 DENTIST
- Night Swimming (Cleopatra Records www.cleorecs.com)
When a band begins with a sterling debut in the manner of
Dentist back in 2014, one has to be wary of the dreaded sophomore
slump; however, Dentist passed that test with remarkable ease
and is now perfecting their sound on the band’s third
record, Night Swimming. The centerpiece of Dentist
is the majestic vocal ability of Emily Bornemann, who can
sound innocent and optimistic or angry and frustrated with
similar effortlessness, producing a broad scope of emotional
force. The jangly surf-pop sheen influencing many of the songs
are merely a façade covering a simmering punk angst,
as one hears quite powerfully on “Figure-Four”
and “Alone in the Garden”. Guitarist Justin Bornemann
and drummer Matt Hockenjos work in perfect tandem with Emily’s
soaring voice and story-telling skills. The bounce of “Oh”
is juxtaposed with the coarse, rollicking “Remind Me”
and the aggressive “Tight Spot”, which is my favorite
of the bunch here. “Tight Spot”, with its refrain
of “tell me no/tell me no again” simmers with
frustration while good-natured surf riffs are drowned out
by thunderous bass and furious energy. The first single, “Corked”
(with the infectious line, “Something’s wrong
again, cuz we’re still friends”) takes the beach
atmosphere of the band’s home of Asbury Park, NJ and
injects an atmospheric quality into a traditional pop arrangement
to create a wistful beauty also heard on the luxuriant “Owl
Doom Pt. 2”. There is absolutely nothing one can do
with Dentist but to love them, and this one should be the
soundtrack of your summer.
 TWIN
GABLE - Gritty Gold (twingable.bandcamp.com)
This very DIY duo from New York have been harnessing and refining
a distinct pop sound for a few years now, and Gritty Gold
is the result of musical maturity from both Lider Calle and
Ken Rose. “Can I” opens with haunting noise and
includes lyrics that encourage and challenge individuals to
think more creatively. This theme of unique imagination is
heard throughout Gritty Gold, whether in the form of the subtle
dance grove of “These Times” or the harder edged
“Deeper”, with the latter also including minimalist
segments before concluding with a massive din of guitar and
dance energy. What makes Gritty Gold so intriguing
is how Twin Gable produces pop that is both conventional and
yet still atypical due to the intricacy of the song structures,
such as the numerous shifts in tempo on “The Beautiful.”“Fainting
Char” is a perfect single, with its highly rhythmic
and free-flowing nature, while “Money Song” returns
to the use of ghostly vocals accenting a streamlined pop gem.
Ironically, “ATM” follows “Money Song”
and the latter is a heavily distorted spoken word piece that's
both unnerving and somehow still comforting through the use
of a lush and spacious soundscape. This dreamy dance-pop is
truly the band’s strength, but “You Don’t
Have Any idea” reveals a multi-faceted aspect of the
duo’s abilities, as the song shifts seamlessly from
a sullen, quiet intro to a rousing, punk-infused explosion
of force before returning once again to its original gentle
nature. The music of Twin gable is simultaneously recognizable
and challenging, revealing a pair of musical wizards with
expansive imaginations the talent to bring life to their concepts.
 WELLER
- s/t (Tiny Engines Records www.tinyengine.net)
I am instantly taken in by the words of Harrison Nantz on
the opening “Answer Anything” when he wonders,
“I wanna know how we think to avoid the escape from
reality, and the nerves that make me tired as soon as I’m
awake”. This burst of anxiety-riddled honesty is delivered
above a poppy, fuzzy, guitar riff and sets the stage for a
nervous batch of jangly guitar nuggets that reflect how worrisome
it is to be young in America right now. Maturing and trying
the navigate the pitfalls associated with it act as the central
theme of Weller’s self-titled release, as Nantz exposes
about past relationships and an uncertain future through ten
blasts of brief anthems. Only two of the songs here creep
past three minutes, and one of them, “Standard”,
is a raw piece of self-examination on which Nantz admits that
“it feels sincere, how quickly I can disappear?”
while a sullen riff churns beneath his vocals supported by
bassist Evan Clark Moorehead and drummer Jeremy Berkin. Weller’s
brand of melancholy pop, occasionally structured around acoustic
riffs (“Buck” and the fleeting “Think Tank”),
maintains a freshness by boldly exploring personal feelings
of insecurity and misguided memories of the past, revealing
a lyrical deftness that will undoubtedly resonate with a vast
array of listeners. On “Every Other Day”, the
story is one of reassessment of one’s life and fighting
off the sense of impending doom with Nantz stating, “my
Ivy League education replaced with hate” as the song
increases in intensity without ever losing its fundamental
pop orientation. The closing “Point of Personal Privilege”
fluctuates in tempo and passion, as Nantz continues to ruminate
as to what will be and how he can reconcile what once was.
The songs on Weller read like a diary brought to life through
the daring honesty found within. Poignant, impactful, and
musically shrewd, Weller is not just a bunch of lost twenty-sometimes
lamenting their impression of fading youth (wait until you’re
in your forties, boys!), but rather, the trio articulates
fears and remorse that transcends age. Plus, the record is
also a staring collection of smartly crafted pop songs, and
that will never become antiquated.
 ROCK
N’ ROLL HI-FIVES - Re-Introducing the Rock N Roll
Hi-Fives (Little Dickman Records www.littledickman.com)
Perhaps America’s coolest family, the Rock N Roll Hi-Fives
are Joe Centeno on guitar, his wife Gloree on bass, and two
children Eilee and Evran on vocals and drums, respectively.
Now before anyone jumps to a cheap Partridge Family reference,
there is nothing cliché or fabricated about his band;
the Rock N Roll Hi-Fives are a fully formed and functioning
band that play gritty rock kissed by just enough pop sweetness.
On the opening “Same Mistakes,” Eilee sounds wiser
than her years when she says “Honey, you make the same
mistakes I do,” while her vocals on “Battles”
take on the classic tone of Cherry Curie and Brett Anderson
to capture rough 'n’ tumble rock. The snarky “Hold
On” has Dad Joe doing a wicked Rick Neilson impression
to craft a rollicking, slightly blues-tinged gem of a song
that includes a propulsive bass line and Evren’s steady
drumming. The band has the ability to strip their sound down
to a more raw and straightforward approach, best heard on
“Glass Towns” (complete with richly harmonic backing
vocals) and “Livin’ the Lost Boy Life”,
but the closing “Running Nowhere” has a chunky
riff ala' Johnny Thunders, accented by Eilee’s most
aggressive vocal performance of the record. Fun and incredibly
infectious, the Rock N Roll Hi-Fives inject a sense of purity
into their playing that is desperately missed by most bands
today. There is no pretense or tricks; this is rock 'n’
roll for people who love rock n’ roll, and I love it!
 LA
FIN ABSOLUTE DU MONDE - Killing the Host (Wicked Wonderland
Empire https://wickedwonderlandempire. wordpress.com)
This one is difficult to write, for La Fin Absolute Du Monde
is one of the most unique acts I have encountered, and sadly,
Killing the Host marks the end of the line for the
duo of Jason Myles and Cyndy Melanio. The couple, once married,
has now split and with the demise of their marriage comes
the end of the band as well. If there is any positive to be
found here, it is that Killing the Host concludes
the musical career of these two in staggering style. At times
noisy and dissident, other moments chilling and stark, and
still other tracks are groove-oriented and robust, LFADM is
a stark contrast to the vast majority of music being created
today, which is why their loss stings so significantly. Myles
and Melanio lived their lives together in the pursuit of crafting
challenging music and Killing the Host is a brash, daring
record of undeniable brilliant ideas engulfed by a swirling
din. The gentle keys that poke their heads out during “Shame
on You” are a subtle indication of this band’s
distinctive musical approach, as these delicate keys offset
a menacing sense of suffocating ambient force. Killing
the Host opens with the title track, a searing blast
of furious noise replete with Melanio beautiful vocals, while
the moody “Sunday Mourning” embodies the band’s
adherence to the darker elements of song crafting. “When
You Look in the Abyss” is punishing, as a devastating
bassline and chilling vocals coordinate to produce a masterwork
of modern black metal, a style heard in a similar form on
the Myles-led “They Divide”, yet that is only
one side of the multifaceted duo. “Pig Puker”
is a relentless assault upon the listener, as the song is
a thick, churning mass of blunt force awash in a murky sea
of distortion. The closing “Dark Days” moves with
the pace of a funeral dirge and really does encapsulate perfectly
the end of a band that seems to have a series of unfinished
promises. I do not know how many individuals were able to
appreciate LFADM while they were a functioning band, but whether
one is lamenting their break-up or hearing them for the first
time, it is impossible to not be deeply moved by what these
two music outliers created.
 MAD
CADDIES - Punk Rocksteady (Fat Wreck Chords www.fatwreck.com)
This is a cute idea: Take a handful of (mostly) punk gems
and ska them up a bit. Punk Rocksteady is a record
one can throw on and just let it go, as the songs are recognizable
and the ska versions stay true to the originals while certainly
adding some spice. The gentle piano opening to Bad Religion’s
“Sorrow” gives way to a mid-tempo slide, while
the cover of Green Day’s “She” offers a
level of depth to the song that the original did not quite
capture. The songs swing and sway with dazzling playing, particularly
the deeply relaxing, tropical vibe of “Sink Florida
Sink." My favorite of the bunch is the Descendents classic
“Jean is Dead;” kicking off with a soaring guitar
riff, the song instantly shifts gears into a subtle reggae
groove and soaring vocals. It is quite an achievement to turn
“Some Kind of Hate” from the Misfits into a lounge
worthy treasure, but Fat Mike and the Mad Caddies do so with
deft skill. This one does not require much thinking or heavy
lifting; it is simply a collection of fans playing their favorite
songs in an inventive and distinctive manner, proving that
inter-genre crossover records can be highly well done.
 VON
HAYES - You Vape? (vonhayes.bandcamp.com)
Playing lo-fi rock n’ roll is trickier than it may appear,
for it can either be instantly appealing or a complete mess.
Von Hayes falls somewhere in the middle between utter disaster
and inexplicably intriguing on You Vape?, the duo’s
first record in a decade. Recorded whenever and wherever they
could, the fourteen songs are rollicking, noisy, fuzzy nuggets
of angst and self-deprecation. The refrain of “I used
to be cool a long time ago” (“Exclusive Monk”)
is delivered with a perfect blend of sarcasm and self-awareness,
while “Evident Eyelid” hearkens back to the early
90s indie explosion and would have undoubtedly been the song
from this record that I played into the ground on college
radio. While the opening “Museum” is a bit of
a muddy, scramble mass of jumbled lines, the record does include
wonderfully insightful anthems such as ”No Title”
with the observation, “Oh you think I’m happy
now?/Is that what this is?” and “Hey Gary (Let
Me Ride)”. The concluding “Crushed” is an
acapella song that puts a fittingly odd bow on a collection
of songs that is difficult to comprehend at first, but makes
far more sense if one simply reclines and allows the material
to wash over them.
 ABOLITIONIST
- The Instant (1859 Records 1859records.bandcamp.com)
This is exactly what I love and exactly what the nation needs;
raw, aggressive, and intelligently politically charged punk
fury from Oregon. The opener is a blazing two-minute assault
about how quickly all that we know can collapse, and this
sense of impending devastation is heard throughout The Instant.
With the longest track clocking in at only two and a half
minutes, Abolitionist does not stay for long, but they make
quite the impression. Dustin Herron may sound (rightfully)
enraged, but his vocal delivery is always quite clear, particularly
on the socially conscious “A Little Animal Liberation
Never Hurt Anybody” and the scathing “The Movement”
(“we’ve got a brave new world to mend”).
Fellow guitarist Jeremy Dunlap works with Herron to build
a wall of fuzzed-out guitar force that protects the virulent,
low-end bombast of Joseph Moher and Sean Rule on bass and
drums, respectively. Some of the work takes a more personal
turn on “Never Wanted This” and “Failed
Projects”, a track on which Herron declares that “we
won’t be your newfound animals” while a power
drill riff screams around him. With moments of expertly placed
gang vocals and a bold sense of melody within the din, Abolitionist
harkens back to a classic hardcore delivery. When one thinks
of the political instability and fear that accompanied the
birth of hardcore, the world today is once again in need of
bands that speak boldly and through aggressive, articulate
musical power. As the band asserts on “What If…?”,
“history repeats itself, no matter how many people die”.
