 M.O.D.-
Busted, Broke, and American (Megaforce Records www.megaforcerecords.com)
The legendary Billy Milano returns to resurrect the mighty
Method of Destruction, and it is not a moment too soon.
Busted, Broke, and American is an immediate and
furious assault of crossover thrash that retains the purity
of the past without sounding dated. Milano first made an
impression on me thirty years ago when I picked up the cassette
"USA for MOD" and was utterly blown away by the
fury and the unapologetic nature of the work. I worry that
far too many people today will not get the sarcasm of Milano’s
writing, but for them, he does have a new anthem in the
form of “You’re Fucking Dick”. Busted,
Broke, and American certainly broaches political concerns
but not nearly as many as I expected in the age of Trump.
Rather, Milano speaks poignantly about his own experiences
on “Shattered Dreams and Broken Glass” as he
reflects upon the early days of New York hardcore, certainly
delivering his lyrics with Agnostic Front, Cro-Mags, and
the legions of others in mind that paved the way for one
of America’s most recognizable sounds. The record
opens with a segment from Dwight D. Eisenhower’s farewell
address to the nation in which he warned of the rising threat
of an “industrial military complex” - words
that were not instantly recorded as precautionary or even
significant at the time of their delivery, but just as the
owl of Minerva flies at dusk, history has proven the General
to be tragically correct. This is bookended with a five-minute
segment of a speech from John F. Kennedy railing against
governmental secrecy and the potential abuse that emerges
from a closed society. Ironically, in Donald J. Trump’s
(and Ivanka’s) America, Kennedy’s message would
be viewed as potentially treasonous as the legendary leader
called upon newspapers to inform people, challenge the administration,
inspire their readers about international events, and “even
anger” public opinion. Billy Milano, the man who created
firestorms with songs such as ”Aren’t You Hungry”,
and “Speak English or Die” is today honoring
the great liberal voice of JFK and his call for true freedom
through the vital protection of the press. I do not know
if M.O.D. will be labeled “fake news”, but I
would love to see someone try and challenge Milano on that.
These esoteric moments are surrounded by wild, thrashing
blasts like “Fight”, “Hooligan”,
and the “Rowdy” Roddy Piper-inspired instrumental
“All Out of Bubblegum” (If you do not know the
reference, go look it up, my young readers). The title track
celebrates what matters to most to Milano, namely his family
and his dog, as the song erupts into a classic dirge against
frappachino sipping losers who should “get outside
and enjoy your life”. The album’s high point
arrives early for me in the form of “The Final Declaration,”
a raging call to arms of primal hardcore aggression led
by the lungs of a grandfather who can still destroy those
more than three decades his junior. Milano’s Fox News
leanings aside, I have long respected his fight and his
commitment to maintaining a style and never cowering to
fads. Busted, Broke, and American is another M.O.D.
classic; I certainly hope that the rumors are not true about
it being the band’s last release.
 BEST
EX - Ice Cream Anti-Social (Alcopop!; https://bestexnj.bandcamp.com)
I love the name of this EP but the music of Best EX, the work
of Mariel Loveland, formerly the curator of Candy Hearts,
is far too bubbly and poppy for my liking. Granted, this is
the type of collection that screams summer romance, particularly
when Loveland says “Baby I’m bad news/But I am
good for you” on “Girlfriend”. While her
delivery is alluring, Best Ex ultimately sounds like what
would happen if someone gave Taylor Swift an imagination and
Selena Gomez’s producer. The buoyant “Lonely Life”
is another anthem for the lovelorn teen, but the morose tempo
of “February 4th” is a struggle to complete. Perhaps
I am getting, or am official old, but the refrain of “Someday
we’re gonna get it/Someday we’re gonna get it
right” (from “Someday”) does not move me;
in fact it just angered me. “See You Again” has
a sturdier bass line that drives the song in a Go-Gos direction,
making it the strongest of the six on display, but “Jellyfish”
closes the release with a song that is sadly neither inspirational
nor memorable. Save this on for the kids having their first
kiss or learning what beer tastes like-I already know how
these stories end, and trust me, it is usually crushing.
 NOT
A PART OF IT - The Nine Lives of the Night Life (Act Out
Records https://notapartofit.bandcamp.com)
Portland’s Not a Part of It blatantly flaunt classic
late 70s punk style throughout The Nine Lives of the Night
Life, and the guys channel Stiff Little Fingers or Sham 69
on “Hostile Populace” and “Coast to Coast”.
Both songs bounce with a loose, free-flowing groove. The latter
celebrates the lost power of radio as Jason Burton snarls
“Hey! Hey! Do you wanna be in radio/do you wanna hear
a story?/Do you wanna talk to everyone?” , resurrecting
ghostly images of Joey Ramone lamenting rock n’ roll
radio all those decades ago. “We Have the Right (Not)
to Work” honors the power of individuality and the choice
to avoid the conventional, as Burton invokes the privilege
“not to work, pursue, anything within in reason that
we wanna do”. The song is an ode to self-fulfillment
on one’s own terms, and this theme is heard on the aggressive
“Fearless, Tearless, Peerless”. Not a Part of
It
rejects mass conformity and materialism and do it all while
also writing a great hook. However, within the raucous playing
are warnings that need to be heeded, particularly the life
lessons in the title track. “Nine Lives” is an
abrasive track telling the stories of fictional characters
like Cocaine Carl who “acts rich but can’t afford
to eat” and Mary Eve who “majored in biology”
but is just throwing her life away. Fittingly, “Stick
‘Em Up Rude Boys” injects a ska sensibility surrounded
by a great bass line and a tale about a life of crime. “Bilateral”
finishes the record with a blazing blast of guitar angst and
a lesson for many living within our country: “Don’t
ask me and don’t ask him-we’re all ignorant. Let’s
take the time to learn about what’s going on outside
America!” An excellent and timely collection of smart,
invigorating punk that demands an immediate listen.
 RAT
FANCY - Suck a Lemon (HHBTM Records www.hhbtm.com)
Rat Fancy, in additional to being another wonderfully monikered
act, play an infectious form of sweet, jangly, indie pop.
“I Can’t Dance to the Smiths Anymore” is
a heart-bursting tale of faded love. “Words lose their
meaning, and they’ve lost their feeling” are lyrics
of which Morrissey would certainly approve. Former member
of the Sweater Girls Diana Barraza is at her best on “Five
Fingers” when she asks “Remember when you told
me all of your secrets?/I don’t know how you can carry
on”, capturing the best of acts like Tiger Trap or The
Softie as she dismisses a former love with a biting and painful
tone. My one regret here is that Suck a Lemon is only six
songs, but the title anthem brings me back to the cuddle-core
sarcasm of cub when Diana coos “I’d rather suck
a lemon than talk to you”. The song is also delivered
in a more meandering pace as “Suck a Lemon II”,
and it is not a throwaway filler, but an intoxicating revision
of the original. With four releases already in 2017, Rat Fancy
is prolific and poised to become your new indie darlings.
Each track scores perfectly, such as the a soaring slice of
fragile pop honesty and airy dreamscape of “Beyond Belief”.
