 THE
DEAN WEEN GROUP - The Deaner Album (ATO Records www.atorecords.com)
Dean Ween is a name synonymous with brilliantly quirky, delightfully
askew music and The Deaner Album continues that proud tradition.
The opening track is a tribute to Dickie Betts, wisely titled
“Dickie Betts” with a clear nod to “Rambling
Man”. “Exercise Man” is classic Ween comedy
making fun of the “douche” out jogging and keeping
himself in shape. It is great to see that even after thirty
years of knocking around in the warmth of the underground,
Ween has not abandoned his sense of humor. There are four
instrumentals on The Deaner Album and one is “Schwarz
Pete”, another ode to a guitar legend, this time in
the form of Les Paul. For those who remember Ween’s
contribution of “Ocean Man” to the SpongeBob Squarepants
Movie soundtrack, “Schwarz Pete” could be its
cousin with a thunderous classic 50s surf vibe. With “I’ll
Take it and Break It”, “You Were Here”,
and the low-end driven “Bums”, Ween takes a step
forward as a modern Zappa, playing a myriad of styles with
equal skill and peppering his genius with sophomoric yet biting
lyrics. Much of The Deaner Album could be viewed as an Apostrophe
for a new generation, perhaps best embodied by the closing
“DooDoo Chasers”, with its clean guitar playing
and soaring atmospheric layering. Ween’s guitar playing
is sterling and his proficiency with both leads and rhythm
deserves more admiration. Recorded in Ween’s own studio,
hidden deep in the woods of Western New Jersey, the record
sounds like a loose jam session among friends as “Nightcrawler”
slinks along with a sludgy flair before “Mercedes Benz”
introduces a Parliament-Funkadelic groove and horns into the
mix. Most people struggle to produce any work of merit when
they exist in a realm without rules, but for people with the
creative vision of Dean Ween, a world without boundaries is
the only environment in which they will thrive and The Deaner
Album proves that. Each song is highly unique and the eclectic
combination of tones, players, and styles meshes into a record
that is perfect for a party with hundreds of lunatics or simply
driving alone. I will say this proudly-Dean Ween is a national
treasure.
 AGAINST
ME - Shape Shift With Me (XTra Mile Records www.xtramilerecordings.com)
Against Me! may be garnering attention for Laurie Jane Grace’s
gender transition but her personal quest for contentment should
now no longer be the first topic one thinks of when discussing
this band. Shape Shift with Me is a record of extraordinary
musical depth, obvious growth, and poignant emotion that offers
a collection of intimant examinations of life’s emotional
challenges. On “Boyfriend”, “Lie to me/Right
through me” is snarled over the top of a throbbing bass
line from Inge Johansson as Grace asks, “What happened
to us?” It can be difficult to entirely separate Grace’s
personal life from the music of Against Me!, and I struggle
to reconcile if I am being overly simplistic in doing so,
or does her transition act as vast tableau for the explosive
passion one hears on Shape Shift. Regardless of how may approach
the record, the energy put forth by the band is incredibly
impressive. James Bowman is a tragically underappreciated
guitar player and Atom Willard’s drumming resume is
beyond reproach. On “Delicate, Petite & Other Things
I'll Never Be" , Grace declares “I want to be more
real than all the others” and the song rattles with
a burning intensity. A similar combination of fury and beauty
is heard on “333”, a song inspired by some free
time in the Guggenheim art museum. The latter portion of Shape
Shift has two of the finest moments of the record-“Dead
Rats” is a scathing assault, and the refrain of “Shallow
graves for all dead rats/I like the dark clouds the best”
strikes me as especially significant. “Rebecca”
is the most angst-infused love songs ever written about not
wanting to fall in love. When Grace roars “I just want
to grab you by the skull-Rebecca kiss me-let’s not fall
in love”, a furious mixture of passion, fear, and lust
converge into a dynamic climax. Against Me! Is a band that
has been on my radar but not an act to which I paid extraordinary
attention, but that changes now.
 ST.LENOX
- 10 Songs About Memory and Hope (Anyway records www.anyway-records.com)
Andrew Choi is St. Lenox and his soaring voice is juxtaposed
with minimalist playing, particularly on the opening “I
Still Dream of the 90s” as Choi references Kosovo, a
blue dress, making “a mixtape from the ashes of the
radio”, and his flying car. Actually, 90s references
seem to be on Choi’s mind quite a bit here, as he name-drops
the Gin Blossoms of all bands on “You can be Young Again”,
a song of beautiful optimism tinged with a crushing sadness.
That is the greatest skill of St. Lenox: Choi is able to be
wildly emotive through vividly descriptive language that merges
hope, love, sadness, and heartbreak into a swirling journey.
The keyboard laden tracks, highlighted with simplistic programmed
beats are merely crude tableaus for the stories spun by Choi
with masterful precision. “That Old Time Religion”
features a clean, sharp guitar solo that drops out for a soulful,
R&B laced groove, while “It’s Better Than
That” continuously asks questions about youth and innocence
(“You thought you’d be the president?/You though
you’d be a rock star?”). The more I hear of 10
Songs, the more I become drawn in to the nostalgia and whimsical
nature of Choi’s writing. The sweet loneliness of “You’re
Not Here” is heartbreaking in a self-deprecating way,
while “Just Friends” tenderly examines the failure
of a relationship with bold poignancy and self-awareness (“You
could never understand why I never stopped to smell the roses/I
could never hold my tongue and you could never hold your liquor”).
The finest moment arrives with the powerful “Bitter
Pill” as Choi again demonstrates an uncanny ability
to say volumes with one unassuming image-in this case it is
a picture on a refrigerator door, as he says, “a silly
little gift for me /I kept the drawing to confirm that you
were still with me”. I am stunned by how much I came
to enjoy 10 Songs, as St. Lenox feels like a secret that I
stumbled upon and can keep only for myself, but sadly, I know
someday everyone will be in on this.
THOR AND FRIENDS - EP (IM Duplication www.Imduplication.com)
Few things are guarantees in life but one of them is that
anyone associated with the Swans is a musical genius, and
Thor Harris embodies that. Thor and Friends is a sprawling
landscape of soothing, avant-lush percussion and arrangements
that defy labels other than gorgeous. The use of a warehouse’s
worth of instruments is heard on this self-tiled EP with “Crusades”
and “Slow Prisoner” among my favorites. Vibraphone,
xylophone, and tubular bells only begin to name the instruments
Harris contributes, and while an array of players makes up
his “Friends”, including John Dieterich (of Deerhoof),
Jeremy Barnes, Raven Chacon, and Heather Trost, the outfit
is primarily a trio with Harris supported by Peggy Ghorbani
and Sarah “Goat” Gautier. Together, the nine meandering
and mesmerizing tracks gently traverse a fragile and bucolic
soundscape, alternating between experimental dynamics and
soothing, meditative repetition. The songs each posses a vibrant
life, often hovering wistfully with ethereal wind instruments
accented by precise bells and percussion. This can be befuddling
at times for the uninitiated listener (i.e. me), but ultimately
one surrenders to the welcoming comfort of “12 Ate”
and “Lullaby for Klaus”. By the time the fleeting
“Thirsty Camel” slides past, it is impossible
to not be captivated by the collective works of a limitlessly
talented and creative force in the form of Thor Harris.
 KNOCKED
LOOSE - Laugh Tracks (Pure Noise Records http://purenoise.net/)
This Kentucky five piece delivers furious hardcore with a
tangible metal edge. The arms and spin-kicks will fly during
the breakdowns on “Blood Will Have Blood” and
I would not want to the band that follows Knocked Loose on
the bill, for their energy is limitless. “Deadringer”
is the first release from laugh Track and it’s combination
of raw, unhinged rage and thick riffs make it a perfect introduction.
With gang vocals, swirling tempo shifts, and an appreciation
of good hooks, Knocked Loose may be vicious but they are not
blindly flailing. These kids have the ability to formulate
intelligent song structures that move as a story-usually the
tracks launch themselves at the listener before ebbing and
flowing over the course of roughly three exhausting minutes.
“My Heroes” has a thunderous low end compliments
of bassist Kevin Otten and drummer Pacsun, and audiences will
undoubtedly scream the phrase “all my heroes went to
hell” until their throats are bloodied and hoarse. Vocalist
Bryan Garris is all I look for in a hardcore singer-he is
authentic, wildly expressive, and does not try to be anything
more than what he is. He voice suits the band perfectly and
while he has the pipes for clean sounding vocals, his guttural,
enraged yelp carries each track. Guitarists Isaac Hale and
Cole Crutchfield are a devastating duo throughout Laugh Tracks,
but “Counting Worms” and “A Fetish”
are my two favorite demonstrations of their talent. Knocked
Loose has demonstrated incredible growth as musicians since
their inception in 2013 and laugh Tracks is a collection of
intelligent hardcore that is also unrepentant in its fury.
 THE
REFUSERS - Wake Up America (www.therefusers.com)
While the title may smack of the alt-right, The Refusers launch
a blistering attack upon the coma-educing state of music and
the news industry on Wake Up America. It is clear on “Hang
the Bankers” and “Who is The World For?”
that Michael Belkin and his mates are not pleased with the
status quo and declare war upon wage inequality and the domination
of all aspects of American culture by the ultra-elite one
percent. One may expect an onslaught of nihilistic punk fury,
but rather, The Refusers throw a number of off-speed pitches
throughout Wake Up, from the jazzy “You Won’t
Read It in the New York Times” and swing of “Bubble
People” to the slow-burn blues of “Go Back to
Sleep”. However, the band is at their sharpest when
the amps are loud and the groove is laden with a heavy-footed
distortion pedal, particularly on “Backlash”.
The Refusers embodies their name for they blatantly refuse
to adhere to any one musical style, as “American Dream”
sounds like something from a Springsteen B-side, while “2
Big 2 Fail” features intricate percussion and a borderline
funk-inspired undertone. Perhaps even more engrossing than
the music is the backstory of the man responsible for it:
Michael Belkin made his fortune on Wall Street but abandoned
the world of high finance in exchange for a home studio and
authenticity as a person. His lyrics will resonate with those
who adhere to the messages that have come to light via Donald
Trump’s somewhat garbled Populist stance, Bernie Sander’s
dream of a financially fair America, and Gary Johnson’s
desire to alter the traditional two party choice. The closing
acoustic “Professor Friedman’s magic Money Contraption”
rings with the truth of a 60s protest anthem with a dreamy,
headspace sound and richly sarcastic lyrics. The chaos inspired
by the 2016 election is expressed with great clarity on Wake
Up America and the record channels a multitude of styles to
convey a clear message of disgust with America as she currently
exists. The real question for the Refusers and for the rest
of the U.S is will anything change? Cynically, the answer
is most likely a resounding no, but Belkin and his friends
make a great soundtrack to the political apocalypse.
 SAT.NITE
DUETS - Air Guitar (Father/Daughter Records
The American heartland is an interesting place-an amalgamation
of honesty, kindness, and also darkness. Milwaukee is the
city that can credit Sat. Nite Duets as its own, as this is
the city that was both the backdrop for the fictional innocence
of Laverne and Shirley and the real-life horror of Jeffrey
Dahmer. Air Guitar is a classic indie rock album in the sense
that there is a distinctive sound but Sat. Nite Duets also
refuses to adhere to one particular genre; instead, the band
has the courage to interject a variety of influences to construct
a warm record of earnest pop. “Annie X” features
gentle piano and hushed vocals about “a crucifix on
your wall”, yet the opening “Attached to the Lamp”
is an energized, Guided by Voices-style gem. The guitar work
is speedy and the lyrics are sardonic and if one closes his/her
eyes, one can be transported back to the early 90s. “St.
Yuppie” has a straightforward rattle that shakes with
nervous kinetic energy while injecting wonderfully fuzzed-out
guitar playing into the mix. “Two Birds” and “Sober
June” both feature beautifully delicate vocals, clearly
influenced by the most ethereal of Beatles moments, that emphasize
the glorious storytelling that happens throughout Air Guitar.
The record has a fun-loving recklessness about it best heard
on the bouncy “Country Worm”, yet Sat. Nite Duets
have clearly labored to refine their unique approach to pretentious-free
rock. “Manny D” is a classic rollicking effort
with an infectious hook that would be the envy of Rivers Cuomo,
Frank Black, and a legion of others. Sat. Nite Duet has all
the makings of a true cult act-this is the band whose fans
are delightfully rabid while others look on in appreciation
but may not be able to fully comprehend what is happening.
 THE
BURNSIDE PROJECT - Syntax and Semantics (Bar None Records
http://www.bar-none.com)
The Burnside Project, a long defunct electro-pop trio, has
released their shelved third record Syntax and Semantics for
a free download on Bar-None Records as part of that label’s
thirtieth anniversary. For some, this may generate a shrug
of the shoulders, but do not simply write this off as an early
twenty-first century artifact; this is a collection of smart,
mechanized music delivered with a sense of raw humanity. “You
Only Call” finishes that thought in the chorus with
“when there’s something wrong” and the vocal
delivery of Richard Jankovich is instantly enthralled and
gut-wrenching. The gentle repetition of “Quicksand”
is infectious and “We Are Not Heroes” embraces
80s nostalgia through the use of a vintage Casio CB 101 keyboard
that resonates a tangible warmth. Jankovich once said that
he envisioned the sound of The Burnside Project as “Pavement
remixed by Fatboy Slim”, and thatim dream is brought
to life on “Phalse Profit”. What makes the story
of The Burnside Project interesting and I believe documentary
worthy is the fact that they are light years ahead of their
time. If Syntax was released today, it would raise eyebrows
of intrigue and smiles of delight-this was 2016 played in
2004. One could sign deeply and mourn for Burnside Project
as the musical equivalent of a roadside wreck that is driven
by without garnering much attention, but Syntax and Semantics
deserves a second listen with a fresh set of ears and a new
appreciation for bands of this style. Blending electronic
grooves with flesh and blood musicianship requires a delicate
touch and The Burnside Legacy have a sound that should have
made the band bigger than simply their huge reception in Japan.
(This not a cliché-The Burnside Project were indeed
truly huge in Japan) I do not know if Richard Jankovich and
his mates have any plans to reassemble but if there was a
time in which Syntax and Semantics would earn the acclaim
it deserves, it is now.
 K-MAN
AND THE 45s (Stomp Records www.stomprecords.com)
Roaring out of Montreal comes K-Man and the45s. This Canadian
touring juggernaut plays ska in various forms always accompanied
by driving rock riffs and a punk-infused attitude. “They
Gotta Know” is a classic ska anthem displaying the wondrous
talent of Josh Michaud and Sebastian Fournier on trombone
and trumpet respectively, while “Poppy’s Back
in Town” has a sleek, pop-kissed sensibility that is
reminiscent of latter-day Rancid. What makes K-Man and the
45s engaging is that they are willing to have a lot of fun
and tell stories that are charming and light-hearted. “Piece
of the Action” is a rollicking, swinging party anthem
with the advice of “live it up now/were all gonna die”.
The record also has “Space Thriller”, a ska War
of the Worlds, and the tales of “Road Rage Randy”
and “Johnny Thumbs”. “Randy” takes
a potentially serious topic and makes it laugh out loud funny
with a refrain of “he’s a Jerk” set to a
1950s rock vibe while “Johnny Thumbs” has the
finest groove on the record. “This Moment” has
an initial splatter of surf influence before effortlessly
switching gears and injecting a subtle blues element into
the song. K-Man and the 45s complete their third full-length
release with “What’s Inside a Girl”, a track
with a brilliant turn of phrase, relentless energy, and swirling
ska intensity. I usually tire of most ska acts after three
of four songs, but K-man and the 45s have a rare ability to
differentiate themselves from other bands of this ilk by experimenting
with their sound under a larger ska umbrella. They always
stay true to the tenors of the genre but do so in consistently
creative ways.
 PAINTED
ZEROS - Daylily (https://paintedzeros.bandcamp.com)
Painted Zeros is the Brooklyn-based one-woman project of Katie
Lau and the three song EP Daylily is stunningly beautiful.
Like the flower for which it is named, the EP is fleeting
and delicate. The opening “III.BRarms & KyrKeGuard,
B Major” features gentle waves of noise and hum broken
fleetingly by inconsistent shards of sound in a swirling collage
in which the muted vocals only add to the ethereal nature
of the work. “Love Triangle (I was Jolene)” is
a more structured anthem, and there is clearly a nod to 90s
indie pop as Lau’s majestic voice is given far greater
room to move. The song also includes a rhythm section that
has an understated force and strength that gives the song
an unexpected kick. Closing with “Beyond a Chemical
Reaction”, Lau returns to her hushed, fragile vocal
delivery, this time accented by strings as graceful as her
voice. The song fades out as wistfully as it entered. This
three-song release is my introduction to Painted Zeros, and
if the same holds true for you, check out her debut release
that came out last year on Don Giovanni.
THE UPPER CRUST/THE GRANNIES - Lords and Ladies (Saustex
Records www.saustex.com)
I have long believed that rock n’ roll should be fun;
therefore, whether a band wants to don make-up and call themselves
a “demon” or a “star-child”, or if
grown men select to dress like aliens from outer space hell-bent
on destroying Earth, I’m all for it. Rock n’ roll
should also be really loud. If you subscribe to these beliefs
then Lords and Ladies, a spilt release from The Upper Crust
and The Grannies, is just what you need. The Upper Crust is
Boston’s hard rock version of Downton Abbey, as the
band dresses like 18th century nobles, and despite looking
proper, their songs reflect the debauchery of that era. “Highfalutin’”
and “Person Non Grata” are meaty pieces of 70s
hard rock-unapologetic in its bombast and replete with undeniably
catchy hooks. The Upper Crust wants the listener to remember
the songs and go back to listen again; they are not hung up
on technical displays to dazzle people, and that is what helps
make them great. “Rabble Rouser” will not leave
my head for weeks and “Bleed Me” demonstrates
that under their powdered wigs are fiercely committed musicians.
The Grannies have a more punk-tinged edge than the Upper Crust,
and Jack Endino brilliantly directs their sound. The thick,
grunge-fueled “Milchblut” and “Skylab”
are punishing in nature and the two highlights for me. Yet,
the band can surprise some and, like the Upper Crust, may
be unconventional, but “Stone Fruit” proves how
well they can play. The speedy, ultra-catchy effort also includes
a harmonica performance that is highly unexpected but fits
perfectly within the track. These two bands are touring together
and my advice is that if they are within five states of your
house, go see them.
 HEROES
OF TOOLIK - Like Night (www.heroesoftoolik.com)
The first track on the new Heroes of Toolik record is titled
“Perfect” and appropriately so, as Like Night
is a flawless display of refined musicianship and instrumental
grace. The band is a collection of extraordinary talents
with astonishing resumes. If you do not know who Arad Evans,
Ernie Brooks, or Billy Ficca is, stop trimming your hipster
beard and do some research! The core of the Heroes are individuals
who defined post-punk, but I am willing to bet that they
are not interested in stories about their luminous pasts,
especially as Like Night aims to rework contemporary rock.
The expansive guitar work woven into the otherwise dream-like
atmosphere of “8 Miles” makes the track instantly
mesmerizing. Jennifer Coates’ vocals are heartbreakingly
beautiful and the song drifts effortlessly, enveloping the
listener in an embrace that is somehow both comforting and
menacing. John Speck’s trombone nicely accents the
creative pop hooks on “Something Like Night”
as Coates again demonstrates her storied vocal prowess.