A tragic thought for a tragic age.
 THE
PLURALS - Swish (GTG Records www.gtgrecords.com)
This trio from Michigan plays dense, surprisingly harmonious
punk rock, with an emphasis on the “rock”. The
opening “Overthinking” is a rough and tumble celebration
of classic guitar-driven force, while “Coke Daddy”
blends the best aspects of Nirvana and The Replacements at
both of their most melodic. The band has over a decade of
recording and touring together, and the benefits of experience
are obvious on the groove-oriented “I Have Your Life”
with Hattie’s vocals carrying the song, along with the
thunderous “Honey Water” which hears the band
hit a crescendo in terms of aggression. The fuzzy-pop of “Colorado
Sun” is matched by the sugar rush energy of “Be
Flat”, whose rich backing vocals offset the raw angst
one hears throughout the song. There is so much to like on
Swish, one can become swept up in falling in love with each
successive song; just as I relish the rousing kick to the
stomach that is “Hammer to the Head”, I equally
adore the Brit-pop style goodness of “Ghoulie”,
and after that along comes “Thermal Nuclear” which
is a highly charged slab of indie rock that completes itself
with a volcanic eruption of a conclusion. This is a band of
great skill and the ability to craft songs for nearly all
tastes-go out and find this immediately
 KARMIC
JUGGERNAUT -
The Dreams That Stuff Are Made Of (http://karmicjuggernaut.com)
Wow…this one is a trip, perhaps quite literally, from
start to finish. If Zappa’s Barking Pumpkin label was
still active, Karmic Juggernaut might be the first band he
would sign. Sprawling, fearless psychedelic rock, the songs
can be playful or rocking, and often a swirling combination
of both. “Psycho Billy’s Downtown Adventure”
is the darkest piece with the heaviest guitar riff, but even
as the distortion drips through one’s speakers, the
horn section of Ian Gray, Joonas Lemetyinen and Joe Gulluce
inject a level of reckless fun into the sterling jam. The
band’s core includes Randy Preston and James McCaffrey
on guitar with new singer Daimon Santa Maria out in front
of a rhythm section of drummer Kevin Grossman and Cody McCorry,
accompanied by keyboardist Jake Hughes. Together, this band
of virtuosos creates dazzling, wildly creative and free-flowing
masterpieces that are both somehow painfully intricate and
wildly improvisational in nature. The massive “Moving”
is a sprawling nine minutes, while “Be Careful Moving
Camel” is another lengthy piece that would become redundant
in the hands of less talented players. Interspersing everything
from hilarious end of the world radio broadcasts to brief
flashes of experimental noise, Karmic Juggernaut are indeed
a tank of innovative ideas performed by a collection of immensely
skilled, like-minded geniuses who relish the idea of being
musical outliers. This is not easy, but absolutely worth your
time commitment.
 PALE
BLUE DOT - Anatomy (www.palebluedotband.com)
I have been waiting for Pale Blue Dot’s next musical
act since their 2016 "Telescope" EP, and Anatomy
is another collection of richly melodic tracks that are replete
with tight grooves and the soaring vocals of Tony LaRocco.
LaRocco truly shines on “Stained Glass Window,”
a mesmerizing shot of rollicking playing over the top of poignant,
emotive lyrics. If real radio still existed, Pale Blue Dot
would be massive, for these are radio-friendly songs that
are anything but pre-fabricated drivel. Instead, the seven
efforts here bubble over with an enthusiasm and energy, while
still being truly beautiful in their delivery. It is difficult
to listen to Anatomy without being overwhelmed by the sheer
loveliness of the collective work, but these are not feckless,
weepy tracks; the lush musical complexity one hears on the
majestic “Dust and Light” confirms that. “Only
Love”, a song inspired as a reaction to the invasion
of the band’s home base of Charlottesville, Virginia
by tiki-torch waving white nationalists, bounces with the
enthusiasm of an 80s pop song accented by the stirring vocals
of Yolanda Jones. The opening “I Know” wraps itself
around genteel but highly powerful guitar work and La Rocco’s
lyrics of loss and regret. It is a significant, passionate
introduction to the band’s newest material that sets
a clear tone for the remaining six pieces. “Yesterday’s
News” craws along with La Rocco significantly flexing
his mighty vocal muscles while Peter Balough’s haunting
guitar playing floats behind him until the band shifts gears
and launches into a brief flurry of aggression to close out
the work. I would enjoy a bit more of that energy from Pale
Blue Dot, but their sound is wholly unique as the sensual
“Canyons” proves. A meandering six-minute jewel
of a song, the band never elevates their heart rates, but
the track still conveys a robust message.
 HIS
NAME IS ALIVE - Black Wings (HHBTM Records www.hhbtm.com)
His Name is Alive is the long-running spawn of Warren Defever,
and Black Wings is a celebration of everything the
band has always done extraordinarily well; namely creating
penetrating musicianship through lush arrangements and bucolic,
ethereal soundscapes. Vocalist Andrea Morici possesses a starkly
beautiful tone, and she is the star on the majority of the
work on the expansive, thirty-six song release. The opening
trio of “Patterns of Light”, “Energy Acceleration”,
and “You Best Pray” feature Morici’s breathy,
haunting vocals as she is accompanied by only the sparsest
amount of musicianship. The work on Black Wings includes expansive
works of wildly passionate emotion, (“How Ghosts Affect
Relationships”, “Get Air-La”), but the four
piece, rounded out by fellow guitarist Dusty Jones and drummer
J. Rowe, also explore a more thunderous side of their collective
personalities on the guitar-heavy “Rush”, the
rugged “The Examination”, and the furious din
of “Demonfuzz”. Even “You Best Pray”
is treated to a “fuzz” version, and the song that
is heard earlier as genteel and stirring, becomes equally
engaging as a far more menacing slab of brief, noisy, fits.
The band has an uncanny knack for moving effortlessly between
styles and formats, including elements of progressive synth
on the “Dragonmix I” and “Patterns of Lights
(Moog mix)”. Even brief snippets of songs, such as “Italia”,
“Memory” and “Les Zeppelina” are beautifully
arranged, and there is purposefulness to their presence in
the midst of longer, more fleshed-out tracks. The cacophony
of restraint of “After Greensleeves” is seated
comfortably close to “White Loops”, a buried gem
that sounds like a lost effort from the Stranger Things soundtrack.
There’s even a cover of America’s “Sister
Golden Hair” thrown in for purposes known only to the
band. Bands like His Name is Alive demonstrate how much creativity
there is still in the world; one may have to look deeply to
find it, but the search is worth the effort when one encounters
works of genius such as this.
 SHARP
VIOLET - “These are the Rules, Boys” EP (https://sharpviolet.bandcamp.com)
On a quiet Thursday night in Amityville, NY, I was fortunate
enough to catch a set from Sharp Violet, Long Island’s
contribution to a resurgent riot grrrl movement. A quick scan
of their Bandcamp page gives an introduction to a band that
is biting, musically skilled, and very intelligent. The sardonic
“These are the Rules, Boys” attacks the phenomenon
of “mansplaining”, but does so without blanket
accusations or sweeping condemnation; instead, vocalist Liz
Meehan, who looks and sounds like what could have happened
to Taylor Swift is she grew up listening to the Kill Rock
Stars roster, says, “It can be so easy/ If we got along/But
you always have to be right/Even when you're wrong”.
Accompanied by a riff straight from Bratmobile’s finest
moments compliments of Jessica Benenati, along with a throbbing
low end rumble from bassist Jasmine Fuentes and drummer Tala
diBenedetto, the track glides along with a controlled sense
of simmering frustration that ultimately explodes in the final
moments with Meehan roaring “always talking, never listening”.
Sharp Violet’s latest effort is “Domino Effect”,
taking full aim at Harvey Weinstein and his nauseating ilk;
Sharp Violet are the right band at the right time, for sadly
there are all too many stories of abuse and misogamy for them
to explore. However, while the behaviors the band chooses
to excoriate are repugnant, Sharp Violet’s music is
just the opposite. As someone old enough to remember Bikini
Kill, Heavens to Betsy and others when still in their infancies
as bands, it is inspiring to hear riot grrrl punk still being
played with such precision and rage. Go check out Sharp Violet
immediately.
 GRIM
DEEDS - Seasons in the Amiss (https://grimdeeds.bandcamp.com)
Regardless of what one may say about the music of Grim Deeds,
the man is limitlessly prolific, and Seasons in the Amiss
(just brilliant, by the way) is another collection of brutally
honest songs about just how disappointing adulthood truly
is. “Sucks to be an Adult” is the opener and it
sets the tone for the release, but as great as that song is,
“Act Not Stoned” may be my new favorite Grim Deeds
effort, as he makes it clear that getting high used to anger
his parents, and now it angers his wife. (“I have to
act not stoned/ so I don’t get in trouble at home”)
“Happy” is an ode to being miserable in every
aspect of one’s life, be it marriage, job, being alone,
or even spending time with friends. The dynamic “Give
Up Your Dreams” (“the life you live is meaningless”)
smacks of the Dead Milkmen’s best moments with its jangly
punk rock riff and tongue in cheek delivery. “Time Has
Come” wraps a huge, metallic groove around lyrics of
frustration and despondency about the current state of man’s
existence (“living in a modern hell”), and this
same theme is explored on the fiercely agitated “Leave
the World Behind”. The closing “Waste of Time”
is a fitting conclusion to a collection of furiously desperate
tales of woe. Only the opening track hits the three-minute
mark, and while there is certainly an Adult ADHD sensibility
to Grim Deeds’ material, none of the songs feel incomplete.
The work is here is quite relatable, maybe hitting too close
to home for many of us, and Grim Deeds uses biting humor to
capture the ennui of modern life.
 LORDS
OF ACID - Pretty in Kink (https://lordsofacidofficial. bandcamp.
com)
Not to be relegated to some form of 90s dance-club relic,
Lords of Acid mastermind Praga Khan returns with a dazzling
collection of quasi metal grooves awash in sexually charged
beats. Everythig throughout Pretty in Kink oozes the carnal
lust associated with the band going back to their legendary
1991 debut, but the star here is Marieke Bresseleers. With
a voice that is as soaring as it is erotic, she turns “Sex
Cam Girl” into a majestic celebration of sexual expression
of power and control, while her presence on “Ma Fille
De Joie” adds a level of subtle sensuality to the song’s
infectious hook. “Flow Juice” is riddled with
innuendo, and once again Bresseleers’ talent elevates
the lyrics above sounding corny (“move your ass around/let’s
screw”) to celebratory. Not everything on Pretty in
Kink slams listeners against the wall and grabs them by the
hair, as “Androgyny” is a slow-boil of a song
that climbs methodically over the course of four teasing minutes
with subtle surf-tinged guitar floating across a steamy rhythm,
and “Goldfinger” is an electro-funk banger that
includes a lush solo from Bresseleer before the track grinds
slowly until reaching a richly satisfying conclusion. Pretty
in Kink throws a more straightforward hip-hop grooves at the
audience on “What the Fuck!” and “God Damn
Good”, with the latter embracing eroticism over pure
visceral sexual fury. The record demonstrates how the band
has continued to evolve and dare I say even mature over the
past decades, as “My Demons Are Inside” is a gorgeous,
multi-layered track that will rattle walls inside of clubs
and assist in breaking box springs as well. The closing “We
Are the Freaks” is a declaration of individuality and
strength, and although it lacks some of the aggression of
earlier tracks, it acts a perfect conclusion to a brilliant
return from the Lords. The world is not a fun place to be
right now, and so if people can climb all over each other
while listing to Pretty in Kink, it may help to escape, if
even for a few moments, all the chaos that dominates daily
life, and that alone is reason to pick this up.