The one blast of potential optimism is “About You”,
certainly the least crystalline of the songs here, as Gregory
Johnson’s guitar is much more crunchy and tangible,
along with the drumming of Gavin Glidewell. As Barraza bellows
“What I love about you” five separate times, this
may be the “couples song” of the bunch here. What
I love about Rat Fancy is everything and with their penchant
for creating new material, I imagine their next work should
be out in a few weeks.
 LO
TOM s/t (Barsuk Records https://www.barsuk.com)
With 125 years of musical experience flowing through their
immensely talented, collected veins, the members of Lo Tom
understand how to through a great set of songs together. That
is largely the story of this debut collection, as eight songs
were pieced together from fragments of ideas over the course
of free moments and a couple of weekends. This will depress
people who have worked for years on their music and continue
to struggle to produce interesting material, for this was
truly a compilation of friends bouncing ideas off of each
other for the sheer joy of working together. Led by David
Bazan of Pedro the Lion, the troupe gallops through eight
pieces of smartly crafted indie rock that sounds both complimentary
of the past and celebratory of the present. TW Walsh and Jason
Martin, who contribute to Pedro and Starflyer 59 respectively,
handle the guitar responsibilities and shine throughout, highlighted
by the jubilant tone of the closer “Lower Down”.
While “Covered Wagon” opens with a rugged groove,
“Overboard” has a smooth, classic indie tone,
rattling and shaking with excitement. “Bubblegum”
is anything but lighthearted pop fare, as Wilson and Martin
churn out a riff that coalesce perfectly with the low end
thump of Trey Many (another Starflyer59 member). “Bad
Luck Charm” has a fuzzy, mysterious quality also heard
in the rollicking “Find the Shrine”. My favorite
track is the swaggering, mid-tempo “Pretty Cool”.
Aptly titled and supremely played, the song’s sultry
demeanor reveals another aspect of the vast, chameleon-like
qualities of the gifts on display here. The quality of this
should not come as a surprise to anyone who knows the histories
of the members, but the finished product is a celebration
of shared musical visions.
 RATBOYS
- GN (Topshelf Records www.topshelfrecords.com)
With a name like Ratboys, one may be quite surprised with
the sound of GN (short for “good night”). This
Chicago outfit revolves around the stunningly exquisite
vocals of Julia Steiner who channels Tonya Donelly’s
most emotive tones. The songs address rather complex emotions,
starting with the opening “Molly” in which Steiner
says, “I just want to love my family”. “Elvis
is in the Freezer” displays both Steiner’s ability
to draw listeners into intimate moments of her own life
as well as Dave Sagan’s limitless guitar talents.
The song includes a half-shrouded country twang sitting
parallel to unhinged, slashing riffs, as well as controlled
melody, and each style only accents Steiner’s supreme
gift for storytelling. Steiner will rightfully garner the
lion’s share of praise when one hears GN, but Sagan
is an understated anchor on each track. His playing can
be as fragile as Steiner’s most exposed lyrical deliveries
or as furious as a burst of machine gun fire, quite often
within the same song. The meandering “Crying for the
Planets” is a deliberate, methodical piece of musical
construction, holding the listener’s hand as the song
continually ascends to a dazzling explosion of controlled
passion. To add to the band’s intellectual acumen,
“Crying” is a first-person tale told by Douglas
Mawson who explored the Antarctic. Cerebral without even
becoming supercilious, Ratboys play music that demands numerous
listens to capture the various nuances inserted so casually
into each track. The closing “Peter the Wild Boy”
continues this academic strain of songwriting by detailing
the life of an abandoned child in Germany who was eventually
adopted by the King of England-not your typical topic. “Dangerous
Visions” features Steiner at her best as she alternates
between momentarily vulnerable then instantly defiant; her
voice is scintillating as Sagan adroitly unleashes waves
of noisy guitar violence behind her. On “Wandered”,
Steiner revels that “rock n’ roll is my escape”,
and while this is a sentiment expressed by many throughout
the music’s history, there is a depth to her words
that make a potential cliché sound like an act of
liberation and self-discovery. The acoustic-led title track
harkens back to the style of the duo’s earliest days,
but well-placed slide guitar and other elusive tricks provide
a quirky imaginative quality to a poignant piece. The dreamy,
jangly pop of “The Record” is a straight forward
love song, and a nearly perfect one at that. Ratboys again
play with tempo through this song, allowing the loud/soft
structure to its fullest potential without ever sounding
redundant. This is a triumphant declaration by a limitlessly
talented duo.
 GLENN
MORROW’S CRY FOR HELP (Rhyme and Reason Records http://rhyme-reason.com)
Bar None Records owner and legendary Jersey scene presence
Glenn Morrow may have heard the final wave of feedback fade
from Maxwell’s in 2013, but that did not mark the
demise of Morrow’s musical ambitions. Glenn Morrow’s
Cry For Help plays sophisticated, refined, and superbly
crafted rock with a bluesy aesthetic and a warmth that embraces
the listener. “Comfort Zone” highlights Morrow’s
charming vocal style, while he and fellow guitarist Ric
Sherman’s playing wafts serenely about a solid backbeat.
“Pony Express” revolves around a wave of rich
backing vocals and an unavoidably sing-along chorus in addition
to an increased guitar presence through Sherman’s
solos. Mike Rosenberg and Ron Metz hold each song together
on bass and drums respectively, and on efforts such as “Let
the Kid Come Out” and “When Night Falls”,
their talents are particularly noticeable. Morrow and his
mates have an obvious affinity for the fundamentals of rock
n’ roll and “Days to Come” and “Electricity”
are two gems that reveal Morrow’s skills as a raconteur
and his band’s penchant for driving riffs and propelling
grooves. Even when the band slows the tempo down to an amble
on “44”, Morrow’s haunting lyrics and
understated delivery illuminates a tragic story with raw
emotion (“In the end, my friends, I’ve got my
44”). Closing with “Return of the Wild One”,
the band again intensifies their punch with a thick bass
line and peppers the song with cheeky references (Morrow
saying “excuse me while I kiss this guy” at
one point). Glenn Morrow’s name is synonymous with
the best of what the East Coast can offer, and it is inspiring
to hear the musical fire burning with such continued intensity.
In an interview with Jim Testa, Morrow lamented the current
condition of rock n’ roll, and admitted that it “in
many ways, it does feel like rock is dead;” but listen
to this collection of songs and it is obvious that there
are plenty of reasons to hope for its future. Veterans like
Glenn Morrow should act as a call for rock’s next
batch of leaders, reminding kids that electronics have their
place, but there is no substitution for musicians with real
instruments in their hands sweating out heartfelt, inspired
songs.
