Tom Brady highlights, and old school power metal.
Oh, and it’s even better if the vocalist sounds like
Marta Gabriel. This Poland-based band takes everything I loved
about metal when I was first introduced to it eons ago and
only enhances the production without altering the traditional
formula. Crystal Viper does not to dazzle listeners with dozens
of riffs crowbarred haphazardly into a song; instead, they
skillfully craft a massive hook, surround it with banshee
vocals, thunderous drumming, and lyrics about conspiracy theories,
the Bermuda Triangle, and magic, to create a dazzling slab
of modern metal perfection. Soaring solos, head banging grooves,
and Marta’s striking vocal style make “Still Alive”
and “Under Ice” two of the finest pieces here,
but the entire record is a pristine gem of traditional European
style metal force. The instant comparisons may be Nightwish
or Warlock, and one is safe with either, but Marta has a range
that equals that of Doro or Floor Jansen (or even Tarja Turunen)
with Andy Wave and Eric Juris simply crushing their riffs
on “One Question” and “Bright Lights”.
However, while I had already committed myself to this band
by the end of the third track, the closing cover of Dokken’s
“Dream Warriors” solidified me as a lifelong devotee
of Crystal Viper. Any band with the confidence and appreciation
of pure fun to cover a Dokken effort, especially from their
highest hair and tightest spandex era, is worthy of unending
respect. Bang the head the does not bang and pick this one
up immediately.
 HUSTLE
AND DRONE - What An Uproar (hustleanddrone.bandcamp.com/)
Ryan Neighbors is one of those bold artists worthy of vociferous
respect for not just his talents, but rather for his courage.
After years of touring and gaining notoriety with Portugal.
The Man, he boldly split and morphed his abilities into Hustle
and Drone with writing partner Andy Black. What An Uproar
is the duo’s second release and it is a vast collection
of emotionally cleansing anthems that weave beats within a
hazy fog of droning guitar, occasionally unexpected blasts
of force, and utterly gorgeous serenity. The serene interludes
of “God Daughter” and “Chambers” are
necessary to give the listener an opportunity together him
or herself before carrying on through a candid, albeit often
dark, journey of self-discovery. When Neighbors announces
that he “is fading away” on the opening “Dark
Star”, one quickly learns that there is much happening
underneath these beats. The bouncy nature of “Fame”
is shrouded in a smog of insecurity and is accented by an
underlying aggressive musical subtext. There is danceable
heartbreak on “Shadow Fly” (“when you find
another lover, I hope he’s better than me”), but
the finest moments are heard on “Stuck Inside the Rain”,
a dazzling work of warm piano and chilling lyrics. (“I
lost my heart but I have my soul”) The slower, deliberate
songs, particularly “Borrowed Time” (“I’m
killing time but it just won’t pass”) and the
closing “Never Sleep Alone” are carried by sweeping,
hushed vocals that draw the listeners in on a conversation
to which one is not certain they should be privy. The poignancy
and the depth of the sorrow make What An Uproar a glorious
ride through a desperate attempt for catharsis. “Raw
As the Sun” and the title track may be more geared for
those looking for noisier blasts of beats, but even these
two efforts retain a strong adhesion to pop sensibilities.
With depth and beauty, Hustle and Drone create a stirring
sophomore effort.
 GRADUATION
SPEECH - Maintenance Needed (Black Numbers Records www.theblacknumbers.com)
Kevin Day is normally out in front of Aspiga, but he steps
out alone (well, nearly) for a second time as Graduation Speech
on Maintenance Needed, a jangly collection of emo-lashed pop
with deeply heartfelt lyrics. The dark riff buried within
“Your Heart, My Lungs” balances the otherwise
upbeat tempo of the track. The five song EP is fairly fleeting,
but there is a multitude of ideas flowing through each track.
Day is a skilled wordsmith and he surrounds himself with highly
talented players, specifically Devin Carr on drums), but this
is a bold solo project. “Ourselves” is a shrewdly
delivered effort led by acoustic guitar and soulful honesty.
The moody “Small Apartment” is musically claustrophobic
with its subdued but steady drumming and eerily atmospheric
guitar. “Shedding Myself” is equally minimalist
with highly descriptive storytelling as Day admits, “I
don’t measure up that way that I thought I would”
with delicate keys from Pat Pie adding just the appropriate
amount of nuance. “Love and Patience” concludes
the EP with another emotive delivery, proving that Kevin Day
is perhaps more daring as a solo artist, as he takes chances
that will strike a chord with those who are new to his work,
without risking alienating fans of Aspiga.
 VON
HAYES - Moderate Rock (https://vonhayes.bandcamp.com)
The demented pair of geniuses that make up Von Hayes are back
with Moderate Rock, an expansive collection of everything
these two do best-make noise, make melodic noise, and make
really noisy noise. Moderate Rock, a lovingly obscure homage
to Nirvana’s “Tourette’s”, is eleven
songs fun-loving, reckless experimentalism. The opening “Urinal
Cookies” is exactly how this record should begin; the
song is a short blast of chaos that knocks the listener off-balance
before being struck by the surprising melody baked into “December
Sun”. “Hot Roger” reverberates with a thick,
repetitive riff and heavily distorted, fuzzy vocals meshing
garage and grunge exquisitely. A similar beautiful mess is
heard on “Babysitting”, albeit this tune emphasizes
the lo-fi fun and the grunge touches are slightly less overt.
My favorite track here is the Ramones meets The Troggs blast
of force “Oscar’s Grind (Beth Goes for Broke)”,
a relentless burst of buzzsaw guitar and high intensity energy.
The aforementioned Nirvana is most clearly honored on “Man
of Few Verbs”, a song whose title is matched only by
the intricate nature of the guitar squalls that repeatedly
pierce it. There are not enough bands like Von Hayes out there,
but these two cassette only demons have perfected their style.
 …AND
THE BLACK FEATHERS - Sociallusions (andtheblackfeathers.bandcamp.com)
…And The Black Feathers most likely find themselves
often confused with a folk duo known as Black Feathers, but
this Denver outfit has nothing in common with quiet folk music.
Instead, these guys tear up old fashioned, pop infused, rattling,
rock n’ roll, playing the four songs on Sociallusions
with a joy that is nearly tangible. When Danny and the boys
shout out “gimme some danger” on the opening “Danger”,
it is not youthful, misguided boasting-this is unadulterated
rock and roll attitude delivered at a time when it is desperately
needed. The filthy, hazy blues riff on “Scandalous”
makes it my personal favorite of the four, as the song shakes
but never loses composure. The same can be said of “Feature”,
a mid-tempo nugget of dense guitar playing and surprisingly
airy vocals. The closing “Leash” has a noise-pop
aesthetic that is conveyed through the song’s delightfully
off-kilter groove. Still richly harmonic, the song captures
what this band does so, well; namely, create tireless rock
with very modern characteristics.
 GABRIEL
BIRNBAUM - Not Alone (Arrowhawk Records https://arrowhawkrecords.com/)
Gabriel Birnbaum’s heart-breaking collection of self-exploration
begins with the striking sentiment, “I like to see your
name appear on my phone” on the haunting title track,
and this line acts as a first step into the aching emotion
Birnbaum conveys over the span of nine lovely tracks. His
work is stark, harrowing, and at times desperately lonely,
but never without hope. Even the mournful “Oh, Jesus”
has a Leonard Cohen-esque honesty and warmth. Birnbaum is
a musical lifer, a man who, while barely creeping into his
thirties, has lived far more than most his age. A touring
musician since his teens, he has traveled the nation, visiting
the areas of America few think about or hope to see; the rugged
life experiences of flailing for a taste of success shine
through on Not Alone. “Mistakes” is a bluesy anecdote,
a yard woven with the skills of Lou Reed, while “Comeback
Song” is the tale of redemption one needs to hear every
so (or perhaps very) often in life. The hushed power of “I
Got Friends” celebrates the fact that, despite even
what the title of record may say, Birnbaum is not as isolated
as he may believe, and that truth extends out to the rest
of us. Birnbaum’s music, particularly the subtle jazz
sensibility of “Blue Kentucky Miles”, is the type
of playing that was born and thrives in dimly lit bars where
people know the bartender, the beer selection never changes,
and no one there is looking for anything more than a few moments
away from life’s disappointments. This is beautiful
suffering and elevates emotional pain to a majestic level.
Revel in the brilliance and raw fragility of Gabriel Birnbaum.
 GROW
RICH - Frantic Semantic EP (growrich.bandcamp.com/)
There are moments when one comes to truly appreciate technology;
without the wonders of the interwebs, I never would have encountered
the driving, fuzzy pop brilliance of Grow Rich. Hailing from
Jakarta, Indonesia, Abdur Rahim Latada is a one-man show,
although he does have a few friends join him for the four
songs on Frantic Semantic. Grow Rich is a project whose music
reverberates with a mixture of Ned’s Atomic Dustbin
and Sugar while the members of those bands scour the Sub Pop
catalog seeking out new 7 inch singles. “Bounce Back”
repeatedly asks if the listener is ready to “bounce
back”, and I know that it is this simplicity that makes
the song so endearing. The rattling bass throb of “Kawan
Lama” envelopes Latada’s voice while squalls of
guitar noise dissects the air. “Tenderfoot” may
only last sixty seconds, but when one hears the cries of “Fear,
anxiety, don’t let them stop you”, anyone would
be hard pressed to not jump off the couch and try to rule
the world. “Cat Flag” is a charismatic track highlighted
by a spoken word intro from Cika Fransisca about how people
let her down, powerful guitar playing, and lyrics including,
“I heart you so much I can’t breathe”. Grow
Rich is innocent, pure, and positively impossible to dislike.
 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)
When one hears the phrase “Celtic-rock”, one may
be inclined to think that the River Divers are another Pogues-inspired
band, but there is so much more here. The songs on Big Oak
Road are delivered with a rage for the mistreatment of those
incapable of defending themselves. The opening “Children’s
March (Mother Jones)” speaks of America’s great
reformer of child labor laws who once led a march right up
the front steps of President Teddy Roosevelt’s beautiful
Sagamore Hill residence in Oyster Bay, NY only to have the
twenty-sixth president “slam his door”. The band
features shared vocals between Kevin McCloskey (who also plays
guitar, mandolin, and banjo) and Mindy Murray (who additional
talents include guitar, banjo, bass, frame drum), with Murray
carrying “Going Once”, a song telling the tale
of a farm sold out from under its owners in the style of John
Mellencamp or Bruce Springsteen. The tales of woe may features
subjects long dead or topics not relatable to many of those
who listen to Big Oak Road, but the lyrics bring these individuals
and experiences to life. The suffering of “Crooked Jack”
illustrates the hardships of Irish immigrants who often spent
all they had to voyage to America in hopes of a life for their
children that was better than what existed in the motherland,
and “Si, Se Puede” captures the demands of migrant
workers in the West, led by Dolores Huerta and Cesar Chavez,
striving for a union to protect them and allow for their labor
to be viewed with the honor it deserved. Along with Marian
Moran on tin whistle, low whistle, concertina, and melodica,
and Meagan Ratini providing fiddle, tin whistle, and frame
drum, the music has a poignant authenticity on the heartbreaking
“Isn’t It Grand Boys (Look at the Coffin)”
featuring the truly Irish philosophy of “the longer
you live, the sooner you bloody well die”. The folksy
title track rattles with the passion of Phil Ochs and Tom
Paxton with Murray telling the story of a teenage laborer
up working in the fields before “the school bell even
rings”, while “Moonshiner” takes listeners
into the deep American South for a beautiful, yet heartbreaking
tale of hard drinking and equally hard living. “Union
Man” is a quintessential work of Americana, due both
to its musical structure and its lyrics of struggles the working
poor. (“Which side are you on, boy?/Which side are you
on? You’re either for the rich man or the union standing
strong”) Closing with the delicate heartrending “Farewell
Johnny Miner”, the River Drivers have created a masterful
collection of gripping, romantic, and deeply impactful songs.
 THE
DREADNOUGHTS - Into the North (Stomp Records)
The meshing of folk and punk has been done with great success
by acts from The Pogues to The Tossers, but The Dreadnoughts
add their own unique flair to this fine art by immersing themselves
into the sea, namely the sea shanty, on Into the North.
The sprawling collection of fifteen pirate sing-alongs will
have you reaching for your bottle of rum and an eye patch,
but this is not some type of cheeky tribute; the boys from
Vancouver live the hard-drinking, brawling lifestyle emblazoned
within these songs. Even if you are a person who loves the
sea from the comfort and safety of a beach chair, the songs
will strike a chord due to their intensity and beauty. The
shared vocals are stirringly harmonic across the entire record,
but “Pique le Baleine”, “Paddy Lay Back”,
and “Sacramento” are especially engaging, with
the latter providing the foundation for “Camptown Ladies”.
This felt like a live action history lesson interspersed with
modern oceanic tributes to a life of risk and independence.
The Dreadnoughts are best known for rowdy, chaotic punk ferocity,
and while Into the North is much more controlled, it is no
less satisfying. Played with a keen sense of synchronization,
the collective voices work as additional instruments, bringing
depth and refinement to each song. The fiddle of “Northwest
Passage” and the squeeze box of “Whup! Jamboree”
may not be readily associated with punk rock, but it is impossible
to not be energized by what one hears here. The Dreadnoughts
have created the soundtrack for a night out to grab a grog,
pillar a village, and set sail for another adventure. I am
still stunned at just how much I love this.
 IT’S
KARMA IT’S COOL - "Hipsters And Aeroplanes"
EP (www.koolkatmusik.com)
There are bands that attempt to recapture sounds of the past
and then there are those who perfect it, and It’s Karma
It’s Cool are definitely the latter on "Hipsters
and Aeroplanes." Unapologetically poppy and jangly, the
six songs on this EP resonate with the bubbly goodness of
suit-wearing Beatles and the fuzzy warmth of 80s Brit-pop
sweetness such as The Mighty Lemon Drops on efforts like “Raised
by Engineers” and the gentle “Daydream Days”.
James Styring has a voice that floats effortlessly over the
top of equally ethereal playing from Mikey Barraclough, Martyn
Bewick, and Danny Krash, and while “United States of
No Regret” or “Shannon’s Waltz” will
not rekindle lost teen angst, but it will certainly remind
listeners about the beauty of serenely delivered pop-rock.
It’s Karma It’s Cool do not possess the fire of
Cheap Trick or the political leanings of REM; instead, they
deliver traditional rock n’ roll kissed judiciously
by sugar-coated lips and they are proud of it. The jangly
guitar tones and subdued vocals are not my personal first
choice, but when performed by seasoned veterans, it can be
difficult to dislike.
 TSUNAMI
BOMB - The Spine That Binds (www.alternativetentacles.com)
Tsunami Bomb is a band that one does not fully realize how
badly they are needed until it is suddenly fifteen years since
their last release. The Spine That Binds is a declaration
of energy and power from a band that boldly announces its
resurrection on “Tidal” and does not let up over
the course of eleven blistering songs. Kate Jacobi is a fierce
vocalist, spitting lines of frustration and rage on “Naysayers”
(highlighted by blithely commenting that these “are
the good old days”) and the biting “Dead Men Can’t
Catcall”, a scathing rebuke of those who abused positions
of power for far too long. Andrew Pohl’s guitar blisters
throughout The Spine That Binds while founding members Dominic
Devi (whose bass punches up efforts like “Sinkhole”
and “Lullaby for the End of the World”), Oobliette
Sparks and drummer Gabriel Linderman act as the foundation
of one of the most tragically underappreciated gems in modern
punk rock. Sparks’ keyboards open several tracks with
her impressive impact heard on “Persephone”, a
boisterous assault that is built around infectious backing
vocals and a huge riff, and “Wake the Dead”, the
song that should be the theme for Tsunami Bomb’s return
with its combination of rousing energy and richly harmonic
structure. As the world around us becomes increasingly more
dark, cynical, and inexplicable, at least one can take solace
in Tsunami Bomb and their commitment to rebellion, summed
up best on the closing title track as Jacobi reminds all within
earshot that “this is our story, our fight,our song,"
and we all are lucky to hear it again.
 PHONY
- Songs You’ll Never Sing (Smartpunk Records www.smartpunk.com)
Phony is the brainchild of Neil Berthier, and Songs You’ll
Never Sing is a logical progression for a remarkably
inventive player who initially dazzled me with his work in
Donovan Wolfington. For a young man, Berthier has already
lived quite a life, bouncing round the country in recent years,
from New Orleans, to Nashville, to Chicago, before now settling
in Boston. Along the way, he has honed and refined his musical
visions, and the opening “Claustrophobia” is a
fitting introduction to the record. Noisy and musically busy,
the song has multiple ideas happening concurrently, creating
an atmosphere that matches the titles. Songs is a multi-layered
testament to the glory of pop-oriented rock, for Berthier
moves brazenly from the experimental nature of the opener
into the lush “”Nvr Play Urself”, a song
bathed in guitar warmth with a very traditional song structure.
However, before one begins to feel comfortable, Berthier unleashes
“Dr. Ayahuasca”, a Weezer-esque, wild tale of
taking hallucinogenics in a bathtub, playing with a ribbon,
and listening to classic rock. “Most Comfortable Bed”
and “Restaurant” are both propelled by massive,
buoyant guitar hooks that invoke the finest moments of Matthew
Sweet’s 90 heyday, while “Teeth” flirts
with In Utero era Nirvana by swirling an infectious hooks
with a disquieting lyrical delivery and odd time sequences.
Berthier has the ability to appeal to those looking for classically
formulated rock hooks as readily as those desperately seeking
a more loose interpretation of what pop can be; “Hesitate”
drifts by all too quickly with Berthier’s gritty vocals
buried within a luxuriant mix; this is matched perfectly on
“Awake”, as understated singing is awash in a
sea of plush as guitar fuzz. Through the hazy, dreamy nature
of “Awake” as well as “No Other Way”,
allows listeners to hear Berthier play with a loud/soft dynamic
in manner that makes its sound fresh. Songs You’ll Never
Sing is the perfect record for your most jaded friend who
is convinced that there is nothing new or exciting in the
world musically or that everything is merely a reboot-let
Phony prove that person wrong.
 DISJAWN
- Loud Kush Assault (Ranch Jams Records ranchjams.bigcartel.com)
This is exactly what I need on a rainy, miserable Sunday,
or any day of the week really, regardless of weather. Disjawn
is a furious Philly punk outfit with a great name and an even
better musical delivery. “Planning Out the War”
and “Pain is Reality” sound like the best two
songs Magrudergrind never recorded, as Disjawn unfurl a devastating
wave of destructive powerviolence. That trend continues on
the title track, only the song opens with a Black Flag-style
riff that is then overwhelmed by exhaustive force. Three of
the five songs clock in at under a minute, so Disjawn does
not hang around very long, but what an impact they make. A
dark, Orwellian dystopia is captured on “What Have We
Done” as the lyrics include the terms “cyanide”,
“genocide”, and “radiation”, while
“Tortured Life” includes this moment of societal
observation: “Everyone’s mind has collapsed, most
are dead or have relapsed”. I cannot wait for more from
these guys.
 ESPECTROPLASMA
- “Pyramid” b/w “Monster” (Devil
in the Woods Records www.devilinthewoods.mx)
I was vaguely familiar with the work of Espectroplasma, and
loved their take on surf-driven rock, and their nickname of
the Mexican Man or Astroman?, but this new single is unlike
any of their past catalog. “Pyramid” is a mechanized
blast of classic krautrock, as if Kraftwerk and Yellow Magic
Orchestra shared a rehearsal space. The synth-fueled psych-pop
is trippy but yet still built around a rhythmic groove, partially
mirroring Devo’s pre-MTV days. The flipside “Monster”
follows in the same vain, as it is a swirling mass of sci-fi
inspired synth noise, landing somewhere between the score
of Logan’s Run and the theme for “Stranger Things”.
Within the alien technology is another oddly danceable hook
inspired by German musical engineering and efficiency. To
the credit of the four mysterious members of Espectroplasma,
“Monster” still resonates with humanity despite
the heavily tech influenced sound.
 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)
The Full Counts could initially be categorized as “dad
rock”, a blending of jangly guitar and upbeat, hopeful
tempos that are quite easy on the ears. The opening “She
Said” captures this aesthetic perfectly, but as Next
Up continues, the four vets, led by Eric Vermillion (formerly
of Stump Wizards and Gumball) produce harder hitting, but
still traditional, no-frills rock in the style of The Smithereens
or The Plimsouls, particularly on the moody, quasi-blues-kissed
“I Know” and “Song #5 (Have to Want It)”.
The rollicking thump of “Let’s Go” and “Don’t
Waste My Time” are two of the punchier tracks here,
and credit must be given to any band willing to truly channel
the legends of rock through a song with the chorus “I
wanna hold your hand” from the appropriately titled
“Hold Your Hand”. The oose, free-flowing fun of
“Another Way (Egagda)” is overflowing with infectious
energy, and the closing “Oh Whoa Oh” strips rock
n’ roll to its bare bones essentials. The song is a
perfect closer as the Full Counts leave the listener singing
along as a fleeting wave of reverb finishes the ride, wrapping
up a record of nothing but catchy hooks and uncompromising
melody.
 MICHUL
KUUN - Great (Then After Awhile, It Didn’t Mean Anything
to Them) (Ranch Jams Records www.ranchjams.bigcartel.com)
Michul Kuun is determined to make people think through his
music. Great is a collection of wild, ambient, free jazz noise-core
with at times, a crushing punk aesthetic. The dance floor
intro “Great Intro” is a fun beginning before
Kuun brings in Wiki to join him on “Who This”,
a distinctive hip-hop soundscape. “Pay Me” featuring
Isaiah Barr, is a quick blast of experimental noise in the
form free jazz, but the din is stirring in its originality.
Only the closing “Great Ending” extends itself
over three minutes, yet every idea feels completely fleshed
out and fully developed. The ethereal trip-hop beauty of “Magic
If Work” matches the richly engaging “Entrance
to the Dawning of My Night Shop”, a song with delicate
percussion and gorgeous production. Massive beats overwhelm
“Be/Have/Oh”, a song driven by a playful yet pointed
construction, and one hears jazz-infused hip hop on “Snarls
Big with the End Part”, but Kuun proves moment to moment
that he can generate limitless surprises. “Wonderful
and Nice” has a metallic fury that becomes grating in
the most glorious of manners and “Slip Talking”
featuring Klein is driven by room shaking bombast. There is
nothing else quite like this, and one must take time in the
listening and digesting Great.