 DEAD
GIRLS ACADEMY - Alchemy (Victory Records www.victoryrecords.com)
Sleazy hard rock has become a lost art sadly, but Michael
Orlando and Dead Girls Academy are here to revive the form
with all the necessary swagger and excess. However, DGA are
not mullet-sporting retreads trying to capitalize upon a sense
of nostalgia; this is an old-fashioned rock n’ roll
band employing lyrics about life’s underbelly (“Right
now I wanna feel this pain forever”) and scorching solos.
While “I Can’t Feel a Thing” has a slower,
more controlled tempo, “Everything” could have
lit up the Sunset Strip in ’87, and I love every second
of this. Edgy and overflowing with nervous energy, Alchemy
is a stirring collection of impactful three minutes blasts
of rage and frustration that may be snubbed by elitists, but
that is not going to be DGA’s audience; instead, this
band will appeal to purists who remember when rock had an
element of danger and inspired panic. I love what Orlando
is doing here, and this is a man who confronted death and
rebounded with an even stronger sense of purpose. Alchemy
represents his remarkable attempt to craft a niche for himself,
and DGA will be a brilliant second act.
 HUMAN
ADULT BAND - Sonic Enlightenment (Third Uncle Records www.thirduncle.com)
Human Adult Band is the type of outfit that still gets me
excited about delightfully odd music as if I was still doing
college radio for ten listeners. From the green, swirly vinyl
to the whimsical noise found within, Sonic Enlightenment is
a cacophony of perfectly executed chaos. “This Will
Happen Again in a Year and a Half” and “Tampa”
are two schizophrenic blats of noisy, disorganized precision.
As a huge fan of metallic din, I adore everything about Human
Adult Band-this is anti-music to confound and annoy those
who simply do not recognize the genius at play here, but for
those in the know, Sonic Enlightenment is a gem. The brief,
surf-tinged “Monopus” comes closest to a more
traditional song structure, but its droning riff still sets
it aside from one’s typical act. This could be punk,
but in essence, Sonic Enlightenment is defiance set to a polyrhythmic
structure. Only the massive “Easton Ave. Laundromat”
and the feedback drenched “Old Timey Teratological”
include vocals, and while the presence of lyrics adds something
unique to these efforts, the majority of the work eschews
any vocal presence and allows the listener to be overwhelmed
by the musical directions taken by the band. “Cosmic
Snake Bite Kit” begins with a rather benign intro before
erupting into a screeching, agitated mass of force. Closing
with “Departed Earthen Angel”, a song appropriate
for a low-budget slasher film, Human Adult Band concludes
distinct blend of no wave, experimental noise, and fearless
originality.
 MOJAVE
NOMADS - Phases (Standby Records www.standbyrecords.com)
Roaring out of Ogden, Utah of all places comes this six song
EP of danceable guitar pop with sultry undertones. Mojave
Nomads blend lush synth from Mason Hill with the highly emotive
vocals of Tyler Harris to generate the dreamy sensibility
of the opening “GIRL” and the particularly beautiful
“Talk of the Town.” While “Morning Glory”
has a swirling rock vibe, led by guitarist Colter Hill and
supported by the rhythm section of bassist Bryton Bell and
drummer Cole Eisenhower, the guys return to more somnambulistic
tones on the genteel “Strange Love”. The closing
“Heavy” truly demonstrates the warmth and breadth
of Harris’ vocal abilities. I had no idea what to expect
entering this release, and I finished Phases immensely impressed
with what Mojave Nomads are doing.
 CHANDLER
TRAVIS THREE - O Backward Crooked From the Sunset (www.chandlertravis.com)
Quirky, irreverent and highly skilled, Cape Cod’s Chandler
Travis and his Three O’s play downhome, folk-inspired
tracks that boast of unbridled irreverence. “Disappointment”
is a meandering effort that is accented by a blast of guitar
force before settling back down into Travis’ earnest
vocals. “All the Little Things” has a Buddy Holly
meets Johnny Cash vibe and the song bounces with a sublime
level of kinetic energy, while “Settling for Less”
has Travis’ traditional story-telling skills kissed
by his subtle humor (“Number one is nice I know/But
there are so many other nice numbers”). The lush piano
one hears on “Salad Days” augments a heartfelt
love song that still includes a dark sense of humor as the
female love interest confesses about all of her past loves
(and yes, there were many…) while the poor guy involved
attempts to remain above the pain that comes from hearing
about the vast number of conquests. The subtlety of the humor
matches the playing on Backward Crooked From the Sunset, for
the songs resonate with a natural warmth like the sun beating
down on a crowded Cape Cod beach on the Fourth of July, as
even the brief instrumental “Queen Rachel” has
a stirring beauty to its arrangement. The high water mark
is “The Mayor of Drunktown”, a rollicking, honky-tonk
of a song that is both very funny and too realistic for many
of us. At its core, the song is about someone having a good
time, but woven within to this is the realization of what
this behavior can do to the people around him. The closing
“Not in Service” has a rich guitar tone and Travis
sounds particularly inspired. For people who appreciate the
art of a gifted raconteur and a highly proficient crafter
of intelligence, personalized songs, Backward Crooked From
the Sunset is a perfect soundtrack for the summer.
 FOUR
LIGHTS - Kobayashi Maru (Bomb Pop Records www.bombpoprecords.com)
These Seattle pop-punk lovers wanted to make “a big,
dumb, rock record” according to vocalist and guitarist
Dan Gardner, and the result is a grand, often-hilarious, highly
satisfying listen. Kobayashi Maru (named for a test of one’s
character from Star Trek so says the internet) opens with
“Bent”, a song that rattles out of the box with
a great hook. However, once the second track, “ComRAD”
hits, it is clear one is in for a treat. With lyrics about
falling love with a Communist at a coffee shop (“She
asked me what I thought of Lenin/I told her that I really
loved ‘Imagine’”), the song is blisteringly
funny and played with effusive energy. “Jimmy’s
Song (Part 2)” slows the tempo down a bit with a chunkier
guitar riff, while “Run” and the highly self-effacing
“Let’s Burn Burn Burn” are ideally crafted
punk-pop gems. A picture on an ex’s Facebook page is
the crisis explored on “He’s Got Good Teeth”,
and the sad yet speedy track is paired perfectly with “No
Return”. It can be potentially redundant to listen to
twelve consecutive light-hearted punk tracks, but Kobayashi
Maru is expertly structured so the songs vary in tempo and
approach just enough to consistently hold one’s attention.
I found myself sad when this ended-both for the heartbreaking
stories so boldly shared on each song, and also because this
is a sterling example of a band who knows what they do well
and does so with ease.
 HIGH
PRIESTESS s/t (Ripple Music www.ripple-music.com)
Three metal goddesses (Katie Gilchrest on vocals and guitar,
bassist Mariana Fiel, and drummer Megan Mullins) simply crush
the listener through six pummeling, overwhelming efforts on
their debut release. The band became the toast of LA’s
metal scene through one demo released less than a year ago,
and everything about their self-titled release illustrates
why. Gilchrist’s vocals can be both ethereal and lush
or terrifyingly guttural, and her two band-mates support her
with thunderous low-end force, with Fiel’s bass lines
offering consistently memorable waves of devastation. Yes,
the mandatory Sabbath-inspired stomp is present, most noticeably
on “Banshee” and “Take the Blame”,
but it is not so prevalent as to become predictable. The opening
ten-minute opus “Firefly” is an atmospheric triumph,
majestic and intriguing. Mullins is a star behind her kit,
contributing brain-rattling force to the otherwise airy “Despise”,
as Gilchrest’s guitar force ebbs and flows with the
same ease with which she controls her voice. The band is not
traditional doom in terms of sounding as if they are collectively
trapped in a musical tar pit, as both “Mother Forgive
Me” and “Earth Divide” have stirring moments
of quiet that accentuate the bombast with shattering intensity.
Certainly fans of Sleep’s legendary work will find mush
to appreciate here, for High Priestess emphasize musicianship
that is sometime lost in the dirge that is doom metal. Artistic
and visionary, High Priestess create truly engaging, and even
energizing, doom masterpieces.
 ANIMAL
FLAG - Void Ripper (Flower Girl Records www.flowergirlrecords.com
Singer/guitarist Matthew Politoski is the leader of Boston’s
Animal Flag and he rightfully describes the band’s records
as each a separate “universe”. Within that single
word lies an ideal summation of his band’s latest effort,
Void Ripper. Animal Flag has witnessed numerous shifts in
sounds and members, but Void Ripper is a scintillating nine-song
experience that is occasionally challenging but consistently
engaging. The opening quiet hush of “Morningstar”
gives way to “Candace” with a sinewy aloofness,
and “Candace” assaults the listener with a massive
bass line from Zach Weeks and a groove that swings and smashes
with wild aplomb. The rumbling loud/soft dynamic of “Stray”
is simultaneously infectious and intimidating. Imbued with
a powerful hook, the song’s darkness shrouds a band
that knows how to craft sublime harmonies. Surrounding Politoski
and Weeks are guitarist Sai Boddupalli and drummer Alex Pickert,
and the four allow Animal Flag to integrate familiarity into
a sound that is slightly impossible to firmly place. “Fair”
has a panoramic sensibility; the track is expansive, but also
includes a warm, nearly shoegaze pop aesthetic. The band takes
the listener on oscillating emotional journeys on “I
Can Hear You Laugh” and “Lord of Pain”.
The latter begins with a seemingly innocuous acoustic riff
before morphing into a more complex and multi-layered effort.
The austere beauty of “Why” makes it my favorite
of Void Ripper; however, this is not an easy choice and my
feelings may change with subsequent listens, but for this
moment, the expert power heard on the track makes it a perfect
embodiment of this band’s prowess. Closing with a fury
on “Five”, Animal Ripper has a gem of modern experimental
rock with intellect, force, and precision.
 THE
BUNNY GANG - “Problem What problem” b/w “Protecting”
(Zojak World Wide www.zojakworldwide.com)
The Bunny Gang plays lighthearted, instantly infectious ska
that would act as a primer for those unfamiliar with the genre.
The A-side is a cover of “Problem What Problem”,
originally done by DoNots, a German outfit that took a little
time to research, and The Bunny Gang inject a little life
into the original. The B-side “Protection” is
a smooth flowing track about looking out for those who matter
most. The single overflows with positive vibes, and is a celebration
of kindness and affirmative messages. This is not a reinvention
of ska, but the band does not pretend to do so; instead, they
proudly display their fun-loving nature across two songs that
are equally easy in which to lose one’s self.
 PUNKEMON
– “Gotta Rock ‘Em All” EP (Sounds
Rad Records https://www.soundsradical.com)
While obvious a niche piece, Punkémon is also a celebration
of delicious punk-pop tomfoolery from some of the best in
the business. Originally recorded in 1999, the two songs on
the single sound as if they were cranked out last week. Dr.
Frank from the Mr. T Experience is joined by Chris Imlay from
the Hi-Fives, Mel Bergman from Phantom Surfers, and Lookout’s
Chris Appelgren for a wonderfully adorable time capsule project.
“Lickitung” celebrates an actual Pokémon
character, who according to his bio, has the special talent
of “licking”. It makes sense, but it almost makes
too much sense, so I though the character was a creation of
these twisted geniuses, but incredibly, Lickitung is an actual
creation generated to be sold to children. At any rate, the
brief B-side “Pocket Monsters” flies by far too
quickly, as did the window of potential success for this band.
However, it is a wonderful throwback to a simpler time in
America.
 SHARKFIST
VS. BROWN PLAID – Split 7-inch (Splits McGee https://sharkfist.bandcamp.com)
Brown Plaid has me hooked with “A Perfectly Cromulent
Song”; the track has both a title with a fantastic Simpsons
reference and lyrics about Metallica’s mid-90s make-over
(“I’m pissed off like a metal head when Metallica
cut their hair”). The guys from Long Island play traditional
punk-pop fare, but do so with a sharper than average sense
of humor. Placing the inconsistencies and general stupidity
of modern society through a sarcastic lens is nothing new
in the world of punk-pop, but with references to Doug from
“The State” (“We’re Outta Here”),
and a keen eye for pointless nostalgia (“Practice”),
the four songs are both aggressive and hilarious. Their Screeching
Weasel acumen is obvious, and there is nothing wrong with
that. Meanwhile, Sharkfist has a moniker that refers to partying
“beyond comprehension” according to their Bandcamp
page, and who can doubt their sincerity on “There’s
No ‘I’ in Party”? This loud, snarky, outfit
deliver their punk with a slightly less obvious pop affect
than their split mates and they allow “.666 (The Batting
Average of the Beast)” to breathe a little bit rather
than rushing through the effort. I suggest picking this up
digitally to gain access to the bonus tracks “Beer Pong
Champions of Long Island” and “Drink ‘Em
if You Got ‘Em”.