 THE
COATHANGERS - Parasite (Suicide Squeeze Records
Julie Kugel of The Coathangers said that all she wanted to
do was scream and curse during the recording of the band’s
brilliant new five-song EP Parasite, and the world is better
for this decision. While the title track is the only one of
the bunch that truly utilizes screaming, The Coathangers put
forth a collection of powerful and musically diverse songs
just in time for your summer. The grimy, gritty riffs that
permeate “Parasite” have a blistering quality
matched only by the acidic nature of Kugel’s heartfelt
frustration exorcised on the track. “Wipe Out”
is a long way away from the Surfaries as bassist Meredith
Franco takes lead and details stories about an acquaintance’s
penchant for blacking out, drying out, and refusing to apologize
for stupidity. The first single from the EP is the swinging
power pop of “Captain’s Dead”, featuring
a highly contagious chorus surrounded by a throbbing bass
line and sultry vocals. Revisiting last year's Nosebleed Weekend,
the band re-records “Down Down” and the result
is an intoxicating blend of noisy guitar blasts, supremely
controlled low-end force, and profoundly melodic vocals. The
concluding “Drifter” introduces the delicate vocals
of drummer Stephanie Luke, and the song is highlighted by
an understated twang hovering through the beautiful closing
ballad. Parasite is akin to hearing five different bands over
the course of one listening experience, as The Coathangers
are equally devastating when playing raw, raging garage punk
angst or textured finesse.
 ARMAN
MAQAMI - No Life (https://www.arman.nyc)
So here is what I know about Arman Maqami: He lives with his
parents in his native Manhattan, attends NYU, and makes music
alone in his bedroom. I have no idea how old Maqami is, if
his parents are pleased or horrified with this living situation,
and if anyone outside of friends actually hears his music.
That being said, the three songs on "No Life "are
each a distinct universe unto themselves and reveal the early
stages of a potentially engaging musician. The title track
is a moody piece anchored by electronica elements that support
the song without overwhelming it, and a buzzing guitar riff
accents the chorus. The track is well constructed and musically
adroit as Maqami works himself into an increasingly more frenzied
lather. The fleeting, speedy “Bully” is an angry
blast of punk force that hums with fury for roughly one hundred
seconds before vanishing just a quickly. “The Future
of Drone Warfare: China 2056” is an unsettling dreamscape
of sentimentality that is clearly covering darker energy.
There are a number of highlights here, and I hope Maqami continues
to make music because he has an inventive mind and is not
beholden to any one style. Go check this out.
 HOLLOW
EVERDAZE - Cartoons (Deaf Ambitions Records www.deafambitions.com)
With a name that encapsulates their dreamy sound, Australia’s
Hollow Everdaze produce a vast tableau of psychedelic pop
that harkens back decades. The title track of Cartoons
bounces with a Beatles-esque lightheartedness as Dylan Young’s
keys and Daniel Baulch’s ethereal vocals envelop the
song. “Poisoned by Nostalgia” could perhaps be
a criticism of the band itself, but the song does invoke images
of Oasis with solid guitar playing and gently emotive vocals,
while “Catastrophe” and “Still Ticking”
saunter along at a mid-tempo pace, the latter accented by
warm acoustic guitar. Throughout Cartoons, I hear
nothing but lovely music, but the tracks seem to lack impact.
As lush as “Never Going Back” is, it inherits
too mush from its early 70s influences, ultimately acting
as a track that is richly melodic but lacking in grit and
sadly, staying power. The record floats by rather innocuously,
briefly interrupted by the jarring opening of “Flat
Battery”. However, even that song quickly fades into
overly sentimental pop, leaving me struggling to focus by
the time “Running Away” wafts serenely towards
my ears. The genteel, overly sentimental delivery one hears
on Cartoons hovers softly, and while majestic in
intent, I find myself waiting for a significant impact that
never arrives. “Same Old Story” is frankly, painfully
slow, and “Warcry” sounds like Captain and Tennille
rather than a fresh interpretation on psychedelic pop efficacy.
For those seeking for carefree AM merriment, Hollow Evergaze’s
time warp sound may intrigue and delight; I’ll skip
the bubblegum escapism, however.
 EROTIC
NOVELS - Debut (http://weekendquality.com)
Erotic Novels is anchored by the luxurious and heartfelt vocals
of Shannon Perez, a longtime New Jersey powerhouse known through
her work in I Hope You Die and Side Bitch, among others. The
cover of Debut features the bloodstained face of
Fabio, and this glorious juxtaposition between pain and perceived
beauty resonates across all five efforts. The gritty, driving
style of “Hocus Pocus” celebrates Perez’s
throbbing bass lines and snarling delivery, and when she declares,
“you walked me into the dark/you taught me how to be
cold”, there is a chillingly sexy appeal. Debut overflows
a with a vast range of emotions, as Chris Tull’s guitar
force churns and rages throughout “I’m Not Willing”
(“I’m not willing to hurt myself anymore/After
grandma asked me about the scars that are on my arm”).
“Maiming Faces”, despite its ominous title, has
a softer, more rounded edge to its delivery from Perez as
she laments about her own insecurities (“when I fall,
I fall hard”), but drummer Bobby C smashes with thunderous
fury. “Out West on My Own” continues the themes
of introspection and self-discovery as Tull and Perez hold
a dialogue at times within the song, as the vocalist proclaims,
“It was a weird year/Thought I was in love but I’m
not”. Recorded by Chris Pierce, who skills have helped
to illuminate the Night Birds’ finest qualities, Debut
is a magnificent introduction to a band with limitless potential.
The five blasts pass by quickly, but all that does is inspire
repeated listens.
 FAT
DUKES OF FUCK - A Compendium of Desperation, Morality, and
Dick Jokes (https://clownpenisdotfart.org)
Oh my god! Where has this band been all of my life, and where
the hell have I been to miss this outfit until now?! In a
world of political upheaval, domestic insecurity, and global
strife, there is an increasingly frightening dearth of music
to which one can truly escape-welcome, if you dare, the Fat
Dukes of Fuck. Yes, the name is potentially unnerving, but
the music is scintillating, and one examines the line-up,
the chaos, brutality, and finite musicianship makes sense.
With Dale Crover of the Melvins producing and contributing
and David Yow of the equally legendary Jesus Lizard offering
his distinctive voice, band leader Brent Lynch leads a dazzling
gathering of talent across a sprawling collection of tracks.
The opening title track is a brief instrumental which sounds
like the theme from the most nightmarish and exhilarating
circus on the planet-a schizophrenic, swirling coagulation
of noise, loops, buried samples, and primal terror, I am instantly
a lifelong devotee of this band after less then two minutes.
“Whiskey and Bath Water” has a dark, pseudo-sensuality
hat oozes out from each pore and leaves a permanent stain,
as the song ebbs and flows through a series of climatic explosive
choruses and subdued verses. The furious “Full Metal
Jackoff” is a classic metal groove with equally aggressive
vocals and hilariously off-color lyrics. “Side by Side”
has a shockingly accessible blues riff, while “Where
Assholes Come to Die” is a speedy piece of proto-thrash.