 THE
CUTTHROAT BROTHERS - Taste for Evil (Hound Gawd! Records
www.houndgawd.com)
Halloween music does not always have to be spooky and ethereal
in order to bring about a fright. The Cutthroat Brothers bring
rollicking, no frills rock n roll back from the grave with
Taste For Evil, a raw, energized blast of garage rock replete
with ghouls, zombies, and old fashioned swagger. For those
who long for the days when a band would simply make the room
shake for three minutes per song then move on to their next
treat, the Cutthroat Brothers deliver exactly that over the
course of ten blistering songs played with both conviction
and a wry sense of fun. Anyone who has listened to the stable
of bands on Hound Gawd! should have a sense of what to expect,
but Jason Cutthroat and Donny Paycheck bash their way through
bluesy, swamp sludge on “Shake Move Howl Kill”,
and the sludgy “The King is Dead”, as legendary
producer Jack Endino emphasizes the thunderous guitar chops
that dominate each track. The title track, “Get Haunted”,
and “Candy Cane” are full bodied, high-speed gems
of Cramps-style punk glory that are a trio of highlights,
even though “Candy Cane” is perhaps more fitting
for the band’s Christmas record. Blending speed and
a tightly wound backbeat, everything on Taste for Evil is
celebration of rock’s defiant nature that ahs been tragically
watered down over the years, but “Out of Control”
and “Killing Time” (“you wanna dance?/You
wanna fight?/Get high and stay up all night?”) both
shimmy with FM radio sleekness and inspire images of pen highways
leading to long nights of drunken debauchery. Donny paycheck
has a mind-numbing resume, with lengthy stints in the peerless
Zeke accented by stints with bands Toxic Holocaust and Camarosmith.
To be released on October 31st, this is the coolest Halloween
treat since the night your friends found the house that actually
gave away full candy bars.
 MAGNAPOP
- The Circle is Round (HHBTM Records www.hhbtm.com)
This is just awesome-simply a glorious release from a band
that ahs been quiet but not dormant over the past decade.
Magnapop was rightfully a darling of the mid-90s indie rock
explosion, and The Circle is Round transports listeners to
that era through the raw energy of “Super Size Me”,
as well as quite literally going back in time in the form
two demos from 1992, “Leo”, and “Pretty
Awful”. Vocalist Linda Hopper’s infectious voice
has never sounded more fluid and strong than on “Change
Your Hair” (s song written “before there was a
band” according to guitarist Ruthie Morris) or “Dog
on the Door”. The Circle is Round is a stirring collection
of fun pop that bubbles with an undercurrent of raucous indie
spirit played by people who were there when it was all getting
started. While there are efforts like “What can I Do”
and “Rain Rain” that posses a jangly innocence,
the bombast is always there, sounding like cuddlecore crowd-surfing
with garage punk in a perfect intermingling of styles. While
the second side begins a bit more quietly than the A-side,
“Rip the Wreck” is a ferocious blast of speed
and strength that hits hard but does so with soaring harmonies.
Magnapop has never shied away from writing songs with infectious
hooks that balance anxiety and splendor, but that can be a
challenging formula to maintain for more than a quarter of
a century. If one is to learn anything from The Circle is
Round, it is that Magnapop is fully back and sound as vital
as ever.
 MARK
LANEGAN BAND - Somebody’s Knocking (Heavenly Records
www.heavenlyrecordings.com)
Mark Lanegan is best remembered for his genre defining work
with Screaming Trees, but his solo work has allowed him to
travel down a multitude of paths, and this sense of experimentation
continues on Somebody’s Knocking. The bluster of guitars
are nowhere to be found, repacked by subtle dance beats, atmospheric
instrumentation, and subdued vocals. What has not changed
is Lanegan’s ability to deliver heartfelt, poetic lyrics.
It is not surprising that someone with the emotional breadth
of Lanegan can capture the sense of disbelief and nearly palpable
fear that defines the current global state of politics. “Disbelief
Suspension” opens the record with edgy, slashing guitar
interspersed with biting kick drum and sharp electronic qualities,
and this nervous ball of energy is an ideal metaphor for what
so many are feeling right now. “Night Flight to Kabul”
not only name drops one of the world’s most unsettled
cities in one of the globe’s most perpetually unsteady
regions, but the song rolls along with seamless energy permeated
with an unnamed but instantly identifiable darkness. Interspersing
electronic angst into a mass of pop harmonies, “Stitch
it Up” and “Radio Silence” quaver with massive
hooks, and one feels transplanted into a different time, as
80s synth touches provide majestic backing grooves. Conversely,
“Paper Hat” and “War Horse” move with
far greater deliberation, minimizing the musicianship in exchange
for a greater emphasis upon Lanegan’s gruff, exhausted
but not expired, vocals. The expansive “Two Bells Ringing
at Once” closes the record with a tale of suffering
and physical pain, and as the song fades delicately into the
air, one is gently released from an immensely powerful record.
This may not be what some would expect from Lanegan, but Somebody’s
Knocking is exactly the music he wants to make, and he does
so beautifully.
 A.M.
NICE - “Scooter” b/w “Man On a Wire”
(Phratry Records www.phratryrecords.com)
I have followed A.M. Nice’s career for several releases
now, and the trio continues to get better. This Cincinnati
band provides a menagerie of influences through two glorious
songs, three if one acquires the digital download. “Scooter”
includes some of the best qualities of 90s indie rock, ranging
from Archers of Loaf to Polvo to Sebadoh, with a little Teenage
Fanclub thrown in for good measure. The tightly wound, energized
rythym section of bassist Nick Hill and drummer Jerry Dirr
supports Adam Nice’s soaring guitar work and equally
stirring vocals. “Man on a Wire” is a track featuring
jangly guitar and an anxious structure that rattles with clear
XTC overtones. It is a pop song that makes the listener feel
uneasy, and has a richly textured sensibility during its scant
three-plus minute existence. I strongly urge a digital purchase
for this EP as “Elliot the Man” is a fast, noisy
explosion of energy that smashes its way through walls with
a constant barrage of raw punk energy. In only three songs,
one hears what sounds like three distinct bands, but this
only solidifies the talents of A.M. Nice.
 INHUMANWICH
- Original Soundtrack (Phratry Records www.phratryrecords.com)
As a kid, I remember Channel 56 out of Boston would present
the “Creature Double Feature” on Saturdays: back
to back 50s horror films, ranging from Godzilla movies to
films about giant ants, zombies, and other classic fare. If
you share similar nostalgia, love horror films that do not
take themselves too seriously, or simply have a sense of humor,
one must check out Inhumanwich. The film is the produce of
Argo One productions, led by Dave Cornelius, a veteran of
Cincinnati television. The film can be found through Leomark
Studios (www.leomarkstudios.com), who also bring you such
classics as “Wedding Swingers” and “Sex
Galaxy”, and is absolutely worth your time. The good
people at Phratry Records have released the soundtrack and
the songs “Meat is Murder” and “Mitch’s
Song” include members of two long-standing Phratry bands,
Swear Jar and Knife the Symphony. The two tracks are punked-up
rockabilly, particularly “Mitch’s Song”
(including the lyrics, “I took her to the dance, but
I couldn’t get in…her father’s good graces”),
and are much fun as the film. The majority of the release,
especially the digital version, includes songs from the film
in which the phrase “Death to” is found, including
death to the following: cinema, science montages, sidekicks,
monologues, wives, inspirational speeches, date night, Cincinnati,
and even this movie, to name just a handful. Inhumanwich garnered
a series of awards upon its release in 2017, including Best
Comedy Feature (Experimental Edge Film Festival), Best Comedy
Feature (Highway 61 Film Festival), and both the Audience
and Best Sci-Fi Awards at the Origins Film Festival. This
is not for the serious, the dour, the uptight, or the dull,
so avoid all of those people and make your life better with
a classic that would have Joe Bob Briggs and the original
cast of Mystery Science 3000 roaring with laughter and appreciation.
 SLEEPCRAWLER
- “HTN” b/w “Albatross” (Phratry
Records www.phratryrecords.com)
Sleepcrawler features Scot Torres and Matt Hemingway from
State Song, but if one believes that Sleepcrawler will be
simply an extension of that band, one could not be more wrong.
“HTN” sounds like what would happen if Ride was
stuck in a room listening to Sleep for hours without rest.
Meshing doom metal with Torres’ emotionally tinged vocals
and shoegaze pacing, the song is a thunderous wall of guitar
bombast and low-end power compliments of bassist Ryan Hickman
and the aforementioned Hemingway. As much as I adore “HTN”,
“Albatross” leaves me with stunned with its beauty
and heaviness. The song is richly textured and highly engaging
through its raw dynamics. Equally engrossing and challenging,
the song opens with off-kilter guitar playing one normally
hears from Radiohead or Flaming Lips, before shifting into
a crushing track. Both songs are over five minutes in length,
providing ample room for ideas to nestle and grow without
ever becoming exhausted. Like the rest of the Phratry label,
Sleepcrawler defies genres and easy classification, and simply
produces intriguing and meaningful music.
 WESDARULER
- Ocean Drive (HHBTM Records www.hhbtm.com)
Wesley Johnson is a highly skilled wordsmith who spins stories
of life’s monotonies as well as its triumphs and struggles
throughout Ocean Drive. The grooves are gentle, R&B flavored
beats over which Johnson delivers a Barry White style baritone
and Ocean Drive is not about boasting or battles, but rather,
Johnson come across as instantly relatable. He admits he does
not want to go out or do anything on “Stay At Home”,
essentially a perfect soundtrack for anyone who reaches Saturday
night and decides that Netflix and Grub Hub sounds a lot better
than crowds, noise, and overpriced drinks. The instrumentals
are lush and beautiful, including the psychedelic rythym of
“Dreaming” and the warm “Interlude”,
but none more so than the concluding title track, but Johnson’s
poetry is the highlight of “Let da Music Play”,
a song who’s message of “letting it go right now”
is uttered with a subdued style that juxtaposes lyrics of
getting out and going wild, although even Johnson admits that
he is “not sure” of what he “is trying to
say”. This same style is heard on “GetUrAssintheCar”,
which asserts that he will not “let you down”
and pledges that he loves his wife, and that sense of positive
feelings drives the life of WesDaRuler. The jazzy piano that
opens “Loseit4tonite” is quickly balanced by a
bass heavy beat as Johnson spins a story about his mother’s
abilities on the dance floor. The record is both fun and introspective,
uplifting and solemn; in short, it is a reflection of most
people’s realities.
 BLACK
BEACH - Tapeworm (blackbeachma.bandcamp.com)
Black Beach opens “Luxury Car” with a wall of
distorted feedback, and it sets the tone for the rest of the
record. Tapeworm is a noisy, highly agitated collection that
reflects the angst and discordant nature of the world at this
moment. Blending lo-fi angst and garage rock fury, Tapeworm
is a mass of swirling, anxiety-driven anthems led by the impassioned
vocals of guitarist Stephen Instasi as he spits out modern
concerns on “Sage “ (“I spend all my time
worrying if everyone’s gone”) and “Modern
World” (“There’s a war inside my head/ I’ve
been feeling guilty for things I haven’t done”)
backed up by the pummeling duo of bassist Ben Semeta and drummer
Ryan Nicholson. The Middleboro, Massachusetts outfit deliver
songs that rattle with kinetic energy on “Broken Computer”
and “Shampoo” (“I wash my hair twice a week,
I try to be nice to all the people I meet”), conflating
Mission of Burma’s perpetual shaking with thick, post-punk
density. “Dumpster Fire” is a more deliberate
effort, exploring the weight associated with the taxing nature
of simply trying to get along, while “It Feels Nice
Just to Care About Anything” both perfectly summarizes
so many people’s feelings right now, but also reveals
how heavy music has limitless avenues of exploration. The
band’s hardcore background is readily apparent on “Positive
Feedback Loop” as Black Beach incorporates punk’s
fiercest qualities and “Nervous Laughter” builds
slowly from its initial clamor and remains on the edge of
self-destruction for well over three unnerving and exhilarating
minutes. The panic-stricken power of “Sometimes This
Body Lets Me Down” and the Nirvana-esque confrontation
of “Burning World” are two sterling moments on
an effusively powerful release.
 VINNY
CARUANA - Aging Frontman (Know Hope Records www.knowhoperecords.com)
Vinny Caruana has established himself as a highly emotive
vocalist with a sharp eye for the nature of daily struggles
through his time with Movielife and I Am the Avalanche, and
while the title Aging Frontman is clearly a self-deprecating
swipe at what it means to be forty and still baring one’s
soul, the record is six beautiful songs of gut-wrenching honesty.
The brief instrumental interlude “I Love You, Please
Watch Over Us” is needed after the emotionally exhaustive
honesty of the opening trio of “Better”, “Alone”,
and “Dying in the Living Room”. When Caruana asks,
“Do I make you better?”, one hears a man longing
for a hopeful answer but also tormented but what the reply
may be, revealing a fragility and self-reflection that defines
Aging Frontman. “Alone” includes the confession,
“I could never take how much you hated me, I vow to
die alone. I did some talking to God/ We spoke of the flowers
of forgiveness, until the sidewalk swallowed me whole”,
as glistening production from Brett Romnes (who also plays
drums) allows the song to shimmer brilliantly. “Tex
‘The Rock’ Johnson” injects little country
twang into the record, with lyrics about having “splinters
from a bar stool” and “slithering out of bed”,
offering a lighthearted narrative about growing old but remaining
true to one’s self. The six songs scoot by too quickly,
and it is a requirement to have this on repeat to fully capture
the nuances and intuitive qualities of Caruana’s writing.
Fans of his work already know how insightful Caruana is a
songwriter, and one does not need any prerequisite knowledge
of his earlier bands to find Aging Frontman engaging, occasionally
uplifting, sometimes painful, but fully engrossing.
CROSSED KEYS - Saviors (Hellminded Records www.hellmindedrecords.com)
Saviors is seven fleeting tracks played with a sense of anxious
energy by a band of veterans with impressive resumes. Vocalist
Joshua Alvarez bares his soul on “True to You”
when he declares “my heart is broken over you/ my heart
is broken and I’m over you” as drummer Dave Wagenschutz,
who has played with Good Riddance and Kid Dynamite opens with
a thunderous roll and never lets up over the course of the
song’s blistering two minutes. Guitarists Beau Brendley
and Dave Adoff create an impressive barrage of riffs on “The
Rays Effect”, a rumbling blast punk angst anchored by
the low-end thump of Wagenschutz and bassist Andrew Wellbrock
that also features a perfectly delivered homage to the Replacements’
“Here Comes a Regular”. In many respects. Crossed
Keys has similarities to the aforementioned drunken geniuses
from Minneapolis, as the playing on Saviors is furious, noisy,
and intentionally raw with lyrics about heartbreak and personal
frustrations that match the desperation of the music, particularly
on “Everything Breaks”. “RJA” embodies
the ideals of melodic hardcore as the song’s tightly
wound chorus explodes into a burst of infectious energy, while
“1212” includes backing “woah-oh”
vocals that pushes the song away from the traditional hardcore
structure and into the realm of mid-90s indie punk. The closing
title track is a return to scorching speed and roaring intensity
while also retaining unmistakable harmony. The punk of Crossed
Keys may not inspire pits that will send people to the hospital,
but the band may help those alone and suffering get over the
person that shattered their hearts and there’s something
celebratory in that.
 DAYSTAR
- The Complete Recordings (daystarpdx.bandcamp.com/)
Portland’s Daystar sound like a soothing ride through
the past to the days of lush AM rock throughout The Complete
Recordings. The opulent melodies of “Right at Home”
and “People Get Lonely” will make Jeff Lynne beam
with pride with the band’s flawless meshing of airy
harmonies, layered guitars, and understated drumming. It is
obvious to all who even offer a fleeting listen to this that
Derek Phillips truly adores the Beatles, and while that fact
itself is not terribly unusual, I am repeatedly struck by
how often Daystar drifts into the realms of George’s
finest moments and Ringo’s immediate post-Beatles catalog,
sparsely emulating the more traditional Lennon-McCartney path.
Rounded out by fellow guitarist Joel Roth, Kelly Simmons on
bass, and Nick Foltz on drums, Daystar’s music seems
to levitate and waft with extraordinary tenderness on the
cello-kissed “Warped Reality”, a song that could
have easily earned the band a contract with Apple Records.
“Buttons and Brass” includes crunchier guitars
but retains the satiny vocals that come to define the band’s
sound, particularly around the lovely chorus. Daystar channels
Rare Earth, Badfinger, and other late 60s/dawn of the “me
decade” rock, but does so with a staggering authenticity.
The circuitous “Angelina” allows for Phillips’
vice to sound movingly poignant, and it is difficult to hear
“The Ballad of Sister Sadie May” and not mentally
reference “Sexy Sadie” from The White Album. The
closing “Fade Away, Love” is a cosmic gem, caressing
the listener with spacious guitar playing and a warm vocal
embrace. This is not nostalgia but rather a brilliant modern
interpretation of richly melodious rock.
 JAIL
WEDDINGS - Wilted Eden (Tru Vow Records ;jailweddings.bandcamp.com/album/wilted-eden)
It is a steep challenge for one to begin to describe a band
that has coined the term “death doo wop”, but
Jail Weddings is well worth the effort. Blending blues, psych-pop,
and sporadic synth, the band’s chameleon-like nature
makes Wilted Eden a fascinating musical journey. “A
Haunted Song” has Gabriel Hart’s rich vocals out
in front of a swirling, passionate track that fades politely
into the rousing, emotionally charged “Woman Happy”
that allows Mary Animaux to also step forward, offering stirring
backing vocals accompanied by flaying saxophone from Hart.
The passion and power of this song was matched, and even surpassed,
by “Skin Invocation”, a sultry, sexually-furious
song that pits two highly adept singers in an emotional cage
match over the course of six powerful minutes. There are moments
on Wilted Eden on which Jail Weddings play more driving, sophisticated
rock n’ roll, particularly “Face of Kindness”
which invokes the finest elements of erudite postpunk, and
the country twang fury of (“Can’t Wait to Get
to) Nowhere”. “Do Anything You Want to Me”
bounds with youthful vibrancy with a spiraling chorus and
infectious hook, and is a classic single. The mesmerizing
“Blood Moon Blue” opens with a controlled wave
of feedback and Hart’s deep-throated vocals and Cramps-style
guitar reverb that continues to escalate in hot blooded intensity
until the track sprawls itself out and brazenly exposes its
vulnerability. After twelve years, Jail Weddings has developed
both the skills and confidence necessary to produce a song
like the closing “Love Me Like I’m Dead”,
a massive, nearly nine-minute long effort of staggering beauty.
From the late-night street corner sax to the haunting keys,
the song builds upon itself in a cathartic explosion of emotion,
highlighted by the line “I guess I really love sex as
inspiration”, as the keys only become more symphonic
and the song expands into a majestic panorama of finite skills.
This may only be Jail Weddings’ third release, but they
provide a career’s worth of musicianship on Wilted Eden.
 SUGGESTED
FRIENDS - Turtle Taxi (HHBTM Records hhbtm.com)
This London quartet (“a small choir of mostly lesbians”
according to their bio) plays a wonderfully jangly and spirited
form of modern indie pop. The tracks snap with enthusiasm,
and Faith’s vocals are a beautiful combination of exuberance
and refined tone. The title track has folksy underpinnings
buttressing the more pop-kissed indie flavoring of Jack’s
guitar playing, while “Pretty Soon Your Grave will be
a Landfill” is not only my current favorite song title
of 2019, but it also alternates tempos between fuzzy 90s bedroom
punk-pop and more sophisticated songwriting as the band attacks
the nature of contemporary politics. Clearly the instability
of American political institutions is closely mirrored in
England, and Suggested Friends wrote this song long before
Boris Johnson’s ascension to PM, but it sounds as if
they saw his failures coming. The sweetness of “The
Apocalypse (Is Just a Day Away)” is a wonderful juxtaposition
with the song’s title, as buoyant, refined playing cascades
for three minutes. Blending aspects of good-natured, new wave
pop, “For Jokes” is among the band’s finest
moments on the record as its chorus is a louder, more pronounced
declaration of musical muscle but still retains a delicate
quality as well. Faith’s voice is angelic throughout
Turtle Taxi, revealing both an impressive range and sense
of control, for she never feels compelled to express herself
through outburst of anger, even when detailing frustrating
aspects of life. Rather, efforts like “Magnolia”
and “At Ease” are carried but her melodious and
warm delivery. A cursory listen may trick some into hearing
Suggested Friends as airy, somewhat simplistic pop fare, but
a more deliberate listen reveals a band of skilled players
taking chances with their sound. As I listen to Suggested
Friends, I could only wonder if this what a band like Tiger
Trap would have evolved into had they stuck around a while
longer; namely, a band capable of crafting lush pop aesthetics
but driven by so much more. This is worth finding, and the
band is another example of all the great material HHBTM releases.
 SHARP
VIOLET - “Domino Effect” (https://sharpviolet.bandcamp.com/track/
domino-effect)
Sharp Violet, Long Island's most astute and biting riot grrl
act, is back with a new single, and the timing could not be
better. While Jeffrey Epstein may have exited this world before
rightfully facing his victims, “Domino Effect"
is dedicated to the impact of the #MeToo movement, confronting
monsters like Harvey Weinstein and other powerful men who
use money and influence to lead lives as serial rapists and
sexual predators. Sharp Violet continues to refine its sound,
adding a second guitarist (Marie Tornetto joining Jessica
Benenati) to bolster an already impressive groove-oriented
brand of grungy punk angst. Liz Meehan does not need to scream
to make her point on "Domino Effect," as she delivers
each line with a controlled anger, noting that "all the
headlines will say/you're going down in flames/the press will
have a field day/justice will be...served", and one can
nearly hear Meehan's satisfied grin as she imagines Weinstein
and his abominable ilk led away in cuffs, with their overpriced
designer clothes replaced with an orange jumpsuit. Meehan
captures Liz Phair’s self-assured vocal style, offering
cutting observations about the false remorse of the accused,
saying “you’re only sorry cause you got caught/
for a crime that couldn’t be bought”. Channeling
90's acts like Veruca Salt and L7, Sharp Violet generates
powerful, thought provoking, guitar-driven punk for those
who still believe that music should have depth. The low-end
strength of bassist Alli Sondergrass and drummer Jasmine Fuentes
establish a wall of blunt intensity for the fleeting three
minutes of erudite proto-punk that is “Domino Effect”.
Recent shifts in musical responsibilities within the band
now has Sondergrass on guitar, having re-entered the fold
after becoming a mother, and Tornetto exchanging her guitar
for a bass. Regardless of which instrument is held and by
whom, the resulting song is Sharp Violet's strongest thus
far, as they continue to elevate themselves into a realm of
more polished production and mature song structures. I can
attest that the band is a fierce live act, and “Domino
Effect” captures the energy of the band’s lshows.
There needs to be more acts willing to mesh political statements
and impactful playing, and Sharp Violet should gain a expansive
following.