 RADIATION
RISKS - “Headless Horse-man” b/w “Nancy”
(Feral Kid Records ttps://feral-kid-records.bandcamp.com)
This Buffalo outfit makes it clear that all that snow and
ice can lead to cabin fever which leads to temporary insanity
which leads to this. Radiation Risks play quasi-psychedelic
punk that is somehow lo-fi, speedy, groovy, and majestically
bizarre. With lyrics referencing The Godfather, “Mr.
Ed”, and sexual fantasies involving Nancy Reagan, be
sure to share this only with people who have been acquaintances
for a long time. “Headless Horse-man” is almost
atonal at times with the vocals buried deeply into the mix,
while “Nancy” is much more clear so one can appreciate
lines such as “Hinckley is free again, Jodie…she
needs you John, to hunt again”). Throughout multiple
listens, I truly have no idea what I am hearing, and I love
it more each time.
 DIGITAL
CRIMINALS - Hell Yeah (www.digitalcriminals.com.uk)
This four-song EP from the only band from Wales that I know
of is a surprisingly danceable blend of aggressive guitar
rock and pop aesthetics. Emily Bates has a powerful voice,
and when declares that everyone should declare, “hell
fuckin’ yeah” on the title track, the line is
delivered with and infectious and undeniable authenticity.
The band has too many massive riffs, compliments of Dan Fry,
to labeled as a pop-rock act, but they are certainly not afraid
to craft easily digestible and incredibly infectious hooks.
“Just Jump” is rife with a massive chorus and
the closing “Sleep When You’re Dead” shimmies
along with a bouncing groove from bassist James Hardwick.
Playing what used to be labeled “hard rock” is
a lost art, and Digital Criminals are unapologetic in their
affinity for arena rock elements, but the foursome has an
energy that elevates them above merely posing. With many bands
of this ilk, the songs can sound a bit too overproduced or
mechanized; while there are traces of that on the four tracks
on this EP, the raw strength of Bates helps to preserve a
level of fun-loving, too-drunk-at-the-party type of vibe.
Digital Criminals are not trying to invent something new or
rewrite the way rock n’ roll is played; instead, the
focus their collective energy on crafting huge guitar-driven
anthems that do not require any analysis-the band just wants
to have fun. It’s a refreshing idea.
 PARLOR
WALLS - EXO (Northern Spy Records https://northernspyrecs.com)
Parlor Walls throws a little bit of everything at the listener
in a celebratory mass of noise, jazz, rock, and dissonant
fury. “Necromancer” is a hypnotic, dysfunctional
combination of swirling force with a subtle hint of sexuality
that makes the song a delectable slice of inspirational
chaos. EXO is a highly robust EP, giving listeners much
more than just four songs-the experimentalism and creativity
of Alyse Lamb and Chris Mulligan is reflected through a
powerful musical relationship. The songs rise and fall with
both abrasive force and supple dexterity. “Love Complex”
has a chorus that erupts with devastating volatility before
regressing back into a more genteel approach. “Isolator”
is a controlled ball of simmering force that toes the edge
of exploding, but holds itself together for a scintillating,
jazz-tinged ride. The closing “Low Vulture”
has Lamb demanding to “get out in front of it”,
with her voice slicing through the atmospheric din constructed
around her. This is a flawless effort.
 GREAT
LAKES - Dreaming Too Close to the Edge (Loose Trucks Records
https://greatlakesbencrum. bandcamp.com)
Ben Crum is a bit of a personal inspiration to me; we are
the same age and both teachers. However, the similarities
end there, as Crum is an immensely gifted singer/songwriter,
whose heartfelt, earthy songs are pristine gems of smart,
gritty rock n’ roll. Everything on Dreaming Too Close
to the Edge rambles with a fluidity and confidence, from the
opening barrage of “End of an Error” through the
understated psychedelia of the closing “You Could Have
Had Me for a Song”. The work of Great Lakes has the
honesty of Tom Waits and the pop sensibility of The Byrds,
best heard on the serene “Awaking Up Together”,
a lush, rollicking piece that sounds effortless in its delivery.
Crum’s bluesy, weathered vocals are ideal for the songs
of Great Lakes-the stories he tells are those of maturity,
self-discovery and recognition, and it requires a certain
amount of miles to deliver such tales with the eloquence and
passion they deserve. The record is highlighted by the sing
along components of “Bury the Hatchet” and the
earnest nature of “To Live is to Lose”. While
not truly country-flavored, “Kingdom Came” contains
a slight twang that provides a level of distinction from the
other surrounding anthems. Suzanne Nienaber and guitarist
Kenny Wachtel are two of the all-star caliber talent on display
here, but the entire band, rounded out by drummer Kevin Shea,
keyboardist Joe McGinty, pedal steel wizard Phil Sterk, and
multi-everything player David Gould, support Crum through
a collection of heartfelt anthems. The songs have both a battle-tested
intimacy as well as a distinct nature that makes Great Lakes
a captivating listen.
 MIEN
s/t (Rocket recordings www.rocketrecordings.bandcamp.com)
This wildly talented four-piece (whose other outfits include
Black Angels and The Horrors) offers atmospheric electronica
tempered with a classical Kraftwerk style component. The opening
“Earth Moon” has a densely hypnotic tempo structure
that dances on the edge of pop, but still retains a complexity
that elevates the song well above standard fare. “Bleak
Habit” wraps itself around a haunting groove that suddenly
drops out mid-song before reemerging with even darker and
fiercer energy. While Mien generates a specific sound, no
two songs are repetitive, or for that matter, even remotely
similar in nature. The forlorn emotion of “(I’m
Tired of) Western Shouting” steps aside for the ethereal
complexity of ‘You Dreamt”, as dance rhythms permeates
the mind of the listener, making the song an uneasy but fascinating
experience. The gentle ambiance of “Other” has
a gentle quality that offers the initial impression of a warm
embrace, but there is also a menacing component to the song,
and this speaks to what Mien does so well. As one gets lost
in the swirling masses of sound heard through the sprawling
release, the experience is both uncomfortable and somehow
serenely enveloping. Alex Maas, Tom Furze, Rishi Dhar, and
John-Mark Lapham are all limitlessly skilled, as “Ropes”
and “Echolalia” both demonstrate. The songs continue
the theme of distemper and familiarity, for both songs entice
with their beauty but one can never fully feel at ease. Each
song on this self-title release is a vast soundscape kissed
by pop hooks that allow the band to be both accessible and
confrontational. The buoyancy of “Odyssey” is
woven within a sedentary dance beat and haunting keys. Perpetually
and majestically bi-polar, Mien is a challenging listen that
is well worth the effort.
 THE
CARVELS NYC - Everything With You is a Travesty (www.thecarvelsnyc.
bandcamp.com/releases)
The Carvels NYC play five blasts of flawlessly executed garage
punk with a healthy injection of pop fun. Lynne Von Pang is
the inarguable star here, singing with a snarl dipped in delicious
sarcasm. Her assault upon a vapid partner through the lyrics
of the title track is a conversation everyone would love to
have, but simply lack the courage to do so. (“No matter
what I say, you just don’t pay attention/Then I have
to answer all of your stupid questions”) The bluesy,
controlled “Questioningly” (“I don’t
love you anymore/What do you want to talk to me for?”)
is led by the sax playing of Dave Spinley, but the band then
instantly shifts into surf-punk overdrive on “You make
Me Want to be Alone”, which is another scathing break-up
anthem. “It Wasn’t My Idea to Break Your Heart”
and “I Don’t Know What to do With You” are
rare pearls that sound like the Runaways and the Shangri-Las
sharing the same rehearsal space, with the latter highlighted
by Brian Morgan’s guitar work. Complete with beautiful
gatefold artwork and awesome stickers, The Carvels NYC do
everything right!
 NIHILIST
CHEERLEADER - Riot, Right? (Perfect Attendance Records http://perfectattendancerecords.com)
Reminiscent of, but not simply imitating, the Riot Grrl movement
that I fell in love with during the early 1990s, Nihilist
Cheerleader is a band with limitless energy and an equally
developed political acumen. This band would have been sharing
a stage with Bikini Kill and been the darlings of Kill Rock
Stars twenty-five years ago, but the world is lucky to have
them now. Akin to the calls to action commanded by Downtown
Boys, Nihilist Cheerleader attacks difficult topics with fearless
intensity. Flynne Collins has a broad vocal range, but she
is at her best when she unfurls her rage on “And She
Takes It”. Guitarist Dylan Loftin and drummer Charley
Barley run wild on the combustible “Shark Fin Soup”
and “Three Drug Cocktail”, while bassist Leona
Hinkle does a superior job of holding the songs together.
Boldly embracing garage aesthetics, Nihilist Cheerleader play
the purest form of punk-the noise and the aggression are there
to make people put their phones down and listen. The swirling,
dance groove of “Your Ur Uniform”, majestically
controlled by Hinkle’s bass work, is a soaring example
of a band that is firmly in control of their sound and are
only getting better. The opening, menacing riff of “Bleach
Boy” gives way to an explosion of disgusted fury that
references several politicians who may or may not be in office
by the time one reads this. With ten songs delivered in less
than thirty minutes, this band does not waste a note. Athens,
Georgia has quite a robust military history, but Nihilist
Cheerleader may be the future of that great city.
BABY BONES - The Curse of the Crystal Teeth (Gubbey Records
www.gubbeyrecords.com)
Baby Bones utilize dark tones with a surf rock vibe to create
an incredibly unnerving and thrilling listen on Curse of the
Crystal Teeth. Borrowing Ace Frehley from Music From the Elder-era
KISS and forcing him to sit in with Night Birds begins to
explain a bit of what it is like to be bombarded by “Pay
Us in Dimes”, the thunderous second track of the boisterous
six found here. “Slick Shoes” is a rattling wall
of force that is shockingly crafted by only three players
as Dave Rucinski, Thomas Burgos, and drummer Badnewz Brandum
simply decimate the track. This song stands in direct contrast
with the sinewy, slithering “Bottom Breather”
that also infuses a healthy blues hook into the dazzling conclusion.
The psyche-noise clamor of “We’re Done Talking”
is a triumph of a merger between punk and groove-oriented
rock into one boiling mass of force, while the opening “Bought
he Farm” is a hard-driving, pulsating rock gem. These
guys have kicked around the Louisville area for years, but
Baby Bones should make them national names.
 EDITORS
- Violence (Play It Again Sam Records)
While much of what Editors does swirls with extraordinary
energy, their brand of soaring, dark wave is best embodied
by “No Sound but the Wind”. Led only by Tony Smith’s
vocals and sparse piano, the song resonates with profound
impact through its lyrical power and stunning beauty. Blending
elements of the old and the new, Editors sounds like Echo
and the Bunnymen sitting in with Interpol, and the result
is a collection of mesmerizing songs. With a stripped down
delivery, “Darkness at the Door” and “Counting
Spooks” are deceptive; a cursory listen may infer simplicity,
but repeated plays allows one to hear the complex subtleties
that make the songs so memorable. “Cold” can be
both the soundtrack to a very adult night out or the coolest
song ever played at a middle school dance, and therein lies
the brilliance of Editors. Their songs are powerful and transcend
genres and ages. When Smith says, “Baby, we’re
nothing but violence”, (“Violence”) it is
a soulful admission uttered with remarkable honesty and sensuality
as a haunting beat cascades around him. The rich harmony and
groove that drives “Nothingness” is matched by
the ethereal expanse of “Magazine”, whose dance
floor hook is addictive and anchored by Smith’s Bowie-like
crooning. I had no idea that I would love this as much as
I do.