A second ideally titled track, “Warm”, hears
Speck shine brilliantly as the expanse of the panoramic
instrumental opens before the listener. The concluding two
minutes of the song introduces a shift in tempo that gives
the illusion of being two songs within one. The jazz-inspired
swing of “Blind Man” is a highlight, along with
the subtle Americana flavoring sprinkled throughout “Say
Virginia”. With all due respect to the sincerity one
hears within Evans’ voice, I am partial to the stunning
harmony of Coates’ contributions on “Again”,
as she places the song on her shoulders and carries it on
top of a lush tableau constructed by Speck. Coates and Evans
share the responsibilities on “Crazy Doll” as
two master storytellers weave a captivating tale while gentle
guitar acrobatics and ghostly horns cascade about them.
The closing “You Will Not Follow” begins with
fragile chimes that give way to a work of complex, multi-layered
pop. The effort starts and stops several times, including
a reintroduction of the chimes that portray a delicate vulnerability
that, like all of Like Night, can only be performed by remarkable
players at the height of their mastery.
 CINEMECHANICA
(Hello Sire Records hellosirrecords.com)
Cinemechanica play noisy, chaotic, and delightfully exhausting
music. None of this is surprising when one learns that guitarists
Bryant Williamson and Jordan Olivera, bass player Joel Hatstat,
and drummer Mike Albanese are under the production guidance
of Kurt Ballou, a man who knows how to harness angular force
into a remarkably infectious din. While the opening “Hang
Up the Spurs” explodes at the listener, I am completely
taken in by “Vietnamese Pool Party”. The title
alone will garner attention, but the blissfully abrasive playing
juxtaposes raw, searing fury with intricate precision in a
dazzling display of twisted brilliance. While “Blood
Ties” and “I Ain’t Getting’ Shot in
Louisville” bring similar energy, it is the darker,
meandering “Trenches” that demonstrates a broader
grasp of tempo shifts and rhythmic structure. “The Battlefields
of Cajamarca” is a roaring instrumental led by the guitar
work of Williamson and Olivera. The song quivers and shakes
with an abundance of strength. Riffs abound on “Mike
Whites Spies” as well, while the concluding “Biblical
Noise” continues the flood of devastation, leaving the
listener spent and immensely satisfied. One may have to sleep
this off for a while.
 SO
COW - Lisa Marie Airplane Tour (Tall Pat Records http://tallpatrecords.bigcartel.com)
When Brian Kelly demonstrates his keen eye for the world on
“What Makes a Man Start Gorse Fires?” as he describes
“watching rich kids wrestle on a yacht” and “reading
a book about Richard Nixon…maybe this is the version
where he wins”, he wins me over instantly. Almost all
of the twelve tracks by So Cow, Kelly’s one-man project,
is guitar-fueled, pop-laced indie rock. The lo-fi goodness
of “Captain of Industry” and “Westerly Direction”
have qualities that artists from Kurt to Jack White would
appreciate. With elements of jazz and improvisational noise
thrown in for good measure, Kelly proves to be a daring experimental
scientist. He even dials up 60s sugar on “At Home”
and allows his vocals to soar mightily on “Something
or More”. There is a childlike innocence on “Batman,
Tonight” as the protagonist admits how “I will
tell you what I think of you when I get the wording right”.
A similar brazen vulnerability is exposed on “The Invigilator”
as well, but Lisa Marie Airplane Tour concludes with a bluesy,
more sophisticated effort in the form of “Half Past”.
At times, So Cow can sound a bit uneven, but for those who
revel in unique indie pop, Brian Kelly may be a hidden gem.
 GREAT
APES - California Heart (Asian Man Records www.asianman.records.com)
Asian Man has been an impressive label for a long time now
and part of their continued relevance and success is the ability
to release music like that of Great Apes. On the surface,
the work on California Heart is angst-fueled punk-pop, but
there is a depth to the lyrics and a passion to the vocals
of Brian Moss that transcends the typical punk-pop label.
The ten songs on California Heart tell heartbreaking tales
of loneliness, alienation, and isolation but there is a resiliency
and an uncanny ability to see through ignorance and misplaced
priorities that should offer hope to those experiencing these
same feelings. The title track includes this worldview: “maybe
we’re just a chemical mess brought here on a comet from
the sky/the failed experiment of an accident-maybe we’re
just born to die”. Uplifting? No, but certainly sophisticated.
This is not a record that will have people burying their heads
in their hands and planning for surrender-instead, Great Apes
are adroitly emphasizing the banality of most lives and that,
in its own unique way, I find inspirational. On “Bullard
Hex”, we are introduced to the sad events of a Halloween
party in which the protagonist is “banished to the basement
with the freaks”. Ultimately, a bottle of alcohol, an
escape from cops, and a vomit-filled dresser drawer concludes
the evening. “Brown Dots” is brilliantly funny
with its uncanny ability to point out the most finite of details,
such as the “Pantera Shreds” slogan adorning the
“black Jansport” of the kid from whom a solid
drug score was procured “before first period”.
This is teen angst with an injection of humor as each of us
can at least imagine what it would be like to be completely
removed from the world during math class or listening to the
“buzz of the bees” while lying in the grass. The
speedy “Prom Com” is blazingly fast punk attack
that just as scathingly rips those using online services searching
for acceptance and validation. While “The Escapist”
has a dark message, even its sense of despair is tinged with
glorious beauty: “When I’m gone, you’ll
forget me/Frankly that’s alright/You’ll be sleepwalking
here in the cogs and the gears/While I’m exploding in
the light”. California Heart will either stir up old
unpleasant memories or remind some of the current state of
misery that is usually high school and the start of adulthood.
However, if one is going to suffer the pain and humiliation
that often accompanies those years, this is the best soundtrack
to have as a support group.
 RED
TEETH -Light Bender (GTG Records www.gtgrecords.net)
The Andrews Brothers, Ryan and Rael, have kept Red Teeth going
forward in one form or another since the early 2000s. The
two have tolerated numerous changes within the band and they
even shelved the project for half a decade, but they are back
with a four-song EP of fuzzy and energized guitar rock. The
opening “Light Bender, Sound Bender” is lengthy
journey through space and time. Balancing spatial ambiance
and guitar dynamics, the song is a perfect introduction to
those, like me, who are new to Red Teeth. “Tas Pappas”
is both much more brief and more aggressive then its predecessor,
and slightly more focused as well. A singular, driving riff
carries the effort and while it is less angular in nature,
it remains an impactful song. “134 MPS” features
a sonic force that ebbs and flows around a bass-heavy structure.
The guitar work sounds as if it was flown in from another
dimension. Ryan Andrews shines on “Elephant Graveyard”,
as soaring vocals mesh with intricate time sequences. Distinctive
and intricate without becoming byzantine in nature, gather
your more daring friends and check this out.
 WILD
TINDERBOX s/t (www.wildtinderbox.com)
Wild Tinderbox describes themselves as a “hard rock
band from Austin”, and in today’s world that takes
some guts. There is no hyphen when they describe their sound-no
sub-genre, no myopic restriction about the style of music
they deliver and that makes the five songs here very refreshing.
Wild Tinderbox is indeed an old fashioned, hard rock band,
blending speedy blues riffs, some grungy distortion, and some
metallic bursts of power. “Lava Surfing” does
rightfully have a surf-tinged riff, but the drumming of Brad
Whitfield propels the song along a furious path. “Back
for the Attack” channels Montrose, Blue Oyster Cult,
and Thin Lizzy into one sweaty 70s rock stew. Jay Ziegler’s
guitar work is commanding but does not overpower the song,
allowing for both his vocals and Mike Prosser’s bass
line to be properly represented. “Lost in Space”
turns down the feedback and fuzz for a cleaner sound and by
doing so reveals the amiable nature of this trio. The song
bounces with a vibrancy that is then matched on the concluding
"Race to the Moon". My favorite of the bunch, “Race
to the Moon” dips into Sabbath territory for a thick
low-end rumble and dense groove. Right now, Wild Tinderbox
is a local Austin act driving the highways of Texas, but I
do hope these guys are heard by the right set of ears because
there is something here.
 MODERN
COLOR - Chromesthesia (Open Door Records www.opendoorrecords.org)
Modern Color’s record is perfectly titled as Chromesthesia
is a condition in which sounds automatically and involuntarily
evoke a experience of color, and if that is the case, I am
going to venture that red would be a common vision here. Do
not confuse this Redondo Beach act with a Philly band that
adopts the European spelling of “color” with that
misplaced and unnecessary “u”, for these guys
are a tribute to great American intensity. It is very difficult
to find much information about the members, but the mysterious
nature of Modern Color only makes them more fascinating as
one is bombarded by, in their words, “a fresh perspective”
on modern rock. Never quite metal but far too energized for
shoegaze, an effort such as “New Motion” is massively
dynamic in scope while “Shade” has a controlled
burn to it. “Habitual Pain” creates a path followed
by many of the songs here, as there is a slow, nervous build
up before the track finds itself locked into a slick, bass-heavy
groove accented by rugged, throaty vocals. “Low”
begins rather innocuously with a straight-ahead riff and a
subtle, dream-like quality that then quickly steps aside another
explosive vocal demonstration and pummeling musicianship.
The schizophrenic nature of “Vibrating Body” makes
it a centerpiece of this debut and a staggering jab to the
body before the devastating headshot of “I’m Not
Part of It”. The closing “Indigo Vision”
is the band’s most mature and accomplished piece and
acts a perfect conclusion to powerful introduction.
 SKITTISH
ITZ - Back to reality (Hidden Home Records www.hiddenhomerecords.bandcamp.com)
Who knew ska could come from Idaho? Proving that there is
much more to the state than its “famous potatoes”,
Skittish Itz unveils their farewell in Back to Reality. The
guys, who have been kicking around for a while now, play fast,
fun punk in roughly two minute spurts. The lyrics are personal
and range from frustrations about work (“CDL Class B”),
to healing relationships (“Fishbowl”), to the
hilarious “Midlife Crisis Man” who has a “fresh
new wife and a hot rod minivan”. Along the way, there
is also a lighthearted shot at today’s youth in “Hungry,
Hungry, Hipsters”, and the witty, sarcastic “Sccred
Again”. In this effort, our protagonist is both fascinated
by, and afraid of, the dark and is sadly, “thirty-five
and can’ t distinguish fact from fiction/That might
explain your constant Bigfoot obsession”. The speedy
“Eighties Baby” takes the listener through what
it is like to assist a birth in DeLorean, and the band exits
on a high note with the farewell “The Inevitable Pause”.
Through some research, it is obvious that Skittish Itz are
regional giants and it is too bad that they did not become
a broader national name. However, rather than toiling in complete
anonymity, Back to Reality will please fans and old new for
a long time and keep the legacy of this band alive.
 TOY
CARS - Sleeping Patterns (Counter Intuitive/Sniffling Indie
Kids Records www.counterintuitivercords.com www.snifflingindiekids.com)
Sleeping Patters is the second EP in barely two years of existence
for Toy Cars, and the five songs demonstrate a dynamic range
for this band. Toy Cars is led by guitarist/vocalist Matt
Debenedetti and his vocals boldly kick off the opening “Bjork”.
Fellow guitarist Lucas Dalakian is a perfect balance to Debenedetti
as the two construct a very modern sound while still paying
homage to 2000s stalwarts such as Brand New or Taking Back
Sunday. “Books” rattles with a classic guitar
hook and is the most infectious of the anthems here. Effortlessly,
the band strips down to acoustic bare minimums on “Dull”,
which is the antithesis of its title. Rather then feeling
forced, the more reserved nature of the song merely allows
for Toy Cars to present another weapon in their collective
musical arsenal before returning to a more familiar strain
on “Stone”. “Stone” is heavily melodic
with flashes of guitar energy that presents a quiet/loud contrast
in a manner that is not predictable or repetitive. The closing
“Albatross” begins gently with warm vocals of
profound emotion and a measured restraint that builds steadily
to a triumphant conclusion. This was my introduction to Toy
Cars and I am intrigued by what this band will do in the future.
 DWELL
- Innate (Blood and Ink Records www.bloodandinkrecords.com)
Dwell is a visceral explosion of force in a style made famous
by Converge and continued today by Trap Them or Dillinger
Escape Plan. Innate is a riotous collection of furious riffs,
complex time structures, and larynx-searing vocals that is
a little slice of heaven for me. The unapologetic rage that
pervades the record smacks of Nails, but rather than forty
to sixty-second long blasts of grind, Dwell writes more intricate
and layered work that retains skull-rattling intensity without
ever becoming too esoteric. These kids from North Carolina
clearly understand that musical brutality is their primary
mandate and from there, one can sprinkle in the more obtuse
touches. “Open Vein” is one such example as the
song enters slowly with an ambling guitar riff while Jacob
Lilly’s vocals are deliberately buried in the mix like
a person entombed alive, scratching and crawling to escape
an unimaginable hell. The song perpetually exists on the edge
of a musical cliff and the listener is drawn in, waiting for
a musical devastation that never fully arrives. However, rather
then disappointing, the song acts as a perfect set up for
the rattling “Forfeit” that follows. This ability
to offset loud/louder dynamics carries Innate and makes the
record perpetually interesting. The opening “Scars of
Grief” is lyrically sophisticated, as Lilly bellows
”Cut off your limbs that show scars of grief. Blame
the creator of good for every amount of suffering you’ve
inflicted”. This investigation of a higher power that
is used as justification for the pain or pleasure endured
by people is a theme on Innate, as are references to C.S.
Lewis of Chronicles of Narnia fame. However, this is nothing
kid-friendly on “This Ground is Cursed” or “Like
the Leech on Our Skin”, two of the more bruising pieces
the band produces. The guitar acrobatics on the title track
are matched by the low end pummeling provided on “Relief
of Sin”. Without even a passing second of filler, Dwell
is a young band that incorporates their influences into music
that is refreshingly crushing.
 PILL
- Convenience (Mexican Summer Records www.mexicansummer.com)
Once again, Brooklyn is responsible for some of the best
music being currently crafted by humans. Pill is the latest
collection of multi-talented, politically sophisticated,
genre-smashing heroes to descend upon the dumbstruck masses.
When vocalist Veronica Torres (who absolutely owns this
record) says, “I’m a girl’s girl”
in “Dead Boys”, she is both incredibly vulnerable
and erotic. Torres boldly declares herself as strong and
resilient on “My Rights” when she challenges
the status quo with this: “Is this situation based
on power? My body, my queerness, my decision to bring life.
My body, my fight-Congressman wants to steal all my rights”.
Throughout the track, and the larger Convenience record,
Torres is never preaching or inflammatory-she is simply
a woman exercising her rights to express who she is and
what she wants-and that alone is enough to frighten many
people. Her bravery continues on “Fetish Queen”
with the imagery “imagine me on my knees”, as
Pill creates a new “Oh Bondage, Up Yours” for
the 21st century, horns and all. Jittery, noisy, and deliciously
uncomfortable, Convenience is one of the most defiant records
of 2016, a year in which the nation needs real defiance-the
type of rebellion based on intelligence, courage, and clearly
defined moral stances and not bullying, bombast, and clichés
that appeal to the most base elements of human nature. Under
a haunting, atmospheric soundscape, Torres paints a stark
image of artificial security in “J-E-N-O-V-A”:
“The security alarm goes off, but there is no intruder.
Take the batteries out and come back to bed.” Its
closing refrain of “a sense of control” is repeated
with an intimacy that is both sexually charged and chilling.
Convenience begins with “60 Seconds”, a jarring,
noise-bent introduction that acts a perfect foray into the
wildly imaginative scope of the band’s talents. “100%
Cute” is majestically abrasive as Torres channels
her inner Kim Gordon with ferocious intensity, and the horns
that appeared on “Fetish Queen” return again.
I had high hopes for “Sex With Santa”, but it
turned to be a one of the instrumental pieces-it is still
cooler than what your favorite band is doing, but the title
had my mind tilted, expecting a darker result. The sassy
pop on “Speaking Up” belies the brilliant examination
of the perils women face for pointing out sexual harassment.
If Bikini Kill ever reforms, they should cover this song.
In “Vagabond”, the phrase “Turn me on,
foreign body” can be interpreted in various ways,
and the listener is left to apply their own life experiences
to what Pill delivers, as “Love and Other Liquids”
has a soulful intro and sensuality that is exquisite. I
am in awe of what Convenience offers as Torres, surrounded
by Andrew Spaulding, Benjamin Jaffe, and Jonathan Campolo,
inject new life into a new brand of jangly indie rock.
 STORM
THE SKY - Sin Will Find You (Rise Records www.riserecords)
Australia’s Storm the Sky will challenge the preconceived
notions many have about what makes music powerful. Some people
(i.e. guys like me) look for volume, fury, screaming, and
rage to define power, but Sin Will Find You is a collection
of deeply persona, vividly expressive songs that vary in levels
of intensity musically but each hits with a stunning precision.
“In Vein” and “Lilac” are the literal
centerpiece of the record and the pair act as swirling twins
of lush beauty and reserved nature. However, vocalist William
Jarratt performs with a soaring confidence that gives his
storytelling tremendous gravitas. Not everything on Sin is
so subdued, however, as “Jaded Ghost” rattles
with exhilarating bombast, integrating a penchant for big
hooks along with hardcore ferocity. “Medicine”
has swagger compliments of guitarists Andy Szetho and Lachlan
Avis that allows the effort to ebb and flow with nimble delicacy.
Bassist Benny Craib and drummer Alex Trail anchor a line-up
that is incredibly daring and willing to take chances considering
their young age. The jazzy, melancholy tones that meander
in the distance in the opening minute of “Disappointed”
fade and the song injects a subtle dance groove under Jarrett’s
longing vocals. “Burning” closes the record with
minimalist industrialization, sounding more Teutonic than
Australian in nature over an expansive six-minute canvas that
provides ample room for infusions of noisy guitar and ascending
harmonies. This is a fascinating listen from a band of brazenly
bold young guys that bare themselves for global observation.
Making a record that sounds like Sin Will Find You is not
easy, both musically and personally, for the poetic, heartfelt
lyrics are open to various interpretations and therefore misunderstandings,
while the music is anything but traditionally aggressive.
However, few things in this world truly surprise us any longer
and when genuine originality raises its head, it deserves
to be praised and celebrated and not ordered to conform.
 CLOSE
LOBSTERS - Desire and Signs EP (Shelflife Records www.shelflife.com)
The Close Lobsters play a majestic style of dreamy pop
that is both stirring and soothing. Andrew Burnett’s
vocals on “Under London Skies” hang like a low
cloud ceiling amidst a fierce battle of streaking, jangly
guitar between himself and Tom Donnelly. The song captivates
with its mysterious, somewhat muffled words and delights
with a musical crescendo that steadily builds over the course
of the track’s nearly six-minute life span. “Wander
Epic Part II” is part of a triumvirate of panoramic
efforts, and fortunately, one does not need to know the
plot of part One to enjoy the sequel. When Burnett says
that he must “light the lamp of reason and purify
the malady of the soul”, he is not speaking above
the listener, but rather through each person fortunate enough
to hear this effort, whose structure strikes me as a 21st
century “Sweet Jane”. Haunting and lovely, Close
Lobsters have a natural ability to convey complex ideas
with wonderful clarity and ease, making this two song sampler
a perfect prologue to a widely anticipated longer release.