 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)
As the punk began to become a cannibalistic caricature of
itself at the end of the 1970s, the world became a wide-open
canvas for those willing to produce daring, unconventional
new music. One such band was The Monochrome Set, an artistically
minded, delightfully quirky band from London. Like many acts
who are ahead of their times, The Monochrome Set never enjoyed
extraordinary commercial success, but their influence upon
the burgeoning post-punk movement was undeniable and they
continue to positively impact artists looking to place new
interpretations upon pop song structures. After spending periods
both highly active and terminally dormant, the band has worked
steadily over the past decade releasing a string of consistently
unique collections. Fabula Mendax takes lyrically inspiration
from a portion of the fifteenth-century writings of Armande
de Pange, a contemporary of Joan of Arc, with the majority
of songs driven by warm guitar hooks orchestrated by Bid,
often quite beautiful, even as Bid declares “I want
all of them to die/hang them high” on “Eux Tous”
(“They All”). “Come to Me, Oh My Beautiful”
is a pristine example of flawless pop and expert storytelling,
a quality found throughout the record. “Rest, Unquiet
Spirit” opens with a burst of Iberian Peninsula-inspired
guitar playing, a similar component one hears on the fragile
closer “La Chanson de la Pucelle” (“The
Song of the Maid”) as well, while horns blare as the
poetic title is delivered with breathy intensity. The richly
harmonic “Summer of the Demon” is a clear example
of the impact The Monochrome Set had upon bands such as The
Smiths, Orange Juice, XTC, and Aztec Camera, to name but a
few. “I Can’t Sleep” impishly tells the
story of being kept awake by a bird and heat, but there is
a tangible frustration for the song’s protagonist which
shines through Bid’s nearly panic-stricken delivery
singed with a sharp sense of humor (“Don’t tell
me I need yoga/Because I’ll dislocate my shoulder”).
The Monochrome Set slithers effortlessly into boisterous blues
on “Sliding Icicle”, a track carried by soaring
slide guitar. The Monochrome Set clearly play intricate music,
but the complexity does not overwhelm the listener; instead,
one is allowed to simple gorge upon the talent and realize
that there are visionaries at work here.
 SANTACRUZ
- Katharsis (M-Theory Audio)
After releasing a trio of strong releases, Finland’s
Santa Cruz fell apart as a band roughly a year ago, and Archie
Cruz has spent the past twelve months creating a record about
self-discovery as he put his band and his career back together.
Katharsis is a driving, classic hard rock record
that teems with energy and incorporates more than a few metal
touches, especially the heavier vocal components on “Bang
Bang”. Much of what one hears on Katharsis is a tribute
to Sunset Strip rock n’ roll that celebrated non conformity
during a time when all people wanted to do was to have as
much fun as possible without worrying about likes, public
shaming, or losing followers. The pop dynamics of “Salvation”
and the rounded edges of “Into the War” allow
for Archie Cruz’s voice to shine over the top of a driving
riff that comes straight from the late 80s. Speaking of that
era of excess, the power ballads that made that decade musically
(in)famous are here as well, particularly the moody “I
Want You to Mean It”, and the guys even put their own,
testosterone-fueled spin on Cyndi Lauper’s “Time
After Time”. However, while cheeky covers are always
fun, Santa Cruz are at their finest when they simply want
to be a rock band. To that end, “True Believer”
is a pounding guitar stomp of a track that hits hard and often,
highlighted by a hook-laden, catchy chorus and “Tell
Me Why” is deliciously sleazy attempt at a love song.
The “woah-oh-ohs” that kick off “Smoke Signals”
will make Bon Jovi fans squeal, while “It Was You”
is a dark tale of a failed relationship that alternates between
pulsating fury and more reflective qualities. Santa Cruz proves
that there is new modern rock being produced; I just hope
there are still outlets for this.
 CHERUBS
- Immaculada High (Relapse Records www.relapserecords.com)
Relapse Records has created a wild niche for itself since
the early 90s with raging hardcore and especially death metal
from around the country and the world. As the label matured,
it adopted a more experimental nature, even launching the
limitlessly visionary Release subsidiary, and Austin’s
Cherubs are a perfect reflection of what Relapse now readily
unleashes upon an unsuspecting world. Creating swirling masses
of noisy, frenzied riffs and abrasive vocals, one has to work
to hear the traditional song structures that lie beneath the
din. Opening with the visceral explosion of “Turista”,
Immaculada High announces itself with a devastating kick to
the head. The record is the band’s third record since
their comeback in 2014 after two decades in limbo. While there
are several brief blasts of heavily distorted force (“18
The Number”, “Old Lady Shoe” and “Pacemaker”),
much of Immaculada High includes more expansive songs that
incorporate psychedelic elements to add a level of ethereal
complexity to the band’s already layered sound. “Sooey
Pig” slows the tempo down to a simmer, allowing vocalist
Kevin Whitley to push his voice to new heights as a dense
wall of sound surrounds him. It is all too fitting that the
band recorded this record at a place in Austin called Cacophony
Studios for blaring eruptions “Tigers in the Sky”
and “Breath U Can C” feature equal parts searing
guitar and low end ferocity, an overwhelming amount of force
one also hears on “IMCG”. “Cry Real Wolves”
is a modern interpretation of grunge’s heaviest qualities
and the finest aspects of noisecore. The panoramic closer
“Nobodies” acts as a perfect example of how discord,
when perfectly harnessed, can be thrilling, and the screeching
final seconds are an ideal ending. As other labels have long
faded or regressed, Relapse continues to redefine extreme
music.
 JACK
AND THE ME OFFS - Greatest Hits Vol. II (Universal Warning
Records ; store.universalwarningrecords.com/ pages/news)
Wow! This is great-the Queers have a new record out and Joe
sounds younger than ever! On a second listen, I realize that
this is not the Queers, but rather a band under the tutorage
of the mighty Joe King, something instantly apparent from
the opening chords of “Rise and Shine”. Jack and
The Me Offs are a classic, fun-loving punk pop band, blatantly
unapologetic in their adoration of Screeching Weasel, Mr.
T Experience, Teenage Bottlerocket, and legions of others
and that is just fine with me. Every track on Greatest Hits
Volume II is explodes with energy and sugary sweet harmonies
anchored by infectious choruses. The lyrics are lighthearted
tales about girls who dress like it’s still 1992 (“Green
Day”), refusing to bow down before obnoxious club owners
(“Pay to Play”), and proper hygiene (“Please
Be Neat (Clean the Seat))” with blazing riffs from vocalist
Jack Bravstein and the hyperactive rythym section of bassist
Sam Crisci and drummer Gio Occhipinti. The trio blares through
the goofy, Descendants-flavored “Too Spicy” (“We
don’t need ketchup-too spicy”) with teenage irreverence
and a sincere exuberance, and the acerbic “Squashin’
Doves” is an ideal closer. This Jersey trio will help
listeners escape the repetitive nature of a continuously dire
news cycle as the band stays clear of politics, except for
the quite astute “Designer Fascist” that makes
a serious social point without naming anyone specifically,
but it is clear that the guys have specific targets in mind.
While I love this entire record, “Offended” is
my favorite (“I’m sick and tired of censoring
myself”) as Jack and the Me Offs celebrate of free speech
and give me hope that there are young kids out there who are
not running for cover or furiously tweeting because someone
used a trigger word. This is a wonderful return to punk-pop
authenticity, proudly carrying the banner made legendary by
The Queers all those years ago.
 MESSTHETICS
- Anthropcosmic Nest (Dischord Records www.dischord.com)
When two thirds of a band includes members of Fugazi (Joe
Lally and drummer Brendan Canty), I am instantly drawn to
it, and this instrumental act is a dizzying display of musical
virtuosity meshed with limitless creativity. Rounded out with
guitarist Anthony Pirog, Messthetics’ music is as idiosyncratic
as the tile of their sophomore release. At times delicate
followed by stop-on-a-dime intensity, Anthropcosmic Nest is
a rousing ride through eleven songs. “Drop Foot”
blends dense riffs with playful components and “Better
Wings” highlights Pirog’s nimble adroitness. The
are fleeting moments of noisy, challenging qualities that
invoke Fugazi’s finest days without recycling ideas.
The forty-one second dissonance of “The Assignment”
is matched by the equally gaunt “Insect Conference”
as Messthetics provide a master class in how to utilize avant-garde
ideas without coming across as contrived . The guys embrace
freeform jazz touches throughout the record, but truly highlight
this skill on “Pay Dust”, a track that while brief
is among the highlights of the record. The richly atmospheric
“Because the Mountain Says So” captures a sense
of walking alone through nature, as the trio integrates progressive
jazz with controlled bombast, building slowly throughout he
song until hitting a soaring guitar frenzy by Pirog who truly
emerges as a star throughout Anthropcosmic Nest. Not to be
labeled solely as a jazz-fusion meets indie punk act, the
guys play a loose, rollicking style of driving rock on “La
Lonta”, another song that does not hang round for very
long but leaves a lasting impression. Wrapping up with the
six minute “Touch Earth Touch Sky”, each member
is given an opportunity to highlight his skills across a capacious
anthem. There is a vast audience who will appreciate what
is produced here as Dischord contuse a decades-long tradition
of pushing boundaries and celebrating individuality that confronts
listeners and demands one’s complete attention.
 MONOGRAMS
- Living Wire (Paper Cup Music www.papercupmusic.com)
Monograms, yet another incredible act emerging from the seemingly
endless talent pool that is Brooklyn, labels their work “nuke
wave”, and it fits perfectly, as the band channels the
80s when fear of nuclear annihilation was a daily occupation.
The nervous bassline that propels “Sounds Like Mean
Spirit” is Joy Division and DIY indie pop wrapping around
each other in a loving embrace of musical soul mates. On “Don’t
Fight For It”, vocalist and one-time sole creator of
Monograms, Ian Jacobs, admits, “It takes guts to tell
yourself a lie” as an ocean of 80s dark wave that has
hints of The Cure at their most haunting. While the band may
have started in a bedroom and he des provide myriad of instrumentation
for Monograms, Jacobs now surrounds himself with a bevy of
impressive talent, highlighted by the synth work of Michelle
Feliciano who takes center stage on nearly every one of the
eight songs on Living Wire. Bassist Sam Bartos and drummer
Rich Carrillo augment Jacobs’ contribution with tight
rythyms of their own, shining on the punchy “Century”,
another song of modern frustration (“The centuries keep
coming alive/You don’t know why we should survive”).
“Buzz Choir”, my personal favorite of the lot,
is a combination of pop hooks woven into a patchwork tapestry
of angular, dense playing, opening discreetly before methodically
elevating its intensity. “Nose Dive” is steeped
in 80s nostalgia, and the line “No one cares if we don’t
care” sounds like a youthful call to arms from a band
who are quite daring in their willful injection of modern
rock styling into the boastful flaunting of Jacobs’
new wave and 90s indie fetishes. Living Wire closes with “Prate
Government”, a track that begins with ethereal keys
and introduces a mechanized, machine-gun drum rattle before
settling into an uneasy calm in which Jacobs uses his voice
as an accompanying instrument to add another layer to the
density of the song. There is a theme about giving up or at
least attempting to escape the trappings of contemporary life,
perhaps retreating to the days of MTV and ubiquitous synth,
but Monograms are not suggesting that life is empty. Instead,
the record buzzes with an infectious energy that illustrates
that those of us who are frustrated by what we see each day
are not alone, and there are plenty of others who share in
the confusion and angst. Monograms critique the world without
fully condemning it and do so through imaginative playing.
 PINEWALKER
- Migration (pinewalker.bandcamp.com)
In what has to be Salt Lake City’s heaviest band, Pinewalker
delivers sludge metal played with one foot in the darkness
of 70s Sabbath and the other in the refined brutality of High
on Fire. “Sentinel” builds slowly , incorporating
jarring blasts of thunderous riffs along with ample feedback
to brew a storm of punishing power. Their groove-laden metal
becomes unmistakable and the closing ninety seconds of the
track slams a taste of the New Wave of British heavy metal
with Crowbar into a vulgar display of power. The chunky rythym
of “Bone Collector” is a blues-soaked stomp led
by guitarist Tarren Mead, Jason Kennington, and Sam Roe. A
trio of guitar players can be a difficult balance, but Pinewalker
creates a wall of pummeling sound that elevates this band
out of the tar pits of simply being doom metal, and makes
it much more complex and distinctive. “Burning Earth”
injects noticeable speed and pronounced death metal vocals
during an exhilarating three and a half minutes. Over the
course of the opening trio of tracks of Migration, one hears
three different versions of Pinewalker, reinforcing just how
atypical this band is. The centerpiece of the record is the
massive magnum opus “Maelstrom”. Sprawled over
nine minutes, the track’s gentle intro belies a substantial
wave of seismic force that rumbles across the land with a
musical scorched earth campaign. This is followed by the eight
minutes of “Space Witch”, highlighted by a dreamy
lead that quickly becomes an effort awash in raw power. The
crunchy “Self Vs. Self” comes across as a grunge
band’s interpretation of death metal or vice versa,
but it is a glorious celebration of polished heaviness either
way. The song embodies Pinewalker’s willingness to dabble
in experimental territory as the bottom drops out of the middle
of the song before returning with a flurry of speed. The closing
“The Thaw” is another eight-minute monstrosity
marked by a fearless level of daring. Pinewalker is an example
of contemporary metal’s best elements and also its potential
future.
 UNIVERSAL
THEORY - The Most Attractive Force (universaltheory.bandcamp.com)
Universal Theory plays music with a strong gothic influence,
augmented with Sisters of Mercy inspired darkness; that is,
aspects of pain that somehow sound lush and lovely. This is
due largely to the stirring vocals of María José
Martos who compliments the gloomy delivery of Jesús
Pinilla perfectly. This Madrid-based duo is the brainchild
of Pinilla, and his adoration of 80s Goth and dark, atmospheric
metal shines throughout the record, but there are twists along
that way to offer aspects of distinct originality. The nearly
flamenco-esque guitar break on the emotive “Romance
I” was a delightful touch before the song returns to
a buzzing riff and the pair’s shared vocals meshing
into one powerful delivery. Lyrically, the songs play out
as a poetic ode to heartbreak and longing, heard with overwhelming
emotion on “Unfinished Fire” and “Deeper
Than You Know”. The latter is a more reserved work highlighted
by strings that generate the song’s eerie, mesmerizing
ambiance as Pinilla explores profound sorrow and crushing
depression (
Now It´s Time To Suffer This Life/Now It´s Time
To Walk And Cry/Stay In My Mind
Stay In The Night”). This not celebratory or even hopeful
music, but the musicianship is worthy of great praise, as
Universal Theory create individualized world within each track,
from the rhythmic force of “Romance II” to the
hard driving, metal-tinged “Before Sunrise” that
highlights Pinilla’s ability to channel Peter Murphy’s
most distressing vocal tone and Martos’ dynamic range.
Integrating synth into aggressive music can be a delicate
line to walk, as too much can overpower the intensity of the
band, but Universal Theory strikes a nimble balance throughout
The Most Attractive Force. At times menacing, other moments
reminiscent of church pip organs, the placement of the synthesizer
only helps to emphasize the breadth of passion one hears.
The concluding pair of tracks, “The Wall of Darkness”
and the lush instrumental “Light Vein” are gentle
works driven by wraithlike and hypnotic piano with the former
interspersed with spiraling vocal beauty from Martos. “Light
Vein”, written by Beth Hart, brings ideal closure to
this expressively exhausting work. One can breathe and be
lulled into a state of relaxation following what feels like
a gripping therapy session. Introspective and daring in its
exposure of raw emotion, I am intrigued by what Universal
Theory offers.
 YAWN
MOWER - Why Work Harder Than You Have To? (Mint 400 Records;
yawnmower.bandcamp.com)
This wonderfully laid-back, blissfully lawless act has a long
history of brilliant covers, from “Margaritaville”
to an entire Christmas Ep on which they “ruin”
holiday classics. This time, Yawn Mower play five more covers,
most of which seem in line with the type of band they are,
beginning with “Doctor Worm” from They Might Be
Giants’ 1998 Severe Tire Damage record. A song about
an actual worm who is indeed a doctor, Yawn Mower offer a
heartfelt and loving tribute to this obscure gem. On “Fume”,
the B-side to the slightly more well known “Loser”
from Beck, the guys smash their way through the track, offering
far more energy and guitar crunch than the original. The next
nugget is “Jersey Shore” from the The Promise
Ring, a band forever associated with emo’s salad days
and not an easy act to cover. Yawn Mower again adds a shot
of adrenaline and crisper guiar to bring a sparkling energy
to their interpretation. I was never of fan of The Presidents
of the United States as I just never understood how and why
they briefly caught fire, and “Lump” stood out
as particularly annoying. Even with the punk enthusiasm delivered
here, the song still remains beyond my grasp. I’ll go
with “Weird Al” and “Gump”, but Yawn
Mower’s take is far more entertaining than the original.
Closing with a fuzzy, distortion soaked version of Tom Petty’s
“You Don’t Know How it Feels”, Why Work
Harder Than You Have To? is a fun ride through some memories
and memorable tracks. Now I want some new originals for this
band.
 ALL
EYES WEST - Like Lightning (Jump Start Records www.jumpstartrecords.com)
If one is of a certain age (i.e. getting older), there s something
instantly recognizable about the sound of All Eyes West that
is both comforting and exciting. Like Lightning has Jawbox,
Drive Like Jehu, Seaweed, and even some Hüsker Dü
influences crawling all over it, and there is nothing bad
about that. All Eyes West previously worked with J Robbins,
so that helps to explain some of the similarities, but while
Robbins is not turning knobs on Like Lightning, his impact
lingers across the breadth of the experimentalism heard on
these works. It is fitting that the record has “As I
Bleed” and “Bruised” as musical bookends,
as the two tracks are both rugged and abrasive efforts driven
by masses of focused rage that bring levels of intellectualism
and meticulousness into the turbulence. “Too Alive”
has an uneasy warmth about it, as the riffs from Jeff Dean
are huge, the vocals of bassist Justin Miller are soaring,
and the thunderous rolls provided by Ronnie DiCola are rattling;
these components collide in a perfect stew of early indie
force and sneaky harmonies. The bass throb that drives “Interference”
and the ferocious “Death Wave” is matched by the
slash and burn guitar playing on “Dream of a Nightmare”,
as that song that moves with sinewy precision between inert
power and brief ethereal pauses. It is obvious that All Eyes
West could choose to simply hammer away at listeners if that
was their wont, but instead, the guys clearly take great pride
in their prowess to juggle varied, jarring time sequences
and delightfully off-kilter song structures. All Eyes West
play with a style that sounds like it is collapsing upon itself
and the listener is trapped in the middle of this imploding
racket, for “Chasing Light” is a bellicose anthem
that elbows people out of the way at the bar, while “Holding
on a Holdout” triumphantly manipulates an alternating
loud and soft dynamic range into something that sounds wholly
original. I am so angry that I am only hearing of this band
now, but I love every aspect of All Eyes West.
 THE
DRIPPERS - Action Rock (The Sign Records www.thesignrecords.com)
Sweden currently ranks seventh according to the World Happiness
Report, but that should jump up even higher after a listen
to The Drippers. This is everything rock n’ roll is
supposed to be, namely, loud, greasy, and injected with limitless
energy. Imagine if one can, the New Bomb Turks sharing a garage
with Electric Frankenstein while the Night Birds drink beer
and nod approvingly; that is only beginning of an understanding
of the brilliance that is The Drippers. Opening with the eight-five
seconds of “(Ain’t No) Shangri-La”, the
dual vocals of bassist Viktor Skatt and guitarist William
Dickborn work in flawless tandem, as drummer Niclas Kristoferson
is a machine of a human being. Every song is a screaming,
fuzzed-out explosion of punky, catchy rock drenched in Scandinavian
sleaze, but “Gimme the Shakes” and “White
Light” are nearly flawless. The lo-fi aesthetics of
“Backbeat” makes the song sound sweaty through
my speakers and shimmies with Stones-style confidence and
Iggy Pop’s reckless fury. “Bottle Blues”
and “Finskt Blood” are two high adrenaline tracks
that borrow from Motorhead as much as they do the Candy Snatchers
or Zeke. Every few years a band or two comes along and are
labeled as the “next great saviors” of rock; I
hesitate to put that moniker on The Drippers only because
I do not want to curse them, as these three guys are special.
People can debate about the health of rock music at this point
in the twenty-first century and whether it still connects
with people as it once did, but a person would have be long
dead to hear this and not be moved. The Drippers better get
a significant slot on a major tour of the U.S. because the
nineteenth happiest country in the world could use this maybe
more than ever, and I want to hear “Day Turns to Night”
and “Sweet Action” in a club filled to the ceiling.
 PAT
TODD & THE RANKOUTSIDERS - The Past Came Callin’
(Hound Gawd Records www.houndgawd.com)
Pat Todd and his Rankoutsiders do not cheat the fans. The
Past came Callin’ is fourteen songs of old fashion rock
n’ roll that emphasize loud guitars and good storytelling.
Part garage rock, part cowboy swagger, this is a rollicking
trip through classic riffs and bold energy. The band offers
new work along with a few pieces that had been in the vault,
had the dust blown off of them, and finally given a chance
to see the light of day. The hard driving opener, “If
Only I Could Fly Backwards in Time” is nearly old enough
to drive, while “Yeah, I Had a Bad Night” is on
the cusp of celebrating its first legal drink. Traditional
themes of feeling unsettled and unsatisfied with life are
heard throughout the record but never sound recycled, especially
“Call You on Sunday Night” and “Run”,
the latter featuring the liner notes joke of “no song
writing clichés were harmed in the making of this song”.
With a bar band aesthetic and downhome honesty, Pat Todd and
his mates keep the playing direct and the emotions raw on
“A New Pair of Eyes” and “Just Between You
and Me”, a subdued tale of pain that closes the record
without providing a happy ending to send everyone home hopeful
for a better future. At times folksy and bluesy (“Down
in the Bourne” sounds like a Southern-friend hootenanny),
but more often octane-fueled (“The Future Callin’”),
The Past Came Callin’ reveals a band caught between
looking back and yet still enthused about the present.