“Tasteful Roy” is more expansive and experiments
recklessly with tone and temperament, as it flirts with Zappa-like
playfulness and a dynamic low-end swagger sans vocals. At
nearly seven minutes, the fuzzed-out, meandering “No
Single Men” has the listener waiting for a violent upheaval
that finally occurs with roughly two minutes left before expiring
breathlessly. The killer grind of “Kodiak Arrest”
may level your neighborhood in only thirty seconds. While
the majestically titled “The Monotonous Adventures of
a Hopeaholic” (“your ironic tank-top just makes
all the ladies drool”) is currently my favorite track
of the thirteen, “Promise Keepers” is remarkably
brilliant with its gospel-like refrain about “being
ready Lord”. The concluding “I’ll Tell You
When it Hurts” has a reference to Dire Straits’
“Money for Nothing” and is a plodding, pummeling,
dirge of sludgy force with jazzy scatting concluding this
extraordinary achievement.
 ANN
BERETTA - “Kill the Lights” b/w “Forever
Family” (Say 10 Records www.say-10.com)
Richmond, Virginia’s Anne Beretta return after a fourteen
year hiatus with a new single that will have fans waiting
anxiously for the full-length. A fourteen-year break would
render most bands obsolete and forgotten, but one listen to
“Kill the Lights” instantly recaptures the band’s
richly textured guitar work and mastery of pop-tinged punk.
With a massive hook and an unapologetic appreciation of harmonies,
“Kill the Lights” is the result of players with
years of experience and tremendous confidence in their talents.
The chorus latches itself to the listener, channeling a punk
style that exists in that perfect realm between having fun
and remaining impactful. “Forever Family” is the
band’s ode to others like themselves; a loving yet stark
celebration of life on the road, the track celebrates the
authenticity and intimacy of life as a touring band. The track
is nearly two decades old, but retains its original youthful
buoyancy. This is a perfect teaser for what should be a big
year for Ann Beretta.
 NERVOUS
TRIGGERS - Do the Drool (https://nervoustriggers.bandcamp.com)
This Jersey shore outfit play light-hearted punk about serious
topics, specifically the state of the world under America’s
current leader. Vocalist Jay Insult adopts Jello Biafra style
snarls as he condemns those who allow themselves to bask in
their own ignorance while fascist rule envelopes the nation
in plain sight. “Do the Drool” may have simplistic
lyrics (“So let your eyes glaze over/let your brain
shut down/and start getting used to being kicked around”),
but the message is significant. The warp speed tempo of “Zero
State Solution” takes apart the disaster that is Middle
Eastern relationships, drawing a comparison with the conflict
that besieged Northern Ireland for decades. The song adroitly
illustrates the hypocrisy of the use of violence inspired
by organized religion without targeting any one specific group.
The song also turns a mirror on the United States to demonstrate
the moral and political failings of this nation (“We
have no right to turn our backs on the refugees from the wars
that we create”). Subtle keys add a 60s surf vibe to
the somber messages of “The Final War” as Insult
declares, “a natural death these days ain’t the
worst because you have to survive this world first”.
The closing “Brick and Mortar” introduces a country
jangle as the song as the band finds lines of symmetry between
Fallujah and Kabul with New York and Ferguson. These four
guys may offer a first impression of a cheery little punk
act just having a few laughs at the expense of the political
quagmire in which the nation finds itself, but upon a more
studious listen, there are a multitude of astute points raised
and discussed. Do the Drool with briefly make people smile,
but more importantly, it will make people think.
 TRU
S/T (Destroy All Monsters Records https://ohhhhtru.bandcamp.com)
Any band that bills their work as “sad music for sad
people’ has fan in me, but there is much more to this
Montclair, New Jersey four-piece than sorrow. The opening
“Take a Peek” sounds like an artifact found in
a 1993 time capsule for all the best of reasons; a swirling
and surprisingly heavy track, the song borrows the finest
elements of 90s grime, highlighted by the dual guitar presence
of Pat Defranisci and Keith Williams. The four-song EP does
borrow much from the decade of the World Wide Web and Lewinsky
scandal, but nothing about Tru sounds recycled. “Trouble”
matches the opener in terms of the breadth of talent, but
the intensity to the song resides more subtlety within the
waves of guitar and deeply harmonic vocals. Cindy Ward and
Steve Cerri handle the bands low-end, and the opening pair
of tracks are a promising demonstration of their abilities.
I am most intrigued by “Kristi”, a song that begins
rather innocuously but steadily builds upon a mountain of
pristine guitar work and effusive lyrics that are both subversive
and heartfelt. (“You’re sweet and tender under
me/You’re the only one for me”). Closing with
“Hand in Hand”, Tru again demonstrates a penchant
for luminous hooks and ethereal experimentation. There is
a complexity to the music of Tru but they do not overwhelm
the listener with technical excess, for the four tracks cascade
effortlessly at first, but one can hear the burgeoning greatness
of this band.
 WALK
THE PLANK - Cemetery Vacation (Say-10 Records www.say-10.com)
DC hardcore makes a thunderous return on Cemetery Vacation
from Walk the Plank, a band whose rage and ferocity matches
the frustration felt by many in the country about the state
of the nation’s capital. Everything about this record
pummels the listener, dares the victim to get up, only to
destroy the poor soul yet again. The vocals of Ian Crocker
are spat out with a vitriolic mixture of nihilistic disgust
and raw vehemence. This is heavy, abrasive punk that could
easily come from the streets of New York’s Lower East
Side as much as from the scene around K Street. “I Don’t
Believe” and “Sea of Scenes” are awash in
a thunderous grove, while the meaty breakdown on “Pity
Party” breathes new life into that occasionally overdone
hardcore element. Walk the Plank straddles a sound that is
both frighteningly violent and yet melodic, a combination
of styles few can truly master. “Dead Broke” is
a bit longer in length (only one track, “Emptying My
Head” gets past the three minute mark) and features
more expansive playing from Alex Reimer and Aaron Keller.
“Dying on the Vine” is classic, circle-pit, broken
teeth inducing hardcore. The song is a brusque dirge of blunt
force with an equally crippling riff. The blinding sixty seconds
of “Scapegoat” and “Unaware” leaves
a person breathless. Chris Faust and Tim Bean round out this
impressive line-up on drums and bass, respectively, and their
airtight camaraderie anchors the band’s sound. Sounding
like both a tribute to the past and the voice of future, Walk
the Plank will remind the cynical why hardcore is so important.
 THE
EX-OPTIMISTS/ECONOMY ISLAND – Split EP (Twistworthy
Records www.twistworthy.com)
The opening “Take Heart” is a gritty, bass-driven
track with a distinctly moody and provocative sound from College
Station, Texans The Ex-Optimists. With vocals buried somewhat
in a mix of droning feedback and waves of distortion, the
song acts a blaring introduction to a band about which I want
to learn much more. While their original has me hooked, two
Guided By Voices covers seal the deal for me. “Drinker’s
Peace “ is a bold choice to tackle and the band supremely
captures the original’s jangly energy without simply
re-recording it. The acoustic intro of “14 Cheerleader
Confront” gives way to a steady stomp and demonstrates
the vast talent found within The Ex-Optimists. Economy Island
delivers the emotionally charged, atmospheric “The Jerk”
complete with a massive, fuzzy hook and impassioned vocals.