 THE
FIREWORKS - Back and Blue EP (Shelflife Records www.shelflife.com)
London’s fuzzed out four-piece The Fireworks are
back and roaring with new music for the first time in a
year, and the Black and Blue EP should, if the universe
has any justice, elevate this band to something much larger
than cult status. It is easy to note the Teenage Fanclub
hanging out with My Bloody Valentine while listening to
early Dinosaur Jr. influence, particularly on the faint
drone on “Go So Slow”, but there is a litany
of reasons to adore this band, starting with vocalist Emma
Hall. Her voice is the introduction most people will have
to The Fireworks on the opening “All The Time”,
and it is a powerful tool to demonstrate the hook-laden
force this band yields. “The Ghost of You” is
carried by the amiable vocals of Matthew Rimmell with Hall
supplying lush backing support, and the song’s warm,
pop hook of captures the finest moments of the golden age
of indie rock. While I am struck by all four songs, the
intensified energy of “Bury Me” made it my favorite
of the bunch and has me incredibly excited about what this
band plans to do next. Hopefully this will include touring
on this side of the Atlantic, for The Fireworks borrow the
harmonious interplay of American girl groups of the 1960s
and raise the intensity with some od fashioned bombast and
a little pop sweetness. The concoction makes for a brilliant
release.
 GET
DEAD - Honesty Lives Elsewhere (Fat Wreck Chords www.fatwreck.com)
This Bay Area outfit plays hard driving, straight ahead punk
with flashes of various influences that perpetually keeps
listeners guessing about the next musical direction they will
choose to pursue. “Dyin’ is Thirsty Work”
is a perfect example of roaring, pointed guitar playing in
punk’s finest tradition with raspy-throated Sam King
howling with authentic frustration over the top of a blazing
riff. As he yelps the refrain “we all fall down”,
the message sounds particularly ominous. However, within seconds
of that anthem’s conclusion, “Grandiose”
is just slightly kissed by ska, and “Keep Rowing, Stupid”
borrows just enough from New Wave to make it another distinctive
track among a collection of stand-alone efforts. Excellent
guitar work highlights “She’s a Problem”,
and King’s ability to find harmony in the midst of chaos
is evident on “Copper to Gold” and “Monte
Carlo”. Honesty Lives Elsewhere is an oxymoronic title
in regards to this band, for Get Dead was collectively hit
by tragedy as one of Sam King’s closest friends committed
suicide prior to the recording of the record. The darkness
that permeates this collection is bravely honest and embodied
in the haunting “Ordnance” that closes Honesty.
Its delicate piano introduction strikes a particularly foreboding
chord when King says “Life’s easier if you don’t
plan to make it back”. Balancing jobs, families, and
other adult responsibilities can often ring the death knell
for bands, but get Dead seem to take the daily frustrations
of human existence and expel through smarty crafted, uniquely
structured punk.
 GUTTERMOUTH
- Got It Made (Rude Records www.ruderecords.com)
How can this be Guttermoth’s first new music in ten
years? Even more amazing is how the band plays punk rock that
will resonate with long-time (read old) fans and show the
millennials how it should be done. The six short blasts of
angst and disgust on Got It Made kicks off with “The
Point”, a track that shakes with energy from the oldest
of schools and is an instant gem. The hilarious lyrics and
filthy innuendos on “Freckles the Pony” contrast
the song’s childlike name and will either remind fans
or introduce people to the sharp, vitriolic sarcasm that always
makes a Guttermouth record an experience. “A Punk Rock
Tale of Woe” channels an early DK vibe as the band skewers
pouting punks with tired mohawks (“nice hair, fruitcake”)
and multiple felonies, while “Shitty Situation”
is ninety seconds of speedy, self-deprecating punk greatness.
The title track embodies the struggles of the working class
better than any self-congratulatory politician as no one listening
believes that any of us “have it made in the shade”,
plus it has a huge riff. The twisted family stories of “Old
Man” are brilliantly offensive and a perfect closer
to an EP that I pray only teases of what this band will continue
to release. Guttermouth is the band that makes this violent,
self-destructive world a bit easier to take.
 THE
LYSINE CONTINGENCY - Virtuous Sentiments (Soundcloud https://soundcloud.com/the-lysine-contingency/sets/virtuous-sentiments/s-rfakW)
Long Island’s The Lysine Contingency is not a band afraid
of taking chances. Their name refers to an aspect of Jurassic
Park in which the dinosaurs are rendered dependent upon the
Park staff for Lysine injections that will allow them to survive,
and the guys boldly label themselves as “progressive
metal”. Quite often, the second term is far more muddled
than the dinosaur issue: one man’s “progressive”
is another man’s unnecessarily complicated mess. Luckily,
this young band does err on the side of musical callousness
more than mathematical structures. Case in point is the five
minutes of “Illusions of Prosperity”. The song
has its moments of confounding noodling, but the heart of
the song is found within a raw, driving riff and furious vocals.
I love experimentation as much as the next metal fiend but
not at the expense of writing a good hook-as a person with
no musical skill, I already know how talented most bands are.
I want a memorable song, not a masturbatory demonstration
of guitar acrobatics, and when The Lysine Contingency streamlines
their assault on the opening “Residual Echoes”,
the result is highly impressive while still retaining an unconventional
approach to song structure. Alternating between clean and
harsh vocals makes “Counterfeit Impressions” memorable
and “Renouncing Excess” is a barrel bomb of a
song with pummeling drumming off set by expansive guitar work.
Bands of this ilk can occasionally outsmart themselves and
attempt to toss too many ideas into one equation, and while
there are moments on Virtuous Sentiments that could be trimmed
(at least a minute or so from “Rejoice”, for example),
The Lysine Contingency largely control themselves and do not
surrender to an overly self-aggrandizing delivery. “Overhead”
finds the band flying highest as they embrace subtle doom
elements before embracing a violent and highly technical death-metal
delivery. Virtuous Sentiments is an impressive introduction
to the world as The Lysine Contingency is looking to master
the tall order of balancing brutality with sophistication
and for the vast majority of this debut, they do so quite
adroitly. These guys will continue to harness and refine their
sound but there is clearly something potential special here.
 SLOUCHER
- Certainty (Swoon Records www.swoonrecords.com)
Sloucher may musically be a trio but it is truly the project
of Jay Clancy, known best for his work in Cayucas and Hibou.
The seven songs on Certainty were written largely on acoustic
guitar before being beefed up with the assistance of Jack
Hamrick on drums and Kyle Musselwhite on guitar, and the root
elements of the songs shine through quite brightly. There
are elements of country-fried, Americana twang on “Constant
Questions” and “Dear”, while “Dreams”
is a fittingly ethereal, hazy escapade. The EP never raises
its voice or alters tempos very often, instead creating a
steady stream of heartfelt, daringly personal songs that allow
the listener into Clancy’s life with brazen access.
The title track is a sinewy song that slides and hops its
way through four minutes of genuinely optimistic sentiments.
When Clancy emotes “I can’t wait to see her face
and for her to spend time with me”, he has the excitement
of a teenager before his first date and the authenticity of
his emotions makes the song infectious. The closing “Bigger
Than Me” has a subtle haunting quality, a mood that
is oddly difficult to describe but seems perfectly fitting
for the song. Clancy is a gifted songwriter who has the ability
to express complex emotions simply without making them cliché
or myopic; the songs are gentle and extraordinarily accessible
regardless of one’s musical appetite. With a style that
incorporates elements of performers from Costello to Dando
to Cobain, Clancy creates songs with a vast panorama and makes
them sound almost uncomfortably close at times. This is a
wonderful showcase for his talents and I certainly hope he
pursue this.
 50
FOOT WAVE - Bath White (HHBTM Records www.hhbtm.com)
Throwing Muses’ Kristin Hersh and Bernard Georges along
with drummer Robert Ahlers return as 50 Foot Wave with six
brilliantly subversive songs to challenge your conception
of what punk rock should be. Sounding very little like the
band that first made her an indie darling, Hersh snarls through
Bath White as noisy, complex song structures surge around
here. The opening title track begins with a steadily growing
riff and Hersh’s instantly recognizable voice with its
combination of innocence and fury until the song locks into
a crunchy yet melodic groove. Balancing the abrasive and the
harmonic is the theme of Bath White with “Human”
as the EP’s literal and figurative centerpiece: a swirling
mass of force, the song digs its claws into the listener’s
back and creates delicious agony until its thrilling completion.
“Ratted Out” marks a shift in the EP as this song
possesses dreamy, atmospheric qualities that allow the tracks
to breathe a bit more freely without losing any visceral impact.
“St. Christopher” begins with a rumbling, angular
explosion of intricate rage before shifting into a wistful
landscape only to return to its initial fury, all the while
Hersh, Georges, and Ahlers maintain complete control of this
majestically sophisticated effort. A song of a similar ilk
is the concluding “Sun Salute”, which hits even
more forcefully than its predecessor while 50 Foot Wave injects
more otherworldly elements into its construction. Dark, ambient,
and musically vehement, Bath White was is exactly what I expect
to hear from 50 Foot Wave but even better than I could hope.
 GONE
IS GONE s/t (Black Dune Records www.GoneIsGoneOfficial.com)
Beginning as a duo of multi-instrumentalist Mike Zarin and
Mastodon bassist Troy Sanders when they were crafting music
for movie trailers, Gone is Gone quickly coagulated into a
four piece with the additions of drummer Tony Hajjar from
At the Drive-In and Queens of the Stone Age’s Troy Van
Leeuwen on guitar. The music of this band is just what one
may expect with such a diverse breadth of musical talent:
Namely, dark, layered, and highly emotive songs that exude
power both in terms of musical force and the scope of their
depth. The opening “Violescent” is a slab of thunderous
guitar with soaring passionate vocals. It is an ideal introduction
to the band, as it establishes the eerily intimidating nature
of the record. “Starlight” is celestial in its
landscape with dazzling interplay among the guitarists, creating
a cascading wave of controlled force held together by ethereal
keys and Hajjar’s bombast. While “Stolen From
Me” and “One Divided” are more traditional
hard rock, metallic-tinged fare, “Character” and
“Recede and Enter” are atmospheric, haunting tracks
best designed for psychologically thrilling works as both
efforts lure the listener into a darkened room and are equally
terrifying and intriguing. The six minute closer “This
Chapter” is an encapsulation of Gone Is Gone as it begins
with morose keys that give way to sullen guitar playing and
gothic vocals. Blending elements of Tool, the Sisters of Mercy,
and Bauhaus, Gone is Gone is a fascinating act that rightfully
realized that their visions should not be limited to film
trailers, but needed to be developed into full length experiences.
 DEAFNESS
BY NOISE - A Long Way Down (Strength Records www.strength-records.com)
I can truly assert that Deafness by Noise is the finest Croatian
hardcore band I have heard in all my years as a music fan.
Granted, they are also the only Croatian punk band I have
heard, but they represent their nation well on A Long Way
Down. The eleven tracks here incorporate a significant New
York tough-guy hardcore vibe, most obviously on “A Tribute
to Our Friend” with support from members of Sick of
it All. Everything here is an easy sing along with gang vocals
dominating the choruses of “Major City Brain Damage”
and “85 Knots”. However, rather then simply reproducing
American hardcore, Deafness by Noise mixes up their sound
with a hip-hop flavor on “All Systems Down” and
even a sax solo on “Sledge Hammer”. This willingness
to experiment is a courage born of age and Deafness by Noise
has been a regional staple since 1991. These guys have opened
shows for an A-list of the finest hardcore, punk, and metal
bands imaginable, and I am sheepishly self-conscious about
my lack of awareness of them. It is obvious that Deafness
by Noise is not interested in reinventing hardcore music,
but the aggression and intensity heard on A Long Way Down
is truly authentic and the byproduct of decades of remaining
loyal to a sound. The next time you find yourself hankering
for some classic sounding hardcore, put down your well worn
copy of Victim in Pain and give A Long Way Down some love.
 PLOW
UNITED - Everything 7” (33 Forever Records www.33foreverrecords.bandcamp.com)
Plow United’s Three is a triumphant return for a band
that too many people missed the first time around. “Everything”
is available on that release and is a punk-pop lover’s
dream with its hook-filled chorus and buoyant delivery from
vocalist Brian McGhee. Written by bassist Joel Tannenbaum,
the song charts all the different manifestations of a person
over the course of one’s life. Whether it is a communist,
a libertarian, junkie, or a vegetarian, McGhee states without
irony that he “just wanted to do the right thing”.
“What do we want? and when do we want to know?”
are inquiries that surmise the questions that so many have
about our lives regardless of the age at which we currently
find ourselves. “’39” is a cover of old
Queen song from A Night at the Opera, and Plow United makes
this track purely their own which is quite a challenge for
music by Brian May and Freddie Mercury. Featuring the ubiquitous
Mikey Erg on backing vocals, “’39” makes
the scant two bucks the band is asking for this single on
Bandcamp a solid investment.
 SATELLITE
GO- Kate 7” (33 Forever Records www.satellitego.bandcamp.com)
Falling somewhere between New Wave at the dawn of the 80s
and the explosion of indie-pop of the 90s, Satellite Go play
stripped down rock n’ roll with an emphasis of big hooks
and rough and tumble guitar playing. “Go Back to Sleep”
is a song that could be a product of anyone from Del Fuegos
to fellow Wilmington, Delaware residents Plow United to Iron
Chic; it’s just a great song about the reality of life’s
frustrations (“Time to go to work/sometimes it really
tests my will. When I say I hate it, I hate it, but I gotta
pay, pay, pay those bills”). “Blackout”
has a darker tone and reveals a greater vocal range of Tommy,
but the song remains a showcase of guitar swagger at its core.
The title track is a soaring anthem of broken, volatile love
(“The court told you to stand 150 yards away but tonight
you got come drinking down here”), and “Constant
State of Devotion” is a classic slab of 90s indie-punk
with a gritty low end rumble and richly harmonic vocals. Yes,
there seems to be an endless line of bands channeling the
(first set of) Clinton years, but make some room for Satellite
Go.
 THE
MOLES - Tonight’s Music (Fire Records http://www.firerecords.com)
This Australian outfit led by Richard Davies officially feel
off the global music radar when they broke broke up in 1993,
and Tonight’s Music marks the band’s first new
music in more than two decades. The sprawling twenty-four-song
collection is an assortment of oddly constructed pieces of
sporadic length that are the hallmark of Davies’ musical
visions. While there are brief flurries of guitar crunch,
such as the obtuse “Stray Dog”, much of Tonight’s
Music floats in and out with such brevity that one is usually
intrigued but also puzzled. “Slings and Arrows”,
“Dreamland”, and “Wear and Tear” are
each uniquely melodic as they seemingly upend what traditional
song structures are intended to be, but they also feel as
if they are rudimentary ideas that are yet to be fully developed.
I have this reaction too often to Tonight’s Music, particularly
with “Space Fever”, “Are You Free Tomorrow”
and “KBO”. However, there are also moments of
abject beauty, such as the remarkable warmth of “Beauty
Queen of Watts”. I understand that the Moles were legendary
for their psyche-rock experimentation and intentional rejection
of conventional arrangements but I am just not the person
to be taking this in, as I look for more pronounced rage and
bluster. Progressive and complex, The Moles have a distinctive
sound to be applauded by a specific audience-not me, per se,
but an audience nonetheless.
 PLOW
UNITED - Three (Its Alive Records www.itsaliverecords.com)
The reunion of Plow United in 2011 was widely celebrated and
for good reason, but in 2016, Plow United sounds more focused,
energized, and vital then ever. Much of the lyrical content
of Three addresses getting older and looking back with appreciation
rather then regret, delivered with the passion of a teen by
Brian McGee. He offers veteran insight and life lessons on
“We Should Take Time” as he declares that “We
should take time/to see each day defined through the candor
of a child’s eyes”, and “Break the Barrier”
(“When we listen with our hearts and minds/We take a
chance to see the other side”). Short, sharp blasts
of richly harmonious punk abound for fourteen sweat soaked
efforts, highlighted by “Going Dark”, an anthem
that could easily fit in Plow United’s set lists in
1994, and the rowdy “Radio” which admits ultimately
that “It sure appears that radio is dead”. The
centerpiece of Three is the duo of “Momma, I’m
Not Doing Well” and “Illustrations”-two
bold, deeply personal revelations about life’s struggles
played with a free flowing intensity that feels like an exorcism.
In addition to the lush backing vocals of Emily Bornemann
(who also significantly impacts “Let Me In”) “Illustrations”
hears McGee referencing Edward Gorey, asking repeatedly “is
it art?” and offering this heart-breaking couplet: “The
moment I’d cashed in my relevance/was the moment I’d
outlived my usefulness”. “Bright Eyes” includes
a blazing riff from McGee accompanied by a blistering low-end
punch from Sean Rule and Joel Tannebaum. As one listens to
Three it is difficult to not lament the status of Plow United-a
band that should have been far more acclaimed during their
first inception, but would these current songs exist if this
trio had become the instantly recognizable names they rightfully
deserve to be? It is an impossible question, so all one can
do is be appreciative of the incredible talent in display
here.
 AL
SCORCH - Circle Round the Signs (Bloodshot records www.bloodshotrecords.com)
Al Scorch has been kicking round the diverse Chicago music
scene for many years now, yet his brand of country-fried,
acoustic aggression sounds fresh and riveting. Reminiscent
of a gravel-voiced Johnny Cash on “Lonesome Low”,
Scorch displays raw humanity that would be contrived in
the hands of a lesser talented player. The somber “Poverty
Draft” is a modern protest song, invoking the finest
moments of the Vietnam era as Scorch points out the disconnect
of being a young person going off to war but returning to
a country that offers little assistance for those attempting
to readjust to civilian life. Kids are told that war is
“just like a video game” and killing is necessary
“so that others may live”, but so little is
done for those who sacrifice so much. Other moments on Circle
Round the Signs are more energized but not less engaging,
particularly the opening “Lost at Sea” and nearly
frantic pace of “Everybody Out”. “Insomnia”
is my favorite of the bunch, telling the story of insecurity
and worry for which there are not enough pills in the world
to bring a respite. The front porch style of “Want
One” embodies classic Americana with a lengthy fiddle
solo but adds a distinctive injection of speed. Scorch possesses
the most valued of talents for this type of music-he is
a gifted raconteur who paints crystalized images through
vividly descriptive language, bringing characters and scenarios
to life. “Slipknot” is the musical equivalent
of an old Hee-Haw episode but the track deals with the manufacturing
of a hangman’s noose, sardonically juxtaposing feel
good music with wonderfully dark verses. Do not allow the
banjo to become disconcerting-Al Scorch is a hard-hitting,
deeply passionate player with equal amounts of angst and
soul. Circle Round the Signs is not a record that simply
dissolves from memory after a listen, as the haunting ballads
and poignant testimonials stay with the listener long after
the final strum of “Love You ‘Cause You’re
Perfect” fades away. Add Al Scorch to the list of
significant, contemporary American songwriters.
 THE
BACKSEAT ANGELS -Saturday Night Shakes (Rum Bar Records
www.rumbarrecords.com)
Playing Merseybeat for the 21st century, The Backseat Angels
are a rock n’ roll band that just loves rock n’
roll. The lyrics can be inane but the catchiness is irresistible.
The opening “My Baby Wants to Brainwash my Mind”
sets the table for Saturday Night Shakes perfectly, as the
Angels tap into the same sweet, surf-tinged harmonies that
the Ramones loved oh so much, only without the blazing speed
or neck-snapping intensity of the boys from Queens. The Backseat
Angels have glam elements of T. Rex with just a smattering
of grit compliments of Eric Knoxx. I am completely enamored
with this band until the ultra-creepy “School Bus Driver”.