 DE
LA NOCHE - Blue Days, Black Nights (Get Loud Records; getloudrecordings.bandcamp.com)
Everything about De la Noche is smooth, from the supple nature
of the velvety jazz and haunting sax that one hears across
the eleven, single-word titled songs, to the warm vocals of
Howard Ivans. This is mature, lovely music for adults but
it is not going to be heard in the background of your local
supermarket anytime soon. The songs are intentionally melancholy
and deeply emotionally penetrating, for when Howard asks “Don’t
you miss me?’ on “Blue”, the question s
soul-shaking in its pain, transcending simple crushes and
truly connecting with people who are lost and wandering without
a guide. “Gold” is a lush, suave jazz track with
profoundly emotive vocals and perfectly placed sax that captures
one of Ivans’ influences, the 80s hit maker Sade (perhaps
the first mention of her in Jersey Beat?). Robert Rogan and
Seth Weeks are the remarkable players behind the words, and
their ethereal soundscapes paint heartrending pictures through
haunting arrangements on the up-tempo “Run” on
which Ivans invokes Brian Ferry, mixing robust sensuality
with poignant fragility and vulnerability, (“I should
run away/but I stay”), and the penetrating humanism
of “Spooky”. “Lover” is gentle and
deeply moving and when the simple lyric of “true love”
is repeated, it is difficult to avoid being swept away. The
kindness of “Lover, it’s killing me to see you
in so much pain” is a punch to the stomach and a daring
revelation about one’s mistakes and regrets. If loud
and fast rules solely in one’s playlist, De La Noche
may not be a band of choice, but those looking for fully developed,
intricately performed works of sheer beauty, go find Blue
Days, Black Nights immediately.
 FLORAL
PRINT - S/T (floralprint.bandcamp.com)
The opening line of Floral Print’s self –titled
EP is “you’ve been fucking with my head/in a good
way” (“Six Pillows”). This juxtaposition
of ideas reflects the band’s music as well; part classic
indie jangle, part jazz-inspired improvisational freedom,
the band’s six songs are a wild ride through lovesick
loss and the hopes for a better future. “I Go Down on
the Breeze” has an ambling nature interrupted by bursts
of fuzzy guitar blasts that reminded me of the oft-kilter
noise of Archers of Loaf and lyrics of desperation and sadness
tinged with a subtle helplessness (“I can’t stand
when you fall/keep it all on track, let the reel of film recall”).
The song is given a minute-long reprise with only stripped
down acoustic guitar, providing a very different approach
to a beautiful piece. The fleeting instrumental “Vermillion”
offers a tender reprise before the band once again takes the
listener down a rabbit hole of profound emotion on “Alice
Arm”. Subdued guitars and vocals mesh together to craft
a song that frequently manipulates complex time sequences
and should hold all who hear it with rapt attention. The closing
“Viridian” is my favorite of the bunch, with the
earnest opening lyric “”I want to show you the
better parts of me/Or drown in a deep, dark sea” and
the crushing concluding admittance “I wanted to show
you all the things that we could be/If you were patient with
the cutting parts of me”. The track finishes with a
flurry and leaves one desperately hoping that a full length
is on the way soon. This is not uplifting, but well crafted,
daring, and refreshingly unique.
 OUTSIDER
- When Love Dies (Flatspot Records www.flatspotrecords.com)
By this point in my life, I have heard a voluminous amount
of stomping, metallic hardcore, but when the cry of “Apocalypse
now when the countdown starts…” launches Outsider
into a thunderous breakdown that acts as the focal point of
the bone-liquefying ninety second firestorm of “Path
You’ve Earned”, I am hooked on this young and
ferociously talented Richmond outfit. Playing with the blinding
speed of acts like Dropdead or Magrudergrind matched with
Madball’s penchant for mind-altering heaviness, Outsider
makes one wonder where the hardcore ends and the metal begins,
as the two styles mesh flawlessly and effortlessly. “Mind
of Misery” is a chunky, thunderous effort reminiscent
of the finest moments of Sick of It All with guitar riffs
that owe as much to Dave Mustaine as they do Vinnie Stigma.
“Let Myself Go” experiments with tempo a bit more
loosely than the other tracks on the EP, alternating between
more pensive qualities and chugging metalcore intensity, all
accompanied by rugged, angered vocals. The concluding title
track may have a sullen intro, but it quickly converts itself
into an abrasive effort that would fit as easily on a 90s
Earache Records roster as on the continuously impressive Flatspot
stable. It can be easy to imagine that this is just another
genre-blending hardcore outfit that is recycling old ideas
in a anew package, but Outsider is genuinely different due
to both their musical proficiency and the sheer power of their
playing. I would suggest having a few EMTs on stand-by for
their shows.
 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/)
Noah Fardon is a one-man force known as Good Service and his
new record is a musical journey as varied and distinctive
as this young man’s life. Although only twenty-five,
Fardon has lived a sojourner’s existence, beginning
in Nashville where he spent time hanging around deep thinkers
on the porch of a coffee shop before traveling northward to
Maine. Vacationland turned out to be anything but for Fardon
as he formed a band and ultimately began living and recording
as Good Service. While a fleeting collection, only nine songs
around half hour in total, Please transports one back in time
to a mixture of 1960s and 70s vibes that may reflect a mixed
sense of hope and concern. “Summer Muses” and
“MaPaw” are two ideal examples of this structure,
for the tracks meander with a lassitude that belies the emotional
depth found within. “Summer Muses” is particularly
griping, telling a tale of drug use that is becoming somewhat
confounding from the protagonist’s perspective, as it
is unclear if the drugs are having a positive or negative
effect. (“Not to say these hours have been useless;
wish I could do this more”) This is an artist born at
the wrong time, but Fardon is doing all he can to bring classic
jangly, groovy aesthetics into digital age. “Washington
Avenue” is a warm, frills-free acoustic piece that projects
subtle warmth through its chilly, airy atmosphere. The record
revolves around the questioning and the stark realization
of one’s mortality, as Fardon became tragically inspired
to pursue this line of thinking following his grandmother’s
diagnosis with a terminal illness, a disease that took her
life nearly eighteen months later. The cleverly titled “Sys’ro”
includes genteel waves of swirling noise as a buttress to
the haunting vocal delivery turned in by Fardon. Please is
a work of minimalist mastery and deep-rooted emotion that
leaves a significant impact upon the listener.
 HIGH
ON FIRE - Bat Salad (eOneMusic)
This three-song EP is both a celebration of High On Fire’s
musical influences as well as a triumphant farewell to drummer
Des Kensel who has left the band after more than twenty-one
years of service and one of the band’s founders. “Bat
Salad” is a clever homage to Black Sabbath both in terms
of title (see Sabbath’s thunderous “Rat Salad”)
and musical force. Dense and muscular musicianship carry the
five and half minute instrumental with Matt Pike’s guitar
prowess on prominent display. The aforementioned Kensel and
rhythm section mate, bassist Jeff Matz, are a punishing combination
one last time as the song is a relentless parade of intelligent
metal. The two covers are crushing tributes to legendary acts,
the invaluable Celtic Frost and true D.C. icons Bad Brains.
“Into the Crypts of Rays” is my favorite CF anthem,
and while others have done sterling jobs recapturing the power
of the original (check out Goatwhore’s scathing version,
for example), High On Fire embraces the frantic nature of
the song and celebrates the raw, punk nature of Celtic Frost’s
early work. Along with Kurt Ballou’s brilliance behind
the scenes, HOF crafts a version that, as blasphemous as this
may be to some, surpasses the original. The EP concludes with
Bad Brains’ “Don’t Bother Me”, and
HOF are again able to perfectly express the unfettered rage
that drove the caustic original. This is a testament to High
On Fire’s strength as an act, for these three songs
would be the pinnacle of many careers, but for them, it was
a fun release for Record Store Day. Go immediately and treat
yourself to this.
 PEARER
- A Healthy Earth (Tiny Engines Records www.tinyengines.net)
This Brooklyn outfit is another step in the evolution of indie
pop rock. The opening “Circle” is a taut whirlwind
of hypnotic riffs and Peter Katz’s sublimely emotive
voice that introduces the band with a mixture of quiet beauty
and precise delivery. The same holds true with “Ollie”,
a playful two minutes of dreamy pop about Katz’s puppy,
accented by a sense of innocence through a bass clarinet solo.
The more capacious “Like You” features fragile
guitar playing as Katz says, “I’m like you because
I want to be” celebrating an admitted sense of imitation
and conformity that one usually does not hear within rock,
but this is a tale of two songs. Roughly halfway through the
track, “Like You” adopts a more rambunctious spirit
with Katz’s guitar force taking a more prominent position
as a larger and louder wave of guitar crunch builds around
a steady backing groove created by bassist Thom Lombardi and
drummer Jeremy Kinney. “Don’t” has an understated
anger beneath its sophisticated, math rock exterior and is
among the record’s most intriguing songs. The start/stop,
unsteady time sequences of the song make it simultaneously
unnerving and enticing, and when Katz’s feedback drenched
solo hits its crescendo, the song collapses upon itself from
its own musical inertia and sheer exhaustion. This is complicated
playing overflowing with resentment for the equally complicated
nature of the times. In “Multiverse”, Katz theorizes
of another time and place when he was not himself and had
“never touched a guitar”. It is unclear if he
is seeking escapism or simply giving in to a form of good-natured
conjuncture. Remaining largely quite subdued, “Multiverse”
is a tour through Katz’s mind done with a sense of bold
bravery. On “Joke”, the band plays a tightly wound
mix of blithe pop and monotone, deadpan vocals (“I told
a joke/ at least it started as a joke/ It was supposed to
stay a joke/ now I’m sorry that I spoke”). The
opening ethereal seconds of “In My Belly” briskly
steps aside and allows for 90s style indie noise to rush through
the heart of the track, only to have the song dissipate again
into a hushed conclusion, thus encompassing the larger nature
of this band; the songs are not quite schizophrenic, but there
are certainly personality conflicts that exist within them.
On “Wilbur”, Katz gruffly declares that he “left
his body behind in pursuit of the mind” over the top
of a breezy, acoustic riff. This stripped down approach is
also heard on the closing “Have Fun” but the song
appears to struggle to wiggle free from its old skin and emerge
as something boisterous, but ultimately, the tracks recedes
into a musical gloaming. This is not an easy listen, but certainly
a riveting one.
 THE
DARLING FIRE - Dark Ceremony (Spartan records www.spartanrecords.com)
It is safe to assume that the members of The darling Fire
bristle at the term “super group”, but when one
looks at the resumes here, it is hard to ignore the vast amount
of talent within the band’s ranks. Featuring members
Dashboard Confessional (Jolie Lindholm), Further Seems Forever
(Steven Kleisath), and Poison the Well (Jeronimo Gomez) to
name but a few, the band has all the prerequisites needed
for a special release. However, if sports has taught us anything,
it is sometimes difficult to transfer greatness on paper to
greatness in action; luckily, that is not the case on The
Darling Fire. This Florida based outfit creates a record with
a perfect name. Dark Celebration is just that-a rumbling,
pounding, dense mass of emotionally driven force. The opening
“For the Loveless” is appropriately heart wrenching
and atmospherically lush, with Lindholm’s vocals existing
beautifully between the realms of sullen and passionate, exuding
a breathy, strong delivery that is a staple of Dark celebration.
It is not a surprise that the band can create tightly constructed
grooves, as their previous acts were famous for this trait
as well, but “Omaha” and “Catatonia “are
a pair of ethereal body punches masking monolithic strength
behind shrewdly layered harmonies. The Darling Fire is a band
that repeatedly and effortlessly delivers intoxicatingly intricate
tracks without ever overwhelming he listener. Borrowing subtle
touches of 90s shoegaze on “Silver Spade”, Lindholm,
Gomez, and Matthew Short produce a warm, dreamlike world of
guitar hum. Each of the songs stays with the listener, lasting
on average around five minutes, so people can enjoy the stirring
dynamics of J Robbins’ production. Each anthem is a
fully matured gem with a separate identity. Drummer Kleisath
fuels the meandering “The Constant”, while the
closing “In Twilight” is bathed in translucent
beauty interspersed with a massive riff. The songs are emotionally
emotive, poignant, and dazzling. This is a great band that
invokes elements of the 90s indie uprising, but makes those
tones also inherently contemporary.
 SPIDER
- Energy Gone Wrong (CPYRT CNTRL RCRDS)
This three-song EP is more than enough to alert people that
Spider is a seriously punk rock juggernaut. If you do not
believe my words, check out their scathing version of Black
Flag’s immortal “Depression”. It takes guts
to cover one of the true legends of the genre, and even more
courage to put a unique stamp on a classic, but Spider makes
the song their own with ease. Hector Martinez does not simply
attempt a Rollins impression, but delivers the lyrics with
a chilling intensity. The other surrounding pieces are equally
rattling, as the closing effort, the brutal “The Reeperbahn”,
is a heavy, crunchy track that takes rock by the throat and
shakes some punk angst into its aging body. Guitarist Karl
Izumi works in seemly tandem with bassist Jeff Abarta and
drummer Alf Silva on the opening title effort. Abarta and
Izumi also contribute surprisingly harmonious backing vocals
that keep the bad one foot in the garage and the other in
a vomit-strewn gutter. I loved this little teaser and the
full length is hopefully coming soon.
 DIVINE
DIRT - From the Underworld (www.facebook.com/Divine-Dirt)
Bloody F. Mess will always have a special place in my heart.
I first learned of him as the leader of Bloody Mess and the
Skabs, a band that infamously opened for one of GG Allin’s
parole-dodging tours, and later, Mr. Mess declared O.J. Simpson
an “innocent man” more than a year before the
end of that trial with song rightfully called “O.J.
Simpson” which I played into the ground during my salad
days of college radio. All these years later, he returns with
his new act, Divine Dirt, and delivers From the Underground,
a rocking, transcendental collection of trashy punk gems.
Divine Dirt is largely more rock than punk, particularly on
the ultra-catchy ode to the band itself (“Divine Dirt”)
and the Sabbath-like stomp of “Lifting the Veil”.
While the songs may play with tempo, there are more than a
few true punk nuggets to be found, especially “Everyone’s
On Drugs” which chronicles the legal drug trade that
keeps more Americans than ever artificially able to get through
their days, and “My Mind’s Diseased” ( including
a new mantra of modern life-“My mind’s diseased
with daily life”). The plodding “Skeletons”
grinds slowly while Mess does his best Alice Cooper impression,
a style matched in both tone and tenor by “Howling at
the Moon”. The low-end thump of “Thieves Dressed
as Kings” meshes sludge and a classic Judas Priest metallic
assault to produce a slab of fun that could have illuminated
parking lot parties in the early 80s. It is always great to
have Bloody Mess back, and Divine Dirt displays, dare I say,
some maturity from Peoria’s finest product.
 UV-TV
- Happy (Deranged Records www.derangedrecords.com)
UV-TV is able to create music that both bubbles over with
energy and exuberance but the joy is also skillfully muted
throughout Happy. The noisy, occasionally ambient, but always-impressive
guitar work of Ian Bernacett and the remarkable vocal prowess
of Rose Vastola lead the outfit originally from Gainesville,
Florida. On the title track, Vastola’s sweetly sarcastic
tone highlights the song’s declaration that “I’m
so happy for you/Well it’s true/I’ll tell you/
it’s just a lot of shit”, while crunchy punk guitar
dominates. There are aspects of the band’s earlier,
more cuddle-core style, but UV-TV is embracing their angst
on “inside Out” as raw, slashing guitar accents
Vastola’s passionate delivery. (“You’re
always upside down/I’m always inside out”) Subtle
sweetness is heard on “Hide” and “Untitled”
as both songs radiate enthusiasm along with rich harmonies.
“World” is a more refined work as both it and
the closing “Falling Down” are lengthier efforts
that reveal the evolving nature of the band, as the members
have the confidence to grant more air between notes. The work
on Happy proves that UV-TV can strike at a listener’s
head and heart with equal poise.
 CHEMTRAIL
- Collider (Good Fight Records https://goodfightmusic.bandcamp.com)
Instrumental bands deserve limitless respect; it is extremely
difficult to produce music that is both stirring and relatable
without a vocalist and lyrics to connect the listener to the
band. An act like Animals as Leaders comes to mind in terms
of bands that are capable of creating such an impact, and
Chemtrail deserve to be within this conversation as well.
Collider is a richly textured, complex mass of musical expertise
from Ashbury Park. The band has three members who play guitar
(Mike Burke and Chris Camano also offer their skills as keyboardists
as well) and Chemtrail’s prowess is placed on full display
with the opening “Void Crawler”. Ambient and innovative
with sharp time structures, the song is a beautiful wall of
sound that is stunningly lush and intricate but still graspable
even for those of us who could never play like this. The spiritual
nature of “Young Warrior” emerges again during
the second half of “Collider”. This treasure of
a song opens with aggressive guitar work before injecting
a wave of distortion that cleanses the palate before the track
drifts into a mist of unnerving calm that becomes hypnotic
in its soothing nature. While “Parameters” and
“Frozen Dream” are fleeting and beautiful, the
fleshed out majesty of “Safe Passage” takes the
listener on yet another astral expedition. There is something
wholly unique about what Chemtrail does and they are a band
for those who can appreciate truly refined musicianship as
well as those who simply want to be swept away by dazzling
compositions.
 SUB
DIO (undercomm.org/records.sidewithus.com/)
I love a band with a great backstory and Sub Dio certainly
has that. Brian Moss has kicked around in a number of impressive
bands throughout his life and has also spent time as a middle
school teacher in San Francisco, and Danaca Von Hartwig is
a social justice lawyer. Alongside Shane Hendry on drums,
Danthrax on guitar (although Rob carter appears here) and
Ran Marshall on bass, the band rampages through five blistering
efforts of intelligent, hardcore flavored tracks. Von Hartwig
and Moss share vocals and the give and take between them gives
each song an aura of chaos while thunderous playing swirls
around their impassioned voices. Each effort retains a similar
sound that blends speed with raw emotion starting with “Takies”.
With lyrics inspired by Von Hartwig’s critical but often
times frustrating work, the band demands that listeners sit
up and pay attention. “Skeeters” builds slowly
and methodically before detonating into a mushroom cloud of
fervent emotion. There is a clear nod to vintage DC post-punk
on “Credible Fear”, particular the dissonant and
discordant guitar playing that acts as the foundation of the
song, and “Peachy Keen” is a flesh-ripping assault
of a song. With Hendry’s breakneck drumming opening
the song, Moss and Von Hartwig once again throw themselves
into the musical fray, roaring and screaming about “hating
the feeling” and “staring at the ceiling”
with the repeating cry of “so peachy keen” taking
on a sense of biting sarcasm. The concluding “Pardon
Me” acts a perfect bookend to a five-song thrill ride
of uncompromisingly abrasive and potent playing. I hope these
guys can push their day jobs to the side and tour for a while.
 CRO-MAGS
- "Don’t Give In" EP (Victory Records, www.victoryrecords.com)
It is nightmarishly redundant to say that the Cro-Mags are
one of the defining forces of American hardcore, but their
history is important to understand as one listens to the new
three-song EP. Granted, only one original member remains,
but there is still something greatly endearing to hear Harley
Flanagan bark, “Can’t let the circumstances define
who you are” on “No One’s Victim”,
the blistering final song of the three. The past two decades
have been wrought with legal battles about the band’s
name that were as bitter as the nastiest child custody case,
with Flanagan finally gaining the right to record and tour
under the moniker “Cro-Mags," the band he started
when the vocalist was barely out of middle school. The trio
of tracks are heavy, crossover hardcore that is done extremely
well; it may not be revolutionary, but just having new Cro-Mags
music after nearly twenty years is exciting. The band features
the well-traveled Rocky George on guitar, and the opening
“Don’t Give In” has aspects of Suicidal
Tendencies running through it as Flanagan scowls his affirmations
of toughness and self-reliance over three minutes of thunderous
playing. It is a phrase Flanagan must know well, for not giving
in defines his musical career. Guitarist Gabby Abularach and
drummer Garry “G-Man” Sullivan bring their own
brands of raw energy to the EP, and the Cro-Mags sound like
they could throw down with kids more than half their ages,
as the scathing “Drag You Under” proves. For those
who were around to see the Cro-Mags in their early days of
80s New York City hardcore, it may be difficult to imagine
that the band is still alive and vital in 2019, but of course,
no one in the NYC of the 80s could imagine Times Square with
a Disney store and family-style restaurants, so much has changed.
However, one constant is Flanagan’s commitment to the
spirit of the bare-knuckled brutality that defines the Cro-Mags.
These three songs are not announcing a comeback as the legend
and influence of the Cro-Mags never left. Instead, this is
a declaration that the sleeping beast has once again risen.
 THE
GIRAFFES - Flower of the Cosmos (Silver Sleeves Records
https://www.facebook.com/ silversleeverecords)
The Giraffes have been a long time staple of Brooklyn, particularly
the Brooklyn prior to gentrification and rents that rival
Manhattan. Their shows are infamous, and while Flower of the
Cosmos may not necessarily capture the insanity of their gigs,
the record is a collection of simmering blasts of metal-tinged
rock. The opening “Can’t Do This in Your Head”
is a noisy, guitar-heavy festival that is equal parts garage
noise and hard-driving rock n’ roll. The Giraffes exist
somewhere within those murky punk rock waters that infuse
punchy force with just enough musical sophistication to know
that the members are pros and not just a gang of guys slapping
instruments around a rehearsal space. “FAKS” rattles
like “No One Knows” from Queens of the Stone Age
and a similar vibe is captured on “Golden Door”,
with the latter delicately flavored with just enough atmospheric
haze. The superbly titled “Raising Kids in the End Times”
leaps skyward with a energized bass line that correlates with
equally bombastic guitar riffs blending in with smoothly delivered
lyrics from Aaron Lazar as he notes that “nothing’s
gonna change”, and we are all “just living day
to day”; this sad acknowledgment of man’s futility
feels all too poignant right now. Lazar and fellow guitarist
Damien Paris dominate “Bubble Scum”, an effort
that oozes bluesy sensuality, while “Dorito Dreams”
shakes with uncontrollable energy. Lazar declares on “Fill
Up Glass”, “we’ll change your minds tonight”,
and while the masses who attend the sweaty, furiously intense
live performances from The Giraffes may not to have their
opinions of the band changed, for those who are new to this
outfit, Flower of the Cosmos is a perfect introduction. This
is a record of progressive thinking rock as the band delivers
hard-hitting tracks with a musical dexterity that is highly
impressive. Now I just have to get to one of their gigs.