This Austin-based outfit offers its own Guided By Vices cover,
an imposing take of “Pantherz” dominated by furious
guitar playing. The band, like Ex-Optimists, does far more
than recreate Guided’s work; rather, Economy Island
rubs some dirt into the original to produce a cover that will
delight Guided fans while also increasing the already rapidly
growing reputation of EI. This split is five outstanding tracks
from two of the best Twistworthy Records has to offer.
 BOSS
EYE - Plays Cottage Vortex (Twistworthy Records www.twistworthy.com)
Opening with a wild cacophony of sound, “More Than a
Kiss”, Boss Eye unleashes a furious ride of loud, noisy,
explosive force. This continues on the immediately intriguing
“Albino Blood” as angular guitar and melodically
aggressive energy dominates the opening salvos. Featuring
four members who have been in over thirty bands combined throughout
the years, Boss Eye is a gathering of well-tested, independently
minded musicians who take aspects of punk and inject an artistic
streak that challenges traditional song conventions. “La
Quinta” features a meandering, punishing groove, while
“You’ve Gone Too Far” is a more visceral
attack. “Saucer Boy” takes Devo’s love of
off kilter song structure and smashes it head-on with noise-rock
bombast to produce my favorite track of the record. “Chalky
Aderall” has a guitar tone as brilliantly twisted as
the song title, while “They’re Coming (For You)”
is a soaring, challenging gem. This is not an easy listen,
but Boss Eye is simply awesome.
 ECONOMY
ISLAND s/t (Twistworthy Records www.twistworthy.com)
Economy Island play deeply melodic, 90s-inspired guitar rock.
The heavy, plodding “The Mountain” is a thunderous
barrage of low-end density and an instantly infectious riff.
“White Liar” has an expansive sound and another
expansive guitar hook compliments of Richi Fatheree and John
Christoffel. “Flower” and “Nothing Left
to say” are prime examples of emotionally charged songwriting
with a sharp ear for harmonious structure. The sprawling “Typically
Weak” is over seven minutes of guitar-soaked brilliance
as the band plays with a controlled burn distinctly unique
to this song; Economy Island clearly a has a distinctive sound,
but within that larger construct, they are not afraid to experiment
with tone and tempo. This is an intelligent and well-crafted
record.
 FLESH
LIGHTS - “No Longer” b/w “You Don’t
Know” (Twistworthy Records www.twistworthy.com)
The Flesh Lights offer two pieces of punk-tinged garage rock
with just enough pop hooks. “No Longer” is a raw,
unapologetically rock n’ roll song that worships at
the altar of 70s guitar force. “You Don’t Know”
is driven by Max’s guitar riff and vocals working in
perfect tandem, while Jeremy’s bass and Elissa’s
drumming solidify the song’s dense yet melodic nature.
 GHOST
KNIFE - Garrote Guarantee (Twistworthy Records www.twistworthy.com)
Ghost Knife is a gifted, bluesy, loud, grove-driven band that
embraces rock in its purest sense. “The Haunted House
Adjacent to the Cursed Cemetery” is a rollicking anthem,
dripping in grime and distortion. With a knowing wink to their
own campy qualities, Ghost Knife blast away on the opening
“RC Cola”, a song as worthy of praise as the underappreciated
beverage for which it is named. The Austin, Texas influence
is obvious on the subtle twang of “City Titties”.
“I Know, I Know” is the most streamlined assault
and my favorite of the bunch. The band takes 60s beach rock
exuberance an injects a punk aesthetic to create a wild, four
song trip.
 HEATER
s/t (Twistworthy Records www.twistworthy.com)
This Fort Worth, Texas outfit sweaty, aggressive punk with
a true DIY approach. The bombast is genuine and organic, with
the band roaring through four blistering tracks. Opening with
“Reaching for Things Unknown”, Heater crafts songs
with lyrics that are reflective of the band’s sense
of self-reflection (“We’ve looked into our mirrors/with
nothing left inside/We’ve looked into our mirrors/With
nothing left to hide”). “Take a Look Around”
sums up the state of our world today with the observation
“Take a look around and see what we’ve become/we
segregate ourselves with ignorance and hate/ What is race?
What is gay? What is straight? What is woman? What is man?
Still we hate”. The appropriately titled “Rattled
Walls” is a thunderous low-end assault that intensifies
the hardcore elements of the band. Finishing with the equally
powerful “Blur the Lines”, Heater is a promising
band with a tightly wound fury, explosive musicianship, and
shrewd lyrics.
 MICHAELIRONSIDE
- So Dynamic (80 West Records https://michaelironside8888.bandcamp.com)
So a talented, young, editor told me in an informative email
this act that “Michael Ironside is not a person but
a band”, and that is partially true. There is a Michael
Ironside and his IMDb page is worth some exploring. However,
Michaelironside is indeed a band, and an odd one at that.
Jeff Wasserburger and Adam Lepkowski play music that varies
from cartoonish to hard driving, and seem to do so with little
interest in what others may think. “Fixin’ for
a Yeti” has an oddly melodic groove amidst its ridiculous
premise, while “Frosty Tunez” is uniquely quirky
and fun. With challenging time schemes and a bizarrely pretty
structure, the song defies any contemporary style. The same
is true of “Ape Lord”, with lyrics “He was
an ape/He was a lord/Didn’t carry a gun/He carried a
sword”. Fittingly, “Deathrage” is more aggressive
but is forgotten pretty quickly when “Da Boof”
comes along; a slice of lo fi, noisy, childlike fun about
a creature that can “eat your face”. It sounds
a great as it seems, and my only complaint is that the song
is far too brief. “Naked Girls” has a wonderful
title, but its slow tempo and muffled vocals does not hold
my attention. “Albany” has a traditional 80s hard
rock riff and hushed vocals which is a winning combination
and gets even better as the song deliciously breaks down into
chaos as it concludes. “Fade” is a return to atmospheric
chill, wile “Mr. Observer” has a subtle funk-jazz
flavor before injecting a more rambunctious riff. The closing
“In the Mind” starts gently but its driving chorus
concludes the record on a soaring note. There are moments
of brilliance on So Dynamic, but I leave feeling a bit unsure
of what I am hearing. I applaud these two guys for boldly
challenging the boring, but I will always take anger over
bubbly goodness.
 SEETHER
- Poison the Parish (Canine Riot Music www.concordmusicgroup.com)
I had no idea that Seether has now released seven albums and
I have no idea who buys them, but this South African outfit
keeps chugging along and produces slick, well produced hard
rock that the middle aged divorced dads play too loudly as
they roll the mid-life crisis mobile into the Little League
parking lot to impress all the ladies. If you enjoy predictable
rock, boy howdy, you are in luck. Watering down late 70s rock
riffs to the lowest common denominator, Seether gives the
masses the opiate they deserve. Nothing on Poison the Parish
is riveting, as the band scolds the modern generation for
preferring instant fame over talent on “Stoke the Fire”,
but I am not sure if Instagram-obsessed Kardashian fans will
take Seether’s warnings to heart. There are theater
sing-along anthems (“Something Else”, “Saviors”),
the ubiquitous mid-tempo, emotionally charged tracks(“Up
and Down”, “Feel Like Dying”), and the songs
that start with acoustic riffs before really getting the fans
hyped when the track switches to electric (“I’ll
Survive”, “Sell My Soul”). There are fifteen
(!) songs on Poison the Parish which is just more Seether
than anyone needs.