 MARC
RIBOT’S CERAMIC DOG YRU - Still Here? (Northern Spy
Records www.northernspyrecs.com)
Marc Ribot is a genius. There is no way to deny this fact
after one hears the delightful lounge sounds of “Pennsylvania
6 6666” (“Pennsylvania, want to live there/Place
where everyone is white”). The song meanders along,
somewhat innocuously so, for four minutes before erupting
into a rousing conclusion that includes stirring horns and
cries of “don’t go back”, “white pollution”,
and “never go back”. This comes on the heels of
“Personal Nancy” in which Ribot, accompanied by
two equally brilliant players in bassist Sahzad Ismally and
drummer Ches Smith, alerts all within ear shot that he “has
the right to scream like an idiot” and to “say
fuck you!”. The entirety of YRU Still Here is just stunningly
bizarre and it is unfeasible to not find one’s self
swept away in the grunge meets surf vibe of “Agnes”
or the hard-hitting swing of “Muslim Jewish Resistance”.
The song is bellicose in nature, with John Zorn-style horn
chaos and references to Steve Bannon and fighting against
fascism. Politics are woven throughout the record with less
than subtle allusions to our current leader, “I say
the president’s dumber than an artichoke” may
be my personal favorite line, but even when the band says
nothing, they speak voluminously. “Shut That Kid Up”
and “Oral Sidney With a U” are both thought-provoking
instrumentals, with the latter borrowing heavily from 70s
Blaxploitation funk and the former strutting down the street
with too much confidence to be held by only a mid-tempo swagger.
As angelic sitar opens “Orthodoxy”, I know that
I have found my new obsession. Go tell your friends what they
are missing and get ready for the stares of wonder and amazement
once they have their lives transformed by this.
************************************************************************
 THE
LAST GANG - Keep Them Counting (Fat Wreck Chords www.fatwreck.com)
The Last Gang’s Brenna Red screams, “Through music
we will never die” on “Turn the Record Over”,
the hidden bonus track on the digital copy of Keep Them Counting,
and her intensity is palpable. While this release is the band’s
first for Fat Wreck, the trio has been kicking around in one
form or another since 2007. Keep Them Counting is ten (plus
the bonus) tracks of blistering, hyper-aggressive punk with
heart and harmony. The Last Gang places an emphasis on the
“rock” in punk rock as the opening “Sing
for Your Supper” demonstrates. With a massive riff and
an infectious melody, fans of Anti-Flag, Rancid, the Distillers,
or Damn Mondays will rightfully adore The Last Gang. Sleekly
produced by Cameron Webb, the songs are crisp without minimizing
the punch. The raw angst of “Nobody’s Prostitute”
(I ain’t for sale now/I am forever/Don’t ever
you say you don’t love me”) and the slashing riff
of “Strange Fruit” are but two of the instantly
memorable moments one finds on Keep Them Counting. Bassist
Sean Viele and drummer Robby Wantland are a thunderous combination
throughout the record, but truly excellent on the raucous
“Believe in the Poet” and the driving “Karla”,
acting as a perfect anchor to Red’s scorching vocals
and thick riffs. Red is the star here, and she proves she
has a multi-faceted arsenal on the acoustic “Secret
Sounds”, a pop-infused anthem of darkness and lonesome
travels with a damaged cast of characters. The Last gang has
all the traits necessary to become a band with broad appeal
without having to sell their souls to do so.
 LONG
NECK - Will This Do? (Tiny Engines Records www.tinyengines.net)
Lily Mastrodimos, formerly of Jawbreaker Reunion, surrounds
herself with three highly skilled players (drummer John Ambrosio,
bassist June Rose, and guitarist Kevin Kim), but truthfully,
she is Long Neck. It is impossible to avoid being swept away
by her dynamic voice throughout Will This Do? To answer that
question posed by the title, all of this does quite nicely.
On the swirling pop of “Elizabeth” Mastrodimos
channels Natalie Merchant at her most affective, and “Love
Letters” bobs with effusive buoyancy in a dazzling two
minutes, contrasting with the darker, methodical “Ashes”
that crawls along a dirty street with rugged guitar. The indie
rock goodness of “Milky Way” is a clinic in how
to produce smart, savvy, guitar pop that will impress even
the most jaded of listeners. “Lichen” is a perfect
example of how the presence of a fleshed out band changes
the dynamics of Mastrodimos’ music-the track could work
as a solo piece, as would the delicate beauty of “Rosy”,
but the additional girth of a full band makes the loud/soft
shifts more engaging. The concluding “10,000 Year Old
Woman” is a return to Mastrodimos’ roots through
a stirring acoustic work. Will This Do? is a lush, charismatic
record celebrating both combined talents and the unique gifts
of Lily Mastrodimos.
 AWAKEBUTSTILLINBED
- What People Call Low Self-Esteem is Really Just Seeing
Yourself the Way That other People See You (Tiny Engines
Records www.tinyengines.net)
Shannon Taylor may have just become my favorite singer. Similar
to Marissa Paternoster or Victoria Ruiz, Taylor tosses all
regard for her vocal chords to the curb and makes listeners
feel each syllable throughout What People Call Low Self-Esteem.
Surrounded by Borin Bou on guitar and Elijah Stoll on drums,
Awakebutstillinbed create songs that rage and recede around
Taylor’s unrelenting effort, particularly on the rattling
“Safe”, a shape-shifting anthem that alters tempo
with staggering ease. While the abrasive nature of Taylor’s
angst is instantly intriguing, the band is more than just
articulate screaming, as beautiful melodies carry “Saved”
with a greater emphasis on a hook rather than searing vocal
force, but the closing lines of “Why can’t we
fix ourselves? Is there any way out? Why is there so much
wrong with us?” is both chilling and brazenly honest.
“Interlude” is a lush instrumental that does allow
the listener to take a quick breath before being assailed
again. The band’s strength is not only how they deliver
their messages, but also what is being said. When Taylor states,
“I know I’ll stop breathing one day, and I’ll
never be able to justify the ways that I’ve lived my
life. I just want something to feel all right, something to
show for all this time”, she taps into a universal sense
of worry. Beginning slowly, with a nearly menacing sensibility,
“Floor“ eventually unleashes a cacophony of angular,
biting guitar that smashes head-on with punishing drumming.
Within a few seconds, the din subsides and Taylor’s
honest tale of betrayal shines with intrepid honesty (“You
were my best friend, but you fucked up my life”). “Closer”
gives an initial impression of a jangly, nearly pop-inspired
anthem before Taylor takes control. As the final seconds fade
harmlessly into the air, one can finally stop, exhale, and
appreciate what is an astounding experience.
 RUNAWAY
BROTHER - New Pocket (Tiny Engines Records www.tinyengines.net)
Representing Cleveland, Ohio, Runaway Brother has an emo component
to their dreamy pop. The quiet moments on New Pocket are occasionally
virulently shredded by blasts of guitar, but largely the band
plays with maturity and control. The cleverly monikered “Conscience
in Tumult” ebbs and lows with a hypnotic bounce and
90s indie rock guitar tones. Vocalist Jacob Lee has a voice
that exudes passion, but often does so through a genteel,
heartfelt delivery rather than looking to scream each syllable.
“Canopy Eyes” includes sharp tempo shifts and
Lee’s soaring harmonics that lead perfectly into the
spacious “Bully”, a song highlighted by a dynamic
performance from drummer Ian Phillips. The pristine nature
of “Cats in the Sun” makes it a one of the true
highlights of the record, as shimmering guitar and an intricate
time scheme imbues the song with a level of sophisticated
complexity. Woven into the lush sheen of “Kissing”
are lyrics that capture a fleeting moment and expound upon
it with an honesty that never seems contrived: “Revealing
peel the innermost skill/all my feelings completely naked
now”. There is a comforting familiarity to what Runaway
Brother does, from the experimental aspects of “Paws”
to the sprawling nature of “All Saints Day”, but
yet this also sounds distinctive. New Pocket is a gorgeous
demonstration of shrewd musicianship.
 ELK
CITY - Everyone’s Insecure (Bar/None Records www.bar-none.com)
Majestic, spacious, and graceful, Elk City plays pop for
people who look for depth within their musical voyages.
The instant hook of the band is the stirring vocals of Renée
LoBue, whose voice soars through a series of evocative and
emotionally charged songs. The opening “Sparrow”
begins with a low rumble of Martin Olsen’s bass before
giving way to a sinewy groove revolving around LoBue’s
partially hopeful, somewhat despondent realization that
she will never “be as free as the sparrow”,
while “He’s Having a Baby” (“He’s
having a baby/ he says he’s not ready”) is mischievous
take on falling in love with the right guy at the wrong
time. Sean Eden of the newly resurrected Luna offers lush
guitar work throughout the ten songs, most pronounced on
the gripping “25 Lines”, but also a centerpiece
on the fragile, shoegazing title track and the more rollicking
“No Depth”. “Root Beer Shoes” seems
to hover innocently in the air, guided with delicate care
by drummer Ray Ketchum, who also produced this beautiful
gem of a record, and pianist Carl Baggeley. LoBue begins
the song by asking, “Whatever happened to Cupcakes
O’Brian/she dated Bukowski for one day”, then
references Hemmingway and the simple joy of having a person’s
shoe brush against yours. These simple moments are captured
with extraordinary care and what others may see as simply
a passing event void of meaning, LoBue uses to construct
mesmerizing stories. With a combination of chilling prowess
and supreme musical command, Elk City’s brand of ethereal
pop will enthrall.
 ERIK
CORE - No War, No Where, No Peace (Abouticore Music www.erikcore.com)
Furious and hard-driving are not often terms associated with
acoustic outfits, but Erik Core is anything but a typical
act, and No War, No Where, No Peace is a series of constant
surprises. I am stunned to hear acoustic music played with
such devastating intensity, but this is a raging collection
of politically shrewd anthems, leading off with “Smart
Bombs” which acts as a blind-sided punch to the gut,
and is an ideal table-setter for a collectively brilliant
release. With only four of the ten tracks clocking in at over
three minutes, Erik Core makes his points quickly and firmly.
Even more impressive here is the fact that this is only a
trio-Core leads the din on “Devil’s Workshop”
and “Coming Loose”, but it is impossible to ignore
the machine gun timing of drummer Josh “Bulldoza”
Mendoza or the rattling low-end force of Al Stingle’s
bass. Combined, these three take punk’s primal energy
and folk’s social commentary and channel it into an
articulate amalgamation of both forms. “Peace for Pawns”
embodies this style perfectly, offering a glimpse into how
an unplugged Dead Kennedys would sound. At times borrowing
from 1960s protest songs (“Tears Running Red”
and “No War”) and often rumbling with relentless
energy (“Smoking Gun”), Erik Core exudes passion
along with sophisticated songwriting.
 DINOLA
- Up High (Saustex Records www.saustex.com
The New Orleans outfit plays think, intoxicating, blues-soaked
rock n’ roll, led by the enthralling voice of Sue Ford
to drive each track. The thunderous bass intro of “Apocalipstick”
is only one of numerous highlights from Up High, a celebratory
record of blunt force and subtle dexterity. The band’s
backstory is a fascinating, as each member (drummer and Sue’s
husband Jimmy, bassist Eddie Payne, and guitarist Eric Laws)
survived the life-altering disaster that was Hurricane Katrina.
Rather than be subjugated by the destruction, the catastrophe
became a rallying call and inspiration to celebrate the legendary
city, hence the band’s moniker. The sludgy “Shut
Up” is a teeth-rattling show of force with Ford bitterly
spitting out the chorus with a tangible disgust as Laws’
guitar work rises and falls behind her. It takes remarkable
courage to tackle Screamin’ Jay Hawkins’ legendary
“I Put a Spell on You”, but DiNola’s interpretation
is a majestic slab of sexual energy and erotic bombast. The
title track includes a gritty, Southern-boogie riff and Ford’s
most sensual performance of the six songs here. Replete with
wah-wah pedal and a rebellious spirit, the song is an ideal
example of rugged, groove-oriented rock. I loved this from
start to finish.