 LOLA
MONTEZ - Dissonant Dreams (lolamontezband.com)
Most people know Lola Montez as the famous mistress of King
Ludwig I of Bavaria who fled the Germanic states during the
ill-fated revolutions of 1848. However, if history does not
interest you, the new reference point for Lola Montez will
be this outstanding trio from Nashville. The band plays an
infectious brand of well-crafted modern rock with a few playful
nods to other genres. The majority of the work revolves around
the guitar work of Blake Scopino and the beautiful vocals
of Inga Rudin. Rudin’s voice soars majestically throughout
the record, cutting through the songs like blazing comet in
the night sky, and she even matches the power of Grace Slick
on the band’s bold cover Jefferson Airplane’s
“White Rabbit”. Scopino provides a wide array
of guitar tricks and displays impressive nimbleness without
ever becoming redundant. “Sacred” is one such
example of this dynamic, but the song also possesses a subtle
ambient nature also heard on “End of the Rainbow”
that provides a sense of mystery and experimentation not always
found in modern hard rock. Lola Montez also allows each of
their songs to have air to breathe and room to roam as most
of the tracks clock in at over four minutes in length. Maintaining
the attention span of fans today can be challenging, but each
of the ten songs resonate with warm harmonies and large, sweeping
hooks, best heard on “Cyanide”. “Can You
Feel Me” includes a funky, impish structure that allows
Scopino to shine, while “Monster” has a heavy
low-end groove. The song also features one of Rudin’s
finest vocal performances, for her warning of “don’t
touch me there” is delivered with a mixture of sensuality
and caution. The shared vocals on “Break Up” gives
the effort extra musical depth and is reminiscent of classic
FM rock radio from a bygone era. Lola Montez does not solely
clubber listeners for ten songs, but rather, the band alternates
their fits of intensity with elements of serenity and sophistication.
This is a band to which people need to pay attention.
 BRUCE
SPRINGSTEEN - Western Stars (Columbia Records www.columbiarecords.com)
I have seen the future of rock n' roll and he is now nearly
seventy, but Bruce Springsteen continues to write songs of
brilliant Americana that convey images of blue-collar struggles
in a manner that makes him rock's Steinbeck. Springsteen famously
invoked that legendary author on his Ghost of Tom Joad record,
and Western Stars will undoubtedly remind many of that work,
along with those who traveled with The Boss to Nebraska. Springsteen
is once again alone on the road, traveling through the forgotten
and ignored places such as the "lonely town" detailed
on "Sundown" as the narrator simply travels "from
bar to bar" lamenting a lost love. Rather than taking
listeners to the heartland, Western Stars is a tribute to
the rugged, still somewhat untamed aspects of the American
West represented by figures racked by loneliness, depression,
and painfully self-destructive regret. Self-reflection and
the crushing sorrow of failure dominate the lives of the characters
captured by Springsteen, whether this takes the form of the
dissipation of a relationship ("There Goes My Miracle")
or a desire to shed one's skin and start anew only to meet
more disappointments ("Tucson Train"). The opening
"Chasing Wild Horses" invokes sentiments of youthful
anger that carried far too deeply into adulthood, while "Somewhere
North of Nashville" includes the line, "I traded
this song for you" offering a poignant emptiness that
Springsteen referenced in both his autobiography and his sold-out
Broadway show.
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)
Aan is another wildly creative act from Portland, Oregon that
shape-shifts genres by blending atmospheric keys with dreamy
soundscapes and injections of sharp pop harmonies. Woven throughout
the fabric of Losing My Shadow are tales of complex personal
revelations and self-awareness, as Bud Wilson admits on the
title track, “In my head I knew something my heart wasn’t
ready to face/You wanted my love and I wanted your trust/But
I was telling you lies/I was down in the dust” as psychedelic
guitar riffs and a minimalist beat float around him. “Truly
Massive” feels as if could exist in the late 60s as
swirling, ethereal beauty envelopes equally beautiful lyrics
(“Your touch is such a deception/Each kiss is a lesson
I can’t seem to learn/It’s truly massive the way
the world spins round you/I’m a blip in your atmosphere”),
while “Born a Sucker” is propelled by warm programming
compliments of Cameron Spies. The resplendent “Mistakes”
is a serene, poignant effort that possesses a subdued R&B
groove deftly accented by warm keys. This ability to balance
humanity with the use of digital assistance is a fine line
to walk, and Aan does so with remarkable grace. Much the way
that Sgt.Peppers or Pet Sounds utilized every inch of the
studio, Losing My Shadow conveys a similar sentiment for each
song is overflowing with ideas and waves of sound. The songs
never become cluttered or overly busy but are certainly complex
in their majestic approach. The heartwrenching “Hurts
to be Alone” is not a standard lament about feeling
ignored, but is rather a declaration of pain and confusion
by Wilson as he proclaims to the world, “I’ve
got love for everyone” while gentle keys caress each
syllable. Aan does not shy away from challenging the listener,
as Losing My Shadow is not a record that one simply puts on
as background noise; the nine songs demand rapt attention
and are layered, adroitly textured works that are both similar
in nature and yet still distinctly unique from each other.
The closing “Life of the Party” has an aura that
is the antithesis of the title as the song has a wraithlike
quality hat perfectly captures the line, “I’m
just a ghost in the room”. The loneliness and self-doubt
Aan explores is quite painful and one can almost hear the
anguish Wilson is suffering, but his ability to express these
motions with such daring clarity makes Losing My Shadow
a powerful listening experience.
 CORPORATE
CITIZEN - A Brief Moment of Sanity (El Topo Records www.eltoporecors.com)
Corporate Citizen labels itself a hardcore band but unlike
acts that play fleeting blasts of speed that come and leave
within a blink, Corporate Citizen flesh out their songs and
develop a highly distinctive sound. This is not to say that
the band does not hit with authority, as the opening “Batten
Down the Hatches” is a sonic blast of power, but the
track also demonstrates several tempo shifts and plays with
chord progressions that displays more sophistication than
sometimes heard within the genre, as Corporate Citizen even
write identifiable choruses. Some of the themes addressed
on A Brief Moment of Sanity are standard hardcore fare, particularly
on “Next Big Thing” on which vocalist Bob Meder
admits that he is “just fine with where I’m at”
and eschews capitalist pursuits through musical conformity,
butt he topics are addressed with a more mature level of experience.
The work of Corporate Citizen retains hardcore’s driving
intensity and gang vocals that will undoubtedly inspire massive
spin-kick karaoke, as heard on “Got No Time” and
“Just Walk Away”, but there is a depth to the
nine songs that will provoke as many thoughts as stage-dives.
The closing “The Good One” is a rugged beast of
guitar crunch offset by an unapologetically harmonious chorus.
The song is rife with emotion as Meder says farewell to an
unwanted acquaintance with this biting dismissal: “To
me you are inconsequential/A bump in the road that I will
always avoid”. Bitter and still melodic, Corporate Citizen
are not afraid to expand the boundaries of what hardcore can
be.
 PRETTIEST
EYES - Vol. 3 (Castle Face Records)
This L.A. based post-industrial outfit returns with a distinctive
mixture of angular rhythms and Devo-esque quirkiness. Prettiest
Eyes experiment with tempos and intensity levels throughout
Vol. 3 granting the band the rare quality of originality,
for while they honor their influences they do not simply imitate
past heroes. The wildly infectious “It Costs to be Austere”
bobs with the energy of “Uncontrollable Urge”
and has a chorus that resonates long after the song fades.
“I Don’t Know” and “Mr. President”
have a more deliberate pace that allows for the subtle noise
and carefully placed effects to gain greater attention. Drummer
and lead vocalist Pachy Garcia has a voice that streaks like
a comet at times, capturing extraordinary emotion while still
retaining a great sense of humanity even while being profoundly
impacted by mechanized alterations. This balance between man
and machine is the band’s greatest strength, as the
quality of the songwriting is not lost within a mass of studio
tricks. It can be easy for bands like Prettiest Eyes to be
lured into a trap of overwhelming the listener with layers
of density that, while technically impressive, ultimately
suffocate the songs; rather than becoming laborious masses,
the textured force heard on Vol. 3 straddles the line before
aggression and refinement. The work and contributions of keyboardist/noise
fiend Paco Casanova and bassist Marcos Rodriquez are audibly
identifiable even at the band’s most chaotic moments,
such as the blaring “The Shame”, a song that blends
the fury of the Screamers and the mind-altering passion of
Suicide to be my personal favorite of the bunch. The sullen,
quiet soundscape “Another Earth” is disturbing
in its subtle darkness, matched in apparitional beauty and
by “Strange Distance”, with Garcia’s disturbingly
ethereal voice hovering just above streaking blasts of guitar
and intermittent keys. “Marihuana” is thunderous
blast of danceable punk that fits snuggly in the midst of
the swirling forces that surround it. “Summer in L.A.”
captures a similar vibe and sounds like Brainiac jamming with
early-90s Ministry while listening to Dead Kennedys to create
a grinding, swirling ball of power. The closing “La
Maldad” concludes with song collapsing upon itself in
a heap of exhaustion, capturing the emotions of the listeners
after completing their vital work.
 TOMMY
AND JUNE s/t (Fat Wreck Chords www.fatwreck.com)
This is quite the departure for Fat Wreck; Tommy and June
are true folk duo playing jangly, predominantly acoustic nuggets
that are fleeting in nature and often darkly comical. “Jetlag
Blues” describes hassles at LAX, as the song details
spending “six hours at the gate because I look like
someone who may be smuggling drugs” and “Monogamist”
offers this realization: “I fell into this/I would never
choose this way of life/It may fit for someone ready to give
up his teenage dreams”. While self-deprecating ,the
lyrics never come across as pining for lost youth, in fact
Tommy and June recognize on “Adulthood” that we
are all in this aging process together, and while it may not
enjoyable, there really is no gain in simply complaining about
it. The raucous “Ghost of Paris” slams itself
with a far greater ferocity than the rest of the material
but it still recalls 60s garage rock more than the punk one
usually associates with Fat Wreck. At first listen, the song
may sound out of place, but the frustration expressed by the
song is matched by the sarcasm of “Better Life Story”.
In the latter, Tommy and June laugh at their friends who decided
to have kids, now go to bed at 10pm, and surrendered their
lives of independence. The record is a primer for those learning
to come to grips with enhanced responsibility and the recognition
that life may become more serious, but it does not mean that
all the fun disappears. The music one hears here proves that
claim to be true.
 ELECTRIC
FRANKENSTEIN - How to Make a Monster (Re-issue) (Victory
Records www.victoryrecords.com)
Well, I guess I am officially old; I remember sitting in my
small, basement apartment twenty years ago writing a review
of the new Electric Frankenstein record, How to Make a
Monster. I distinctly recall thinking how this band was
kicking rock n’ roll in its bored and tired face, and
twenty years later, the impact is exactly the same. A scathing
set of blistering garage rock with an uncanny ability to blend
big choruses with unfettered speed and angst, How to Make
a Monster can rightfully take its place as a true rock
classic. From Steve Miller’s full-throated vocal delivery
to the dual guitar power of Jim Foster and Sal Canzonieri,
the songs only know one gear and the band is supremely tight.
Capturing EF at perhaps their creative peak, Monster
is a bluesy, greasy record that leaves you exhausted and bloodied,
but it is impossible to not love every second of it, from
the campy intro “I Was a Modern Prometheus” through
the concluding 50s-tinged rocker, “Phatty Boom Batty”.
While “Use Me” was an early favorite of mine,
I find that many of the deeper tracks hold up with equal ease.
“My World”, “Don’t Know How to Stop
You” and the scorching “Something for the Pain”
are flawless bursts of sarcastic, biting punk rock that does
not shy away from the desire to balance speed with precision,
as heard by the driving low end force of bassist Dan Canzonieri
and drummer Ron Sefcik. “I’m Not Your Nothing”
is an affirmation of revulsion accented by a defiant sense
of pride and sums up this essential listen. Gather around
children, EF is about to reintroduce to what rock should be.
 HAYBABY
- They Get There (Tiny Engines Records www.tinyengines.net)
Haybaby lists their music on their Bandcamp page as “post-nap
sludge pop”, and while I love the cheeky nature of this
depiction, there is an apt accuracy to it as well. “Total
Bore” saunters with a Kelly Deal-like bassline and subdued
vocals. One waits patiently for an explosion of force that
never comes, and this sets a tone for the record. Haybaby
experiments with song structure and gives the aforementioned
opener, “Monster” and “My Mother Tells Me”
ample room to breathe, stretching ideas over tableaus lasting
up to six minutes. “Monster” is particularly captivating
as it a progressive increase in intensity before falling back
into a tightly wound groove of fuzzy grunge. “Animosity”
manipulates the definition of dark pop as Leslie Hong asks,
“hey baby, why can’t you keep it together for
a minute?” and her oneiric vocals are the centerpiece
of the song, and this deft ability is heard again on the start/stop
structure of “I’ll Wait”, giving the song
a tangible urgency. Heartache, loss, and disgust fuels the
music of They Get There as “Witch Like Me” addresses
the long and trouble history of abuse towards women with Hong’s
vitriolic delivery on full display. Noisy and furious, the
song is a two-minute juggernaut. The equally menacing “Empathy”
has a latter day Nirvana sensibility, as it balances rage
with an infectious hook compliments of Sam Yield and Jeremy
Duvall. Yet another great release from Tiny Engines.
 NECKING
- Cut Your Teeth (Mint Records www.mintrecs.com)
I am thrilled to see this, as Mint Records has been a favorite
source of music since my earliest college radio days in 1991.
A particularly fond memory was actually bringing cuddlecore
giants Cub to my school where they delighted an audience comprised
almost entirely of my college radio geek friends; to that
end, Mint has delighted me for over twenty-five years and
Necking only continues that proud legacy. The roaring opener
”Big Mouth announces the arrival of Necking’s
second release and first full length. With thunderous drumming
and Nada Hayek’s declaration of “Big mouth/you
got a really big mouth”, one hears traditional riot
grrl fury funneled through a contemporary filter. “Drag
Me Out” taps into Sleater-Kinney’s finest sonic
force and hook-crafting skills, traits equaled on the biting
“Boss” which attacks sexism within the workplace
with laser focused lyrics that will undoubtedly ring true
for far too many. The nine songs of Cur Your Teeth are fleeting
blasts of erudite song writing, meshing blunt force with uncompromising
lyrics but doing so in a way that is more than standing on
the shoulders of the giants that proceeded Necking. The four-piece
from Vancouver turns up the punk-pop speed on “Go Getter”
while also creating a darkly tinged sing along on “Rover”.
(“I’m a dog calling home/crawling back can be
alone”). “Spare Me” is driven by a highly
kinetic bass line and leaves a lasting influence long after
its scant one hundred seconds fade. The finale, “Habbo
Hotel”, begins with a slower, deliberate pacing reminiscent
of Bikini Kill’s more controlled moments before closing
with a searing blast of aggression.
ACQUAINTANCES - 8 ½ Lives (File 13 Records www.file-13.com)
There are bands that one knows will be good before pressing
play due simply to the line-up, and Acquaintances definitely
meets this description. Featuring Jared Gummere of the Ponys
and Patrick Morris of Don Caballero, Thumbnail’s Stephen
Schmidt and Justin Sinkovich, along with drummer Chris Wilson
who has done time with Titus Andronicus and Ted Leo and the
Pharmacists, this is an all-star cast. It can sometimes be
difficult to have all of this talent collaborate effectively,
but everything on 8 1/2 Lives flows with streamlined expertise,
from the refrain about a “beautiful collapse”
on “Mutual Denial” to the opening blast of driving
guitar on “And it All Went Black”. The hyperactive
energy of “Bermuda Triangle” shakes with passion
while the title track rumbles along driven by a thick bass
hook and a classic 90s indie-style riff. “Mistakes I
Made” balances a droning groove with bursts of noise
to emerge as one of the strongest pieces of the bunch, and
the expansive “The Last Page” moves with the ease
of a light-hearted jam session, which is close to what Acquaintances
is as a band. With members in Philly, Chicago, and Portland,
this is a long-distance relationship that actually works,
and all of us are the beneficiaries.
B-BOYS - Dudu (Captured Tracks www.capturedtracks.com)
Despite the moniker, B-Boys has nothing to do with old-school
hip-hop; if any comparison is to be made, these guys sound
like something that should have ripped apart the stage at
Max’s Kansas City in the late 70s. Discordant, blaring,
and usually fleeting in length, the songs of Dudu are intriguing
puzzles of fuzzy force. When vocalist Andrew Kerr shouts,
“It’s been revoked” on the opening “Cognitive
Dissonance”, the song begins to spin out of control
and crashes in a glorious blaze. “Pressure Inside”
captures the confusion of the modern age with the declaration,
“I’m always busy in my mind/can’t think
things through” as an intensive swirl of guitar noise
dominates the air. The tightly wound playing consistently
sounds as if it is on the verge of exploding into a pile of
unrecognizable rubble and this creates a sense of tension
and anxiety for those listening, keeping an audience permanently
uncertain about what will happen next. This quality makes
the music of B-Boys, the band also including Britton Walker
and Brandon Avalos, particularly exciting, best heard on the
tense “Closer”. “Automation” has curt
guitar riffs that slice through biting lyrics before erupting
is a speedball of punk angst. Even what the band offers highly
truncated efforts, such as “No”, and the punishing
“Smoke You” the B Boys make statements, but they
excel when the songs have more room to move, such as the sardonic
“I Want” which includes Veronica Torres of Pill
(“ I want pretty things/I want poetry”, “I
want intelligence”, “I want quite a lot”)
which rattles with a Feelies style nervousness. Snarky and
overflowing with boredom, “Can’t Stand It”
is the encapsulation of contemporary dissatisfaction. At fifteen
songs, one may worry that the record may become redundant,
but everything on Dudu slams and clangs with consistent potency,
including the engaging off-kilter nature of the fifty-second
instrumental closing title track and the speedy “Taste
for Trash” (“I’ve got no taste for trash”).
It always does my heart good to hear something new and exciting,
and B Boys deliver on both accounts.
LITE - Multiple (Topshelf Records www.topshelfrecords.com)
The sixth album from this limitlessly unique Japanese band
is not just genre bending, but genre smashing in its approach.
Jazz, funk, guitar rock, and soul are seamlessly meshed together,
occasionally all on one song. The opening ‘Double”
is track played with dizzying speed but coherent enough to
grant the listener an appreciation for the talent on display.
A thick, danceable bass line thumps alongside rapid riffs
and tempo shifts that are the musical equivalent of doctoral
level trigonometry. To Lite’s credit, this is not just
a collection of virtuosos simply cramming any many brilliant
ideas into an incoherent mass; each song has a clearly defined
start, middle, and end, even if may take a while or multiple
listens, to identify them. The effervescent “Blizzard”
is one such example. Featuring minimalist vocals, slap bass,
and a more controlled, jazz-fusion style guitar work, the
song is both a musical departure and yet still representative
of their larger aural approach, which “Maze” is
a two-minute long anthem for the coolest after-hours club
imaginable. The jagged, start-stop nature of “Last Mile”
gives the song a sense of schizophrenic energy that is equally
thrilling as it is unnerving. “Ring” offers a
new bend to the path of contemporary hip-hop as rapper Tokyo-based
Maco Merets commands the mic over the top of a blissfully
smooth, island-influenced beat. “Temple” meanders
along gracefully, at times interrupted by bursts of metallic
force before pausing for just a fleeting few seconds before
reinventing itself as a nearly entirely different song. “4mg
Warmth” has a lush, atmospheric nature that wraps itself
around hypnotic rythyms., and the song leads majestically
into the scintillating closer, “Clockwork”. With
potential eruptions of sound hovering just beneath the surface,
the song acts as a perfect conclusion to an immensely entertaining
release.
PRETTIEST EYES Vol. 3 (Castle Face wwwcastlefacerecords.com)
This L.A. based post-industrial outfit returns with a distinctive
mixture of angular rhythms and Devo-esque quirkiness. There
is truly nothing quite like this, as Prettiest Eyes experiment
with tempos and intensity levels throughout Vol. 3. The wildly
infectious “It Costs to be Austere” bobs with
the energy of “Uncontrollable Urge” and has a
chorus that resonates long after the song fades. “I
Don’t Know” and “Mr. President” have
a more deliberate pace that allows for the subtle noise and
carefully placed effects to gain greater attention. Drummer
and lead vocalist Pachy Garcia has a voice that streaks like
a comet at times and retains a great sense of humanity even
while being profoundly impacted by mechanized alterations.
This balance between man and machine is the band’s greatest
strength, as the quality of the songwriting is lost within
a mass of studio tricks. The work and contributions of keyboardist/noise
fiend Paco Casanova and bassist Marcos Rodriquez are audibly
identifiable even at the band’s most chaotic moments,
such as the blaring “The Shame”, a song that blends
the fury of the Screamers and the mind-altering passion of
Suicide to be my personal favorite of the bunch. The sullen,
quiet soundscape “Another Earth” is disturbing
in its subtle darkness, matched in apparitional beauty and
by “Strange Distance”, with Garcia’s disturbingly
ethereal voice hovering just above streaking blasts of guitar
and intermittent keys. “Marihuana” is thunderous
blast of danceable punk that fits snuggly in the midst of
the swirling forces that surround it. “Summer in L.A.”
captures a similar vibe and sounds like Brainiac jamming with
early-90s Ministry while listening to Dead Kennedys to create
a grinding, swirling ball of power. The closing “La
Maldad” concludes with song collapsing upon itself in
a heap of exhaustion, capturing the emotions of the listeners
after completing their vital work.
SUMMER CANNIBALS - Can’t Tell Me No (Tiny Engines
www.tinyengines.net)
I always love a release with a fascinating backstory, and
Summer Cannibals’ Can’t Tell Me No is one of most
inspirational I have heard in a very long. The band, led by
Jessica Boudreaux, discarded an entirely finished record in
order to craft something in defiance of a person Boudreaux
described as “abusive and manipulative” that worked
on the now abandoned work. In its stead came the songs for
Can’t Tell Me No, a bold, confident collection of anthems
that reflect personal strength and a commitment to one’s
principles. Boudreaux’s voice roars with focused rage
on “False Anthem”, a song that directly confronts
abusers and those who do not listens to victims’ stories,
and “Behave” on which Boudreaux confesses, “I
try to behave/it’s gets harder everyday” and asks,
“What if I can’t change?” Blending indie
rock with a solid dose of riot grrl strength, Summer Cannibals
confront gender roles with biting social commentary on “Innocent
Man” (“An innocent man doesn’t scream, doesn’t
cry when he’s right”), a song that proves that
one need not play with reckless fury in order to be effective.
The trifecta of “One of Many”, “Staring
at the Sun” and “Start Breaking” are flawlessly
delivered piece of pop-kissed indie rock that also deliver
a devastating punch to the jaw when one loses focus and each
accents the talents of Casi Blum who devoted numerous fourteen
hour days with Boudreaux to create Can’t Tell Me No,
Devon Shirley, and Ethan Butman. The serene “Innocent
Gold” finishes the record on a tender note musically,
but the lyrics reflect extraordinary strength (“Out
of the dark and back into gold”) and that quality encapsulates
Summer Cannibals.
CHERRY POP - Sue Me (https://cherrypopli.bandcamp.com/releases)
I had the distinct pleasure of watching this band open up
for the Murder Junkies a few weeks back, and they absolutely
owned the club that night. Cherry Pop is a Long Island four-piece
that injects a healthy dose of sleaze back into punk rock.