7-Inch Singles
 FITS
OF HAIL - Belmore (Sound of the Sea Records www.soundofthesea.org
This Cleveland four-piece delivers a lush beauty on “Clutter”,
a song that is anything but jumbled as a clean, mid-tempo
pace accompanies Chris Anderson’s rustic vocals. “Came
Through the Change” rattles a bit more than its’
predecessor, but again embraces a sense of heartfelt Americana
and richly vivid lyrics. The song’s ascending chorus
makes this effort the preferred of the two vinyl selections
for my taste. The brief but endearing “Brandywine”
is available through download only and is well worth the effort
of paying these guys a few scant bucks on Bandcamp.
 STINGER/MAULER-
Split 7” (Serenity Now Tapes www.serenitynowtapes.bandcamp.com)
This single saved my weekend and it can make even the worst
day better. Stinger plays relentless, metal-tinged hardcore
at a breakneck pace with vicious, head-stomping intensity.
There is nothing one cannot love about the simmering power
of “Swine Churn”. Brutal, abrasive, and full of
unresolved anger, this is one to put on repeat. The low-end
bombardment of “The Scum Files” punches the listener
with the fury of classic Warzone or Agnostic Front. In short-you
need Stinger in your life. Very little information is given
about Mauler, but with “Despot Desires” and “Power
Snake”, there is no need for words. The grindcore fury
of this band has me instantly hooked and all three songs-get
the digital version-are punishing and unapologetically raw.
Mauler is the band that plays a basement show and the house
crumbles around them. Serenity Tapes has just jumped up to
the top of my favorite young labels.
 DEEP
STATE -Thought Garden (Friendship Fever Records https://store.friendshipfever.com)
Deep State is a highly emotionally charged band that meshes
numerous punk infused styles into a richly rewarding listen.
An off-putting yet attention-grabbing instrumental opens Thought
Garden before the more straightforward punk aesthetic of “No
Idea, Pt. II” explodes out of one’s speakers.
Vocalist/guitarist Taylor Chmura is clearly shaking with frustration,
but not every syllable is blindly screamed into the void;
instead, he incorporates sweetly harmonic vocals with a sweeping
hook on “Mountains” and utilizes a dense riff
on “Death Waltz”. Fellow guitarist Ryan Gray Moore
holds a masters degree in guitar performance, and his skills
shine throughout Thought Garden, even when the band takes
on a minimalist approach for the title track. There is a subtly
to Moore’s playing that reflects the larger theme of
the band-the material here is intricate but not overwhelming.
The songs have room to breathe even though there is a burning
passion to get the thoughts out quickly and deliberately.
Drummer Michael Gonzalez and bassist Christian Deroeck rumble
together on “Heavy Lunch”, while sharp, jarring
riffs rip through the heart of the song. The band is not afraid
to show off their influences and penchant for varying styles,
as “Nothing Speaking” swings with a mid-tempo,
bluesy sound, while an infectious, jangly, indie-pop sensibility
dominates “Infinitesimals”. Continuing to challenge
and push themselves forward, Deep State introduces dark noise
on “Eights” before quickly fleeing for the closing
“Urn”. Starting with a nearly Beatles-esque attention
to harmony, the song ebbs and flows seamlessly before a dust
storm of choking guitar finishes off the record with a soaring
climax. Inspired and progressive, Deep State is a deeply promising
act.
 FIRE
IN THE RADIO - New Air (Wednesday Records http://www.wednesdayrecords.com)
Philly’s Fire in the Radio have fittingly titled their
second release New Air, as the band takes far more chances
here than their 2015 debut. The guitar playing is crisp and
the songs are more sophisticated yet do not lose any of the
harmonies that made Telemetry such a encouraging release.
“Drug Life” is the centerpiece of the record and
the song’s dreamy vocals, compliments of Rich Carbone,
are tinged with darkness, a juxtaposition of pop melodies
and peripheral sadness that carries much of New Air. While
the title track and “Vacant States” have very
clear 90s qualities, specifically Superchunk, Velocity Girl,
and Jawbox; however, rather than hearing these songs as merely
paying homage to influences, Fire in the Radio is inspired
to take that blueprint and combine other spatial elements.
“Adeline” is a lovely, haunting track that moves
at a brisk pace without losing any sentimentality. And “Lionel
Hampton Was Right” gets a blistering start out of the
gate and features a soaring riff that anchors Carbone’s
passionate delivery. The songs are tightly wound and the urgency
is tangible. This record is the product of a band desperate
to be heard and is committed to making music that is both
significant and stirring. “I Don’t Know, I Don’t
Remember” is my favorite type of aggressive indie pop-the
song is aggressive, powerful, and overflowing with hooks.
Philly has long been a city for bands that play with tenacity
and little regard for trends; Fire in the Radio take all the
finest elements of 90s indie rock and grinds them into an
awesome new form.
 MARK
LANEGAN -Gargoyle (Heavenly Records http://www.heavenlyrecordings.com)
Mark Lanegan is an interesting tale of persistence and drive.
At fifty-two, Lanegan is a long-term veteran, scarred and
replete with legions of stories about trying to survive as
a musician. Gargoyle is a record that could only be made by
a man of this ilk; sweeping in musical scope, the songs are
dense, majestic, and richly textured. The opening, six-minute
opus “Death’s Head Tattoo” establishes a
theme for Gargoyle, namely a mixture of swirling darkness
and understated beauty. The warmth is, as is the uneasiness
created by the steady backbeat and swaths of guitar. “Beehive”
has a bassline that would be the envy of Peter Hook while
Lanegan’s gruff voice adds an additional layer of earthy
grittiness to the track. Other efforts borrow a similar structure,
such as the impressive “Blue Blue Sea” and the
haunting “Sister”. The latter has a meandering
pace and ethereal keyboards that allow Lanegan to fill all
empty space with his vocals that sound like John Hiatt taking
on Leonard Cohen in a whiskey shot drinking contest. “Emperor”
rattles along with a structure reminiscent of Iggy Pop’s
“The Passenger” while the brilliantly titled “Drunk
on Destruction” features guitar playing the weaves powerfully
from subtle to punishing. “First Day of Winter”
is appropriately depressed in both tempo and spirit, as Lanegan
sorrowfully takes listeners through an empty town and an equally
desolate past. Compelling and spiritually engrossing, it is
my favorite of the record despite (or perhaps due to) its
melancholy nature. Gargoyle concludes with “Old Swan”
as Lanegan gain blends a Sisters of Mercy atmosphere with
poignant lyrics and a heartfelt vocal performance. Mark Lanegan
has been, perhaps inexplicably, off my musical radar until
this point, but gargoyle will certainly inspire more research
on my part.
 ROUND
EYE - Monstervision (Sudden Death records www.suddendeath.com)
Described as the “loudest, sexiest, and hairiest”
band in China, the avant-garde, sax-punk geniuses Round Eye
announce their return with a viciously beautiful release.