 SPIDER
ROCKETS - Along Came a Spider (P-Dog Records www.spiderrockets.com)
I do not envy those performing in a hard rock band in 2018;
with the genres and sub-genres within sub-genres, the music
business has become a confusing labyrinth. However, a band
like Spider Rockets cuts through the labels and plays old-fashioned,
blaring guitar rock overflowing with harmonies and all the
hooks one could hope for in eleven tracks. The old time, meat
and potatoes groove of “Love Gore” and “Adore”
is matched by snarky, self-affirming lyrics on “Love
it When You’re Wrong”. Helena Cos has a voice
that can channel the best moments of Donita Sparks or Pat
Benatar, the latter lovingly honored with a cover of “Heartbreaker”.
It is the mold of that 80s hit maker upon which Spider Rockets
model themselves, and do so unashamedly. The thunderous “Sick”
is counterbalanced by the slow grind of “Burn”,
and the pop-rock glam of “Come to Me”, all the
while the production of Dan Malsch keeps each song slick but
never with too much sheen. The most obvious constant throughout
the record is guitarist Johnny Nap who is the fuel powering
the band, revealing the ability to balance technical prowess
and catchy riffs to create songs that actually stay with the
listener instead of simply fading into oblivion before the
track emerges. The band’s strongest point may also be
their biggest challenge-they can paly a with a legion of acts,
and while much of what Spider Rockets does sounds comfortable
and familiar, there is not much out there right now that sounds
like Along Came a Spider. This is a band for people who still
like bands and not “artists” and complete records
rather than singles. I count myself among this rapidly diminishing
group, so Spider Rockets has a devoted fan in me.
 GOVERNESS
(Radical Empathy Records http://onepercentpress.bigcartel.com
/category/radical-empathy-records)
Washington DC’s Governess has one of the coolest backstories
I have ever encountered-Kim Weeks, Kieca Mahoney, and Erin
McCarly met each other while constructing a local cooperative-style
preschool for their kids and formed an angular, snarling punk
band. The three rip through eight raw, garage-tinged flare-ups
with biting lyrics and cutting observations. Opening with
“Broken Glass”, Weeks announces, “science
was my savior until I was nine/I thought I wanted a test tube
baby” over the top of a scathing yet still jangly riff.
This ability to balance emotionally charged fury while still
retaining a sense of melody is also true on the rollicking
“Zipless”. Introducing a subtle surf vibe on “Elegy”,
the band displays a deft command of tempo as haunting lyrics
about the sudden arrival of an untimely death is extraordinarily
hard-hitting, while the serpentine “Control Top”
glides along methodically with minimal musicianship, asking
“how can a full home feel so empty?”. The moody,
spatial “Patterns” closes this remarkable record,
with subtle guitar bursts and sixties girl-group harmonies
coexisting in flawless symmetry. Blending the finest elements
of Slater-Kinney with the raw energy of a band like Faunas
or Coathangers, Governess is an essential re-release by Radical
Empathy.
 THE
DEAN WEEN GROUP - Rock 2 (Schnitzel Records http://schnitzel.co.uk/)
Dean Ween has spent over three decades continuously reinventing
himself, and Rock 2 continues the astounding musical journey
that is his life. Rock 2 begins with the heartfelt “Don’t
Let the Moon Catch You Crying” then shifts all too effortlessly
to the grungy, smarmy “Fingerbanging”, oozing
with sexuality, sax, and a soaring guitar solo. After opening
with distinct styles of songs, only Dean Ween can offer “Theme
From ‘Skinhead Kicking Your Ass”, a Zappa-esque
burst of guitar wizardry dripping with sarcastic brilliance
without saying a word, while “Pussy on my Pillow”
includes references to a dog who “loved her daddy”.
“Waste Station 9” is yet another effort that would
fit perfectly alongside Weasels Ripped my Flesh from the Mothers
with its supernatural guitar word and airtight rhythms. Manically
twisted, the entire record is a throwback to a different age;
a time when experimentation was celebrated and genius was
not measured in numbers of views on YouTube. The seventies
rock vibe of “Showstopper” and “Someone
Greased the Fatman” is matched by the laser-light show
ready guitar work of “The Ritz Carlton”., and
the low-end thump of “Yellow Pontiac”. For anyone
who doubted the talent of Dean Ween, Rock 2 illustrates for
anyone with functioning ears that this man is boundless in
his talents, swaying and frolicking at times, delivering thunderous
monstrosities of force at other moments, and doing all with
equal aplomb.
 SPIT
TAKE - Frog Rock (Ice Age Records https://iceagerecords.bandcamp.com/)
This highly DIY outfit from New Haven, Connecticut blasts
through eleven noisy, punk-pop anthems replete with raw emotion
and limitless energy. Frog Rock is actually a compilation
of two cassette only releases recorded in 2016, now on one
release for mass convenience, but there are marginal differences
between the songs and that is a compliment. While the opening
“Turn the Car Around” blazes past in a scant fifty-eight
seconds, “Something Sometimes” and “Sideways”
rattle with warmth reminiscent of Archers of Loaf and other
early to mid-90s masters of controlled raucous. Vocalist and
guitarist Joe bares his soul throughout the record, admitting
“everything’s lovely ‘cuz last night you
loved me” (the aforementioned “Sideways”)
and “Behind this boy’s mask, I am an alien on
a planet alone”. (“Long For Home”) Supported
by bassist Maggie and drummer Dan, the band competently shifts
tempos enough to provide each song with a level of distinction,
which is critical on tracks like “How ‘Bout You?”
and the hyperactive “Awful Long” in which lyrics
are at a premium, and the songs are largely instrumentals
carried by vigorous riffs and a clattering low end. Abrasive
but never without heart or a penchant for a hook, Frog Rock
is an impressive introduction to an intriguing band. “A
Candle” (I'll always think about how badly/things ended
up between you and me/I'll always keep a little candle burning)
and “Rain-Soaked New York” are poignant, controlled
anthems of raw pain, while the autobiographic “The Natural
Facts” illustrate that even when one moves forward,
there is a feeling that nothing has changed (I stayed on top
of the laundry/ cleaned my clothes/ smelled a little better…but
last year was a long year/like this year is a long year”).
There is much to enjoy here and this is a record demanding
repeated listens because there is something new to discover
each time. This is not unhinged garage punk with a few pop
accents-Spit Take blend fuzzy, dreamy pop elements and aggression
into a well-balanced delivery. I absolutely want more of this
band, and I hope college kids around the country are playing
this one into the ground.
 STEVE
BARTON - Tall Tales and Alibis (Sleepless Records www.sleepless-records.com)
Musicians are always looking to challenge themselves in an
effort to expand upon their past achievements and progress.
In the case of Steve Barton, he undertakes an nearly Olympian
task with Tall Tales and Alibis; rather than release
a string of records, Barton, he of the long-time and deservedly
adored Translator, has unleashed three albums simultaneously,
each distinct in tone, sound, and approach. Collectively,
one is provided with a spotlight into the vast reaches of
a truly brilliant mind, while Barton espouses, laments, celebrates,
and mourns all of life’s events across a sprawling set
of songs that are perpetually engaging.
The first release is Star Tonight, a dazzling compilation
of buoyant pop songs that will instantly remind people of
Translator’s finest Beatles-inspired moments. Poetic
and beautiful, every effort on Star Tonight tells a stirring
story, including the Mersey Beat tempo of “I Only Want
to be Your Clown”, the seductive “Little Rule
Breaker”, and the rollicking “Levitate the Pentagon”.
Sounding like a singer/songwriter from a different era, Barton
effortlessly alternates between fun-loving optimism and spatial,
ethereal tracks. Referring to the legendary comedian, Barton
admits on “Hey, Buster Keaton”, that he and the
silent-film star could have been friends in 1922. Meanwhile,
the majestic “When She’s Lost Your Mind”
is more than just a great play on words, but also has a haunting
streak that is matched by the more somber “Vacantville”.
However, the subdued, introspective nature of this effort
is heard throughout all of album number two, Shattered Light.
For those who are fans of bluesy, somber, acoustic playing
from a man baring his soul for the benefit of an audience,
than, like me, Shattered Light will be the favorite
of the triumvirate of releases by Steve Barton. Every song
is a genteel, airy track in which each syllable can be heard,
analyzed, and digested properly before the next line is uttered,
revealing a deeply spiritual poet and raconteur throughout.
The closing “Stare at the Sun Tonight” (featuring
the line, “Is the world the way we make it or does it
make you and me?”) is driven by bare bones instrumentalism,
accented by Springsteen-style harmonica and gutsy, gravelly
vocals. Perhaps Barton’s recent move to Portland, Oregon
inspired “Northwestern Girl”, easily the most
energized of the anthems on Shattered Light, while “Breath”
and the penetrating “I’ll be Loving You”
are methodical anthems of quiet passion, with the latter enhanced
by fuzzy guitar riffs that briefly cut through the quiet in
a manner both jarring and engaging. The gut-wrenching “Tearing
Out the Roses” is gorgeous in its ability to expose
the most profound of emotional pain as Barton’s tale
of suffering is carried by lush piano work. Also including
a version of Sinatra’s 1955 hit “In the Wee Small
Hours of the Morning” and a deliberate reimagining of
Translator’s “Unalone”, Shattered Light
is a work of near perfection that, if released on its own,
would be more than most others could hope to achieve in an
entire career. However, Barton was still not done!
Before I Get Too Young is a more traditional rock
album on which Barton is backed by a sterling group of friends
including Translator buddy Dave Scheff (and for three songs,
Attraction Pete Thomas) on drums, Derrick Anderson of Bangles
on bass, and Marvin Etzioni and Willie Aron on guitar and
keyboards in addition to their producing responsibilities.
If Star Tonight dwelled in the land of the Fab Four, Before
I Get Too Young certainly pays an ode or two to the Glimmer
Twins. This occurs quite literally with a version of the Stones’
“Dandelion”, but “My Little Strange One”
shimmies and sways with a sexual angst comparable to anything
on Sticky Fingers, and the dirty guitar riffs that abound
on the title track capture the early energy heard in the Jones-Richards
line-up. Playing live in the studio, the songs flow effortlessly,
from the sinewy sexuality of “She Is the Girl”
to the bubbly energy of “Gimme Your Hand” and
“Now That We Have Tomorrow”. Tackling each of
these three pieces may seem overwhelming in theory until one
undertakes the task and suddenly, one record’s conclusion
simply demands that another one must begin. Steve Barton has
been a revered player for decades, and while I suggest checking
out all three of these releases, any of the components of
Tall Tales and Alibis is enough to solidify Barton’s
legacy.
 BLIND
IDIOT GOD - Undertow (Indivisible Music http://www.indivisiblemusic.com)
Originally released in 1989, Undertow from Blind
Idiot God sounds as fresh and important as ever. Blasting
through thirteen songs, three of which are exclusive to the
re-release, the record is an assault upon all musical senses.
The opening “Sawtooth” is a brute of an introduction-a
pummeling mass of guitar force that sets the table for a fascinating
ride through rock’s darkest corners of noisy power.
What makes BIG so compelling is that, while they have the
ability to simply musically dismantle the listener on each
track, they often select to reduce the tempo and volume and
create anthems that embrace delicate beauty and near mysticism.
This trait is heard on the richly textured “Clockwork”,
but the song deftly gives way to the driving intensity of
“Atomic Whip”. The pounding track establishes
a template that remains true throughout much of Undertow,
namely slashing, vicious guitar playing from Andy Hawkins
that is often accented by blast beat style percussion from
drummer Ted Epstein. “Drowning” concludes with
a wall of screaming guitar rage, while bassist Gabe Katz shines
on the darkly sensual “Alice in My Fantasies”.
Most listening to this will be rightfully intrigued by the
appearance of Henry Rollins on “Freaked”, a song
that was used as the title theme for a cult classic film by
Alex Winter (“Bill” from Bill and Ted’s
Excellent Adventure), in which Randy Quaid played a mad scientist-in
a case of perfect casting-who created a collection of freaks
for the public to exploit. Rollins is the only vocalist on
a Blind Idiot God track, and his voice and fury was at its
peak during this recording, eliciting images of Black Flag’s
most visceral moments. Undertow also includes a dazzling collaboration
with master of chaos John Zorn in another ideal musical marriage
on the schizophrenic “Purged Specimen”, a two-minute
cacophony of blissful anarchy. The work of Blind Idiot God
are showcases for three supreme musicians who relish musical
destruction, such as the crushing “Waling Wall”,
but also have the ability to contain their outbursts on the
lush “Dubbing in the Sinai”. I do not remember
how many people embraced this back when the Berlin Wall was
crumbling and George H.W. Bush was reversing his course about
“no new taxes”, but Undertow, with all of its
bluster, vehemence, and musical vitriol, could certainly act
as a metaphor for the world of 2018.