Vocalist Cherry B, who also handles all lyrical responsibilities,
commands scathing and sexually anthems "Complicated"
and "Whore" as guitarist Austin Vomit proves that
he is anything but simply a three-chord wonder. On "Fool",
the band throws itself into high gear, delivering a track
of blazing speed dripping with unabashed anger. Bassist TJ
Dirt and drummer Nick Hero are a punishing low-end duo that
provide a devastating backbeat for the biting "Past Your
Prime" and the grinding "Garbage". This may
only be a six song EP, but Sue Me is a bold introduction to
a band with outstanding promise.
STRANGEWEATHER - Of the Reeds(strangeweatherpdx.bandcamp.com)
For people wondering where one can hear quality musicianship
with a healthy dose of glockenspiel, one need only look to
Strangeweather. This intriguing Portland, Oregon outfit plays
a hypnotic blend of haunting darkwave and soaring chamber
music. Rhone Lachner makes an immediate impression on the
majestic opener "Syrinx", an expansive, profoundly
lush anthem of delicate beauty. While the song concludes with
a subtle bit of clamor, her flute playing seats a particularly
soothing aura. "The Wind and the Wheel" is replete
with perspicacious lyrics ("Everything you love/everything
you hate/time will turn into dust blowing past your grave").
Invoking Etruscan mythology, "Born in Armor" references
the lives and adventures of Minerva and Diana in a sprawling
anthem with prominence given to bassist Joshum Hardy who also
handles vocals on "The Wind and the Wheel". "Wooden
Cage" is the darkest of the six pieces here ("Fell
to pieces in the blink of an eye/ and then reveled in the
pain") and its atmospheric intensity is almost unnerving.
The poetic nature of "Five of Cups" is particularly
serene as sparse lyrics are uttered throughout a richly textured
song. The band fittingly references winter for there is a
penetrating chill created on "Ace of Swords", another
stirringly delicate that seems as if it could shatter into
pieces at any second, highlighted by the cello playing of
Brenna Sahatjian and intricate percussion from Dirt Deodara.
Sounding like the soundtrack to a seance, the song, and the
larger record, is simply mesmerizing.
 ABOLITIONIST
- Ugly Feeling (Between the Days Records; http://betweenthedays.storenvy.com/)
Apparently, this is Abolitionist’s swan song as the
band is moving on, and if this is the case, what a way to
exit. Ugly feeling is twelve blasts of melodic punk, textured
with a dual guitar sound compliments of vocalist Dustin Herron
and Jeremy Dunlap. The songs balance rage and control as Herron
emotes, “He’s just not getting it/ yell a little
bit louder/he’s just not getting it” on “Yelling”
and he asks “Is the byproduct of patriarchy to consider
only yourself?” Or is it a human thing?” on “The
Selfish Gene”, a track driven by the drumming prowess
of Sean Rule. The songs all focus introspective, contemplative
lyrics that address the complexities of being human “in
such a weird time” (“Ambivalent Nerd”).
Throughout the record, the band, including bassist Joey Mohler,
examines the human condition on tracks like “World Inside”,
“Shelter”(“It wasn’t too bad living
“in the sticks” surrounded by the trees and the
loneliness”), and “Walls”. The songs shake
with frustration and the insecurity that comes with feeling
like an outsider; Abolitionist capture teen angst but make
it clear that those feelings do not dissipate with the onset
of adulthood. Instead of looking for blame, Herron bravely
reveals a reality known by many on the title track when he
admits, “It wasn’t all that bad growing up in
the rural life, being shredded by the eggshells of an unhappy
marriage of two unhappy souls” while driving riffs propel
the song along at a furious pace. I am always drawn to intelligent
songwriting, and that trait abounds on Ugly Feeling as Herron
bares his soul throughout the fleeting tracks and asks profound
and painful questions on “Family Affair” and Crossroads”;
the types of questions that are not solved by simplistic answers,
but rather may remain permanently unresolved. I do hope this
is not the last of Abolitionist because punk needs more thoughtful
acts such as this. Listeners may see themselves within these
songs and may feel uneasy; however, the music of Abolitionist
proves that feelings of disillusionment and uncertainty are
not isolated emotions.
 MYKEL
BOARD AND THE CLEAN BOYS - “It’s Punk Rock”
EP (The Only Label in the World; facebook.com/mykel.board)
Legendary punk gadfly Mykel Board returns with a roaring three-song
release. Featuring the Clean Boys (Danish punks with an impressive
discography of their own,) "It's Punk Rock” is a blazingly
fast and noisy anthem that reminded me of an ode in the vain
of Sebadoh’s “Gimme Indie Rock.” Defiant
and proud of it, the song rumbles along with all the anger
one would expect compressed neatly into about two minutes.
“Fight Fight Buy” has a tone reminiscent of something
the Jabbers would have recorded, overflowing with traditional
punk disgust with society but delivered with a keen sense
of melody.
The B-side is when things take a turn for the very weird:
Singing along with the lovely voice of Persille Ingersler,
Board delivers a lounge version of the Paul Anka hit “Having
My Baby”. Played gently along with Peter Peter with
a hint of sarcasm, the song seems particularly snotty in an
era of the #MeToo movement and abortion laws driving women
back to draconian measures concerning personal freedoms. While
Board’s vocals do not approach the velvet tones of Anka,
the song does not mimic Sid Vicious’ vomit-covered take
on Sinatra, either. No one actually needs this, but the world
should appreciate its existence.
 THE
CANDY SNATCHERS - Moronic Pleasures (www.houndgawd.com)
There are legions of stories of bands that should have been
huge but through a combination of bad luck, bad timing, or
bad habits, it just simply did not come to fruition. One of
the most heartbreaking of these tales to me is The Candy Snatchers,
a riotous act of sweat, beer, and violence that never disappointed.
For those who never caught the band live, they missed unpredictable
evenings of on-stage fights, an often-bloody vocalist in the
form of Larry May, and the most ripping punk rock one would
ever want to experience. All of this reckless energy burned
itself out too quickly, culminating with the tragic loss of
guitarist Matthew Odietus, although, to be fair, no one ever
expected The Candy Snatchers to retire gracefully and quietly.
Moronic Pleasures is an expansive collection of songs that
is often labeled a “lost album”. Whatever label
one wants to affix here, it is nineteen blasts of fearless
aggression, with nothing even coming close to hitting three
minutes in length. Everything on this record just crushes
the listener, but good luck not throwing things around the
room when “Pissed Off, Ripped Off, Screwed”, “Gone
for Good”, or “Killing my Buzz” come through
the speakers. The band was a searing mass of garage rock aesthetics
and blunt punk rock force. Nothing about the band was subtle
or refined, but the tongue in cheek humor of “She Sure
Can Blow” and ”Ass Casserole” makes it clear
that the guys, rounded out by bassist and frequent sparring
partner of May, Willy Johns, and the thunderous Sergio Ponce
on drums, took their fun seriously. While May has moved on
to sing for the great Born Loose, his legacy will always be
the front man of The Candy Snatchers. There is nothing to
not absolutely worship here, and I have already worn out the
vinyl. The Candy Snatchers may be gone, but their legacy should
be a blueprint for any group of kids picking up instruments
in a garage right now.
 ROD
HAMDALLAH - "Think About It " EP (www.houndgawd.com)
Rod Hamdallah has been creating his brand of rock n’
roll chaos since he was only sixteen, and while "Think
About It" is only five songs, every second is a pleasure.
The record meshes bluesy garage force with heartfelt lyrics
about being lovesick, lost, and lonely. Hamdallah declares,
“my heart is beating/beating on the ground”, and
the refrain comes to carry the song “Heartbeat”,
a sultry march accented by accordion that slowly grinds under
Hamdallah’s vocal prowess. Each song celebrates Hamdallah’s
highly emotive voice, but the most significant calling card
is the explosive nature of the songs that rises and falls
with seamless ease. When one hears the scream “take
me back” during the song of the same name, the combination
of anger, lust, and hope converges into a richly textured
chorus that goes well beyond a standard love tale. “Carry
You Home” bounds with soaring rythyms as Hamdallah announcs,
“ain’t nobody loves you the way I do”, a
statement of personal bombast as Adam Holliday delivering
outstanding Hammond organ. The record radiates with a lo-fi
aesthetic and it’s clear that this young man was influenced
by the legends of the delta blues genre as “I Don’t
Mind”, featuring the lyrics “I don’t care
who you’re loving as long as you love me so”,
would make Muddy Waters proud, while the scathing solo will
delight any true rock aficionado. This one is a gem.
 NEBULA
- Holy Shit (Heavy Psych Sounds; www.heavypsychsounds.com)
Certain bands know how to characterize their music in only
a few words, and Nebula has that done perfectly with Holy
Shit, the name of their first release in ten years. A decade
away would usually place most bands in the either the “recycled”
or “nostalgia” categories, but not here. The Sabbath
style riffs abound, particularly on the pummeling “Witching
Hour” in which guitarist /vocalist Eddie Glass leads
the band through a rollicking feedback drenched dirge that
retains a highly melodic groove. Bassist Tom Davies and drummer
Michael Amster are airtight anchors of the band’s heavy
low-end rumble, from the hazy opening “Man’s Best
Friend” to the Stooges-esque instrumental “Handful
of Pills”. The songs elevate themselves above the typical
stoner-doom genre but adding an atmospheric tone that both
harkens back to 70s guitar rock and is still surprisingly
contemporary. The meandering crawl of “Tomorrow Never
Comes” is seven minutes of fuzzy, hypnotic power that
will have every head in the crowd bobbing in rhythmic unison,
and includes a dramatic tempo shift into a rambunctious mix
of intricacy and truly heavy force before finding its original
anthemic nature again. Despite Holy Shit being Nebula’s
sixth release, this is my introduction to them, and I guess
the old adage of better late than never applies here, for
I am better for hearing this. “Gates of Eden”
has a subtle Southern rock boogie to its otherwise meandering
psychedelic sound, and would be an ideal blast for rock radio
if that still existed. With touches of everything from Deep
Purple to Iron Butterfly to Spirit, Nebula brings expansive
headspace rock into the twenty-first century, perhaps truly
highlighted by the blazing (pun intended) “Let’s
Get Lost”, a punishing assault of scathing wah-wah effects
pedal guitar work and impassioned vocals demanding “Let’s
get lost/ let’s feel something”. It could be a
“Sweetleaf” or “Dazed and Confused”
for the vape generation or simply a new anthem for those of
us looking for a return to rock’s more experimental
nature. Concluding with “Cry of a Tortured World”,
Nebula boldly announces their return and people should sit
up and take note.
 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)
Not a Part of It returns with more ultra fast, biting political
punk. The Trump era has inspired the most incensed politically
motivated punk since Reagan and this highly skilled trio makes
it clear that America is in trouble. On “And?”,
the band warns that “they are coming for you”,
and the ominous nature of the line is intensified when one
considers that the band does not designate who the targeted
group actually is. The denser but equally speedy “So?”
reminds us all that it is “not enough”, while
guitarist/vocalist Jason Burton expels biting frustrations.
The B-side “Yeah?” demonstrates the complete talents
of the band, particularly bassist Daylon Liles and drummer
Rush Lamb-ah! Harkening back to the sound of the Damned and
Stiff Little Fingers, the track speaks of a nation that has
voluntarily made itself “emotionally blind”. This
is menacing music for unsettled times.
 HEATHER
WOODS BRODERICK - Invitation (heatherwoodsbroderick.bandcamp.com)
While Heather Woods Broderick may be known for being a band
mate and collaborator of Sharon Van Etten, she excels on her
own throughout the deeply stirring Invitation. Written largely
in solitude in Oregon, the songs permeate the listener as
Broderick blends intimate fragility with incredible soul.
A gentle piano riff and a massive chorus drive “Nightcrawler”;
the song acts as a perfect companion for a day with a low,
grey cloud ceiling and constant rain. The minimalist beauty
of “Slow Dazzle” is my favorite moment of the
record until I hear Broderick describe herself “moving
through the white tail of the jet stream” (“White
Tail”), and there in lies my only challenge with the
record: just as one stirring anthem finishes, another begins
and it is easy to get lost in Broderick’s vocals as
she explores raw emotion with a daring vulnerability. “Quicksand”
is a gem from this virtuoso, as Broderick takes the listener
on a journey that ebbs and flows through heartfelt waves of
emotion. The tile track is where I truly fell in love with
all Broderick does, as she declares, “I dreamt it took
me last night into the darker side of life. I accept the invitation”.
The song is a wistful, richly personal song that encapsulates
the brilliance of the entire record. From this point forward,
people should boast of ever working with Heather Woods Broderick.
 KITTENHEAD
- NYB (www.kittenheadla.com)
Kittenhead play riot grrl anthems for a new generation with
their own unique spin on the angst that fuels the music. The
LA based five-piece understand the power of a towering hook
and memorable chorus, and the opening duo of “Numb”
and “Bloom” certainly illustrate that point. Vocalist
Kivi Kittenhead is not a screamer, but a truly refined singer
whose voice conveys elements of sensuality, fear, rage, and
disgust all with equal aplomb and with excellent range. “Bloom”
hums along at a mid-tempo pace with hazy guitar from VJJ and
Daddy Kittenhead as Kivi’s vocals soar majestically
above the refined chaos. The feedback that ends the song illustrates
the band has its foot (paw?) squarely in punk aesthetics,
but as “Confusion” opens, the hook is undeniable
and one quickly learns that this is a well-honed rock n’
roll animal of a band that can balance harmony and fury with
expert ease. Yet, for those looking for a bit more frenzy
in their music, the title track will leave listeners exhausted
and richly satisfied. An acronym for “not your bitch”,
“NYB” is a ripping assault upon the Harvey Weinsteins
and Donald Trumps of the world as Kivi spits out “I’m
not your toy/ I’m not your test/ I’m not your
pick up game” over the top of a thumping bass line from
dd Kittenhead and the punishing low end of O-Face Kittenhead.
The song breaks down into a sarcastic lecture that needs to
heard on repeat at least ten to twelve times to be fully appreciated,
and this one is easily my favorite track of the bunch. The
closing “143” is a speedy, punk-pop nugget overflowing
with bratty arrogance and a great sing along line of “we
don’t care”. I can only hope that Kittenhead make
their way to the east cast soon because they are a rare mix
of smarts, humor, and a killer set of songwriting talents.
 THE
YAWPERS - Human Question (Bloodshot Records www.bloodshotrecords.com)
Taking their name from Walt Whitman is always a great start
in my book, and the Yawpers only improve their standing with
me from that point forward. The band plays a unique blend
of bluesy, breathy, rock n’ roll, particularly the ultra
cool “Dancing on my Knees”, a track accented by
unexpected blasts of noisy guitar. The title track is a harmonious,
bubbling work with understated yet impressive guitar work
and thought provoking lyrics, matched by the erudite folk
of “Man as a Ghost”. The fuzzy, reverb-fueled
guitar on “Earn Your Heaven” is rugged, but still
has rounded edges for greater accessibility and incudes beautiful
Wurlitzer piano from Alex Hall who also masterfully produces
the record. “Carry Me” soars like a religious
revival while the bluesy stomp of “Forgiveness Through
Pain” swaggers with confidence. The trio tap into their
love of 60s pop on the jangly “can’t wait”
as the guys channel The Byrds and then later borrow from the
masters on the Beatles-esque “Where the Winters End”.
The Yawpers give listeners a little taste of all forms of
American music and excel at every turn.
 THE
GET UP KIDS - Problems (polyvinylrecords.com)
The Get Up Kids may no longer be kids, as they now have children
of their own, but their commitment to warm, lyrically introspective
playing remains intact. The work of this band has traditionally
been accented by a shrewd pop sensibility, and that is certainly
heard throughout Problems. From the self-deprecation
of "Lou Barlow" (“I saw Lou Barlow on the
street/I don’t think he noticed me”) to the equally
critical “The Problem is Me”, the songs here resonate
with lyrics of self-contemplation and memorable choruses.
The guys do deviate a bit and take more chances throughout
Problems, particularly on the keyboard-laden “Waking
Up Alone”, as the song recoils, lunges, and bounds with
sugar-fueled energy without the sole focus remaining on the
guitar. The same holds true on the piano-kissed “The
Advocate” which becomes a bit darker after the subtle
beauty of the intro. Matt Pryor continues to craft songs of
hope, sorrow, and loneliness, but now he does it for those
of us who have deeper concerns than fleeting crushes. His
heartfelt, genuine emotional breadth is heard around the heavier
riff of “Symphony of Silence” as he admits “I
used to be good once/I used to be gorgeous”. The closing
“Your Ghost is Gone” is a churning piano ballad
that does not end the record on a whimper, but rather with
a devastating emotional punch. Problems illustrates how after
more than twenty years, the Get UP Kids still appreciate the
combination of heartbreak and pop hooks.
 MEKONS
- Deserted (bloodshotrecords.com)
From the second of their inception in 1977, Mekons have been
one of the most confounding, fascinating, and erudite bands
in punk. Perhaps too punk for some art folks and too art for
the punks, the band has long existed in a sphere of their
own genius. Finally returning after eight long years away,
Deserted continues this brilliant combination of
off-kilter musicianship and stirring storytelling. “Weimar
Vending Machine” is just one of the numerous gems found
within this collection, and the song is a varied, winding
tale of references to the German government post-Kaiser Wilhelm,
Iggy Pop at a Berlin vending machine, and the fact that the
world has been teetering on the edge of complete self-induced
destruction for far longer than just the past few years. Always
imbued with elements of folk, Mekons embrace go full on Southern
boys (considering they are original from Leeds, England) on
“Andromeda” as singer John Langford carries the
song with his lush vocal range, and again on the closing “After
the Rain”, propelled by the shared vocals of Sally Timms
and Langford over the top of haunting fiddle. “Lawrence
of California” is a brilliant introduction to the record,
as the song opens with a slowly developing wave of feedback
before launching into a rousing chorus as the band pays homage
to Joshua Tree State Park which surrounded the studio in which
they recorded the virtuosity that is Deserted. “How
Many Stars?” is a gentle slice of subtle beauty that
envelopes the listener, while the atmospheric nature of “In
the Deserted” is established by the remarkable voice
of Timms who once again is rightfully among the Mekons ranks.
Bouncy, fuzzy guitar abounds on yet another historical reference,
“Harar 1883”. The song is a nod to French poet
Arthur Rimbaud who, while searching for more dramatic life
experiences, traveled to the city in what was Abyssinia (today
Ethiopia) in his early twenties. Some bands defy comparisons
and peer groups, and Mekons are such a band. It is good for
all of us that they have again graced the world.
 RICHARD
VAIN - Night Jammer (bigneckrecords1.bandcamp.com)
The thunderous rumble of guitar reverb that opens the appropriately
titled “Tremors” by Richard Vain act as a forbearer
of what is to come over the scope of nine largely expansive
tracks. At times, the work is offset by moments of more delicate,
jangly riffs, such as what one hears on “Castles”,
but even this effort has bursts of skull rattling guitar force.
Merging 80s alternative with the darkest aspects of grunge,
Night Jammer is a powerful record from a deftly adroit songwriter
named Jared accompanied by a keyboardist/drinking buddy called
Carbomb and a drummer named Lugs. There is a experimental
vibe that runs through tracks like “Encounter”
as ethereal keys hover sparingly above an angular guitar hook
that introduces itself and recedes quickly throughout the
song while Jared’s slightly hushed vocals fight to be
heard above the controlled din. Briefer flashes of manic force,
namely “Rats” and “Tar Pits” tap into
the band’s affinity for punk energy, but still retain
a musical dexterity that elevates Richard Vain above standard
punk fare. The blasting force of “Punks Inbred”
takes me back to Dinosaur Jr.’s finest moments in which
melody is not lost in the midst of blunt force. There is a
delicate line to walk between merging styles and sounding
recycled, and Richard Vain masterfully celebrate the past
while contributing something distinctive to modern punk.
 SWEET
JAP - Be My Venus (bigneckrecords1.bandcamp.com)
I love this type of story, albeit a bit heartbreaking. Sweet
Jap was a band that existed between 2000 and 2004 and they
vanished with only one official release to their name, but
left behind a legion of devoted fans, a few magazine covers,
and sweat-soaked tours. Big Neck Records brazenly declared
that fifteen years after the break-up the world needs Sweet
Jap and released this collection of lost and never released
efforts. Opening with the scathing “I’m Only Moonlight”,
one is transported back to the time when The Mooney Suzuki,
the Vines, and others were in the business of “saving”
rock n’ roll. With driving grooves, raw, abrasive guitar,
and rugged vocals, “La Rock” embodies everything
a rock song should be-two and half minutes of attitude and
grit. The blistering one hundred and twenty seconds of “Found
There No Go” is exhausting and pure fun as the song
hovers dangerously on the edge of simultaneous combustion.
The one-two punch of “SJAP” and “You Know
Reno” are inspired, scream-along anthems that take hardcore
speed and combine it with a Dead Boys-inspired snarl that
works perfectly. Closing with “Oh, My Pretty Face”,
one is left lamenting about what could have been and wondering
if these guys just ran too furiously to have an extended lifespan.
At any rate, one should be grateful for what they did produce
and to Big Neck for their genius to release it.
 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)
I love this band-Club Night is comprised of five veterans
from Oakland California’s music scene, and the result
is a genre-smashing assault upon indie rock. “Path”
explodes with a blast of childlike energy and enthusiasm with
undeniable passion. Emotive and highly intelligent, the song
is led by the guitar playing of Ian Tatum and vocalist Josh
Bertram, whose soaring vocals reach beyond the occasional
din that accompanies the majority of the work on What Life,
whose songs are at times accented beautifully through the
synth work of Rebecca Lukens and even cello from Robin Miliken.
The lyrics, compliments of Bertram, capture fleeting snapshots
of life with remarkable detail and poignancy and often examine
one’s struggles and reflections upon life with a mixture
of sorrow and a realistic optimism for the future, all the
while stunned by the rapid passage of the years. (“I
took the ashes off our mantle/the white linen cloth on the
dining table”) The songs are each stirring manifestos
about not achieving dreams quite yet and the realization and
acceptance that life may not be what one wants. This record
helps people realize that they are not alone in these frustrations,
particularly on the fleeting pop of “Village”.
By Club Night’s parameters, the song is a sugary little
gem, and when Bertram says, “Love does us in over and
over again”, one cannot help but heave a heavy sigh
and bask in the pain. The ambling, delightfully quirky “Mute”
plays with the definition of what indie rock can be, as the
song is a light-hearted effort with a more serious underside.
(“It is strange the sound of your own voice bleating
out against the wind/I hope the sad buzzards don’t notice
our death /The years they have made a mess”) The song
is the embodiment of the feeling of being just on the verge
of tears but being able to just hold one’s self together.