Even the innocent refrain of “I’ve got a crush
on you” comes across predatorily when one hears the
adjacent lyrics about picking a girl up early in the morning
and bringing her home late in the evening. That one aside,
“Saturday Night” would bring a smile to a corpse
and “To Be a Better Man” sounds like a Blues Magoos
B-side with its towering chorus and sweeping hook. “Hard
to Tame” is another rollicking 50s rock nugget that
would have had Frankie and Annette shimmering on their beach
blankets, and “Crazy Like a Fox” is a stomping
ode to a girl Knoxx wants “to take out”. There
is a perpetual purity throughout the record that simply cannot
be imitated-Saturday Night Shakes sounds as if the guys in
The Backstreet Angels stopped listening to music around 1975
and all they want to do is have fun. “Stupid Brats”
and “Peppermint Girl” are wonderfully refreshing
in their no frills, unapologetically straightforward methodology,
eschewing sophistication for energy and authenticity. The
Backseat Angels have timed this debut release perfectly for
not only is this an ideal summer soundtrack, but in an age
in which laptops and studio tricks dominate the musical landscape,
Saturday Night Shakes brings people back to rock’s primal,
endearing roots.
 PSYCHIC
HEAT - Sunshower (High Dive Records http://www.highdivekc.com)
The state of Kansas has largely been an enigma for most
of the country-the last time it truly mattered may have
been in 1856 when it regarded as “bleeding Kansas”
due to nearly two hundred deaths related to clashes over
the issue of slave ownership in the state. Since then, it
has witnessed Dorothy swept away to Oz and the rejection
of most progressive reforms. Therefore, it is with some
amazement that this state produces a band like Psychic Heat.
Sounding like an immensely talented 60s garage band, the
four piece rattles and drones through a collection of fuzzed-out,
noise-tinged rock accented by heavy doses of kaleidoscopic
guitar and smoothly harmonic vocals. J. Even Herd blasts
away throughout Sunshower but I am particularly taken with
his range on “In Two” and the atmospheric ballad
“Here Again”. While Psychic Heat has a unique
sound collectively, there is tremendous variation among
the tracks. The opening “Anxiety Eater” is more
90s shoegaze than 60s experimentation, while “Elixir”
possesses a distinctive pop sensibility seemingly reserved
solely for that effort. The ebb and flow of “Whale
Falling” connotes The Who’s more expansive moments
and “How Many Licks” is the equivalent of the
Dave Clark Five on steroids. Heard and his mates Tanner
Spreer, Sam Boatright, and Ricky Barkosky really let loose
on “Des Tortion”, firebrand of song that cuts
a vicious swath of ground through distortion-soaked force.
After offering a brief respite through the serene instrumental
that bears the record’s name, Psychic Heat close with
a complex, six minute opus in the form of “Moment
Moves On”. After a slow build up, the song locks into
a driving groove while waves of feedback and guitar squall
float by effortlessly. Balancing the complex in a manner
than makes it sound unpretentious is not easy, but Psychic
Heat does so without difficulty, making Sunshower a highly
enjoyable listen.
 MOON
BROS. - These Stars (Western Vinyl www.westernvinyl.com)
Matt Schneider graduated from high school in 1998, but after
a listen to These Stars, I am beginning to think it was 1908.
Soulful, mournful country twang played with a rich Americana
tradition, These Stars is a beautiful example of modern folk
if that is what one is after. The title track strolls at a
glacial pace, accenting each pluck of the strings and pronouncement
of syllables. Dominated by heart-wrenching songs that are
sans lyrics, Schneider and his accompanying payers, Dan Bitney,
Matt Lux, and Sam Wagster, each highly accomplished musicians
in deeply respected bands themselves, bring the Deep South
and the shaded woodlands of America to listeners via Chicago.
Known historically for a legendary blues and jazz scene, Chicago
is also fostering products like Moon Bros and the result is
extraordinary. Every moment on These Stars seems both free-lanced
and well versed as if Schneider has mastered the oxymoronic
style of controlled improvisation. “Oh So Cold”
and “Wool Blankets” posses a subtly profound spirituality
while “Blues” may have a listener looking to start
the construction of a log cabin before it concludes. The closing
“ACDC” could not be further removed from the band
with which it shares a name, as Schneider ever so gently elevates
his weathered voice above a lonesome slide guitar, generating
an atmosphere of palpable intensity. Somewhere between a hootenanny
and a campfire sing-along, These Stars delivers a slice of
American innocence via music at a time when the country is
particularly jaded, nasty, and brutish. I just hope people
choose to pay attention.
 THE
SPLIT SECONDS (http://www.thesplitseconds.com)
Playing a style of punk light years beyond their age, The
Split Seconds bring jangly, early-era American punk with supple
harmonies. The result is music designed for a good time but
still infused with gritty intensity. The warmth of “Come
to Mary” is engaging, but the band truly shines on the
rambunctious “Cutting Out” and the surf-inspired
“Half of the Time”(featuring the modern love conundrum
lyric of “she loves her girlfriend more”). Vocalist
Drew Champion has a distinctive style that pays homage to
Richard Hell with his dry, unaffected delivery. Alex Massi
is an effortlessly smooth guitar player who shuns traditional
DC squall for a clean technique, occasionally caressed by
fuzzy distortion, particularly on “If I Was You”.
The low-end duo of Sean Peterson and Tristan Sahwell on drums
and bass respectively anchor each of the eleven tracks with
equal aplomb, whether Spilt Seconds choose to be poppy on
“21 Months ”or sweetly aggressive on “How
Was I to Know” and “Information Overload”.
The Split Seconds redefined the DC sound by going back to
punk’s more angular origins, trading in ferocity for
exuberance and in the process making a very strong showing.
 THE
GIRAFFES - Usury (http://thegiraffes.squarespace.com)
I knew nothing of the Brooklyn-based Giraffes and I openly
admit my shame in my ignorance. Now unleashing their sixth
album, The Giraffes display the type of music I love; namely
aggressive, guitar-laded bombast. However, Usury does not
simply bludgeon the listener over the head with the same trick.
Rather, the Giraffes show off their wizened skills on the
bluesy “Product Placement Song” complete with
dazzling, highly sardonic lyrics. This blending of the rough
and the enlightened is also evident on “Washing Machine”
as Aaron Lazar bellows how people “can always stand
united when the terrorists attack”. This effort revolves
around a steady bluster with explosions of robust force. Each
of the six pieces has a similar heaviness, but each is also
equally smooth in their directness. Powerful and massive in
scope, tracks such as “Blood Will Run” and “Facebook
Rant” are cavernous and expansive, melding beauty and
precision with blunt force. “How it Happened to Me”
possesses a classic blues style while “White Jacket”
gavottes with jazz-inspired swagger. The Giraffes have maintained
a relatively low profile throughout their careers but music
as excellent as this should not be ignored.
 SAVAK
- Best of Luck in Future Endeavors (http://shop.comedyminusone.com)
This six piece has one heck of an impressive collective resume
including time with Obits, The Cops, and Silent Majority just
to start. The work on Best of Luck ranges from jangly, pop-infused
punk in a Rezillos strain to more aggressive pieces, but everything
here reverberates with an abundance of kinetic energy. Beginning
with a slowly developing intro, “Alive in the Shadows”
rattles and shakes with an imposing low end; this naturally
makes sense when one learns that Savak features two drummers
in the forms of Matt Schulz and Benjamin van Dyke. “Reaction”
is the centerpiece of the first side of the record and for
good reason: it marks the perfect combination of hook-fueled
pop and jumpy teen angst. “Early Western Traders”
has a more abrasive riff that is perfectly balanced by soaring
sax playing and a chorus that drills itself into your brain
and makes its home there for hours after the song is done.
The subtle surf vibes on “Knock Don’t Run”
accent darker lyrics, as Michael Jaworski emotes, “Darkness
hides/Right behind TV light/In bars at night/Drinking for
our sanity”. This ability to balance the uncomfortable
with the easily palatable is the band’s strength and
makes all ten songs highly individualized while also cohesive.
The band stretches their sound on “Call it a Night”,
a danceable, sweaty anthem best played just as the club is
about to close but none wants to go home. Savak is the band
that plays the party after the after party as they can maintain
energy for any audience at any time of night. This is just
awesome.
 NOT
BLOOD PAINT - Believing is Believing (http://www.notbloodpaint.com)
Brooklyn’s Not Blood Paint is more than a musical experience-this
is multisensory art so nuanced that one can nearly see the
theatrics while simply listening to Believing is Believing.
The introductory “Take Another Chance”, with its
whimsical, nearly child-like opening lines, unveils a complex,
at times labyrinthine, collection of melodic visions that
range in intensity and structure, yet are each held together
through the dizzying abilities of the four members. “One
By One” is operatic in its scope, while “Borderline”
is highlighted by moments of suffocating density accented
by ethereal breaths of wistful space. “Play Nice”
is another track with a dream-like quality, but the guitar
playing sets a tone that is more menacing than soothing, as
if one if traveling through a hallucinogenic fog in which
reality becomes illusionary and there is no guarantee that
life will ever again return to the original misconception
of normality. “The edgier, less serene “I Am an
Angel” revolves around a massive opening riff which
births a song of limitless panoramic scope and vocals that
are equally sensual and menacing, resulting in a song that
can appear exquisite while wallowing in filth. This perpetual
dichotomy of beautiful and revolting makes Believing is Believing
an astounding ride without a label. There are too many potential
references to list, but for those who believed that truly
originally art-rock was a faded, if not entirely deceased
style, Not Blood Paint will shatter that assertion and likely
inspire a new army of future genre-smashers. “Erotic
Loving Mercy” is fittingly titled, but even the eroticism
is tinged with an intimidating ambiance that promises that
nothing here will be gentle. Shared vocals and flawless musicianship
are the selling points of each work here, but the closing
“Imbalance” is an entire album’s worth of
material for most bands condensed into one scintillating track.
I cannot predict how many people will be able to fully appreciate
the unique visions of Not Blood Paint, but the confusion this
band will generate for most will certainly be matched by the
undying adoration of the few that grasp on tightly. (Believing
Is Believing will be released on June 17.)
 SPEED
THE PLOUGH - Now (Coyote Records www.coyoterecord.com)
I am stunned by my enjoyment of this record. As “SOS”
opens with delicate piano, I am convincing myself that this
will be a struggle as Speed the Plow does not appear to be
what I look for in a band, namely, skull-crushing brutality
or speed. However, this thought quickly dissipated as I finally
listened to what was going on here, and this experienced Jersey
act plays meticulously crafted, truly heartfelt songs of sweeping
beauty. “SOS”, with its refrain of “you
saved me” is instantly captivating, but the tranquil
“Buttermilk Falls” and the raw emotion boldly
on display on “Miss Amelia” also captivate me.
John and Toni Baumgartner began this project in the early
80s and remain the centerpiece of Speed the Plough. However,
the wondrous talent around them has the ability to play soulful
jazz on “On a New Day”, genteel precision of “Midnight
in the World”, the jagged “telegraph”, and
the guitar laden, rollicking “More and More”.
John’s piano is front and center on the majority of
the work, with Toni and Cindi Merklee providing stirring female
vocals over the top of complex but easily memorable arrangements.
“Be With You” has a graceful jangle to the guitar
playing that is soft yet also sublime, generally summarizing
the band as a whole. Each song, while collectively recognizable
as the band’s sound, has a distinct personality and
delivery that makes Now a vast demonstration of battle-tested
veterans collaborating with a nearly flawless execution.
 GRIM
DEEDS - Hails (grimdeeds.bandcamp.com)
There may not be a more appropriate time in world history
than right now for a new record from Grim Deeds and Hails
sees the band continue their superb metamorphosis into Screeching
Weasel. While the opening “Jerk Off Therapy” speaks
for itself, I laughed out at “Trop Punk” which
celebrates punk bands from Indonesia while bluntly condemning
U.S. punk acts as boring. Sixteen songs may seem like potential
overkill but Grim Deeds flawlessly alternate between hook-stuffed,
Joe Queer-worshipping punk and acoustic gems. The latter includes
soon to be live highlights “Surrounded by Assholes”,
which has a refreshing recognition of one’s own fault
when Deeds admits that he “ just may be one myself”,
“Bullshit Artist”, and “Nuke ‘Em High”,
which is loving tribute to one of Troma Productions finest
moments. The quieter moments are certainly worthy of celebrating,
but “Showry”, a song dedicated to a wonderfully
gifted performer who has a penchant for “making out
with a squid” and “rolling around in raw meat”,
as well as “My Real Doll” (“she may look
dead in my bed but my real doll keeps me warm”), are
two flawlessly executed slabs of melodic punk that demonstrates
how this band continues to improve with each release. “Diligent”
includes undeniably rich, harmonious backing vocals over the
top of an aggressive riff, while “Whole Foods”
blasts away for sixty exhausting seconds. There is a theme
of Deeds being tired of negativity in the world, be it in
the form of “The Braindead Masses” or “Moving
to Kepiland”, two tracks that have an exasperated Deeds
venting about the ugliness and ignorance that is so prevalent.
However, this is not a lecture about how to live a better
life; it is simply a cathartic release of frustration and
rage with the world. Deeds does not pretend to have answers,
he just wants to express how downright stupid so many appear
to be. The darker “Stop Hitting Mom” would have
been too much of a downer on which to complete this disc,
so listeners are treated to a live version of “Secret
Vasectomy”, a tune appropriately written just before
Deeds found out that he was going to be a father. Hails is
a profusion of buzzsaw guitars, gloriously sardonic lyrics,
and shrewdly crafted songs that elevates Grim Deeds beyond
just being clever and poises them as a legitimate force in
American punk.
 
HAYBABY - Blood Harvest/Sleepy Kids (Tiny Engines Records
www. www.tinyengines.net)
Haybaby makes the listener feel continuously uneasy and it
is thrilling. Blood Harvest is intriguing in its darkness,
particularly the breadth of emotion of “Joke/Rope”.
There is a tension that throbs and propels these songs, from
the opening acknowledgment of self-doubt in “Stupid”
to the slow build up within the dense “Kramer/Dreams”.
This sounds like a band that would have been a centerpiece
of a Kill Rock Stars compilation as Haybaby meshes anger with
profound emotional intelligence. The fury of “What it
is” is visceral in its primal angst, as the band thunderously
hammers away for a scant yet exhilarating two minutes. This
track is then brilliantly juxtaposed with the meandering “Pig”,
a thick relentless block of gloomy, anguished angst. The song
slogs through muddy slop with inexorable persistence and is
reflective of the band in general; a formidable and challenging
listen.
Sleepy Kids is the record that first introduced most people
to the impressive talents of Haybaby, and should be a mandatory
listen for those charmed by edgy, expertly crafted sludge-punk.
“Old Friends” opens the disc and is immediately
followed by “New Friends” and both songs are nervous,
kinetic tracks that overflow with energy and emotion. Distorted,
artistic and deftly melodic, Haybaby is a remarkable find.
“Pizza party” shimmies and convulses with more
panicky excitement while “her” is a more controlled,
mid-tempo track build around a thunderous bass line and splashes
of abrasive guitar playing. This formula also carries “Shy”,
while the slow, deliberate build up of “Edelweiss”
has a majestic pay-off. Not afraid of the occasional pop hook,
Haybaby offers “Elevator Song” as a bit of diversion
from the fuzz and musical disfigurement. Noisy, heavy, yet
shrewdly melodic, Haybaby should be your new obsession.
TENEMENT - Bruised Music Vol. 2 (Grave Mistake Records
www.gravemistakerecords.com)
This Wisconsin act has a vast catalogue of music for a young
act and Bruised Music Vol. 2 is a collection of tracks that
are not found on Tenement full-lengths. For those of us are
new to this band, one must ask that if this is the material
that does not make the cut, how impressive must their records
be? “Taking Everything” is a perfect opening track
as it bounds out of the gates with a wondrous energy, reminiscent
of noisy yet pop-infused 90s indie punk a la an act like Sinkhole.
“The Block is Safe Again” has the quirky catchiness
of the Archers of Loaf or Pavement’s finest efforts
and I was quickly in love. While “Wouldn’t Let
You Go” includes an ambient conclusion that hovers for
a bit too long, what preceded that vacantness was effervescent,
humming guitar goodness. This willingness to experiment is
heard again on ”Jet Slug” as gentle bells caress
the air and do little more than generate relaxation or bemusement,
depending on one’s mood. However, Tenement quickly gets
back on track with “Your Life or Mine” and the
rough and tumble “The Way it All Seems”. The thunderous
bass hook and muddled vocals of “Violent Outlet”
make it my personal favorite and it stands in such impeccable
contrast to the buoyant “Daylight World” and the
peculiar “Book on Hell and Sermons on TV”. The
eccentric nature of tenement demonstrates not only a willingness
to adhere to prideful nonconformity but also a deep reserve
of musical influences and talents. Use the Internet for good
instead of its typical evil and make this band huge.
WHITE MILES - The Duel (Long Branch Records http://longbranchrecords.bigcartel.com)
White Miles loves old fashioned rock n roll aesthetic in which
musicians are supposed to plug in and bash away with the hopes
of leaving the unsuspected speechless. This does happen at
points throughout The Duel as Medina and Lofi sound like a
band ten times larger than simply a duo on the rugged “In
the Mirror” and the fiery “Crazy Horse”,
two songs with massive hooks. This mysterious two-piece has
been reticent about their backstories but has a clear affinity
for bluesy, sludge rock, heard with thunderous clarity on
“Keep Your Trippin’ Wild” and the uncomfortably
erotic “Heid”. The latter is among the few moments
when Lofi has a song to himself, and while his menacing delivery
is engaging, I greatly prefer the soaring delivery of Medina
on “Rivers of Gold”, another blueprint in wall-rattling
force, or her sizzling sensuality on “Sickly Nerves”.
The one stumble comes in the form of “You Don’t
Know Him”, a spoken word piece that falls dangerously
flat. However, that aside, there are many more highlights
than missteps, and while White Miles have slogged through
Europe, one does hope they make it to the U.S. soon.
ANIMAL DAYDREAM - Citrus (Jigsaw Records www.jigsaw-records.com)
Animal Daydream is a Swedish duo who clearly adores American
pop from across the decades and unleashes four distinctive
pieces upon the indie world. “Citrus” is a jangly,
light-hearted, late-60s nuggets that seems innocuous at first
but sneaks into your brain through its meshing of innocence
and warmth. The soaring harmony of the chorus jumps from the
late 60s to the staples of late 70s AM radio. The lush “Sun”
incorporates an abundance of harmonious beauty and delicate
guitar playing entirely devoid of crunch or angst, replacing
those traits with a gently kissed melody. With deliberate
vocals and guitar work that hovers with a serene fragility,
Animal Daydream is a fitting moniker. The four tracks have
a wistful quality that is equal part shoegaze and classically
honed soft pop. This is not something to which I would normally
run, but Daniel Friudlund Brandt and Alexander Wahl have an
astounding gift for vocal interaction, highlighted by the
beautiful “in My Room”. This should find a devoted
audience throughout the States.
THE HERMS - Welcome All Tourists (Narnack records www.narnackrecords.com)
Welcome All Tourists is the Herms’ first record in ten
years, moving their center of operation from the Bay to Los
Angeles, but the band’s sound remains consistent. The
opening instrumental “parades” set the stage for
a wildly engaging collection of quasi surf punk with big hooks.