Joe Bob Briggs makes numerous appearances on Monstervision,
bringing his late night cable access television persona to
an already mind-altering record. At one point, Joe Bob simply
asks, “what the hell was that?”, and that query
about sums up the relentlessly original approach taken by
this band. Once banned from touring in China and forced to
truly play “bunker shows” (famously documented
by VICE News), Round Eye is a fearless combination of punk
audacity and noisy defiance. “Cosmic Blues” sounds
like Black Flag jamming with the Flying Luttenbachers, but
the band then applies a more Cramps-like sentiment on “Billy”,
a song about a deliberately violent cop. “Sifter”
is a touch more poppy, with the ubiquitous sax sounds increasingly
reserved when coupled with a more traditional effort. However,
this respite does not last long as “Troma” includes
angular, jagged playing that pairs itself nicely with the
lo-fi chaos of “Hey Dudes”. The debauchery of
“Pink House” is my personal favorite among this
vast collection of genre annihilating, confounding, and engaging
musical visions. Round Eye defies any contemporary comparisons,
as evidenced through “Cat” and “Richie”.
While the former holds on to a subtly harmonious groove only
kissed by a sax, the latter begins with a scream and unleashes
a menacing explosion as the phrase “reality TV never
looked so good” is repeatedly shrieked. The closing
“Crinkle” has vocals buried in a casket of waves
of suffocating sound, and the song is a churning mass of jittery
energy that is the musical equivalent of being water boarded.
It is a fitting finish to a record that is equally captivating
and obtuse.
 AYE
NAKO - Silver Haze (Don Giovanni Records www.dongiovannirecords.com)
The term punk rock can rightfully be used to address a
multitude of styles and Aye Nako continue to help redefine
the phrase. Led by Mars Dixon and Jade Payne’s fearless
aggression, Silver Haze is a showcase of deeply personal
songs propelled by angst-driven energy. “Sissy”
is a mass of guitar force and defiant lyrics (“Off
world, shrill lisp/Hormonal bliss, spit in my face”),
while Dixon and Jayde barrage the listener with both angular
guitar work and highly charged singing on “Half Dome”.
Rounded out by bassist Joe and drummer Sheena, the band
excels on “Nightcrawler” with its noisy contained
chaos, reminiscent of former touring mates Screaming Females.
Noisy and abrasive, but always with a clear sense of parameters,
“Muck” encapsulates the band’s ability
to straddle a line between blunt force and refined beauty.
Injecting more traditional pop sensibilities on “Particle
Mace” does not in any way lessen the impact of the
song, while the waves of distortion on “Arrow Island”
and “Spare Me” infuse the tracks with a darker,
more intimidating sensibility. The menacing nature of “Nothing
Nice” roars with frustration that boils over into
rage tinged with fear (“You detonate in the front
room/They call it discipline/You detonate in the front room/I’m
not safe at home/I do what I’m told/I do”).
A suffocating wail of feedback opens “Tourmaline”
as a brutish riff eventually gives way to a more subdued
vocal style. Stunning in both breadth of force and intensity
of delivery, Aye Nako is an astounding act.
 THE
PLANES - Wax Diamond (https://theplanesnyc.bandcamp.com)
I often find myself becoming overwhelmed by bands attempting
to make their music as technically superior as humanly possible.
Yes, the playing is dazzling at times, but there are occasions
in which one simply wants a hook and a quick, smart song.
The Planes deliver just that over the course of eight soaring
anthems. Basking in the purity of simplicity, the band has
a penchant for lush harmonies and fuzzed-out pop throughout
Wax Diamond. The opening “Red Shift” bounces
back and forth between the Feelings and Dinosaur Jr. with
ease, with the latter sound dominate the chorus. With only
two of the tracks crawling to the four-minute mark, The
Planes pack quite a punch and never overstay their welcome.
Lead vocalist Stephen Perry has a sly, self-deprecating
humor on “Stick Around” when he admits “I
learned a language just to speak to you/And I grew accustomed
to the sound/But now I'm talking to myself/As if I don't
need no one else/I kinda wish you'd stick around.”
Blending heart-melting lyrics with buoyant guitar playing
and a steady backbeat is not redefining rock n’ roll,
but The Planes bring a timeless sound into a period of time
that needs this sound. The unexpected body slam heard in
the midst of “ATMs” is the band’s finest
trait-one cannot simply press play and forget about Wax
Diamond. The songs crackle with energy but can suddenly
shift personalities and adopt a more aggressive nature before
returning to their original personas. The support behind
Perry’s guitar playing and emotionally charged vocals
are bassist Jaclyn Perrone and drummer Jason Maksymillian,
who carry the chugging “College Crush”, perhaps
the best song ever penned about the topic. Perry bravely
exposes himself as a love-struck frat guy who is “in
the kitchen bartending”, begging and hoping for the
object of his affection to come talk to him. The honesty
of the song is immediately enduring, and is matched by the
powerful “River” (The sun was out and I was
flying/ I didn't know if this would last for long/ We have
a love that's free and wild/ But I don't know if you and
I belong”). Young and talented with a great sense
of history, The Planes move indie rock forward by embracing
the past.
 EUREKA
CALIFORNIA -“Wigwam” s/t “Only Birds No
Feathers” (HHRTM Records www.hhbtm.com)
With a thick rogue wave of distortion opening “Wigwam”,
I am immediately taken by the latest from Eureka California.
The duo of Jake Ward and Marie Uhler blast away at a pair
of garage-pop gems and a wildly entertaining cover of Superchunk’s
ubiquitous college radio anthem “Slack Motherfucker”
on a single that passes by far too quickly. The noisy, nervous
“Wigwam” toys with pace and tempo; the track rises
and fades, only to rise again with flawless precision, as
these two find harmony within chaos. The song is two and half
minutes of pure joy and gives way to the 90s vibe of “Only
Birds No Feathers”. When Ward barks about “how
simple of a life do you really deserve” and asks, “does
it look like I care”, one does not know if he is smirking
or snarling, and that embodies the band. Eureka California
is defiant, dismissive, and entirely engaging. Go find this,
as the band is selling it directly to fans for only three
bucks in an effort to recapture a time when singles were affordable
for all, but cost should not matter-pay the mark up price
somewhere and support these kids.
 GHOST
OF A GENTLEMAN - Empty Room (https://ghostofagentleman.bandcamp.com)
This New Jersey outfit plays moody rock with introspective
lyrics and an intrepid honesty. Stories of pain, loneliness,
and failed relationships dominate the record, but the feelings
the work elicits are not disparaging. Rather, one is captivated
by the constant balancing act the band performs throughout
he record. The guitars on the opening title track hover gently
above scathing lyrics while the song fluctuates between fragility
and bombast. This trend continues on “Front” as
well, although it is a more traditionally structured track
(“What I’m trying to say is it seems OK but its
not OK”). The majority of the work is preoccupied with
the massive struggles of relationships, describing even simple
communication as a challenge in “Masquerade Ball”
(“when I talk to you, I walk on rice paper”).