“Cherry” is an equally brilliant ride (“Feeling
like a tourist in my own mind”), blending subdued indie
pop with wildly beautiful, double-jointed riffs to create
challenging harmonies. The closing, seven-minute “Thousands”
notes, “not everyone I know is poisoned by the fear
of the unknown” as a stirring mass of cacophonous angst
erupts around the listener, driven by drummer Josiah Majetich
and bassist Devin Trainer. All I hear on What Life wonderfully
stuns me, and I cannot wait to tell my friends about this
band.
 LO-PAN
- Subtle (Aqualamb Records www.aqualamb.org)
Lo-Pan plays modern hard rock and they do not care what anyone
thinks about that. That later statement is made abundantly
clear throughout Subtle because nothing here is subtle-there
are no studio tricks, cute instrumental accents, or experimentation.
The guitars from Chris Thompson are loud, the low-end of drummer
Jesse Bartz and bassist Skot Thompson is heavy, and vocalist
Jeff Martin can hit notes that the vast majority of humans
cannot reach. Therefore, ladies and gentlemen, I give you
what you thought was no more-rock n’ roll. The question
for Lo-Pan is how can they get themselves known in a world
that seems to have a dearth of these acts. I cannot answer
that for right now, but the music on Subtle speaks for itself
as “Old News” grinds with a nice blues-based touch,
while “10 Days” and “Bring Me a War”
craft something that many bands fail to incorporate into their
songs, and that is a hook. The traditional bombast of big
time arena rock is present on every track, whether it is the
bitter love song of “Savage Heart” or the varied
tempo and multi-textured “Butcher’s Bill”.
These guys can play, have strong structures throughout all
eleven tracks and the record never grows repetitive. Lo pan
helps to demonstrate that there is more than just Greta van
Fleet playing rock right now.
 CLOWNS
- Nature/Nurture (Fat Wreck Chords www.fatwreck.com)
It takes bravery for bands to alter their sound, especially
when an act begins as a hardcore band. Typically, audiences
can be quick to scream “sell out” or reject a
band outright if they deviate from the initiate intensity
that first won people’s hearts. For Melbourne Australia’s
Clowns, they began as a hardcore band and remain a hardcore
band, only a sharper, more mature, and musically focused outfit.
The opening of Nature/Nurture is “Bland is the new Black”,
a searing, decimating slab of classic punk barbarism which
is quickly supported by the equally crushing “Soul for
Sale”. By the time one reaches “I Wanna Feel Alive
Again”, however, something changes, and the variations
of song structure is exciting. Rather than solely kicking
one’s head inside out for two and half minutes, Clowns,
led by vocalist Stevie Williams, begins to delightfully play
with eccentricities in tempo and mood. Guitarists Rod Goon
and Will Robinson drive the song’s meandering shift
from melancholy to self-actualized through riffs that alternate
between ethereal and slashing. “I Shaved my Legs for
You” and “May I Be Exhumed” are snarky both
musically and with their titles as the song are tightly wound
blasts of energized punk in the more classic definition of
the form, with the latter as ninety seconds of brain rattling,
angular noise. Bassist Hanny J and drummer Jake Laderman shine
most brilliantly on “Prey for Us”, a track that
rattles with the pomp and circumstance of arena rock without
sacrificing street punk credibility. However, the concluding
title track is the biggest deviation; a five-minute journey
that climbs slowly and steadily towards a massive hook, the
song is the culmination of a band’s evolution thus far.
One gets the feeling that Clowns will continue to experiment
and challenge themselves and their fans as the years and records
progress. To me, that is a sign of both confidence and impressive
ability, which Clowns clearly possess. This is a great find.
 GIRLS
ON GRASS - Dirty Power (https://www.girlsongrassband.com/)
One finds interesting results when doing a quick Google search
for “girls on grass”, but this band, led by Barbara
Endes on vocals, plays a mixture of bluesy, country-fried
rock with limitless self-confidence and tough-chick attitude.
“Down at the Bottom” is a rollicking opener that
allows Endes to shine, along with David Weiss on guitar. Drummer
Nancy Polstein hits fervently throughout the record, but truly
makes quite the first impression. “Got to Laugh to Keep
From Cryin’” has both a classic country title
as well as a battle-tested country delivery through which
one can almost hear the truck driving down a dusty road. Girls
on Grass, rounded out by Dave Mendl on bass, are skilled storytellers
that do their best to stay out of the political maelstrom
that currently envelopes this country, but try as one might,
it is difficult to not comment on the state of our land, and
“Commander-in-Their” is a less than subtle summary
about Washington D.C.’s most famous spray-tanned inhabitant.
Additionally, “Because Capitalism” is a scathing
critique of how politicians take on their jobs “for
the cash and the underage ass” and revel in the elimination
of food stamps despite starving families and ignore the homeless
living in train stations, while twangy guitar rattles overhead.
This is blistering Americana that injects indie rock rebellion
into traditional bluegrass licks. The title is perfect, as
there is a grizzled veteran quality to the playing here; Girls
on Grass deliver forceful songs with a sense of knowing defiance
that only comes with age; namely the age when one stops caring
about what others think. Go get this.
 HEAVENSAKE
- Post-Chroma (https://heavensake.bandcamp.com)
I always appreciate when a band is willing to embrace who
they are without attempting to create some type of pseudo-intellectual,
sub-genre label. Heavensake formed in 2016 and readily declared
themselves part of an “emo revival” and everything
on their five song EP Post-Chroma sounds like a return to
the best moments of the Deep Elm Records roster, replete with
biting lyrics from vocalist Mikey Lince, intricate guitar
playing from Pat Wood and Sean Burke, and derisive titles.
All of the above meshes perfectly on “If You’re
a God, Then I’m an Atheist” featuring the lines,
“The hate I have for everything inside me” and
“I can never seem to get you out of my head”.
The Philly via New Jersey five piece (including bassist Skeeter
Seifert and drummer Anthony Massimini) sound like a band with
four times their experience throughout the release. “Aftercoulour”
starts everything off with a new interpretation of loud/soft
song dynamics by injecting a combination of youthful exuberance
and streamlined precision. A thunderous low end carries “Bleach”
as Lince asks sarcastically, “so this is what you call
your best life?”. “L’appel Du Vide”
is the most traditionally melodic of the bunch, allowing Lince
to show off his impressive vocal range, but my favorite effort
is the poignant “Did I Leave Everyone, or Did Everyone
Leave Me?”. Opening with a hazy, near shoegazing groove,
the song is a multi-faceted demonstration of this band’s
great reservoir of talent.
 FAT
CHANCE - Do Not Resuscitate (https://fat-chance.bandcamp.com)
Eight years in the making, this DIY Jersey band plays an aggressive
form of true ska punk. I find the horn playing in most ska
often creates an artificially happy construct, but that does
not happen here; Fat Chance are singing songs of real pain,
loss, and a seemingly endless quest for redemption, and the
sadness is only enhanced through the sax work of Lacey Liptak.
I am instantly impressed on “Quit Bitchin’!”
and the reference to ‘Where Eagles Dare” by the
Misfits, but that is merely the start of a remarkable musical
journey. The stark lyrics of “Blue” (“I
woke up this morning and I started thinking suicidal thoughts”),
“Running”, and “Pathetic” each feature
a speaker in distress, and there is no silver lining or neatly
arranged ending. “Rise or Die” and “Capitalism”
both express a disgust and hatred for the current conditions
in America, with the latter delivering these concerns over
a mid-tempo groove that is unapologetically rhythmic. Vocalist
Ferris Denequolo adroitly adjusts his voice from a rugged
shout to a melancholy melody, best heard on the majestic closing
title track that also allows the duo of bassist Weston Mohr
and drummer Shawn Werman to truly shine. Boldly baring his
soul, Denequolo offers lines of raw despondency, noting, “These
visions I have in my head keep on changing/ and they’re
changing until I’m dead/ So I stay withdrawn/I create
my own meds/Cigarette burns on my hands/and your texts before
bed” before bellowing out a heartsick demand of “do
not resuscitate”. The nearly twelve minutes associated
with this song may appear daunting, but be sure to hang around
for the special bonus track which will leave the listener
smiling a bit after the preceding bakers’ dozen of anguish.
Fat Chance allows people to truly enjoy being miserable.
 JONNY
KOSMO s/t (https://jonnykosmo.bandcamp.com)
This L.A.-based act opens this release with an ethereal “Prelude”,
a concoction of church-like organs that hovers with a sense
of gravitas and leaves the listener completely befuddled as
to where the self-titled work is going. “Come Down to
Get Down” bounces with a 1970s disco groove that makes
Jonny Kosmo sound as if he could have been a guest on the
old Dinah Shore Show. The blithe retro-themed fare continues
throughout the record, as “Jessica’s Triangle”
sways gently beneath Kosmo’s warm, falsetto vocals.
It is interesting that he labels his music as “pop-strange”,
when in actuality, Kosmo is blending 70s soft-rock melodies
and varying degrees of non-threatening vocals that range from
sweetly delivered to breathy. Perhaps this sounds “strange”
to those who are too young to remember the “Music”
part of MTV, but for those of us of a certain age, Jonny Kosmo
is mainstream pop goodness. KC Rabbit’s relaxed rap
delivery on “Strawberry Vision exists over the top of
a hook reminiscent of Van McCoy’s “The Hustle”.
“Lazy Susan” and “Overgrown” are far
more ethereal in their deliveries, as Kosmo’s vocals
drift and glisten through the musical equivalent of dazzling
light. This feels like an artist looking to recapture the
past but not in a contrived manner; one gets the sense that
Jonny Kosmo loves the bedazzled relics of the past and is
looking to inject new life into them. I’m fine with
allowing the past to be the past, but Jonny Kosmo makes yesterday
today.
 ELIZA
NEALS AND THE NARCOTICS s/t (www.elizaneals.com)
The sexiest record of 2019 has already been determined and
it the steamy blues of Eliza Neals and the Narcotics. The
highly emotive singer-songwriter is a treasure, and every
moment of the self-titled release overflows with sultry eroticism.
The opening “Jekyll and a Hound” is a gorgeous,
textbook version of how classic, American, blues should sound
and I am hooked before the track concludes. Without giving
listeners time to collect themselves, the band hits with “You
Ain’t My Dog No More”, and when Neals coos “no
more licking my face”, I understand that I am in the
presence of true greatness. The slide guitar of Howard Glazer
is the centerpiece of the track, but Neals is irresistible
with an extraordinarily inviting vocal performance. Clearly
raised on a steady diet of Mississippi Delta blues legends,
along with B.B. King, Bo Diddley, a little Motown swing, and
maybe some Georg Thorogood thrown in for fun, the Detroit
native has a scotch-soaked voice that perfectly conveys tales
of frustration and heartbreak, accented by a limitless sexuality.
“Breaking and Entering” is perhaps the most enticing
anthem of the bunch, but it is still laced with a tongue in
cheek sense of humor, as Neals admits that seducing a man
is “like robbing an armored car” and concludes
the track by announcing how she will “feel your gun
pop”. A splash of funk drives the infectious grove of
“Love Dr. Love”, while she slows the tempo majestically
on “Cold, Cold Night” and the equally sensual
and dazzling “At the Crossroads”. Get ready to
find your next and last true crush.
 JEFF
WHALEN - 10 More Super Rock Hits (Supermegabot Music www.supermegabot.com)
This is pure fun. Jeff Whalen plays lighthearted, sing-along
power pop that does not reflect the angst that so dominates
the first two decades of the twenty-first century. It may
be criminally impossible to get the hooks of “Goofing
Around” or “Jendi” out of one’s head
after only a single listen. Much of 10 More Super Rock Hits
sounds like the Knack hopped up on Pop Rocks and soda as the
songs shake and shimmy with an uncontrollable energy. Sugary
efforts such as “Ground Game for Worm” and “Man
of Devotion” bubble with a warmth and happiness that
make some of this seem out of place within contemporary political
and social climates, but that may be the entire point: Whalen
is rebelling through his sense of innocence, hope, and overall
positivism. Rather than following the depressed, angry heard
of malcontents, Whalen wants people to smile and celebrate.
Even when he slows down a bit, Whalen’s love of lush
pop is obvious on the piano-laced “Soylent Blues”,
and he goes back in time to the silent-film era with the ragtime
jam “Shanghai Surprise”. (And no, there’s
no reference to the historically bad Madonna-Sean Penn film
project) It takes an astounding amount of confidence to deliver
this type of music, for one risks being laughed out of the
room by those who do not appreciate Whalen’s commitment
to the integrity of true Americana. The backing “woah-woah”
vocals on “Don’t Give it Up” are wonderfully
appropriate as the song harkens back to the glory days of
AM radio with an affinity for harmonies that would make the
Bee Gees, Seals and Crofts, or even Captain and Tennille jealous.
I am old enough to remember Columbia Record Club and their
ads for “super hits” on cassettes and my misspent
youth came flying back on the closing title track. I want
to buy this on 8-track.
 CHOKEHOLD
- With This Thread I Hold On (Good Fight Music https://goodfightmusic.merchnow.com)
Certain bands are needed for specific times, and the world
needs Chokehold right now. Fortunately, the band heard the
cosmic cry for their classic brutality and answered the call
with With This Thread I Hold On, a devestaing work of sheer
aural barbarism. The chugging riff, screamed vocals, and riotous
low-end force of the opening “2.0” announces the
bold return of this much beloved but woefully underappreciated
act. Complete with spin kick inducing breakdowns, the work
of Chokehold is pummeling but not without an adherence to
the power and the lure of a huge hook. These vets craft songs;
they are not merely stringing together angry rants under the
guise of twenty-first century hardcore. “Profit Over
People” thunders along a path of mosh-ready hardcore
power, blending politics with intelligent lyrics and bone-shattering
intensity. The guys attempt to burn down the world on “Silenced”,
as Chokehold’s raw, violent playing illicit comparisons
to other weathered gods such as Terror , Vision of Disorder,
or Earth Crisis, along with the fury of a young act like Knocked
Loose. The results are virulent blasts of blood-spitting rage
such as “G.O.D.” and “Instilled” that
seamlessly blend hardcore and thick metal grooves into slabs
of relentless intensity. I cannot hear this enough.
 MASKED
INTRUDER III (Pure Noise Records http://www.purenoise.net)
Masked Intruder return with their brand of free-flowing, good
time punk. Borrowing from 50s rock n’ roll (“Mine
All Mine”) or playing with more reckless bombast (“B&E”),
the guys hold every song together with an affinity for soaring
guitar, richly harmonic vocals, and clean production. The
classic Queers influence abounds on III and there is nothing
wrong with that. The driving “All of My Love”
is a textbook example of guitar-fueled power punk-pop. Despite
the sheen that one hears across this record, there is also
just enough grit to prevent Masked Intruder from crossing
over from melodic to unnecessarily saccharine. The sun-kissed
fare of “I’m Free (At Last)” and “Please
Come Back to me” are still rooted in punk’s most
raw nature, and even the loving “Maybe Even” still
rattles. Masked Intruder are not afraid to sing songs of lost
love and frustration, but their work is also accented by a
resounding faith hat life can get better, as heard wonderfully
on “Stay with Me Tonight” and through the fuzzed-out
guitars of “Dream a Little Dream”. This is a perfect
band when your anger has subsided, but not your need for assertive
guitar punk.
 DEAD
SWORDS - Enders (Human Blood Records https://deadswords.bandcamp.com)
Dead Swords features Alex Rosamilia from Gaslight Anthem and
former I Am the Avalanche member Corey Perez, and together,
the two produce chilling, deeply haunting musical beauty through
vastly panoramic songs that are each a complete and complex
musical journey. While this could be played in coffee houses,
the impact of more forceful guitars makes this a stirring
collection of staggering magnificence. “Tonight”
is largely acoustic, and its lush nature is obvious, but the
more bombastic aspects of the song, highlighted by stirring
keys, provide majestic, celebratory moments. “Black”
and “Fumetsu” hum with a controlled but readily
identifiable rage, as the duo deliver shoegaze with the addition
of crushing, antagonistic qualities. Bands like Ride and My
Bloody Valentine are instant comparisons, but the guitar playing
on “Letters” slices through the calm with the
intensity of a black metal outfit. The ghostly figure in black
that adorns the cover is a perfect representation of this
band’s collective vision. The music is intriguing more
than terrifying, but that does not take away from the eerie
elements still heard within. Dead Swords balance aesthetic
pleasantry with doom-laden intimidation, most expertly heard
through the chugging riff of “Perception”. The
song propels itself into a realm of conventional metal before
launching skyward into a lush crescendo. Two mysterious “interludes”
(numbered 4 and 5) are spooky reminders of the band’s
breadth of creativity, as odd spoken word pieces are delivered
in whispered vocals over a wall of subtle hiss and noise.
The title track is a ten-minute excursion into the sonic depths
of splendor, meshing walls of sound with intimate songwriting.
Masterfully mixed by Kevin Dye, the record is a journey trough
sound that is both intriguing and unnerving. The musical complexity
and sense of dynamic power make Dead Swords a staggering achievement.
 THE
DEAFENING COLORS - Run Pass Option (www.thedeafeningcolors.com)
The Deafening Colors are a band with a deft touch for serene,
atmospheric beauty that sounds distinctly unique yet somehow
familiar. The six tracks on Run Pass Option hang in the air
like melodic apparitions as minimalist lyrics, genteel song
structures, and understated guitar playing, specifically from
John Arthur, work together to create a swirling mass of beauty.
The hushed singing on “Saracen Revisited” provides
the track with a subtle uneasiness that juxtaposes the more
kinetic, musically disjointed “Count on a Crime”.
The latter includes fuzzy guitar but still retains an adroitly
soft pop touch. “Crash Course” mirrors this approach
as well, while soft riffs and beautiful melodies, particularly
a strikingly warm two-part harmony, enliven “Love on
Television”. The lonesome “She Moved to Oklahoma”
includes woeful keys accompanying soulful, ethereal vocals
that revel in 1980s studio antics. The band sounds like they
are from another time and planet, not a bunch a guys who recorded
this little gem in Weehawken.
 SUNBATHERS
- A Heat Wave (https://sunbathersmusic.bandcamp.com)
Sunbathers cannot wait for summer, and this four song EP is
the perfect way to shed late-winter/early spring ennui. “Honeysuk”
opens with 80s synth-pop sensibilities and a devotion to funked-up,
dance club energy. The song radiates fun with the refrain
“I want you all the time” driven by a steady bassline.
The same approach is heard on “Bare”, an equally
light-hearted blast of sunshine that blends modern R&B
with splashes of indie pop. This is screaming for mainstream
success, and I can easily hear much of this featured in a
commercial for mass consumption. The appropriately titled
“Intimacy” bumps and grinds with varying degrees
of enthusiasm, eventually finding a groove that climaxes with
the lines “I feel like an animal/make me beautiful”.
The closing “Sugar” is the most gentle of the
bunch, delicately kissed by affectionate sax. I would not
normally gravitate towards this style, but sitting in my basement
with dirty snow on the ground and a chilled rain falling,
A Heat Wave is just what I want.
 FEMME
DE CHAMPAGNE - Impulsive Sky (reverbnation.com/femmedechampagne)
Everything about this is stunningly beautiful, maybe too pretty
in fact, at least for my more hardscrabble tastes. The delicate
piano riffs that runs “Sois Gentil” is lush and
majestic, matching the equally stirring vocals of Babette
Novak. Sophisticated, refined, and mature, Femme De Champagne
play music for adult cocktail parties in which only the finest
liquor is served and everyone knows their limits. Sung largely,
but not entirely in French, Novak has an angelic voice, and
“Shimmering Lights” and my favorite, the soaring
“Famished Heart” are masterworks in song structure
and deft performance. Only a trio, Novak is supported by Fran
Kondorf and Mike Collins on bass and drums respectively, Femme
De Champagne have a massive sound, enveloping a room with
their ethereal prowess. My mouth left agape and me utterly
speechless, I am drawn to talent such as that displayed by
this Chicago outfit. Impulsive Sky exists for lovers of jazz,
blues, and old-fashioned Broadway-level skill. It is refreshing
to know that artists like this still exist.
 NAT
FREEDBERG - Better Late Than Never (Rum Bar Records rumbarrecords.bandcamp.com)
Nat Freedberg, known for his work in the legendary Upper Crust
and the Satanics, brings bluesy, sultry rock n’ roll
for clubs that overuse the smoke machine and the audience
left their phones in their cars. Freedberg displays impressive
chops through Better Late Than Never, with “All My Love”
and “I Think I Die and Went to Heaven” as examples
of dusty slabs of gritty rock n’ roll steeped in rockabilly
blues. “If I Could be the One” struts with exuberant
confidence with Freedberg adopting a subtle twang for the
chorus. I could not help but love a song called “Heavy
Metal Cow”, and rightly so as it includes the lyric,
“heavy metal cow/I wish that you loved me”. Everything
on Better Late Than Never combines early rock brazen attitude
with punk’s snarky quality and wraps it around huge
hooks and soaring choruses. The lead single “Madame
Butterfly” is a roundhouse punch of a tune that is the
embodiment of everything one is treated to throughout the
record. It is a delight to hear Freedberg express himself
and place his various skills on display.
 THE
SUCK - In-Cog-Neat-O (Mom’s Basement Records www.facebook.com/MomsBasementRecords)
Here is a band that does not live up to its name. The Suck
play fast, agitated, blasts of pop punk in the purest of fashions,
blending speedy riffs and smart-aleck lyrics. “#youredead”
may sound like a collection of kids trying too hard to make
a contemporary cultural reference with a song title, but the
track’s buoyant energy grabs the listener from the opening
second, and this theme carries through the next seven pieces.
With The Cola on vocals and the Dunk and the Alien on guitar,
The Suck already have a great nucleus, but it is the drumming
of the Basement and the bass playing from the Problem that
set the band apart on tunes like “Death Machine”,
“Catfish”, and the very funny “Vape Store”.
The stodgy among us with grunt and say they have heard this
all before and that Ben or Joe did it better, but The Suck
have the same energy and love for the genre as the giants
who preceded them. It is next to impossible to listen to “Basement
Buzz” and not have the urge to throw things round, and
that to me, is all I need to hear. Go find this now.
 THE
CARVELS NYC - “Life Is Not a Waiting Room” EP
(Tarbeach Records www.tarbeachmusic.com)
Some bands make life very to understand; simply put, if you
do not love the Carvels, you do not love rock n’ roll.
If rock should be swagger and attitude wrapped around angst-fueled
talent, then Lynne Von Pang and her crew are all you need.