“Sounds Below” adopts a Doors-style vibe, while
“Get On (Part II)” has a densely harmonious structure
that demonstrates the vast writing skills possessed here.
The boisterous “Read/Set ‘94” gets my vote
as the highlight here with its roaring appreciation of indie
rock ingenuity. The noisy bombast of “Bezlo” is
next in line of personal favorites with its sense of confusion,
waves of fuzzy guitar and deliberate chaos. “Chair and
the Submarine” rattles and rolls like classic Dick Dale
sitting in with one of the great surf acts, man or Astroman?
This energy is matched by the volume and aggression of “Nightcave”.
“Cousins” may be more reserved in nature, but
its subtle country flavoring provides a distinct personality
trait that is both out of place and right in line with the
philosophy of the Herms. “A Light Away” is a breathy,
Beatles-esque track that pensively fades away and the record
closes with Autopos”, a song featuring the musical structure
and tone of a classic 80s video game theme. There is truly
a little something for everyone here, so all musical tourists
can find a home.
PINKWASH - Collective Sigh (Don Giovanni Records www.dongiovannirecords.com)
Pinkwash is a Philly act with deep roots in DC and those influences
are evident throughout Collective Sigh. The noise-punk-ambient
duo of Ashley Arnwine’s and Joey Doubek make music that
is stirring, angular, lush, and confounding, and often this
is all within one song. The challenge here is to avoid falling
into overly simplistic traps of rattling off possible influences
because the ultimate end product of Pinkwash stands alone.
The opening “No Real Witness” begins with a ball
of noise before finding itself as a metallic jackhammer of
blunt force, while the dark, nearly threatening “Sigh”
is a uncomfortably reserved song with Arnwine’s breathy,
muzzled repetition of “inhale, exhale” over a
monotone throbbing bass line gives the song a claustrophobic
nature. “Metastatic” has a dynamic energy that
transcends genre, while “Gumdrop” flirts with
traditional hooks and celebrates the power of heartfelt vocals.
To that end, Doubek offers his soul to the listener throughout
all of Collective Sigh, but perhaps most powerfully on “Burning
Too” and “Space Dust”, yet each track presents
a unique version of Doubek’s verbal acumen, as the prior
is a primal, vicious delivery and the latter is more tempered
but equally impactful. This ability to reinvent themselves
within the same collection of ten songs makes Pinkwash perpetually
interesting and challenging, two traits of which there is
a dearth. Frightening without being formulaic and noisy with
a purpose, Pinkwash is another reason to celebration the lasting
genius of Don Giovanni records.
 A
HOUSE SAFE FOR TIGERS s/t (Headless Actor Records ahousesafefortigers.bandcamp.com)
Delicate, genteel, and nearly impossible to appropriately
label, A House Safe for Tigers is the product of two men with
diverse professional musical backgrounds. Mark Costantino
and Brandon Delmont have intriguing resumes, but their collective
vision for A House Safe for Tigers transcends any of their
previous incarnations through courage to challenge contemporary
musical trends with a record of highly melodic, but atmospherically
dense soundscapes that can be both haunting and richly beautiful.
The opening “Entrance” does welcome the listener
with open arms and an engaging smile, while “Ann Marie”
(a track later returned to in a more stripped down performance
to close the record), and “Search Lights” are
expansive, majestic works that germinated from of all places,
Costantino and his ukulele. However, while no one will find
“Tiny Bubbles” anyone on this record, A House
Safe for Tigers can be bubbly at times, as “I’ll
Take the West to See You” indicates. The cover of Luna’s
“I Want Everything” is fitting, for that band’s
chameleon like-qualities resemble the sinewy, introspective
work. “The Pines” is my favorite of the group
here, due to its pristine beauty and flawless delivery. Delmont
layers musical blankets over Constantino’s vocals, allowing
the lyrics to become another tool to intensify the ambiance
of the work. This is a record that makes me appreciate writing
for Jersey Beat, as I may never have found this without it
arriving at my home, and that would have been my loss.
 EUREKA
CALIFORNIA - Versus (HHBTM Records hhbtm.com)
I can almost smell my old college radio station as I listen
to Versus, the rd record from Eureka California. Marie A.
Uhler and Jake Ward are a pair of burgeoning musical geniuses
with an ability to capture the mundane and the anxiety-riddled
aspects of existence that dominate daily life. When Ward
declares, “when I’m dead, you’ll get the
whole house to your own” in “Cobwebs on the
Wind”, he is announcing to the world that one of the
great bands has arrived. The bass-heavy “Caffeine”
stands next to the acoustic “Everybody Had a Hard
Year” in which Ward declares bluntly, “All of
you’re your other heroes are with Tennessee Williams
and they’re pushing up weeds” perfectly summarizing
the disgust and heartbreak that comes with recognizing the
emptiness of most realities. The beautiful “I Will
Write Mine Over the Potomac” moves easily from reserved
to abrasive as Uhler and Ward play as a singular unit, and
while the feedback and distortion clearly indicates how
this pair has studied the finer points of 90s indie rock,
there is also a pure punk aesthetic that is wildly appealing
on “Sign My Name with an X”. The raw “Sober
Sister” hears Ward announce that “summer’s
here and the time is right for getting black out drunk in
the street”, concluding another song of bitterness
and difficult truth. The finest work on the record is the
acoustic gem “Fear and Loathing in The Classical City”;
the song is a clinic is brilliantly scathing songwriting
for those who appreciate sarcasm and bitterness. A boldly
honest and revealing self-analysis, Ward’s voice nearly
quivers at times as he seethes with emotion, acting as a
perfect metaphor for a band so driven to be heard that their
bodies cannot contain their talents.
 GREAT
LAKES - Wild Vision (Loose Trucks Records www.greatlakesbandbencrum.bandcamp.com)
Ben Crum has been out in front of Great Lakes since 1996,
and he is a man who works at a deliberate pace to create his
craft. Great Lakes has released five records in twenty years,
but the passion one hears on Wild Vision makes the wait worthwhile.
Much of the material is accented by a country twang, particularly
on “Kin to the Mountain”, “Wild Again”,
and the majestically sparse “I Stay, You Go”.
These efforts harken back to Crum’s days in Athens,
Georgia and one would never imagine that Great Lakes have
called Brooklyn home for the past fourteen years. The rough
and tumble swagger of “Beauties of the Way” is
a highlight here, as a galloping backbeat supports sterling
guitar playing and lush vocals. Crum often employs a traveling
circus of players, but the group that performs on Wild Vision
is a collection he should consider holding on to for the foreseeable
future; one only needs to hear the chill-inducing, gritty
reality of “Blood on my Tooth” to appreciate the
vast abilities of Crum and his cohorts. The closing “Shot
at and Missed” is a rollicking conclusion to a record
that takes elements of folk, country, and rock to make a celebratory
record of American music.
 WITCHING
WAVES - Crystal Café (HHBTM Records www.hhbtm.com)
So you think you are jaded huh? Heard it all, seen it all?
No one is more disgusted, dissatisfied, and disenfranchised
than you? Well, sit down, pal, because Witching Waves make
even the most hardened cynic seem downright giddy, and that
is what makes this band so incredible. The loud/soft dynamic
and fuzzy guitars that dominate Crystal Café are both
familiar and distant, best embodied on “Anemone”,
a song that slowly builds and then just as seamlessly deconstructs,
leaving only a gaping hole of where sound once was. It is
this apposition of the recognizable and the indescribable
that carries “Seeing Double”, “Pitiless”
and the soaring “The Threat” with Emma Wigham’s
vocals dominating that latter. Bathed in distortion, Crystal
Café reaffirms the power of truly independent music
when played by people interested only in generating real emotion
and not a hash tag. “Red Light” is another effort
that slowly sneaks up upon the listener with a riff that is
easily digestible before the concluding salvo of vicious guitar
leaves one exhausted and stunned. Witching Waves continuously
barrage the listener with unapologetic blasts of life’s
inconsistent frustrations and the idea that hopelessness is
quickly becoming the accepted norm. This may not be uplifting,
but it is limitlessly engaging and exhilarating. Witching
Waves can be labeled by a myriad of names, but one truth remains:
there is not a punk band on the planet that would not want
to be as authentic.
 WHY
THE WIRES - Flame Failures (One Percent Press/Jetsam-Flotsam
Records www.onepercentpress.com www.jetsam-flotsam.com)
“I wasted my twenties forging suicide notes/Then my
eyesight went and my liver and my pride/Woke up almost forty
with a family, with a life”. Those words are the centerpiece
of “Crashed Home”, the second track on Why The
Wires’ fascinating post-everything record, Flame Failures.
This upstate New York outfit boldly challenges preconceived
notions of punk rock by injecting elements of noise, indie
squall, math rock song structures, and even some saxophone
into a swirling mass of controlled boil chaos. There is a
threatening nature to each song, even when the band slows
the lunacy down a bit on “Punch List”, an ominous
sensibility abounds that soon the songs will spin out of control,
leaving a bloodied pile of collateral damage in their wake.
“Daycrawlers” embodies this mixture of exhilaration
and terror with its winding path of a delivery, blending ferocious
guitar work and sheer bombast with raspy, heartfelt vocals.
The rumbling “Jesuser”, a kinetic blast of start/stop
acrobatics that would be the envy of any DC outfit post 1985,
highlights the second side of the record. Some bands can say
volumes in only a few words, and that is true of Why The Wires;
they do not make music that is easy or readily accessible,
but for those who value individuality, audacity and grandiloquence,
this is the band.
 THE
DANDY WARHOLS - Distortland (Dine Alone Records www.dinealonerecords.com)
The Dandy Warhols are one of those bands that have seemingly
been around forever, remain sneakily relevant, but have also
remained remarkably mysterious to those of us outside the
circle of truly devoted, hardcore fans. To that end, I am
shocked to find that Distortland is the band’s tenth
release and Courtney Taylor and company have a collection
of airy, delicate pop nuggets with just enough expected noisy
garage qualities to prevent this from becoming too broadly
acceptable. “Pope Reverend Jim” and “STYGGO”
bob and weave with rich hooks compliments of producer Jim
Lowe who has undoubtedly upgraded his house through his work
with Beyoncé and Taylor Swift. Seeing those names affiliated
with the Dandy Warhols make me contemplate if the Dandy’s
days as hipster darlings are now extinct, but while “Catcher
in the Rye” and “All the Girls in London”
have an undeniably playful tone, there is still a basement
aesthetic that harkens back to the band’s earliest days
as Portland’s coolest export. “You are Killing
Me” is the feature track here for me, as Zia McCabe’s
haunting backing vocals majestically accents Taylor’s
singing and a steady and simplistic guitar riff chugs along
incongruously. Flirting with majestic song structures, the
warmth of “Doves” and the soaring, moody nature
of ‘Search Party” are other examples of a band
that retains its off-kilter roots but also continues to grow
and challenge themselves. Distortland will undoubtedly satisfy
long-time fans and will also act as a perfect gateway drug
for those new to The Dandy Warhols.
 THE
FORTY-NINETEENS - Rebooted (www.thefortynineteens.com)
If you wish it were 1966 instead of 2016, Rebooted is your
record. From the whimsical appreciation of life’s good
times in “Best Days” or the harmonies of “Disguise”,
The Forty-Nineteens sound like they could be playing Hef’s
Playboy Club with the Monkees at time just before America
lost her innocence in Vietnam. Keys similar to the best moments
of Gary “U.S” Bonds and flashes of noisy guitar
that Pete Townshed made so famous both power “383 Dodge
Charger”, while “Head Up Head High” incorporates
pseudo psychedelics into a twist-ready rave-up. “I Walked
with a Zombie” and “Dance with Me” offer
nothing but pure fun, as the latter is a bouncy tribute to
beach movie soundtracks and rock’s most unadulterated
pleasures. Produced by former Mighty Lemons Drops David Newton,
Rebooted does more than simply recreate a classic sound-the
Forty Nineteens play with an authenticity than cannot be forged.
“True True True” is infectious with its Beatles-esque
harmonies and hook-laden chorus, and the closing “Moonlight
Drive” is a heartfelt tribute to the Doors through a
distinctive cover that clearly honors the original but does
so through the prism of the Forty-Nineteens celebratory nature.
This is a blast of exuberance and a perfect summer record.
 NEW
AGE HEALERS - Ghosts (https://newagehealers.bandcamp.com)
The title of Ghosts is fitting for this record as
much of the work hovers and glides like a benevolent apparition.
There is but a single Healer here as Owen Murphy is the one-man
mastermind behind this collection that uses the atmosphere
as additional instrumentation to make “Lost Your Mind”
and “Snow Angels” pristine, richly textured soundscapes.
The longing on the title track is almost palpable as Murphy
utters, “She slipped away/Cold sun, fights with the
grey”, while “There’s No Tomorrow”
includes the sad realization of the following lines: “She's
slowly sinking in /There's no tomorrow /It's slowly sinking
in /There's no tomorrow /There's just today”. The paucity
of the lyrics adds a level of gravity to each word, demanding
the listener’s full attention as intoxicating rhythms
sweep over overhead. “I Want More” is highlighted
by the endearing lines ”I love screwing/ I love screwing
with you”; however, this confession does not come across
as an attempt at low-grade shock or even clichéd due
to the earnest nature of its delivery. Murphy’s breathy
vocals make the song’s emotions tangible while a throbbing
bass line pushes the song forward. There is a great deal of
New Wave synth and Echo and the Bunnymen mating with the Psychedelic
Furs and Love and Rockets, particularly on “Have Some
Fun (the Fall has Begun)” and the closing “Hey
Hey Hey, Yeah Yeah Song” but “Shadows vs. Los
Angeles” features a thicker, more bombastic bass riff
that injects some punk angst in this concoction. Impactful
through profound subtlety and overflowing with intellectual
darkness, this one is required listening.
 SHIP
THIEVES-No Anchor (No Idea Records http://store.noidearecords.com)
Chris Wollard’s resume needs no reintroduction, as his
work with Hot Water Music is enough to have earned him the
rightful distinction as a punk rock icon. However, his work
with Ship Thieves has taken Wollard into a folk/Americana
rabbit hole until the release of No Anchor. This a classic
return to the style that so many adore without simply reproducing
HWM’s golden age. The music on No Anchor is melodic,
mid-tempo punk angst with solid, chugging hooks and infectious
choruses. The big refrain of “so it goes” pushes
the opening “Middle Man” along while the central
lines of the title track, “we’re in for nasty
weather/nothing lasts forever” are delivered with both
a sense of immediacy as well as melancholy. “Long Way
Down” and “Something is Missing” is a stirring
duo in the center of a briskly paced, thirty-minute release
that is commanded by Wollard’s flowing, richly melodic
guitar work. “Ruts” is my choice for the track
I have placed on repeat for it is the most ferocious song
of the ten and allows Wollard to both exercise his musical
acumen as much as it allows him to exorcise some rage as he
howls with an intensity that harkens back to his earliest
days. This is superb record from a gifted player with a well-deserved
and hard-earned legion of fans.
 ANTHROPHOBIA
- Rewired (http://www.kiddynamiteapparel.com/)
Frank Phobia is back where he belongs - out in front of Anthrophobia.
After eight years of pseudo retirement, Rewired finds
the band hitting as forcefully as ever with six sludgy, heavy
slabs of no frills, angst-fueled power. When Frank announces
on the title track that he has “nothing left to prove”
and that he “finally found my groove”, Anthrophobia
is boldly announcing their return to a world that needs this
type of attitude desperately. While “Below the Surface”
ups both the intensity and speed, it is the Sabbath-esque
stomp of the aforementioned title track, “Dirty”,
and “Sleep Disorder” that truly captures my attention.
The latter of this trio is a “Sabbath Bloody Sabbath”
for the 21st century, and I cannot remember the last time
I had so much fun listening to an E.P. “Dirty”
lives up to its name with a filthy guitar riff and a thunderous
backbeat, while the opening “Buzzkill” is a head-rattling
declaration of musical intimidation. Those who had the pleasure
of checking this band out in their 90s incarnation will undoubtedly
recognize many of the traits that made these guys so great,
but Anthrophobia has also benefitted from improved production
without omitting any of the furious riffs that defined them.
“They Eat Their Young” rages like a band of kids
half the ages of Anthrophobia’s members, and the six
songs fly by far too quickly. I have always loved Anthrophobia
going back to my mid-90s college days in Lancaster, Pennsylvania,
and it is a gift to have these guys back. Eight years is too
long to be away, but Rewired more than compensates for the
wait. For all you kids out there who want to know what fearless
rock n’ roll sounds like, go find this.
 TOOTHGRINDER
- Nocturnal Masquerade (Spinefarm Records http://www.spinefarmrecords.com)
The world of extreme music can become stagnant and fans are
often fickle, which is why a band like Toothgrinder is so
vital. This young Asbury Park five-piece experiments with
the perceived barriers of metal throughout Nocturnal Masquerade,
blending both growled and clean vocals along with a myriad
of polyrhythmic song structures that will have tech fans in
awe. A limitless energy flows throughout all twelve tracks
with a sound that can be both expansive and claustrophobic.
“Lace and Anchor” and “The Hour Angle”
are two highlights from the opening half of the record, and
when vocalist Justin Matthews screams about “my cold,
dead eyes” I defy anyone to not get chills. Guitarists
Jason Goss and Matt Mielke work together flawlessly, alternating
between operatic solos and pummeling groove-laden riffs while
bassist Matt Arensdorf holds each song together as chaos swirls
around him. However, as skilled as this trio is, drummer Wills
Weller may not be of this world-his playing is a combination
of a man possessed and a master percussionist, commanding
each song with start/stop dynamics that are perpetually jaw
dropping. The title track allows Matthews to shine as he moves
effortlessly between a death metal bellow and atmospheric
singing, while ”Schizophenic Jubilee” is appropriately
titled with its graceful transitions from beauty to violence.
The lush guitar work that opens “Dejection/Despondency”
belies the fury that lies beneath the surface as Toothgrinder
demonstrate a boundless penchant for dazzling musical acrobatics.
There are not many bands like this and Toothgrinder needs
to be supported.
 KAL
MARKS - Life is Alright, Everybody Dies (Moonlight Werewolf
Records https://midnightwerewolfrecords .bandcamp.com)
Kal Marks is a bruising outfit out of Boston that berates
listeners with a barrage of perpetual low-end rumble and raw,
searing rage via vocalist Carl Shane. The abrasive delivery
of “Mankind” epitomizes the band’s approach
to daily existence-it is harsh, unapologetic, and relentless,
and even when the tempo is subdued slightly, as on “Dorothy”,
there is a sense of foreboding darkness that permeates the
music. “Loneliness Only Lasts Forever” and “Everybody
Dies” have large hooks compliments of Shane while bassist
Michael Geacone and drummer Alex Audette work as a single
entity. Despite the melancholy nature of the titles, the energy
of both tracks becomes radiate, particularly during the latter
portion of “Dies” in the which the band displays
deft musicianship. The instrumental “Its say to Know
How to Say Goodbye” is lush in its desolation, but the
noisy, rattling bombast of “Heavy Heads” is much
more to my liking. “Coffee” and the closing “Grass
is Green but Sometimes it’s Brown” are a fitting
pair of concluding efforts, as both including droning guitar
work, suffocating bass lines, and a maniacal vocal delivery
that reemphasizes this band’s commitment to making music
that is both riveting and uncomfortable. This is not easy
listening, but it should be required listening.