Ghost of a Gentleman allow themselves to become a touch heavier
and darker on “Can’t Take This Anymore”,
and insert a vibrant, modern rock sensibility highlighted
by aggressive guitar work on “Smothered”. (Every
twisted truth you think I can’t untie begs for me to
see right through your eyes”). “Street Signs”
has a delicate introduction fitting for the song’s tale
of fragile sanity, sleep deprivation, and a struggle to balance
all of life’s pressures. The atmospheric “Nineteen
Eighty-Five” with wraithlike lyrics buried deeply in
the mix precedes a trio of songs dedicated to former band
member James Kelly: “Just Breathe” channels the
Foo Fighters while “Plastic Boy” is a genteel,
largely an acoustic piece with a rich, heartfelt delivery.
“Jersey State of Mind” concludes the triumvirate
of dedication tracks as well as the record. Like “Plastic
Boy”, it is also stripped down, but the song is brimming
with hope rather then the pessimism and weariness that previously
dominated Empty Room. Emotive and intelligent, Ghost of a
Gentleman should certainly become more than just a local favorite.
 KISSING
IS A CRIME s/t (Don Giovanni Records http://dongiovannirecords.com)
Matt Molnar is the leader of his outfit that creates a beautiful
record of airy, classic guitar pop. “Noise at Night”,
with Liz Hogg on vocals, is unabashedly and unapologetically
harmonious, with a chorus that is equally stirring and scintillating.
“Kids” begins the second side with a massive,
soaring hook, while the more subdued “Sheila’s
Gone” is intoxicating in its directness. The opening
“Nervous Condition” sets the tone with jiggling
guitar work and lush vocals. Molnar spent his early years
bouncing around in a string of punk bands, and his roots reemerge
on the more aggressive “You Would Never Understand”,
but his true gift is the ability to generate infectious pop
with swirling musicianship and pristine refinement. “Crown
Royal” bounces with a highly dynamic groove and highlights
the drumming of Alex Feldman. The evocative “Bling Bruises”
is another standout with a burst of rugged guitar coexisting
within the broader expanse of the song’s pop sensibilities.
Molnar is a visionary with a genuine appreciation for bands
that place majestic harmonies and intriguing lyrics as priorities.
Once again, Don Giovanni finds another gem.
 MODERN
ENGLISH - Take Me to the Trees (http://modernenglish.me)
I was roughly ten years old when MTV invaded my home and changed
my life. One of the ubiquitous videos of that age was “I
Melt with You” from Modern English. If you remember
watching the clip, a primitive yet earnest effort, congratulations-you
are old! I always remember the video clearly, as I was usually
waiting for it to end in hopes that anything from Ozzy or
Judas Priest might be next. At any rate, a full generation
has come and gone since that massive hit, and the original
members of Modern English return with their first full-length
release in thirty years! Incredibly, rather than a pallid
attempt at rehashing 80s pop, the band brazenly and adroitly
constructs pop in a contemporary vein while also subtly paying
homage to their heritage. The opening “You’re
Corrupt” opens with a throbbing bass line and a clearly
articulated social commentary about greed and excess. Conversely,
“I Feel Small” is a mid-tempo churner of a track
that wraps Robbie Grey’s instantly recognizable vocals
around a stomping groove. “Dark Cloud” has a clean,
crisp retro sound as one could imagine Gary Numan singing
along to this one. One of my favorite moments is the effervescent
pop goodness of “Moonbeam”- a sugary blast of
rich harmonies that will make Martha Quinn smile. The meandering
“Something’s Going On” is deceptively unnerving,
and despite its plodding tempo still possesses a mystical,
ethereal quality also heard on “Sweet Revenge”.
The closing “It Don’t Seem Right” is a dreamy
effort that again proves that Modern English have the chops
to reintroduce themselves to the world of relevance.
 THING
ONE - Fair Weather Friends WP (www.thingonebandcamp.com)
Thing-One creates an uneasy atmosphere throughout the three-song
Fair Weather Friends EP. The title track laments a now irreconcilable
friendship with haunting lyrics (“my friend, you are
dead/in my eyes you’re gone”) and an infectious
dance beat. The closing “Far Too Bright” includes
smoldering guitar woven into an ethereal tapestry of heartbreaking
beauty (“Your face, your eyes, you’re far too
bright”). “Nice Wife” is a stirring, powerfully
emotional anthem in which Thing-One tells a stirring narrative
through warm and gripping playing. A lullaby with a potentially
explosive personality, the track attempts to pull the heart
out of one’s chest with devastating honesty. I cannot
believe that this latest release from Thing-One came with
a flyer announcing their opening slot for Gin Blossoms, of
all bands. I cannot image their fans appreciating this. Thing-One
should out on the road carrying their own tour, not opening
for relics from the 90s.
7” Singles
PETER HOLSAPPLE “Don’t Mention the War”
(Hawthorne Curve Records http://peterholsapple.bigcartel.com)
I have long lamented the lack of a good protest song for contemporary
issues, but Peter Holsapple may have solved the problem with
“Don’t Mention the War”, an ode to the horrors
of combat and PTSD. With gripping honesty and a delivery reminiscent
of the finest 1960s storytellers, the song is a gut-wrenching
tale of isolation, suffering, and struggling family members.
When Holsapple says “don’t mention he war”,
it is an ominous warning as much as it is a piece of advice.
The B-side “Cinderella Style” is a beautiful,
delicate tale that, while not as dramatically forceful as
the A-side still demonstrates Holsapple’s innate sense
of human emotion. This is a pair of soaring, vastly powerful
songs and I am immensely taken with this.
SANTA ANA KNIGHTS - "Knight School" EP (Red Brontosaurus
Records http://www.redbrontosaurus.com)
Santa Ana Knights play speedy guitar pop with a punk varnish
that makes it tougher than your standard three chord posters.
Sounding like a troubled troubadour on “”How’d
I Get Home” and the title track, both featuring a touch
of country-fried twang. “How’d I Get Home”
includes the scathing lyrics “I don’t need hugs/
I Need Your Drugs!!” “The Bartender” kicks
off the effort with the amazing advice of “Don’t
Need Jesus/ Just be your own boss/ I’ll be the bartender
when you need to drink”. I know nothing about this band,
but this introduction is enough to make me seek out more.
SOMERSET MEADOWS - "We Will Rock" (Brain Genius Records
https://somersetmeadows.bandcamp.com)
Somerset Meadows play 60s rock with a SoCal punk energy. “Hey
Girl” bubbles with a hopeful enthusiasm as Richard Somerset
hopes the girl of his dream will go away with him. This energy
is matched on the early Green Day-inspired “She Makes
It”. The record starts with “She is Waiting”,
and while it never really hits a stride, “Time to Shine”
is a rollicking burst of infectious pop guitar. As I write
this, Long Island is in the midst of a mid-March snow squall
and all I see when I hear Somerset Meadows is sunshine, girls,
and summer. For that alone, I love this.
JerseyBeat.com
is an independently published music fanzine
covering punk, alternative, ska, techno and garage
music, focusing on New Jersey and the Tri-State
area. For the past 25 years, the Jersey Beat music
fanzine has been the authority on the latest upcoming
bands and a resource for all those interested in
rock and roll.
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