 CRAIG
WEDREN - Adult Desire (Tough Lover Records, available through
Dischord Direct https://www.dischord.com/ release/TL01/adult-desire)
Getting older is an odd experience-some adopt a “Peter
Pan syndrome” and fight the process as fiercely as possible,
occasionally clutching on to a youth that is long past, while
others, such as Craig Wedren adopt the changes life brings
and channel this new reality into a collection of majestic,
mature songs. Much of Adult Desire is acoustically dominated,
articulate stories addressing the grown up topics of love,
family, marriage, and responsibilities. Rather than lamenting
about the inevitable, Wedren embraces them, occasionally through
very direct language, such as on the title track, but usually
through clever metaphors and genteel vocal deliveries. Aside
from one explosion of guitar force on “Join the Zoo/Live
Again”, the songs are subdued, introspective gems, accented
by subtle piano and minimal instrumentation. “Be a Man”
has a thin layer of psychedelia behind its message, while
the instrumental “Amnesia Wedding March” is a
crisp piece of tender playing, sounding like a lullaby. There
are refined studio tricks on “I am a Wolf, You Are the
Moon”, and “2pristes (The Heat is On)”,
but never enough to detract from the central purpose of the
song. “Safe Home/Fadeland” and the concluding
“Face the Pillows” are superbly crafted songs
with hushed, whispered vocals that are smoothly and deeply
reassuring, like coming in from the bitter cold into a warm
house with loved ones happy to see your return. Richly poetic,
adroitly performed, and beautifully constructed, Adult Desire
is the soundtrack for a quiet, reflective evening.
 THE
HANNAS - Cut Loose (https://thehannas.bandcamp.com /album/cut-loose)
This Montclair, New Jersey band incorporates several forms
of pop-favored punk into an easily digestible aural stew on
Cut Loose. Vocalist Joey J. has a sweeping voice,
one that can easily shift from angst-fueled barks to falsetto
“woah-ohs” that dominate the opening “Porcelain
Hugs” and “Pyro”. The title track has a
fittingly relaxed sensibility, with a subtle ska quality heard
much more definitively on “Agree/Disagree”. The
six songs on Cut Loose are a wonderful primer of the band,
as The Hannas are not looking to reinvent good-natured pop,
but instead, they find a pleasant balance of bored, suburban
punk frustration and dance energy. The guys even channel goofy
dalliances on the country-fried “Goin’ Out Tonight”,
a song that may become a fun live staple, but seems to stop
the momentum built by the previous two efforts. Closing with
“Bad Juju”, the band again infuses comedy into
their story-telling (“this room’s got bad juju”),
while soft-hearted ska skips along at a mid-tempo pace before
a furious sixty seconds of thicker guitar and speed brings
the song a level of energy too often missing on the EP. As
the final thirty seconds tick away, Joey J speaks directly
to the listener, invoking a reference from Ferris Bueller’s
Day Off- a great allusion, but I wonder how many of The Hannas
fans will get it. Ultimately, Cut Loose is wholesome
fun, but not destined to alter anyone’s life.
 JOCEPHUS
and the GEORGE JONESTOWN MASSACRE - 5 Minutes to Live-A
Tribute to Johnny Cash (Saustex Records; www.saustex.com)
Before one hears even a single note on this record, it is
impossible to not be impressed with the selections of covers.
A typical Johnny Cash tribute may include “Walk the
Line” or “Man in Black”, but instead, four
more obscure anthems are treated to celebratory recreations
led by Joey Killingsworth, Brian Costner, and Dik Leddux,
but guests abound throughout this fleeting musical gem. Significant
contributions come from former Jonny Cash and Carl Perkins
drummer WS Holland, Mick Harvey and Warren Ellis, two supremely
gifted musicians who are also two of Nick Cave’s Bad
Seeds, J.D. Pinkus of the Butthole Surfers, and the indomitable
Buzz Osborne of The Melvins. The collection opens with Pinkus’
wickedly self-actualized delivery of “The Losing Kind”,
featuring the classic Cash lament of “Too proud to crawl,
too weak to run, I’d shoot myself, but I lost my gun”,
as the song is a darkly comical homage to all those who struggle.
Killingsworth takes the vocal helm on “The Sound of
Laughter”, a tragic story of how one woman’s derision
and ridicule can drive a man to murder, while “Long
Black Veil” features Osbourne’s forlorn crooning
as another misguided victim meets an untimely demise. The
title track’s vocal responsibilities fall to Harvey,
and he provides a sterling performance for a song that was
the theme song for a 1961 film featuring Cash starring alongside
an up and coming child star named Ronnie Howard. The four
tracks may fly by too quickly, but each second is worth savoring.
 SPOOK
SCHOOL - Could It be Different? (Slumberland Records http://www.slumberlandrecords.com/
Glasgow’s Spook School makes quite the impression on
“Still Alive”, the opening track of Could it be
Different? as the refrain of “fuck you, I’m still
alive” buries itself in my brain. A bold display of
courage and defiance, the song is the ideal declaration of
the band’s emerging confidence and an announcement to
the world that Spook School is primed to become a band that
will be help to define 2018. This socially progressive and
politically cognizant act laments how “it’s been
a bad year” on “Bad Year”, and while that
is undeniably true for most, their brand of infectious, guitar
rich indie pop may be enough to help get through whatever
happens over the course of the next twelve months. The jangly,
bouncy groove of “Alright Sometimes” begrudgingly
surrenders to aspects of optimism, while the bass-heavy “I
Only Dance When I Want To” is the finest New Wave-flavored
song in a decade, and showcases the dazzling talent of Anna
Cory and drummer Niall McCamley. “I Hope She Loves You”
is a new take on the traditional break-up song, as Nye Todd
acknowledges that he threw away a wonderful relationship,
and offers a sentiment of regret (“I hope she loves
you like I didn’t do”) while a furious barrage
akin to Mission of Burma jamming with Husker Du roars beneath
him. Nye and Adam Todd share vocal and guitar responsibilities
throughout the record and soar most triumphantly on the endearing
“Best Intentions” and the pop-coated “Body”,
with lyrics of positive self-reflection (“Some people
look so confident/I don’t know how they do it/You have
a lot to be proud of/I have a lot to be proud of”) juxtaposed
with reassurance given to a friend who entertained suicidal
thoughts (“Are you ok now, do you feel alright? Why
did you say that you want to die?”) The self-analysis
of “High School” is both powerfully daring in
its naked honesty, as well as preserving a poignant respect
for nostalgia and wonder about how changes to the past would
reshape the present. Leaving the failings of 2017 in the past
is healthy, and Spook School provides something to eagerly
enjoy in the new year.
 THE
WEDDING PRESENT - George Best 30 (HHBTM Records www.hhbtm.com)
Three decades after the release of their debut album, David
Gedge and The Wedding Present take Steve Albini’s producing
acumen and re-record George Best, expanding the scope and
impact of these legendary songs. “Everyone Thinks he
Looks Daft” and “What Did Your Last Servant Die
of” retain their punk-influenced manic energy, but with
Graeme Ramsay’s drumming far exceeding the original
density, the songs have a sprawling quality missing back in
1987. “My Favorite Dress” and “Anyone Can
Make a Mistake” are pristine examples of how the songs
differ from the original studio versions-noticeable shifts
in speed and energy levels allow listeners to envision themselves
in the midst of a cramped recording studio, with The Wedding
Present tracking song after song in one take with the fury
and enthusiasm of a live show. Truly, that is what George
Best 30 captures-the loose, free-flowing nature of a live
performance without the hassle of other people. Christopher
McConville’s guitar slashes across “A Million
Miles” and shines on the sleek and soaring “Give
My Love to Kevin”, while “Shatner” becomes
an even nimbler three minutes of controlled chaos. Thirty
years ago, I was not in a position to catch on to The Wedding
Present, as Motley Crue, Ratt, and the other bastions of the
fading Sunset Strip were lighting up my Walkman. However,
between then and now, I am fortunate to say I have come to
admire The Wedding Present, and while some may question the
need for the re-recording of old classics, the combined talents
of the older, wizened Wedding Present and Steve Albini illustrate
how sometimes, occasionally, magic can be recreated and even
improved.
 BLACK
WAIL - Chromium Homes (Rhyme & Reason records www.rhyme-reason.com)
This Jersey City outfit seems defiantly out of touch, and
that is exactly the point. Forgoing any concerns with contemporary
fads, Black Wail is a trip back to the most sludgy, psychedelic,
and heavy aspects of the 1970s. Opening with the Sabbath-friendly
bombast and stoner-rock riff of “They”, Black
Wail unleashes a wall of pummeling low-end force. Anchored
by the bass playing of Susan Lutin, the track is a hazy six
and half minutes of tales about kings in ancient times, courtesy
of guitarist/vocalist leader Michael Tarlazzi. Replete with
dazzling guitar work and perfectly appropriate keys, I am
instantly hooked. “Thee Ghost” includes atmospheric
keyboard accompaniment from Bram Teitalman and another massive
hook; the calling card of the band. All of Chromium Homes
includes a classic metal vibe accented by 70s experimentation,
as the band is prone to simply stop a track halfway through,
take a breath, and then unveil a thrilling barrage of force.
In the case of “Radioactive Mutation”, the song
swings with an effortless freedom, and is a swirling breadth
of musical range The title track has a more refined nature,
taking cues from Badfinger or even Thin Lizzy, contrasting
the menacing vocals one hears on “The Dead Man’s
Hand”; juxtaposing the serene and the terrifying, Black
Wail produces their most intimidating song with this sludgy
gem. The EP includes a stirring version of The Beatles’
“Norwegian Wood”, and while covering he Fab Four
can be a risky, and often fruitless, venture, Black Wail make
the song their own and it fits beautifully within the construct
of Chromium Homes. This is an injection of rock’s best
qualities into an age when it is desperately needed.
 COUNT
VASELINE - Tales From the Megaplex (Saustex Records www.saustex.com)
Stefan Murphy is the mastermind behind Count Vaseline, a singer/songwriter
with a tremendous amount of courage and a penchant for lo-fi
punk fury. On “Hail Hail John Cale”, Murphy sardonically
spits out the line “Lou Reed died wishing he could be
John Cale”, while a controlled din simmers beneath him.
The impassive nature of his delivery does not deter from very
clever wordplay throughout the record, as there are delightful
references on “What’s Your Name, Where Are You
From, What are You On?” (“I am Lawrence, I’m
from Arabia, I’m on acid now”) With only one song
reaching two minutes the length, the ideas are fleeting but
all highly worthwhile. The country-punched “Texas Band”
has references to “holding Charlie Sexton’s hand”
and ultimately buried within “Texas land”, while
“I’ll be Your Johnny on the Spot” is a loving
ode to Ween. The darker “Heavy is the Head that Wears
the Crown” glides effortlessly, guided by a thick serpentine
guitar riff. The bass-heavy “Song for Tom” tells
a tragic tale of “a very good man” who “spoke
six different languages”, who ultimately “died
alone” as a mesmerizing dance beat radiates alongside
Murphy’s richly expressive vocals. The closing “Town
of Horseheads” is a dystopian anthem about the struggle
of being “too old for revolution, too young to lie down
and die” as a subdued synth-pop bubbles throughout the
effort. I am continuously impressed and intrigued by Murphy’s
work, and Tales from the Megaplex only increases my admiration
for this truly distinctive talent.