Printed on gorgeous, deep-blue vinyl, the record opens with
“Life is not a Waiting Room”, a track that jumps
out of the speakers with a blaring sax from “Sweet”
David Spinley, rousing guitar, and Von Pang’s snarky
and richly melodic vocals. Incorporating classic NYC punk
vibes with rock’s original sense of bombast, the Carvels
make the past the present with an explosive mixture of fun
and frustration. While they do not take themselves overly
seriously, the Carvels craft sharp lyrics, particularly on
“Scarcity”, with its opening line of “I
just write a love letter to the person I might have been”.
The song’s mid-tempo pacing and garage meets doo-wop
approach mirrors what one hears on the soaring cover of “I
Fell in Love with a Dead Boy”. Both tracks allow Von
Pang to fully explore her dynamic vocal range and masterful
delivery as guitarist Brian Morgan, bassist Mike Dee, and
drummer Steve Pang play with a simmering boil that balances
raucous energy and refined prowess. The three songs are over
far too quickly, and I can now sit anxiously and wait for
a full length.
 DOC
ROTTEN - Illusion to Choose (docrotten.bandcamp.com)
Produced by Bouncing Soul Pete Steinkopf, Trenton’s
Doc Rotten play old time hardcore that puts the listener in
a headlock and never loosens his grip. “Mind Control”
is merely a fleeting sample of the twelve blistering tracks
on Illusion to Choose, as the band injects heartfelt harmony
into the work one hears here, highlighted by “Questions”,
striking a balance between teeth-rattling power and refined
song-crafting talent. “Hold Fast”, “So Long”,
and “Listen Up” are all sing-along anthems with
high energy and a hint of Rancid-style groove. With a pair
of guitar players (Andy K and Wes) who also share vocals,
Doc Rotten produce a rich sound that resonates both warmth
and fury, rounded out by bassist Doug and drummer AJ. With
an ability to play with a tempo on “Federation”
and the bluesy “Sick and Suffering”, the band
proves that they have the chops to write much more than just
two minute blasts of rage. Smart, insightful, and at times
even downright fun, Illusion to Choose is contemporary punk
with a true, but not worn, sensibility.
 LOST
WAX PROCESS - “Mix Tape” b/w “Pushing
Out” (Sonopherique Records https://lostwaxprocess.bandcamp.com)
As a person who was recently hired as a Political Science
professor, I adore three of the members of Lost Wax Process
who share the same job. Mark Copelovitch, Andrew Kydd, Michael
O’Russa, and Jon Pevehouse play intelligent and interesting
pop. “Mix Tape” is an ode to late 80s and early
90s indie pop with an ethereal guitar riff and easy on the
ears vocals from O’Russa. I prefer the slightly darker
groove of “Pushing Out”. While still resonating
with a pop-kissed jangle, the song reverberates with more
energy and tells a rich story. Fitting to the job of three
quarters of the band, this is the embodiment of college rock,
harkening back to the days of indie rock’s earliest
rejections of over-production and celebrates songwriting.
Familiar yet still invigoratingly fresh, Lost Wax Process
is gem I am thrilled to discover.
 TULLYCRAFT
- The Railway Prince Hotel (HHBTM Records www.hhbtm.com)
Having been immersed in college radio in the mid-90s, I did
become aware of the twee and cuddlecore movements and lovingly
remember my first encounter with Tullycraft. Incredibly, more
than twenty years later, this Seattle outfit continues to
hang on to their collective innocence, blending the most pop-friendly
tempos and sprinkling in lighthearted, sentimental lyrics
that point out the most minute of details with good natured
sarcasm. Titles like “Has Your Boyfriend Lost His Flavor
on the Bedpost Overnight?” and “Lost Our Friends
to Heavy Metal” reveal the band’s penchant for
writing buoyant tales of self-awareness and growth that sound
like 1995 never ended. “It’s Not Explained, it’s
Delaware” is a quirky, slightly faster effort that rattles
more than the majority of the other songs on The Railway Prince
Hotel and features a subtle country giddy-up along with more
pronounced guitar, while the jazzy “The Cat’s
Miaow in a Spacesuit” is a demonstration of shrewd instrumental
control. The genteel nature of the title track and the closing
“Vacaville” can sometimes overshadow the intricacy
of the songs, but there is a great deal happening here. Tullycraft
is incredibly impressive all these years later.
 PAVO
PAVO - Mystery Hour (Bella Union Records www.ballaunion.com)
This is the type of story that always gets to me-Pavo Pavo
is the work of prolific musical duo Oliver Hill and Eliza
Bagg, or at least it was; the pair are no longer together
as a couple but continue to produce majestic music together.
Beginning as a friendship while studying at Yale, the two
came to collaborate on various musical entities, and Pavo
Pavo’s work is a soaring testament to two highly distinctive
talents. The record began as a form of therapy as the two
addressed the realization of a crumbling relationship, and
the hunting nature of Mystery Hour reflects the anguish felt
during the recording. The songs ache as they swim through
the air with Hill’s voice resonating with anguish on
“Mon Cheri”, lamenting as he gazes at a picture
and notes how he “will never adjust to the dark”,
while Bagg’s exquisite soprano vocals often carry the
majority of the material. Deeply emotive keys along with poignant
guitar work create an individual universe for each song, at
times both intimate and expansive. “Check the Weather”
is extraordinarily beautiful, as a mid-tempo dance beat propels
an 80s synth groove with shared vocals longingly stating to
“stay here at night”. “Close to Your Ego”
is a gripping tribute to the challenges of any emotionally
strained relationship, as two people balance what they want
for each other along with what they need for themselves. Lush
and gorgeous, “Around Part I” and the instrumental
“Around Part II” are stirring works, while the
sullen closer “Goldenrod” features the vocals
of Hill and Bagg working in such close proximity that they
seem to blend together as one. It is a fitting metaphor for
the pair and they work effortlessly well together but still
look for aspects of individuality. This is a lovely record
about a painful process.
 THE
SAXOPHONES - "Singing Desperately Suite" EP (Full
Time Hobby Records www.fulltimehobby.co.uk)
The saxophones do not play music for the upbeat and celebratory.
Singing Desperately Suite is an EP of heartbreaking work that
resonates with sadness and negative self-reflection through
the lyrics of vocalist Alexi Erenkov. Written sporadically
throughout 2018, including the appropriately crafted “Crude
Advance” during the Brett Kavanaugh Supreme Court hearings,
the band, accented by the dynamic Alison Alderdice and Richard
Laws, offer ambient folk that is far more griping than one
may expect from such a genre. The jazzy, thirty-second introduction
of “Prelude” gives way to the morose “Singing
Desperately”, a song of dark introspection and regret.
Minimalist musical accompaniment allows for Erenkov’s
vocals to garner full attention as he bemoans the failures
of relationships with the recognition that the blame should
be placed aggressively on his shoulders. While “Crude
Advance” moves at sloth’s pace, the lyrics of
loneliness and longing become all the more affecting due to
the haunting instrumentation. The closing “You Seem
Upset” is a brief piece with hushed vocals and delicate
playing. The dreamlike atmosphere may induce some to become
somnambulistic, but I was enticed by the openness expressed
by Erenkov. He is wrestling with his own lack of empathy and
why it exists throughout the world. The song ends too quickly,
much like the release itself, and one feels as if The Saxophones
have only begun to explore an issue of great significance.
 AGEIST
- Babyface (Arctic Rodeo Records http://arcticrodeorecordings.com)
Whenever a band is described as “old men playing in
a band no one has heard of”, I know I am gong to be
a fan. Ageist is much more than old guys still bashing out
noise like if they stop they will die, for there are truly
gifted musicians here. Go do a little research on your Google
machines, kids, and look up the resumes of members Eric Odness,
Frank Bevan, Arty Shepherd, and Tucker Rule, then be prepared
to be highly impressed. The opening “Lead Legs”
is an eruption of distortion-laden, 90s grunge guitar on top
of relentless drumming and warped vocals. The title track
teeters on chaos and displays a masterful control as the riff
ebbs and flows to allow the vocals to alternate between violent
diatribe and controlled purposefulness in manner than embodies
the record as a whole. For a collection of grizzled, seen-it-all
men of experience, there is not a second of rest to be heard
on Babyface, as “Breathe In” and “Kicked
in the Head” include angular, thick bass lines that
wrap themselves around the sharp guitar segments to create
dense and heavily melodic songs that revive the sounds of
twenty-five years ago with ease, largely because guys like
Ageist invented the sounds from twenty-five years ago. “USA
vs. USSR” is built around a thriving guitar riff and
a pulsating bassline that deftly alternates in a loud/soft
power-play that creates a tension that is nearly tangible.
For those interested in bands that attempt to recreate the
intricate ferocity of 90s indie punk, go listen to Ageist
and gain yourself an education in how this style should truly
sound.
 JD
HANGOVER s/t (Hound Gawd Records www.houndgawd.com)
This six song EP delivers distorted, stomping, punishing blues
and does so effortlessly. Stiv and Roberto Villa make the
blues sound dirtier and muddier than ever on “Broken
Bones Blues”, a distortion pedal snapping romp that
quivers with energy, while the steady thump that opens “Barrelhouse
Queen” is instantly riveting. The two sound as if they
are sitting right next to the listener, as each song has an
intimacy that conveys a rough and tumble fury accented by
flashes of cutting guitar noise and drone. “Headspinner
Blues” is aptly named with its thunderous low end and
heavily distorted slide riff, but I fell for the meandering
grind of “Down at the Public House”. Sounding
as if it is crawling along a liquor slicked barroom floor
in desperate search for an exit, the track is a unsettling
display of blunt guitar angst and waves of noisy power. I
could listen to this for hours as long as the drinks keep
coming and there was no need to go home. Entertain your inner
deviant and celebrate debauchery with a wild ride of a release.
Hound Gawd knows how to find the real jewels hiding in the
world.
 BOB
MOULD - Sunshine Rock (Merge Records www.mergerecords.com)
Bob Mould may have moved to Berlin and grown a beard that
provides him with a grandfatherly appearance, but his fury
has not come close to dissipating. Do not be fooled by the
cheery disposition of “Sunshine Rock”-the buoyant
title track to Mould’s latest collection of sardonic
guitar angst-for this not a light-hearted romp, but by Mould’s
standards, it, along with “Sunny Love Song”, and
“Camp Sunshine” are downright dreamy odes. The
consistency of the term “sunshine” is intentional
but not overbearing as the sun motif does not become redundant.
Instead, it is juxtaposed with the biting guitar force of
“What Do You Want Me to Do?”, a track in which
Mould seems to be oscillating between overwhelming frustration
and begging for forgiveness (“Now you’re home
and I’m a total mess”). Truly flexing experienced
guitar muscle, “Send Me a Postcard”, a cover of
the Shocking Blue anthem, and the biting “I Fought”
are two of the more iconic moments on a superbly delivered
collection of powerful tracks. Harkening back to his 90s solo
work, “Sin King” is a clever play on words (“You’re
sin king our democracy”) while a blanket of distorted
guitar spreads across a vast musical panorama. With a subtle,
danceable quality, “Lost Faith” is a somber lament
(“I’ve lost faith in everything”) before
Mould gives himself a rousing pep talk and declares, “Life
is so complicated, don’t let your hopes and dreams disappear”.
“30 Dozen Roses” is a painful tale of a broken
heart on the jagged rocks of a searing riff with Mould proclaiming,
“olive branches piled up at your door, you don’t
let me come inside your place no more”, and one is treated
to a reflective, more wistful veteran on “The Final
Years”, as Mould ponders about his “sense of misplaced
rage”. Sunshine Rock is a snarky title for unsteady
times crafted by a master who still produces voluminous gems
at a crushing level of intensity.
 WILLIAM
TYLER - Goes West (Merge Records www.mergerecords.com)
William Tyler leads an adroitly skilled collection of players
through ten serene and expansive tracks, each progressively
more sprawling in scope. While delicate, Goes West is still
able to capture the rugged terrain of the untamed West with
an intimacy that is both haunting and soothing. The tracks
seem to mesh effortlessly into each other, specifically “Call
Me When I’m Breathing Again” and “Eventual
Surrender”, two pristine works of genteel guitar playing
from Tyler and Meg Duffy and expertly placed percussion from
Griffin Goldsmith. “Rebecca” exudes a joy that
is clearly a celebration of the person for whom the song is
named, while “Not in Our Stars” has an ethereal
and atmospheric quality befitting its name. “Venus in
Aquarius” and “Virginia is for Loners” both
exude a more country feel that could easily be the soundtrack
for your next covered wagon journey through the Oregon Trail.
As I listened, I was perpetually curious about what lyrics
would have done for these tracks, but ultimately, the record
was exquisite without any vocals, allowing the songs to breath
and roam unencumbered. Like the land it references.
 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)
Well, the calendar has turned to a new year but existence
is still dismal for Grim Deeds, and we all benefit from his
misery. Gree! is another collection of biting, cynical tracks
that discuss problems but offer a dearth of solutions. For
those who love self-loathing and punk rock guitars, Grim Deeds
is all one needs in life. The jangly guitar on “I’m
Not Allowed” (a brilliant song about how life takes
away all of one’s fun), “Four Letter Words”
(which include the terms “life” and “love”)
and “Mostly Miserable”) are closer to pop nuggets,
but the more aggressive “Shithole Town” and “Life
is a Nightmare” are two of the bright spots (relatively
speaking) on Gree!. Grim Deeds comes through boldly through
a very commendable cover of the Motorhead classic “Ramones”
and highlights the stupidity of social media on “Facebook
Wisdom”. The rapid fire playing of “Stress Addict”
and the dark humor of “Sad Cannibal” embody all
the Grim deeds is-a wildly self-flagellating, twisted musical
visionary whose suffering helps me, and I am sure many others,
fight through life’s daily tribulations.
 KLEENEX
GIRL WONDER - White Lacuna (Reasonable Records https://kgw.me/album/white-lacuna)
Kleenex Girl Wonder, aka Graham Smith, has been kicking around
for more than two decades producing gorgeous and whip smart
pop. White Lacuna is another step forward in the evolution
of this vision, as the ten songs presented here are soaring
blasts of pristine pop goodness that are both remarkably light
in texture but are not without depth, both lyrically and musically.
Although drummer Matt LeMay, keyboardist Ryan Smith, and guitarist
Thayer McClanahan assist Smith at times, Kleenex Girl Wonder
is a vehicle for Graham Smith’s unique outlook on life.
“A Sweet Person” overflows with grace as free
flowing, jangly guitar works in perfect congress with Smith’s
vocals. “Hope All is Lost” admits that “giving
up has a certain seductiveness” and the expansive “Angelina”
is a shimmering jewel of a song. The danceable “White
Witch” seems to fit perfectly alongside the more raw,
acoustic energy one hears on “Emerita”, and Smith
commands both songs with glorious ease. “History of
Ice” is a sterling opener with a density to the ethereal
pop sweetness, while “Worry the Well” has a bouncing
bassline and biting lyrics (“you’re still broken
hearted and impotent”) that makes the song my favorite
of White Lacuna. The longevity and the continuous creativity
of Kleenex Girl Wonder remains incredibly impressive.
 OBNOX
- Bang Messiah (Smog Veil Records www.smogveil.com)
Bim Thomas is noisy, one-man wrecking crew whose legendary
status is well earned and expands far outside his home of
Cleveland. Bang Messiah will only continue to enhance that
reputation, as the record is a sprawling mountain of occasionally
chaotic, at times refined, and constantly engaging fury. The
opening “Steve Albini Thinks We Suck” is a visceral
punch to the face through a mass of noise, but when one reaches
“I Hate Everything”, the song plays out like a
1960s psychedelic garage gem replete with harmonious vocals
accented by soaring cymbal crashes and a ethereal guitar riff.
This dichotomy of the unbridled and the precise makes Bang
Messiah such an enchanting listen. While “Cream”
is an atmospheric beauty, “Enter the Hater” is
a rugged, muscular wall of guitar force. Thomas mixes and
matches hip-hop (“Rally on the Block”) with distorted
noise-core (“Off Ya Ass”) and he excels at all
he attempts. This is not an easy listen but nothing experimental
should be; rather, this is a wild ride across numerous genres
and styles with Thomas continuing to refuse to cower to the
expected. Bang Messiah is too dark in nature to correctly
label as “fun” and doing so would minimize the
impact of a visionary artist, but there is something inherently
enjoyable about being bashed from limitless directions throughout
the dozen songs one finds within this record.
 THE
BLANKZ - “It’s a Breakdown” b/w “You’re
Not my Friend Anymore” (Slope Records www.sloperecords.com)
The Blankz provide another glorious explosion of punk-pop
goodness that explores just how bad things really are but
do so without entirely ruining the listener’s day. The
Blankz have an uncanny ability to inject Blondie-esque, New
Wave keys into rugged punk riffs to produce apologetically
catchy tales of sarcastic woe. “It’s Breakdown”
sums up the current state of affairs in this nation with the
line “hang myself or hang around/It’s a breakdown”
as an infectious hook propels the track. “You’re
Not my Friend Anymore” addresses the pitfalls of living
through social media with references to disliking posts and
the sorrow associated with disconnecting virtually. This Phoenix
band plays angry, passionate punk for confusing and frustrating
times.
 BURLY
- Self Titled Demon (Five Kill Records https://www.fivekillrecords.com)
This upstate New York outfit plays gentile, nearly fragile
music that is majestic in its beauty. The songs on Self Titled
Demon revolve around fragments of memories and faded glimpses
of events in one’s life and are lush in their beauty.
Each of the songs meanders along at a steady, albeit deliberate
pace that incorporate muted jazz-inspired sax and the exuberate
warmth of the vocals. Everything the band tries works here,
from the inconspicuous genius of the drumming to the whistling
that accents “Snowden”. With references to smoking
pot through a corn cob pipe (“Happy Bday”) and
meeting with friends in Providence, Rhode Island (“Kent
Lame”; a song whose dissident guitar is rapturous),
the music of Burly brings the listeners into intimate moments
as if all parties involved are old friends. “Branches
of Blood” has an understated darkness, while the line
“You’re not a person that I think about a lot/
And I don’t mean for that to come off as a slight”
in “Happy Birthday” is somehow both illuminating
and heartbreaking. This is a gorgeous collection of five lovely
and painstakingly constructed songs.
 GRANDCHILDREN
(https://grandchildren.bandcamp.com)
I am a sucker for great romances, and Grandchildren is just
that, plus a dazzling band musically. The seven songs are
the tales of Alecks Martray and Shari Bolar, two highly skilled
songwriters who met while Martray was on his first tour with
Grandchildren, and nearly a decade later, the two present
seven musically dense and powerful tracks. The opening “Ok,
I’m Waiting” is more traditional pop fare with
soaring harmonies and a staggering gorgeous arrangement. It
is an intriguing start to the record, as Grandchildren pride
themselves on their highly eclectic mixture of folk, rock,
pop, lo-fi, and electronic touches. The rollicking “Zuni”
possesses a hootenanny, front-porch sing-along sensibility
accented by lush atmospheric beauty and the shared brilliance
of Bolar and Martray. The bluesy “Phantom Pains”
has a thicker guitar riff that exists is sharp contrast to
the spectral nature of “Want it Bad”, a song of
engaging warmth. The shared vocals and lyrical refrain of
“I don’t believe the wicked/I don’t believe
the poor” make “Gravity” another highlight
from a collection of distinctive tracks. “Motherboard”
feels as if it fell from the late 1960s as it blends pop and
psychedelia into a flawless mass. The genteel closer, “Only
One” exudes a sensuality while a quietly infectious
drum loop propels the effort. This is striking and impossible
to hear without being moved.
 MARSHMALLOW
COAST - Memory Girls (HHBTM Records www.hhbtm.com)
The opening “Warm Bodies” sets the tone for delightfully
canorous release from a truly distinctive band. Marshmallow
Coast play electronica for those who normally hate electronica,
as this is largely pop-kissed gems that have hints of electronic
flavoring. The beats are understated and heavily groove-oriented,
occasionally co-existing with both serene keys and more bombastic
guitar playing, best heard on the masterful “Take You
On”. “K. Freeman Enslaved” is a perfect
encapsulation of all the band is-jangly guitar holds hands
with a retro dance beat and a layered vocal delivery hovers
between a whisper and a panicked conversation. “Sinz
of my Father” radiates with a tangible 1980s vibe from
the robotic vocals to the instantly catchy groove, the song
is akin to opening a vault from the past and one can nearly
envision the dancers from a JJ Fad video grinding to this.
The playful “Foxy Boy” is anchored by a steady
throb and spacious, jazzy saxophone that pushes the song into
R&B territory. As we approach a new year and hope for
the best, it may be difficult to find anything more unique
than the work of Marshmallow Coast.
 NIGHT
BEATS - Myth of a Man (Heavenly Records http://heavenlyrecordings.com)
Danny Lee Blackwell leads Night Beats through twelve tracks
that sound like they have arrived from another era. From the
flamenco sounding, sultry “I Wonder” to the 1960s
pop bounce of “There She Goes”, Myth of a Man
is the type of record that takes the listener far away from
current troubles and places them firmly in the grasp of a
highly gifted songsmith. The closing “Too Young to Pray”
is a gentle love ballad ensconced in a web of haunting lyrics.
The innuendo-laden “On Thing” has a guitar riff
that ricochets off the walls and reverberates with psychedelic
energy and encapsulates the varied talents on display throughout
the work. It is among the finest pieces on Myth of a Man,
which is a record that strolls and saunters with Texas-sized
confidence on “Wasting Time” and “Let Me
Guess”. The theme of the work addresses how many people
seem to exist solely to hurt and manipulate others, and just
how painful it can be when it happens to you. Blackwell examines
fleeting moments of happiness, such as the refined beauty
of “Footsteps”, a sterling gem that is matched
by the jazzy groove of “Stand With Me”, a rack
with a guitar riff that would make Carlos Santana beam. This
is wonderful musical escapism delivered by a collection of
highly skilled players.
 TRANSGRESSORS
- They Made Her a Criminal (Super Secret Records https://supersecretrecords.bigcartel.com)
This Texas act plays old time rock n’ roll with a heavy
drawl and a gun-slinger’s sense of confidence. Exuding
cowboy swagger, the Transgressors rumble through “You’re
Running Wild” and “Ask Me No Questions”,
while the Americana vibe of “Maddux Creek” channels
Johnny Cash as the song gallops along while telling a wild
yarn of potential violence. (“Put that knife away, son”)
This same tone returns on “Driving Nails in the Floor
for You”, as The Transgressors again infuse their work
with Southern fried colloquialisms and slide guitar. “I’d
Die to Kill for You” saunters forward with a strong
bassline and more lyrics of murder and mayhem. For those who
believe that the Stratocaster is the be all, end all of rock
instruments, The Transgressors are your band-a gritty, hard-driving
collection of players who clearly believe that the trends
be damned and they stay true to rock’s honest and earnest
outlaw origins.
For more Rich Quinlan reviews, click here...
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