 HIGH
HOPES - Sights and Sounds (Victory Records www.victoryrecords.com)
Melodic metalcore is a dangerous term-it is becoming ubiquitous
for labels that are unsure of how to describe an act that
is both heavy and unafraid of a little harmony. However, as
with all qualities of life, there are exceptions, and High
Hopes represents that rare act that do rightfully embody both
“melodic” and “metalcore” The ten
tracks on Sights and Sounds are intriguing, heavy, and quite
articulate. While two of the pieces are brief, the introductory
“Pale Blue Dot” and the instrumental “Nostalgic
Thoughts”, the other eight anthems are majestically
pummeling. I am instantly taken with the vocals of Nick Brooks,
whose voice alternates effortlessly between aggressive yowls
and deeply emotive crooning. Always perfectly controlled,
“The Callout”, “Vanguard”, and “Defender”
are impressive examples of modern extreme music. as this group
of five young but highly skilled Working in dazzling tandem,
guitarists Nathan Pryor and Krishan Pujara are sophisticated
without relying on unnecessarily labyrinthine structures.
“The Greater Plan” and “MLK” are suffocating
in their fury and I am highly impressed by what I hear throughout
Sights and Sounds. This is a band that is injecting a new
sense of life and energy into a genre desperately searching
for both.
 SLOW
BUILDINGS - "Weapons Against Me" EP (slowbuildings.bandcamp.com)
Jason Legacy and Slow Buildings have impressed me for many
years now, and the five-song Weapons Against Me EP is another
step forward for a skilled songwriter. The tracks buzz with
a tightly wound kinetic energy beginning with the low-end
rumble on the title track and “Invisible Kid”.
Blending jangling guitars and nervously harmonic vocals, Slow
Buildings rattle and shake through modern indie rock. “Teasing
Rae” slows the tempo down a bit, adopting a 60s pop
vibe while allowing Legacy to show off his sharp lyrics and
a few vocal tricks, while “Dirt on a Dog” has
an intricate song structure and uniquely catchy chorus. Eschewing
guitar solos or unnecessary self-indulgences, every song from
Slow Buildings is a smart, hook-filled anthem. The closing,
largely acoustic “I Can’t Trust You” is
heartfelt and beautifully sardonic that builds in intensity
and is unforgettably harmonic. This is a solid release and
a reminder why these guys should be a name more people know.
 USELESS
EATERS - Temporary Mutilation (Slovenly Records www.slovenly.com)
Useless Eaters has my undying affinity because they simply
love being weird; a devotion to non-conformity that so many
bands lack. The opening cacophony of “Temporary Mutilation”,
complete with horn squall, somehow gives way to a wonderfully
off-kilter rhythm that carries a richly textured song. Much
of this release, perhaps none more than “Breathing Smear”
contains a Mission of Burma style vibrancy, as somehow the
songs are both dense and ethereal, dynamic and lo-fi. The
guitar playing on “Car Accident Face” is the equivalent
to a sugar-fueled tantrum and the band stops and shifts tempo
with incredibly deftness, demonstrating true growth as musicians.
A child-like drum machine opens “Poison Dart”,
but its’ buried monotone vocals and haunting bass line
gives the effort a quietly menacing quality that rivals Joy
Division’s loneliest moments. The closing “Scene
+ Sequence” is the most complete song of the bunch,
as it is a thunderous, rumbling slab of blunt, claustrophobic
power. Seth Sutton is on to something truly great here as
Useless Eaters is a band that will force listeners to rethink
what punk rock is, and all interested in a band that tosses
aside labels in the name of making powerful music should find
this immediately.
 HOLY
CITY ZOO - No Bunting (Sniffling Indie Kids Records http://www.snifflingindiekids.com)
This very DIY New Brunswick band brings a swirling mix
of post-punk and the sludgier elements of 90s grunge to
No Bunting, and the results are chaotic, frantic, and highly
enjoyable. Many of the tracks begin in a benign manner before
finding an angry, nearly vicious, groove, best heard on
“Poor Little Pinkus”, a song with a copious
number of violent mood swings. The wonderfully titled “Saw
a Bush, Thought it was a Person” is a visceral assault
from its opening note and there is no let up or subtle time
sequence shifting to be found; just a classic burst of aggressive
guitar playing without any vocals to interfere with the
bombardment. “Stan Lee’s Cup” and “David
Byrne’s Magical Vacation” are two other examples
of a band that does not adhere to any one particularly style,
but instead greatly relish genre-bending antics, as both
songs tease with melody but more often deliver off-kilter
madness. The story about a pie-eating contest on the Jersey
shore heard on “Vacation” is wildly engaging
and entertaining, yet one cannot help believing that there
is something more menacing hiding beneath those seemingly
good-natured lyrics. “This is Your Life” is
an abrasive and ferocious with raw, impassioned vocals and
is my favorite of the eleven offering here. The closing
“Nobody’s Vince” captures a 1993 guitar
tone with intricate rhythm section interplay. The four members
of Holy City Zoo do not reveal much about themselves, but
No Bunting speaks volumes about just how impressive they
are as a unit.
 UP
FOR NOTHING - Swindled (It’s Alive Records http://www.itsaliverecords.com)
Brooklyn’s Up For Nothing have been kicking around the
East Coast punk-pop scene for quite a while now and their
most recent effort is the product of years of refining their
sound into a finely honed delivery. “Tiny Violins”
and “The Faker” are two supremely crafted pieces
of rugged but accessible punk with plenty of snarling vocals
and hook-laden choruses. The blink and it’s gone “The
Suspense is Terrible (I Hope it Lasts)” is delightfully
bombastic but simply comes and goes too quickly. I am more
impressed by the lengthier, fleshed out tales of “Don’t
Wanna Know”, “Get Right”, and “80
West”; each is replete with heartfelt lyrics, Justin’s
passionate delivery, and brisk playing. “Sink”
and “Swindled” are forthright personal examinations
delivered in the form of power chords and roaring backing
vocals. I know there are legions of bands who play this style,
and that makes Up for Noting all the more impressive in my
eyes, as this stands out from a very large crowd. Swindled
has a Florida-style punk-pop stomp to it balances serious
themes with a fun-loving musical structure. Up for Nothing
do not attempt to be anything more than what they are, which
is an insatiably catchy act with sharp lyrics and unapologetically
melodic song structures. Swindled enters quickly with “Dignity”
and leaves just as briskly with “I’m Gone”.
In between, there are twelve anthems that are uniquely individual
yet still subscribe to a singular sound. This is a great way
to start the new year.
 ALL
SENSORY VOID - Chasing Transcendence (https://allsensoryvoid.bandcamp.com/)
All Sensory Void have perfectly titled their album, for there
is a transcendent quality to their brand of atmospheric, 90s-flavored
guitar rock. The opening “Romantic Hopeless” clocks
in at nearly seven minutes and the song maximizes each of
the seconds to construct an intricate but not convoluted track
of ethereal beauty. The song is a bit of misdirection from
the majority of the work here, as guitarist/vocalist Eric
Goldberg makes his presence felt immediately on “This
Charmed Life” and “Desire”, both far more
aggressive in nature than their lengthier predecessor. The
latter of the pair particularly holds my attention as Goldberg
pushes himself as vocalist with his bassist bother Danny and
drummer Brian “Dreads” DePhillis constructs a
formidable low end. “Cautiously Optimistic” and
“Confounding” revert to more traditional loud/soft
dynamics with a sneaky sense of harmony that lit up college
radio in the mid-90s. All Sensory Void are not shoegazing
here, the one exception to that coming in the form of the
instrumental “Longing”, but they are not spitting
out their rage either. Instead they fall into a spherical
realm that embraces delicate musicianship but is not afraid
to flex their muscles either. Perhaps the most intriguing
of the bunch is the closing “Normalcy” that bounces
with a pop sensibility eschewed until that point. All Sensory
Void have progressed from a one-man outfit of Goldberg’s
creation into a fully fleshed out making intelligent and sophisticated
indie rock.
 COMB
THE DESERT - Humannoyed (https://combthedesert.bandcamp.com/)
For a band whose moniker may be attributed to a sight gag
from Spaceballs, nothing on Humannoyed is
a laughing matter. This is viciously aggressive hardcore played
with a metallic tinge and limitless energy. Unlike many bands
of this ilk that write a few lines and shout them ad nauseam,
the lyrics on Humannoyed are worth printing out and reading
along, for within the screams are sharp tales and astute social
critiques. Roaring from the start with the bass heavy “Walken
Shoes” (what a great pun, by the way, boys), Comb The
Desert are here to certainly get the circle pit moving, but
also to make people think. On “180 Degrees of Positivity”,
the following lines are spat out with blinding fury (Our chakras
unite/Burn with a wondrous light /Let our chi all connect
/Youth. Beauty. Intellect /We drank from the fountain /They
drank all the Kool Aid /And we are expected /To clean the
messes that all the fools made”), while the guitars
squall and the drumming pummels. “Don’t HAARP
on Me” launches itself at the listener with the subtlety
of a bombing raid, utilizing Dillinger Escape Plan style chaos
before locking into a tightly wound riff to surround the chorus.
The title track and “Flightless Birds” both feature
lyrics that speak of man’s demise, as the latter details
a Blade Runner-esque scenario, where as “Flightless
Birds” places the responsibility for the world’s
failure squarely upon the shoulders of the inhabitants. However,
the band saves the best for last as “How Stella Really
Got Her Groove Back” is a title that belies a heatedly
delivered effort that depicts a dystopia that eclipses even
Orwell’s darkest moments. (“First they take your
rifles /then your first born /then they make you warship a
man with two shiny horns /Your road leads nowhere /you followed
skewered maps /Open up your sewer Caps /you'll do fewer laps”).
What makes this Jersey band different from the legions of
other angered souls cathartically releasing their frustrations
through music is that Comb the Desert fleshes out their songs
for over three, sometimes four minutes; a sharp contrast to
the typical structures of hardcore songs. While they may not
allow the listener to breathe with their level of ferocity,
Comb the Desert’s six pieces here indeed have room to
breathe and morph into something much more intriguing than
a typical young hardcore act. These guys would be an amazing
act to see live, and I guarantee it would be a fight to survive
that pit.
 LOAD
- Drunken Warrior Chief (www.rattownrecords.com)
Most of my knowledge of Florida comes from the immortal television
show Cops, and I have long believed that, outside of the Disney
gates, Florida is a dank, humid, disgusting swamp that was
not worth the five million dollars the U.S. paid for it as
part of the Adams-Onis Treaty in 1819. Load’s music
is the living embodiment of a murky quagmire and Drunken Warrior
Chief offers twenty-five slabs of this band’s finest
offerings (if you download it). This mid-90s powerhouse bludgeons
the listener with a combination of sludgy, dark aggression
and raw, Black Flag style hardcore. Every effort here is a
celebration of chaos, and Bobby Load was clearly among the
finest underrated vocalists of the era. Every line is spat
and squalled with a devastating sense of passionate disgust.
“Lumberjack Death Dirge”, the title track, “Pastor’s
Day”, and “Canon Procedure” are only a few
of the pummeling, abrasive songs that highlight this collection.
Compilations like this are both illuminating and distressing,
for as incredible as Load was, I never knew of them and I
can only wonder if people appreciated them at the time. A
quick glance across the bland landscape of music today makes
one long for more bands that deliberately decimate all in
their paths and do not care about trends, corporate support,
or predictability. “Haitian Incantation” and “Buried
Alive” are heavy and crushing, while “Pa’s
Moonshine” and “595 a Lezin” display but
more light-hearted nature but are equally overwhelming musically.
Bands such as Load sadly become fodder for debates among friends
about the best of a scene, but they sadly never saw national
recognition on a scale deserving of their talents. Ugly music
that makes others uncomfortable is my favorite brand of act,
and Load proudly flaunts their repulsion of the traditional.
While I am saddened that Load may no longer be, thank Rat
Town for bringing this to light.
 GRAND
HEAD (Gorbie International Records gorbieinternationalrecords.bandcamp.com)
This self-titled jewel plays out like the second side of
My War in the sense that one knows that Grand Head is clearly
a punk band, but with a slower, thicker sound. “Threshold
of a New Day” epitomizes this outfit with its pummeling
gallop of a guitar riff and rumbling low-end. Opening with
the volcanic “Bull Ramos”, it may be easy to
fall into a clichéd trap of waiting for the band
to explode into blind rage, but that never occurs. Rather
than a traditional hardcore assault, guitarist/vocalist
Barry Brusseau stays in complete control and is in perfect
sync with drummer Tim Ward. Occasionally adopting a Sabbath-like
drone, Grand Head brings a tireless bombast on each of the
nine crippling tracks. “Not a Cretin” has nothing
to do with any Ramones homage, as there is no hop here,
just an avalanche of thunderous guitar. Each song is sparse
in lyrics, but this dearth of verbiage only allows each
syllable to take hold and truly impact the listener. “Dark
and Starry Sky” comes the closest to a raw, DC hardcore
vibe, but even it slows down at the halfway point to allow
Brusseau and Ward to brutalize the listener more deliberately.
“Amongst the Rubes” has a bluesy intro matched
by the equally intriguing “Shattered Hearts”,
an effort in which Brusseau forcefully enunciates “My
heart has taken a turn for you” in a manner more troubling
than sentimental. While “The Lion’s Share”
takes its time to warm, the guitar work is highly impressive
and moves seamlessly into the jazz-tinged closing salvo,
“Pine Box”. Grand Head is the product of two
grizzled veterans and their talents are obvious.
 NOON:30
Finding Release (HHBTM Records www.hhbtm.com)
I may have just been introduced to the most interesting
band in America. Noon:30 opens Finding Release with the
fittingly titled “Dream”, for the song is just
that-a delicate, atmospheric journey into a blissfully dark
subspace with Blue’s gorgeous voice leading you nervously
by the hand. The acapella “Interlude” again
demonstrates Blue’s stirring range, but as warm and
soulful as her voice is, there is an unnervingly intimidating
quality to her performance that makes this brief piece immensely
powerful. When “Rodeo” hits, an ethereal hip-hop
track explodes with raging vocals. Blue sounds as if she
is inches from your face, veins bulging, eyes wide, as she
implores each word with awe-inspiring conviction. In a world
dominated by safe, ready-made pop for the blind masses,
Noon:30 is a defiant middle finger to the entire music industry
and general populace. Each song by Blue and Aissa is performed
without a smirk or any sense of irony; Noon:30 wants to
burn all music down to ash and start anew. When Blue boats
of how she can “push it”, one may be briefly
tempted to think of Salt N’ Pepa, but that image is
short-lived as the sexual ferocity Noon:30 produces has
nothing to do with subtle innuendo. The final of the four
pieces, “Gun”, is actually the most straightforward
of the bunch, but the haunting whispered chorus becomes
imprinted on the listener’s soul. There is a devastating
immediacy and brazen courage to Noon:30 and I consider myself
fortunate to have encountered this, as this is not a style
of music for which I would normally actively seek. The second
side includes three remixes, two alternative takes on “Gun”,
with Aimee remaining fairly true to the original an Bastards
of Fate adding an additional layer of hazy atmosphere before
injecting a bass-propelled groove. TunaBunny turns “Rodeo”
into a powerful dance track while still retaining the forcefulness
of the initial version. Go find this as quickly as hu
 YUPPICIDE
- Revenge Regret Repeat (Dead City Records www.deadcityrecords.com)
The world is a mess and we all know it-people are scared,
angry, and growing increasingly disgusted with all that surrounds
us. Therefore, the world needs Yuppicide, and the band delivers
their first new disc in two decades! The legendary punk stalwarts
return with a record that sums up the America of 2015 in three
words, Revenge Regret Repeat. Frankly, bands that have been
gone this long should not sound this good upon their return,
but vocalist Jesse Jones is a beast with more authentic energy
than kids half his age. If you are unfamiliar with these guys,
your life at this moment remains incomplete, for machines
like Yuppicide just are not made anymore. The roaring, scathing
“Bad Blood” is tinged with a sense of dry sarcasm,
while “Spread the Infection” is just a skull-splitting
slab of aggression that also retains a wildly catchy hook.
The George Carlin clip that introduces “Political game”
is brilliantly selected as the track shreds the actions of
governments that sacrifice the poor, news industries that
keep the masses blind, and corporations that wallow in wealth
through the blood-soaked profits of war. The social criticism
continues on “Obsolete” as the band shrewdly dissects
the struggling of those feeling being left behind in their
lives. At times, Yuppicide displays just old fashioned chops
and sing along passion such as “You’re Gonna get
It” and “Hurts to Know”, while “Ghosts”
invokes a ska groove and manages to fit perfectly within the
larger constructs of a sneering, relentless punk record. Revenge
Regret Repeat brings back the glory days of NYHC and we are
all better for it.
 LEFTOVER
CRACK - Constructs of the State (Fat Wreck Chords www.fatwreck.com)
There are few bands in the world that can rival Leftover Crack
in terms of political daring and musical experimentation.
Blending elements of hardcore, crust, and ska, the band blazes
through a dozen new gems on Constructs of the State. The opening
duo of "Archaic Subjugation" and "Don't Shoot" are vicious
blasts of classically structured punk while "System Fucked"
and "Vicious Constructs" use ska grooves to convey socially
conscious warnings. What makes this record unique is that
Leftover Crack is not interested in simply bludgeoning the
listener with just speed, for "Bedbugs and Beyond", while
it has its more acerbic elements, also retains a strong sense
of harmony, something heard with equal skill on "Last Legs"
and "The Lie of Luck". Dark, sardonic, and superbly delivered,
Constructs of the State is a collections of tracks that make
one think and are a call to action in a manner reminiscent
of classic early 80s hardcore. There is an underlying anger
that drives the lyrical content but this is not overly apocalyptic-there
is a sense that Leftover Crack, as embodied through the voice
of Scott Sturgeon believe that, like Jefferson understood,
a little rebellion is a good thing, and people have the ability
to change the world around them as bleak as it may appear
to be. In an age in which a xenophobic reality show billionaire
can mount a numerically legitimate run for the White House,
a band like Leftover Crack is desperately needed to remind
people of the absurdities that surround them. I love everything
about Constructs of the State.
 ANTI-FLAG
- Live Acoustic at 11th Street Records (spinefarmrecords.com)
My appreciation for Anti-Flag now spans almost two decades,
having first been introduced to Die for the Government way
back in 1996. Through the years, I, like so many other fans
of the band, have witnessed their maturity as social activists
and songwriters, but honestly, I never would imagine an intimate
acoustic set sounding like this. Justin Sane and Chris #2
play alone to a crowd that treated the show like a typical
A-F gig, particularly during the closing salvo of “Die
for the Government”. The set features tracks from American
Spring, starting the evening with “Fabled World”
and really hitting the high point of the performance with
“Brandenburg Gate”. The duo interacted with the
crowd quite a bit, both laughing and cheering their antics
on, but also becoming somber at times. The introduction to
“Broken Bones” by Sane is poignant in his call
for people to seek help and to talk to others when depression
sets in as he notes having lost too many good people to suicide
over the years. The band’s shrewd political knowledge
and frustration with the current system is rampant on “One
Trillion Dollars” and “This is the End”,
while the crowd nearly erupts during “Turncoat”
proving that this is not a typical unplugged show. The lessons
to be taken from this are twofold: firstly, Anti-Flag can
truly play as both Sane and Chris #2 do not hesitate to challenge
themselves with leads and solos and they do so magnificently.
Secondly, great punk rock with a vital societal message does
not have to be buried within distortion to be powerful. Anti-Flag
takes yet another step forward in the career of one of America’s
most important bands.