 POCKET
FISHRMEN - The Greatest Story Ever Told (Saustex Records
www.saustex.com)
I do not know how I have missed them until this point, but
the Pocket Fishrmen are apparently Austin’s “greatest
sci-fi punk metal band”, and The Greatest Story Ever
Told is a massive thirty song collection that spans the entire
“career” of this act. Every single song here is
destined to offend someone, and in the midst of the current
political climate, maybe the Pocket Fishrmen is exactly what
this country needs-three chord blasts of dirty jokes, odd
references, and old-fashioned fun! Listening to “Go
Go Saddam Hussein” actually takes me back to a simpler
time, while “Amy Carter” is a sarcastic gem. Sex
puns are everywhere here, and I defy anyone to not incur a
serious injury laughing at “Sex Billy”, “Flaccid
is the Night”, and the priceless “Half Mast”.
The Fishrmen are not afraid to borrow and even mock previous
hit songs, turning “Angel of the Morning” into
“David of the Merkin” and even “Pot Mountain”
follows a very similar lyrical structure to AC/DC’s
“Whole Lotta Rosie”. With lyrics devoted to unfinished
Ed Wood films (“Queen of the Chimps”), delightful
diseases (“Flesh Eating Virus”) and rough sex
with a single mom (“Mommanatrix”), The Pocket
Fishrmen make the kind of punk that will earn the ire of the
straight-edge kids, but will have all the drunks at the bar
dancing and singing with alcohol-fueled confidence. Rather
than attempting to build complex, multi-layered songs, the
majority of the work is richly melodic punk-pop singed by
dark wit. Clearly, Brant Bingamon, Chris Burns, Jason Craig,
and Lance Farley are not without day jobs, but these guys
actually remember when having a slightly perverted sense of
humor did not get you fired.
 HELEN
KELTER SKELTER - Melter (Shaking Shanghai Records www.shakingshanghai.com)
Living in New York, I admit that I sometimes forget that there
is more to America than just the East Coast or what latest
trend is sweeping California. The rest of this glorious nation
is more than just cornfields and billboards about Jesus dotting
endless stretches of highway. To prove this, I offer Helen
Kelter Skelter, an Oklahoma based outfit that is truly unlike
anything people are listening to as we speak. Melter is a
swirling, sinewy mass of class rock vibes set to maximum swagger
with soaring organ play, throbbing bass lines and danceable
hooks. The slithering “Inside Out” is the best
primer for the band, as the track glides with ease from night
club dance floor to rock club to a long pause mid-way through
the effort, as if the band stops to figure out where to go
next. The song returns with an even larger beat and finishes
the next three minutes rattling one’s head and shaking
one’s memory for anything quite like this. HKS bring
all the bluster of rock n’ roll without all the angst,
preferring instead for steady doses of fun, wall-shaking groves.
From the opening “21st Century” that announces
the band’s presence with a sonic thrust of force to
the dreamy, ambling closer “Wunschkonzert”, Melter
is a dazzling record of spatial and ethereal rock that may
befuddle the masses, but I am not sure this band will have
a problem with that. Cody Clifton is the “bass thumper”,
and while he shines on nearly every song, he truly carries
“Tracers”, one of the collection’s finest
moments. “Palamino” and “Time Bomb”
inject modern psychedelia into bombastic anthems, while “Mysterio
Prevails” takes a dreamier, more deliberate approach.
Regardless of how the band constructs a song, everything works
on Melter. The name drew me in to this band, but I definitely
stayed for the music.
 PROMISE
OF REDEMPTION - Before and After (Know Hope Records http://www.knowhoperecords.com)
Shane Henderson of Valencia displays the emotional breadth
of his writing and singing on Before and After, a collection
of heart-wrenching acoustic pieces. These demos and B-sides
are able to express an intensity that may otherwise be lost
in a wave of guitar force. The delicate heartache and honesty
of “Let the Waves Crash Down” is stark and majestic,
and while Henderson ahs always had a penchant for passionate
song writing, his talents are inarguably impressive here.
Fragile piano opens “Hard Times” and when Henderson
pleads, “You gotta say that you’ll be alright/You’re
gonna make it out alive”, the song bleeds empathy. “On
and On” aches with sentimentality, while “The
Light” is a song of grand beauty. Gripping and raw,
the song speaks of holding on to love while delicate strings
play and Henderson reveals that “California is whispering”.
Before and After says a great deal in only six songs and whether
one has followed Henderson over the course of his career or
just stumbled upon this, it is impossible to not be swept
away by the sheer conviction of the playing.
 DINOSAUR
EYELIDS - Turn Left on Red (https://dinosaureyelids.bandcamp.com)
This majestically DIY outfit from New Brunswick brings back
a brash style to rock that is glaringly omitted by most bands
today. Left Turn on Red opens with “Day Zero”,
a thunderous eruption of guitar power that blends Dinosaur
Jr-style fuzz with a slight Southern boogie into a teeth-rattling
four minutes. The song embodies the band’s motto of
“we may never be rich but we will always be loud”,
a slogan later hard on the rumbling “Land and Sky”.
“Into the Woods” readily embraces the more primal
elements of grunge, most notably distortion drenched guitar
and a low-end roar. “Basilone Bridge” is yet another
aggressive track, but the band also plays with tempo shifts
a bit throughout the song, but never deviates too far from
their original purpose to be a massive sounding rock force.
With guitar solos that are fleeting at best, Dinosaur Eyelids
are not interested in technical wizardry, but are committed
to making soulful, honest music that takes cues from classic
rock as readily as contemporary acts to generate something
that is both refreshingly new and instantly comfortable. The
atmospheric aspects of “Neshanic” truly allow
Evan Staats’ vocals range to shine, and when he laments,
“If nothing is real, does anybody care?”, he could
be speaking to today’s political environment as well
as the state of music. Integrating slide guitar and a slower
tempo, “L.A. Lady” oozes regret and passion, while
the acoustic “Whiskey” is a tragic harmonica-driven
anthem dedicated to the alcohol that can destroy: “When
you’re empty, I’m empty, too”, Staats moans
while Patrick McKnight provides the sorrowful musical accompaniment.
“No Money Blues” allows the band to demonstrate
a penchant for writing genre-spanning songs before returning
to the hearty riff of “More Than Nothing”. There
is much to enjoy here, and Turn Left on Red is a welcomed
homage to true rock n’ roll.
 THOR
AND FRIENDS - The Subversive Nature of Kindness (Living
Music Duplication www.lmduplication.com)
Thor Harris and his “friends” Peggy Ghorbani and
Sarah “Goat” Gautier return for a second record,
with the brilliant moniker The Subversive Nature of Kindness,
a work created to, according to the band, “ease some
of the terror” of the world in which we all dwell. Considering
the tone and tenor of this world, that may be a lofty ambition,
but the nine songs heard here are multi-instrumental pieces
that say much even sans vocals. One cannot help but to be
swept away by the craftsmanship, often connoting images of
woodlands and deeply cloistered scenes. Harris, who spent
years touring with the Swans, is a brilliantly gifted player
of instruments few have heard of, much less actually heard,
because in some cases, he has invented the item himself. The
opening “90 Meters” features majestically delivered
light percussion in which the beauty of the song cascades
over the listener and sweeps one away into a serenity that
is sporadically interrupted by squalls that fade quickly.
The harrowing, melancholy “Carpet Creeps” is a
song of reclusiveness; haunting and poignant. “Dead
Man’s Hand” clocks in at over five minutes and
is more playful in nature, similar at times to “Mouse
Mouse”, another gentle, almost childlike effort. Sparse
at some moments, melodically dense in others, “Dead
Man’s Hand” sounds like something heard in an
aboriginal rainforest. It would be a careless gesture and
potentially an affront to select one or two songs as particular
favorites, but “An Escapist’s Theme” is
a soaring triumph. Genteel, but yet a touch speedier than
its predecessors, the song propels itself into soaring beauty,
sounding like a movie score for a masterpiece not yet made.
What makes The Subversive Nature of Kindness so appealing
is the multitude of talent who contribute to its collective
brilliance-Michael Gira from the Swans contributes, as does
Enrique Soriah, a throat singer from Oregon, and Aisha Burn
a violin improvisationist and virtuoso. The darker, more ambient
nature of “Standing Rock” is paired exquisitely
with “Grassfire!” The most expansive song of the
lot, “Grassfire!” is airy, yet replete with sound,
including fascinating vocal contributions that slash across
the landscape with penetrating impact. These constant paradoxes
make the record a masterstroke of brilliance. The closing
“Resist” continues this theme by building a series
of complex ideas on top of each other into a stirring mass
of delicate power. The finesse, originality, and radiance
of this record cannot be overstated. I do not know if Thor
and Friends will be able to quell some of the ugliness that
currently abounds, but this record will be the perfect panacea
to one’s daily stress.
 JEREMY
PORTER AND THE TUCOS - Don’t Worry, It’s Not
Contagious (GTG Records www.gtgrecords.com)
Jeremy Porter and his mates Gabriel Doman (drums) and bassist
Patrick O'Harris do not waste time with gimmicks or studio
tricks, opting for the path of traditional, greasy rock n’
roll. The third album from this Detroit act jangles and shakes
with tales of broken hearts, failed relationships, and not
giving up even after all the pain. The bluesy, whiskey-soaked
“Walk of Shame” is a straight shooting, country-punched
anthem that sets the tone for the rest of the record. Doman’s
hard-hitting nature carries the downhome “Huckleberry”,
while Porter tries diligently to impress yet another woman
who is hard to please. While the majority of the tracks here
deal with love gone wrong, it stays in the world of adult
heartache and never stumbles into any form of teenage melodrama.
Like the music they play, Porter and his Tucos have seen some
sights and are fighting off cynicism and sorrow on the reflective
“Avenues are for Heroes” and the biting title
track. The slower “Consolation Prize” is made
deeply compelling by the soaring beauty of Jennifer Westwood’s
stunning vocals, while the heart-wrenching “Torn”
invokes the best moments of Paul Westerberg’s skills
as a raconteur. “You Don’t Have to Ask Twice”
and “Worth the Wait” both have a Tom Petty vibe
made all the more poignant by that legend’s tragic passing,
while “Patty’s Not Impressed” proves that
Porter and the Tucos have a sense of humor. Accented once
again by Westwood, the song details a tough critic who “did
not like the opening band/even though they did their best”
and cannot understand why Porter’s band always plays
last. Jeremy Porter may hail from Detroit, but he has certainly
traveled south down Route 66 for inspiration on “Urge
to Cry”, an emotionally gripping anthem that is one
of the finest moments here. For those who still appreciate
honest rock, this is one of America’s best examples
of pure talent and hard work.
 AMINAL
- In With the Gnu (https://www.facebook. com/AminalMusic)
First off, it is indeed Aminal, and while the name may be
slightly challenging, one is only getting started with the
oft-putting nature of this incredibly unique band. (Although,
remarkably, a quick search will find several bands with this
moniker) Perhaps we are living through times of unparalleled
blandness, but regardless of decade, this is scintillating
in terms of its originality. “The Kid is Still There”
bounces and shakes with the energy of Zappa at his most charged.
Searing, fuzzy guitar slash through the heart of the song,
while bass lines that are equal parts jazz-fusion and thick
funk drive the track forward. This wildly brazen and invigorating
disregard for pretention or genre boundaries continues on
“Underwater Catastrophe”, which again borrows
from a Mothers of Invention style playbook, blending complex
song structures and fluid time changes to produce a anthem
that requires the listener to work. Aminal label themselves
“molten rock”, which is fitting, for there is
no label one can accurately apply to this band. Perhaps their
finest moment is “It’s No Picnic with Snazzlepants,
Baby”. With an infectious bassline, vocal tricks, and
deceptively obtuse lyrics, this invokes the finest experimentalism
that used to be far more ubiquitous in rock n’ roll.
One can clearly hear the influence “Dynamo Hum”
or “Peaches En Regalia” throughout the six songs,
and I am particularly intrigued by the rambunctious nature
of “Insex”, as the band effortlessly moves between
rock, pop, jazz, and blues with lyrically puns abounding.
The funk-fueled bass that commands center stage on “No
Way, Know How” seems to have climbed off a 70s detective
show, but when blended with equally groovy, wah-wah-kissed
guitar, the marriage is one of perfection. Those with limited
miles on them will likely shake their heads in amazement and
confusion when introduced to Aminal, but others, whether more
experienced or more adventurous, will embrace this and rightfully
honor it for the bold tableau of ideas it is.
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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