 HOLLOW
SUNSHINE - Bring Gold (Iron Pier Records www.ironpier.net)
Reuben Sawyer is the mastermind behind the musical structure
of Hollow Sunshine and Bring Gold is a modern reimagining
of what sludgy, heavy post-punk can be. What makes this so
unique is the unavoidable pop sensibility that creates a dichotomy
between skull-crushing force and subtle texture. The title
track repeats the phrase “run me down”, and musically,
this is what the band does to the listener. The songs are
not empty droning riffs; rather, Hollow Sunshine crafts eight
impressive efforts with a menacing energy. “Last Chamber”
layers blunt guitar force with an equally jarring low end.
The vocals of Morgan Enos hover hauntingly and weave tales
of powerful imagery on “Careful Travel” (“a
stone through the edifice/I’m lying in it decaying and
watching”) and “On a Balance” (“One
way to find a means to me; the loss of entity/One way you
come around to me; cold and full of need”). There is
a poetic beauty to the songs, as the words are minimal but
coexist flawlessly in an ocean of sound. There is a rare moment
of respite from the overwhelming bombast on “Morning
Green” which has a less melancholy aura with Enos’
vocals both a touch higher and more harmonic. The closing
“Companion” is heartbreaking in its despondent
splendor as Enos emotes “There is space for me/ You
are not to blame/Find your way to breathe/There is space for
me”. This is a majestic release from a two supremely
talented players.
 WILD
MOTH - Inhibitor (Iron Pier Records www.ironpier.net)
This young, Bay Area band reinterprets early-90s style noise
with undeniable energy. Imagine a far more rambunctious Ride
or an American version of Teenage Fanclub with a sharper edge
and a Lou Barlow fixation and the results are“Mirrors”
and “Thinner”, two of the strongest pieces here,
along side the ripping “Buried”. The swagger continues
on “Hello, Star” with a thick slab of guitar playing
and sublimely sinister vocals. “You Found Out”
opens with an angular, noisy introduction before falling seamlessly
into the warm embrace of a highly melodic groove. “Traces”
takes the best of Jesus and Mary Chain and even Swervedriver,
while “Galleries of Walls” is what Mission of
Burma would sound like if they formed in 2015. There is tremendous
energy throughout Inhibitor as Wild Moth takes fundamental
elements of shoegaze pop and kicks life into what can often
be an overly misanthropic style in lesser skilled hands.
 MAPMAKER
- Critical Path (One Percent Press www.onepercentpress.com)
Mapmaker plays exactly the type of indie rock I truly enjoy-it
is loud, highly kinetic, almost to the point of being frantic,
and there is an urgency that is palpable. Brimming with angular
and nimble guitar playing, all of Critical Path roars with
a fury that is the manifestation of teenage confusion remaining
unsolved and the realizations of the unpleasantness of real
life. “Caregiver” is my favorite of all the high-energy
tracks that dominate the record, highlighted by wonderfully
intelligent and introspective lyrics (“Ruminating thoughts
are on the coffee table in the living room/burdens internalized
and sleepless nights....when I was fifteen I thought my friends
were dead because I couldn’t parent them”). Raw,
highly emotive vocals are howled and yelped, but never screamed,
throughout a dozen songs that sound as if the band is playing
for their lives. “Out Loud”, “Forgetting
What It’s Like”, and “Outside” are
bombastic, charismatic songs that should earn this band a
legion of dedicated fans. Mapmaker proves to me that there
are still bands in the world that understand what confusion
and anguish feel like and how to set those emotions to music.
Each song snarls with a fury and one feels as if each track
is ready to crawl out of its skin through some form of painstaking
birthing ritual. “Stop Shaking Get Up” finishes
the record off with the ominous words of “Tried to convince
myself of control/ as it crowds around me”. Mapmaker
does not pretend to have answers, give help, or offer solutions-they
just want the listeners to know that they are there. This
is a band that is impossible to ignore.
 WOODEN
WAVES -Wilder Dreams (One Percent Press www.onepercentpress.com)
Wooden Waves deliver hook-laden, pop-accented rock with nice
indie flair. “My Friend at Night” has Arches of
Loaf style guitar playing woven within a blissfully soulful
chorus. “Song Sweatypalms” wonderfully captures
angst of any age in its purest form with the refrain of “I’m
bored!”, as shared male/female vocals dance in precise
rhythm throughout; a style repeated numerously during the
Wilder Dreams’ ten tracks. The cleverly titled “Blue
Gene’s Wilder Dreams” again emphasizes perfect
vocal interplay, while “Let the Fun Come” has
its lyrics delivered in a brilliantly sarcastic deadpan style,
completely devoid of emotion. Wooden Waves take risks on odd
time sequences and opaque lyrics, highlighted by “Welcome
to Summerfeldt” (“Oh, I spent my last quarter
on my Mighty Taco order/Sorry dude, I ain’t got change
for you”) and “Dong of Time “ (“And
every day that we play, we’ll do our very best/ and
we’ll be broke, selling jokes”). There is a visible
but not blinding 90s homage here, and Wooden Waves does enough
to make this sound truly their own. The closing “Now
You’re Strange” has a subtle intensity that seems
to both define and encapsulate this band. In all, an intriguing
listen.
 ELECTRIC
SIX - Bitch, Don’t Let Me Die (Metropolis Records
www.metropolis-records.com)
I do not know what this is. I took my time to listen to Bitch,
Don’t Let Me Die wondering continuously why I am
doing this to myself. I cannot determine if Electric Six is
a joke, having fun that I do not appreciate, or are they just
a dance-glam hybrid that is outside of my strength. Ultimately,
I have to conclude that this band is a lot of fun, but this
is not music for when one is sober on a Sunday afternoon;
-this is late Friday night, early, bleary eyed Saturday morning
when one cannot remember how many drinks have been consumed,
and who (or what) has an arm around one’s neck. Opening
with the pseudo-militaristic parody “Drone Strikes”,
I am somewhat intrigued but the novelty is gone by the time
I reach “Kids Are Evil”. Granted, while I can
certainly concur with the sentient, the cheesy dance grooves
leave me flat. “Roulette” does nothing for me,
particularly with the sound effects augmenting a thin loop,
and the final straw is the text message like title of “If
U R Who U say U R”. Dick Valentine has a fairly warm
voice, considering the studio tricks done to it, but this
is just not my type of fun.
 NATO
COLES and the BLUE DIAMOND BAND - Promises to Deliver natocoles.bandcamp.com)
When the sad day comes when Bruce Springsteen does walk away
from music, his legacy will live on, not only through his
rich discography, but with the legions of acts that imitate
his soulful, blue collar playing. Nato Coles, who spent some
time in Brooklyn in the underrated Used Kids, returned to
his midwestern roots in 2010 and put together a Minneapolis
collection of players who sound as if they could be the house
band for any bar in Asbury Park. Rum Bar Records has re-released
Nato & The Blue Diamond Band's 2013 LP Promises To
Deliver on CD for the first time and it's a winner. “See
Some Light” opens with a poetic, heartfelt delivery
caked in the dust of Route 66, while “You Can Count
on Me” rattles with a surprisingly frenetic level of
energy. The band is at their best when they crank out straight
forward, truck commercial sounding anthems such as “Econoline”
or the rousing “True Blue Rocker”. The country
twang that defines “Hard to Hear the Truth” and
“Rudes and Cheaps” eliminates any predictability
that one may fear overtaking the record, but the band’s
real strength is old-fashioned rock n’ roll. “Late
Night Heroes” is a late 70s hard rock nugget, while
“Julie (Hang Out a Little Longer)” could be a
lost studio outtake from the Hooters, dripping in 80s pop
just below the classic rock guitar. The band is a tight collection
of solid players, particularly Sam Beer’s guitar work
and Mike Cranberry’s drumming that truly holds the unit
together. Nothing on Promises to Deliver in wholly
unique, but there is a definitive appeal to no frills, attitude
and label free rock.
 THE
BRAINS - Out in the Dark (Stomp Records www.stomprecords.com)
Out in the Dark, the seventh release from these Canadian
punks, sound like the spawn of unwanted copulation between
the Misfits and the Stray Cats - loud, fun rockabilly with
nothing but deathly imagery. Songs involving burning witches
(“The Witch”), running away from werewolves (“Wolfman”),
and even killer collections of mollusks (“Octopi”),
make Out in the Dark a great way to spend around a half hour,
as most of the eleven tracks check in at just under three
minutes. What makes the record so intriguing is The Brains’
ability to clearly formulate a sound without becoming formulaic.
The opening title track has a bluster about it that swings
like something from the Big Band era while vocalist Rene D
Le Muerte rages on guitar. This is equally apparent on the
rousing “Need You Know” which is a beautiful ode
to eternal love, assuming that death is an idea one can find
attractive (“”I’m gonna die alone/I’m
gonna die with you/A life that I’ve assumed/Forever
faithful to”), as well as the ominous pronouncement
of devotion on “Lifetime”. The band juxtaposes
darkness with high energy, pop-kissed grooves on “Break”
(“Break the skin and tear it all apart/let the crimson
flow away”) and “Say Goodbye”, an infectious
(sorry) tale of plague and suffering. The greatest quality
of The Brains is that, despite all of the potentially comedic
moments, this band is deathly serious and incredibly talented.
The furious “Killer” that closes the disc is a
raging punk dirge that would terrify even the most blood-thirsty
zombie. Halloween may have passed, but the holidays are a
perfect time for the Brains.
 GLENN
MERCER Incidental Hum (Bar None Records www.bar-none.com)
The Feelies were always underappreciated, and Glenn Mercer
was the leader of the undervalued Jersey legends. His second
solo record is a swirling collection of fifteen instrumentals,
including covers of Brian Eno’s “Here Come the
Warm Jets”, Hendrix’s “Third Stone from
the Sun”, and even “Somewhere Over the Rainbow”.
While the covers are fun, it is the dozen originals that make
Incidental Hum so enjoyable. Each song has a distinctly
unique vibe, beginning with the opening lounge-inspired “Hana”,
a song that sounds perfectly crafted for a swinging bachelor
pad. Standing in delightful contrast to this is the noisy
“Mobile”, and the droning, dense, seven minute
requiem “Salem”. The various styles, tempos, and
atmospheres illustrate the startling talent Mercer possesses.
The Latin flair of “Yuma” is matched by the sweeping,
flamenco, at times, Old West elements of “Hermosa”
and “Twenty-Nine Palms”. There seems to be nothing
that Mercer cannot do with a guitar, ranging from jazzy interludes
on the soothing “Kodiac” through the trippy, ethereal,
headspace of “Moss Point”. Each song paints a
distinctive picture and constructs a wholly separate universe
around itself, and therefore, Incidental Hum sounds like seven
or eight different record in one, all performed by an artfully
gifted player.
 JOE
KING CARRASCO Y LOS SIDE FX - Chiliando (Anaconda Records
www.joeking.com)
One would be hard pressed to find a person having more fun
in life than Joe King Carrasco. This record is like playing
drinking games on the Rob Gronkowski party bus with Jimmy
Buffett working the bar in between sets. If guitars and margaritas
sound like a winning combination, then Chilando may be the
record to help get through the approaching winter. The opening
“My Ding Dong Daddy (Don’t Daddy No Mo)”
pretty much sums up what the general theme is here: fun-loving,
sun-worshipping music with the sole purpose of helping the
listener forget about how soul-crushing life can be for a
few hours. “No Way Jose” and “Tequila Revolution”
are other highly energized, alcohol-fueled efforts that will
probably lead to a long night of debauchery and a longer morning
of recovery. Throughout the disc, Carasco and his Side FX
partners borrow Chuck Berry style rock (“Who Put the
“P” in Pendejo”), Tex-Mex styling (“Tengo
Muchachita”), and even some Latin-tinged flamenco (“Buscando”)
to create a wild cornucopia of sounds, flavors, and genres
on a record that ends too soon. For all of those who are tired
of having “Margaritaville” pass as the penultimate
laid back drinking anthem, try out this Mexican spiced collection.
Even Donald Trump would approve of this.
 THE
RENTIERS - Black Metal Yoga (Baldy Longhair Records http://baldylonghair.com)
Joel Tannenbaum made quite a name for himself in both Plow
United and Ex Friends, but he is now doing whatever he feels
like with The Rentiers. “Black Metal Yoga” is
a bouncy, pop nugget that is truly among the oddest songs
I have ever heard and I cannot hear it enough. Annika Pyle
of Chumped shares vocals along with Tannenbaum and the song
begins as a message of inspiration as to how to either “get
you out of the academy” or “keep you out of the
cubicle” before shifting to a tale about doing hard
time in prison on Mars. With references to Bathory, fingerless
gloves, and finally arriving on Earth with a message of love,
“Black Metal Yoga” is an unavoidably memorable
tune that buries itself in one’s brain and refuses to
surrender. It would make a perfect jingle, but I have no idea
what product would ever be cool enough to deserve this. Mikey
Erg and Floating Action’s Seth Kauffman contribute their
twisted brilliance to a song that feels like a late night
writing session gone completely off the rails that was recorded
for fun, just the same. Regardless of the inspiration, “Black
Metal Yoga” strikes me as something fun to do while
re-watching the documentary about the guys from Mayhem for
the one thousandth time.
 KYLESA
- Exhausting Fire (Season of Mist Records www.season-of-mist.com)
There may perhaps be no better opening salvo for a record
than “Crusher” which opens Kylesa’s latest
offering, Exhausting Fire. This newest collection of works
is the culmination of Kylesa’s evolution over the years;
Exhausting Fire is a trippy, groove-laden slab of thick, stoner
guitar and haunting vocals. Laura Pleasants has a staggeringly
beautiful vocal range and Phillip Cope sounds as if he is
delivering his lyrics from far on the other side of mortality,
reminding me of acts ranging from pre-pop Cure to Sisters
of Mercy to Throbbing Gristle. “Shaping the Southern
Sky” is a meandering, head-space anthem that is also
unapologetically heavy; the last component keeps one of Kylesa’s
feet in the metal world, but this is far more than simply
metal with a bit of a haze hanging above its head. Latter
day Corrosion of Conformity and the best of Mastodon are heard
in the swirling riffs of “Lost and Confused”,
while “Inward Debate” and “Night Drive”
are dark and misanthropic, two staples of quality metal, but
the delivery is complex and wildly engaging. “Inward
Debate” is a sludgy, dense aural stew of labyrinthine
riffs and serpentine chord progression-a thunderous gem. “Night
Drive” is particularly disturbing as the song’s
sinewy nature makes for a writhing, pulsating mass of raw
emotion, but it is ambiguous as to whether the speaker is
frustrated, terrified, or entirely despondent. “Falling”,
with Pleasants again commanding attention, is another less
conventional anthem that only demonstrates the increasing
confidence and musical defiance of Kylesa. “Blood Moon”
may be the finest example of all the various elements of this
record-the song slowly burns and builds into a thunderous
riff from an ember of force while vocals hover in a dazzling
ambient display, dissipating into quiet before the song erupts
one final time before burning out entirely. While not a band
to ever be reticent to experimentation, Kylesa can even write
more straight ahead rock anthems like the closing “Out
of my Mind”. This is worthy of immediate attention.
 ROGER
HARVEY - Twelve Houses (Black Numbers Records http://www.theblacknumbers.com)
Roger Harvey has been making music and touring since his pre-teen
years, and the life experiences have led to a beautiful, swirling
record in the form of Twelve Houses. Balancing fuzzy indie
soul along the likes of Neutral Milk Hotel or The Mountain
Goats (“Halloween”) with more psychedelic grooves
(“Three Wolf Moon” or “Lovers Can be Monsters”),
Twelve Houses is a warm, deeply personal collection of tracks
that took over a year to finalize, but the attention to detail
is apparent. The opening haze of “One Night as an Astronaut”
dissipates and the latter half of the ten songs bounce with
crackling energy, particularly “Tezcatlipoca, accented
by sparking guitar tricks, and ‘Five Suns Song”.
There is a density to the music that defies the gentle nature
of Harvey’s singing; the juxtaposition of those emotions
perfectly mirror Harvey’s own life story as a young
man from a farming town in Pennsylvania who currently lives
in Philly having also done time in Pittsburgh and Brooklyn.
This is a style of playing to which I do not instantly gravitate,
but Roger Harvey has an intriguing sound that makes Twelve
Houses quite special.
 WOLF
EYES - I Am a Problem: Mind in Pieces (Third Man Records
http://thirdmanrecords.com)
Noise music has always helped to define your friends: appreciate
the people who do not run in fear or turn away in disgust
when introduced to Black Dice, Skullflower, or Whitehouse.
Wolf Eyes was for years among those truly nightmarish noise
acts, but I Am a Problem: Mind in Pieces has a subtle beauty
in the midst of the darkness and horror. What I most admire
about these three distorted geniuses from Detroit, Nathan
Young, Jim Baljo, and John Olson, is how they collectively
generate terror through serenity; Wolf Eyes does not attempt
to bombard the listener through walls of screaming distortion
and brain-rattling fury. Rather, “Catching the Rich
Train” includes genteel woodwinds encircled by spine-tingling
effects and elements of noise that are more scary than abrasive.
The white noise and distant moans that pass as vocals construct
an ambient bath in which the listener slowly becomes immersed
and ultimately falls into a sound sleep and drowns. The steady,
almost plodding, percussion of “Twister Nightfall”
exists under waves of a wraithlike atmosphere that is intriguing
but not as radical as other material. Everything about I Am
a Problem is dark, methodical, and yet gloriously contrasting
in nature. Noise bands are not designed to have a structure,
but recognizable arrangements exist, and each six songs are
noisy without being noise. There is an off-putting beauty
and near delicacy to the ghostly vocals on “T.O.D.D”,
while “Asbestos Youth” penetrates the listener.
Simplistic yet richly constructed, the song picks its spots
for garbled, troubling vocals and the impressive, noticeable
guitar work. “Enemy Ladder” is the most straightforward,
clocking in around only three minutes, and possesses a more
traditional rock sensibility about it. The closing, expansive
musical steppe that is “Cynthia Vortex AKA Trip Memory
Illness” is staggeringly powerful, multi-layered, and
majestically complex. This is not designed to shatter speakers
but to confound the listener. No one will be overwhelmed by
a torrent of force or dragged into a vortex of chaos, but
this is new noise. The touches of serenity that float in and
out of the closer only bring an unexpected relief to an otherwise
challenging listening experience. This makes the listen uncomfortable
in the best possible way.
 FICTION
PLANE- Mondo Lumina (Rhyme and Reason Records http://rhyme-reason.com)
Fiction Plane’s first American release in nearly a decade
is a pristine collection of delicate efforts that hang softly
in the air and often fade from the listener with a painstaking
fragility. Each of the twelve songs on Mondo Lumina is
a lush, beautiful piece that is richly atmospheric, but will
not hold the attention of those looking for guitar-oriented
rock. The band, led by vocalist Joe Sumner, has remarkable
control over their instruments as they weave tales of maturity
and finding hope and optimism even in the midst of life’s
challenges that are significant departures from previous lyrical
works. The tempo never exceeds a slow heartbeat, but “Real
Life” and “Refuse” are exquisite tales off
humanity played by gifted friends who are not interested in
rattling walls any longer, but certainly hope to make listeners
think. This is perfect rainy Sunday afternoon music, but not
in a melancholy way; despite the creeping, meandering pace,
“Don’t Give up the Fight”, “First
Time”, and “No One but You” are mesmerizing
in their elegance. Guitarist Seton Daunt deserves tremendous
credit as the all-star on Mondo Lumina, crafting precise riffs
around Sumner’s forlorn vocals and Pete Wilhoit’s
intricate drumming. Fiction Plane is not a band to which I
would run when I am looking to get fired up for a big night
out, but their talent is irrefutable and their penchant for
creating beautiful, heartfelt music is undeniable.
 BANQUETS
- Spit at the Sun (Black Numbers Records blacknumbers.nosleeprecords.com)
It is always sad to see talented bands call it quits; like
athletes forced to retire while still in their prime, there
is that wonder about what could have been. Banquets have disbanded,
but their final gift to the world is a gem of a collection
of sharp, angular pop-punk in the form of Spit at the Sun.
”Stop Signs In a Ghost Town” sums up the bands
career both lyrically and musical, as the closing refrain
of “it was good” is a fitting farewell and the
song itself is a wonderfully harmonious, head-bobbing nugget
of shrewd musicianship. Soaring vocals, tightly wound riffs
and catchy choruses abound here and there is not a wasted
second, as the urgency of the farewell is almost tangible
on “Oblivion”, “”Backwash” and
the poignant “To Reminisce”, with the latter allotting
moments of heartfelt poignancy to emphasize the emotional
breadth of the track. Quality bands should never be taken
for granted for their shelf lives may be brief-Banquets is
another act that is gone too soon.
 THE
SADDEST LANDSCAPE - Darkness Forgives (Topshelf Records
www.topshelfrecords.com)
This is what happens when emo bands grow up-The Saddest Landscape
do not wallow in misery, they expunge it out of their systems
with a cathartic fury that is exhilarating. Darkness Forgives
is an appropriately sinister sounding collection, with “Souls
Worth Saving” and “Til Our Ears Bleed” as
two examples of searing guitar playing and Andy Maddox pushing
his vocals seemingly past his limits to create a sense of
desperate frustration and angst. With heavy bass lines and
thunderous drumming, The Saddest Landscape are a complete
sounding act, balancing bombast with intricacy, and the slow
boiling rage on “Trimmed and Burning” and “The
Fire Between Heartbeats” is chilling in its ruthless
delivery. The energy is tangible throughout the record and
the closing of “A Heaven of Amplifiers” and “Admitting
You’re Alive” are two of the more complex songs
of the ten offerings. Every track is a swirling mass of dual
guitar force that erupts, retreats briefly for the slightest
of respites and then attacks the listener again with an invigorating
vehemence. Noisy but expertly crafted, Darkness Forgives is
a pristine torrent of bluster and force that is clearly a
massive step forward for The Saddest Landscape.
 TEEN
AGERS/ WOLF-FACE Split EP(Say-10 Records www.say-10.com)
This bouncy split includes the infectious, sugar-pop sounds
of two of Florida’s most fun-loving acts. Orlando’s
Teen Agers play classic sounding punk-pop but this is largely
not one chord, sixty-second blasts; rather, “KWM”,
“River Road”, and “Learn to Swim”
are fleshed-out, highly developed efforts with clearly articulated
lyrics and well constructed songs structures. The shortest
blast of the bunch, “Building” is a buzzsaw of
a track with a ferocious riff while “It’s Hard
to Know’ includes rousing gang vocals and is easily
the most astutely assembled song of the bunch. St. Petersburg’s
Wolf-Face is a surprise for me as I expected their act to
tire quickly as they craft songs that revolve around actually
being a wolf-like character. However, “Goddamn This
Beast” starts slowly and meticulously builds itself
up into a roaring anthem, while “Boof Ain’t Too
Loose” pounds along with a chorus that is staggeringly
smooth and melodic. “I’m So Much Better”
is more traditional punk-pop fare and a fitting manner in
which to close a split from two bands that, while they do
not reinvent a genre, do a great job in preserving its ideals.
 MONO
IN STEREO - Long for Yesterday (Rum Bar Records www.rumbarrecords.com)
Someday in the future when a social scientist is attempting
to explain rock n’ roll, Mono in Stereo may be the example
used. Long for Yesterday is old fashioned, no frills, guitar-loving,
beer-drinking, rock made for guys who love talking about girls
and hopefully girls who love girls. There is more soul in
the opening track “Late Night Confessor” than
the twenty best bands in your town have combined. There is
angst, loneliness, frustration, and a general ennui with the
present that makes this instantly relatable, and the hooks
just do not stop. Billy Maynard, Kevin Kalen, and Mike Melenas
all paid their dues in Mulligan Stu, a band vastly underappreciated,
and their songwriting chops are particularly evident on the
title, “What We Sang”, and the emotionally gripping
closer, “Another Man’s Time”. Not lamenting
about the past, but certainly wishing that it could have been
more, the trio of well-worn vets, accompanied by new drummer
Jordan Acosta, play rollicking, groove-stuffed punk n’
roll that I personally adore. Striking a balance between aggression
and harmonious is never simple, but Mono in Stereo do it with
ease making Long for Yesterday a gem that best not overlooked.
Find this and remind yourself why loud amps and big riffs
will never go out of style.
 TOGETHER
PANGEA - The Phage EP (Burger Records www.burgerecords.11spot.com)
When I read that a band is produced by former Replacements
wunderkind and permanent teenager Tommy Stinson, I am intrigued,
and Together Pangea do not disappoint. This is a garage band
without he garage as The Phage EP has a sophisticated, sleek
sound that separates Together Pangea from other acts that
bury their anthems in muddy production in the name of sounding
“raw”. “Looked In Too” has a significant
surf vibe without simply lifting an old Dick Dale riff, while
“If You’re Scared” balances a smash and
grab ferocity with more refined, pop harmonies. The almost
fragile guitar that opens “Blue Moon” is reflective
of a maturing band, eschewing most of the genre-defining limitations
that afflict acts of this ilk. My personal highlight is the
fun-loving bombast of “My Head is On Too Tight”,
although the pubescent longing on “Awful” (It’s
awful/don’t I want her”) is tangible to listeners
of any age. “She’s a Queen” is a moody,
mid-tempo effort that draws a sterling EP to a close and leaves
anyone who hears this eagerly awaiting a full length.
 NIGHT
BIRDS - Mutiny at Muscle Beach (Fat Wreck Chords www.fatwreck.com)
The best band in America is back and they are furious.
Perhaps, like me, the members of Night Birds do not understand
why they are not universally famous or perhaps they intrinsically
know that the world is crying out for a 12-song punk record
played in less than 25minutes. Mutiny at Muscle Beach
is an explosion of rampant frustration channeled into
relentless, adrenaline-fueled rage on the opening “(I’m)
Wired”, and this sets the stage for an assault unlike
anything the Birds have done before. The smile-inducing
surf grooves of the past do not appear until “In the
Red/In the Black”, and do not return again until the
rafter-rattling instrumental “Miskatonic Stomp.”
The Night Birds play punk rock by bored suburban adults
who were formally bored suburban kids; vocalist Brian Gorsegner
cites his job in customer service as inspiration for the
anger, and so many of us can identify with how exasperating
the majority of humanity is and how everyday frustration
can boil over into high-energy blasts such as ”Life
is not Amusement for Me” and “Blank Eyes.”
However, while the Night Birds can certainly bring the intensity,
their true skill lie in their ability to generate the types
of melodic grooves heard on “Golden Age of TV”
and “King Kong.” The brilliantly titled “Lapsed
Catholics Need Discipline” is another frenzied highlight
from a record that does not stop to breathe. Expertly produced,
supremely played with a combination of refinement and visceral
aesthetic, Night Birds create a supreme collection of modern
punk rock.
 DAYCARE
SWINDLERS - Reradiate (Say 10 Records www.say-10.com)
My memories of Daycare Swindlers are dominated by the sugary-rush
ska heard on The Morning After, now more than a decade old.
Reradiate is less about ska, although “Bad Luck”
is a bouncy, kinetic song kissed with ska grooves, and more
dedicated to energized, no-frills guitar punk. The opening
one-two punch of “About a Girl” and “Telephone”
make for a bruising introduction, while “The Wheel”
is a dizzying burst of low-end power and a thick riff, accented
by a subtle Chili Peppers touch of funk. Clearly these Jersey
boys have matured as players and songwriters; that is by no
means a knock against ska bands, but there is an intricacy
to the work on Reradiate that was not always part of the band’s
previous repertoire. “Unwinding” and “Spread
Thin” are two impressive tracks dominated by swirling
guitar that is reminiscent of 90s DC, clearly demonstrating
another dimension to this band, while “Bicycle Seat”
is an infectious, fun-loving ska nugget that is solely about
having a good time and cheeky double entendres. I am addicted
to the energy of this record, as “Nebula” is a
punishing blast of bombast. Daycare Swindles have moved into
that rarified position of bands that are impossible to pigeon
hole, for they play more convention rock on “This Town”
and “Get You Home”, with elements that range from
the genteel the rousingly harmonious to even bordering on
hardcore pink energy. There is a bit of something for nearly
everyone, and everything Daycare Swindlers do sounds both
authentic and heartfelt.
 COHEED
AND CAMBRIA - The Color Before the Sun (http://coheedandcambria.com)
Coheed and Cambria have long perplexed me-I am not a fan of
concept albums and every release from this band has been just
that-and I never grasped the ideas and themes of The Amory
Wars that acted as the centerpieces for their previous work.
All of that changes on The Color Before the Sun -
the science fiction themes are gone and one can focus solely
on the musical talent of this band. The skills of Claudio
Sanchez could never be faulted or doubted, but the miscellaneous,
otherworldly imagery clouded my appreciation for his expertise.
Opening with the rousing “The Island”, Sanchez
and his mates seem relaxed and fluid, effortlessly constructing
affable guitar rock that dominates the ten tracks here. “Eraser”
is a rattling burst of force, while “Here to Mars”
is a touching declaration of love that also shows off the
intricate rhythm section of drummer Josh Eppard and bassist
Zach Cooper. While “Colors” and especially “Ghost”
wander off the driving rock path, the songs allow Sanchez
to reveal more subdued but deeply passionate vocals as well
as the dexterity of fellow guitarist Travis Stever. Sanchez
has been recently quoted as admitting how his fictional concept
pieces acted as “a curtain to hide behind” and
how he feared being a “heart-on-you-sleeve songwriter”;
his courage to admit his concerns is admirable, but I certainly
hope that Sanchez now embraces the humanity he displays on
“Atlas” and “You Got Spirit, Kid”,
and this marks a new path for Coheed and Cambria. The Color
Before the Sun is a freewheeling, celebratory collection of
classically honed modern rock with all the best connotations
imaginable. The thick, doom riff that carries “The Audience”
is majestically menacing, reaching back to some of C&C’s
earlier metal influences. This is wonderfully juxtaposed with
the serene “Peace to the Mountain” whose atmospheric
beauty gently brings the record to a conclusion. Whenever
bands choose to step into unchartered territory they inherently
run the risk of angering, frustrating, and even alienating
long-time fans that may feel a sense of misguided betrayal.
In reality, Coheed and Cambria boldly display tremendous growth
as songwriters and as a collective unit. Yes, some may argue
that this is a more accessible version of the band, but as
a long-time outsider looking in upon the aura of C&C,
I believe that The Color Before the Sun will only expand their
audience and more people will comprehend how and why this
band has such a rabid following. I always wondered why legendary
metal drummer and Howard Stern Show contributor Richard Christy
admitted to wearing a diaper to C&C shows so he would
not have to miss even a second of their set for a bathroom
break, and while this new record will not have me wearing
Huggies in public anytime soon, I can now at least consider
myself a recruit into their legion of fans.
 SAND
IN THE FACE - Music Made to Riot: New Jersey Hardcore 1982-1983
(Mad At the World Records www.matwrecords.com)
I could listen to this all day, every day. Sand in the Face
was a perfect encapsulation of frustrated, suburban punk in
the early 80s. I do not know who exactly masterminded the
re-release of this material but bless them for the world today
needs more bands like this. Rather than existing in a cyber
world, kids around America should be issued this album, told
to listen to it, and vent their modern frustrations through
a classic means-form an angry punk band. “Teenage Life”
is just one of the blazing, raging hardcore nuggets here and
the lyrics “Sitting in my room, sitting all alone/Staring
into space, don’t wanna hear the phone/Hatred locked
inside, waiting to get out/Is this what teenage life is about?”
ring as truthful today as when they were first scribbled down
by Pete Aaron (Wegele), Paul Schraft, and Mark Lombardi back
at the dawn of the Reagan era. “I Don’t Need It”,
“No Relations” and “I Wanna be Dead”
rage like a Jersey version of Minor Threat with impassioned
screaming vocals, rattling bass lines and battering drumming.
This was the incipient stages of hardcore and the growing
pains are there, check out the less than mature rant “I
Hate SSFs”, but the raw, unpolished nature of the playing
is what makes this so appealing. “Auschwitz” is
a furious assault on the senses, while “Laugh at Me”
summarizes every high school anxiety imaginable into a one
flawless blast of fearless musical bombast. In a style similar
to one of my other early hardcore favorites, Deep Wound, Sand
in the Face play Discharge style D-beat without even realizing
how incredible it is. “Fuck the Army”, ”I
Hate”, and “Ugly World” are barbaric in
their attack and could only be generated by incessantly unsatisfied
teens. “She’s Dead” plays out like a dark
joke and the one-second length of “Go to Hell”
came years before Napalm Death’s legendary blast of
“You Suffer”. The closing “Pleased to Hate
You” features a slow burn of an intro before unleashing
its raw, unforgiving angst upon the world. It is no wonder
that Mike Judge later said that Sand in the Face inspired
him to form the legendary band that would carry his name.
There is so much to love and nothing to dislike here, and
I urge every person, young, old, or in the middle, who truly
loves hardcore to educate yourself about this resurrected
gem.
 CAUSTIC
CASANOVA - Breaks (Retro Futurist Records www.retrofuturistrecords.com)
This DC outfit features brilliant minds such as drummer Stefanie
Zaenker and bassist Francis Beringer, both graduates of the
prestigious College of William and Mary. They are joined by
guitarist Andrew Yonki, who I am certain is highly intelligent
as well, if his playing is a reflection of his intellect.
Caustic Casanova is deceptively heavy and the band revels
is expansive, panoramic songs that include various shifts
in tempos as well as a luxurious amount of room for each nuance
to be fully explored. When Beringer howls “we are all
doomed” on “Show Some Shame”, he does so
with a harmoniously deadpan delivery, eschewing any disgust
or apathy one would more commonly associate with such a sentiment.
Yonki’s playing dominates the opening “Thundersnow”
and “No Sky July”; two pieces delivered with jaw-dropping
deftness and precision. Meanwhile, “Elect My Friend
For a Better World” features bursts of psychedelia that
effortlessly transitions to chugging metal riffing accented
by a thunderous bass line. “The Forgiveness Machine”
is a slab of low-end blunt force that succumbs to a scintillating
guitar exhibition that ultimately retreats back into a lair
of punishing bombast. Each player shines here and Caustic
Casanova is determined to make the listener do some work-one
do not simply sit back and allow this waft across the room-but
the effort is well worth the result.
 ERIC
AND AARON - To Keep From Losing Our Minds (Zeudle Records
www.ericandaaron.com)
This pair of adroit singers delivers six cute, highly innocuous
pop nuggets. One has to adore innocent pop to truly appreciate
what Eric and Aaron do; the warmth of “Lola” is
reminiscent of 70s AM radio heyday, while “Woods”
could easily be a lost B-side from Bread. This is adult contemporary
for a new generation, but not my taste. While “On the
Road” is overflowing with delicate harmonies, “Long
Time” includes the emotionally raw yet somewhat clichéd
line, “its takes a while to love yourself”. The
struggle for me throughout these six tracks is how the two
straddle the line between heartfelt humanity and tired “mature
pop” trappings. Too often this feels as if Eric and
Aaron are overly desperate to share everything about themselves
with the listeners. The earnest nature of “Apples”
is honorable, and for those who admire shared male vocal dynamics
it will undoubtedly be among the most requested of the six
offerings on the EP. However, while their ranges and honesty
is impressive, I will pass in favor of something more aggressive.
 IMPENDING
LIES - Believe (www.reverbnation.com/impendinglies)
Merging numerous Cleveland, Ohio scene vets, Impending Lies
blends keyboards, melodic, clean vocals, and dark, guttural
growls to create an industrialized metal grove with a sharp,
serrated edge. Crisply and cleanly produced, the songs rage
with a thunderous energy as a soaring chorus and virulent
backing vocals highlight “Believe”. The themes
of and the limitless depths of human deception are lyrical
catalysts throughout the EP, embodied by “Just Stop”
and the pummeling “Let Go”. The choice of covering
Journey’s arena-rock, mid-80’s anthem “Separate
Ways” would be a disaster in the hands of many bands,
but Impending Lies makes the track a sterling combination
of aggression and tongue-in-cheek fun. This is not quite electronic
and not quite metal, but Impending Lies falls somewhere within
an interestingly murky middle. This is a promising statement.
 DOGS
ON ACID (Jade Tree Records www.jadetree.com)
Normally I am afraid of dogs, especially those on some form
of dangerous hallucinogenic, but this collection of Philly
scene vets captures without blindly imitating 90s indie rock
a la Polvo, Archers of Loaf, and Sebadoh. There is a touch
of distortion and crunch on the opening “Keep in Touch”,
the rowdy “The Prick” and “Make it Easy”,
but much of this self-titled release bounces along a pop-kissed
path. “Flushed” is a genteel piece of softly constructed
guitar elasticity led by Joe Reinhart while “9 Times”
traipses along with a deceptively heavy low end compliments
of Nate Dionne and bass and drummer Nick Tazza. Peter Helmis
leads this troupe and his while his voice is occasionally
buried a bit in the mix, as on the fuzzy “Sun Bleached”,
he embodies the kinetic energy that makes this band so appealing.
My favorite moment is the rattling energy of “Let the
Bombs Fall Off”-a brilliant mixture of controlled abrasiveness
and richly melodic chorus. The free-flowing nature of the
songs contains a sense of youthful innocence with a sophistication
that can only be crafted by seasoned professionals.
 MAKE
WAR (Black Numbers Records blacknumbers.nosleeprecords.com)
This Brooklyn trio was once known to the world as Sad and
French, but has now rebranded themselves both in terms of
moniker and sound. Make War is a fitting change, for the music
on this self-titled debut is more aggressive than that of
the band’s previous form, although the themes of loneliness,
break-ups, and the quiet anguish faced by so many remain in
tact. This is punk with more of a jangle tone than a skull-crushing
bombast, allowing Jose Prieto’s raw, emotionally charged
vocals to shine through on “Shorter Days and Longer
Nights” and “Another Way to Let You Go”.
Rounded out by bassist Edwin Santacruz and drummer Greg Taylor,
the three bash their way through nine rough yet melodic anthems.
“When the Poison Flows” and “Listen to the
Songs” pulls forcefully upon heartstrings with a nearly
tangible intensity, while “Sweet Little Nightmares”
shifts tempo to construct a slower, darker piece that recalls
the finest days of Deep Elm Records. There is an urgency that
permeates the disc as if Prieto is grabbing the listeners
by their shirts, staring into their eyes and demanding their
complete attention. He is intimately committed to each syllable
uttered, yelped, barked, and crooned here, and the passion
of the playing makes this a wonderfully cathartic experience.
Fans of Sad and French will be pleased to know that while
that band has moved on, it has progressed into something beautifully
powerful.
 DESAPARECIDOS
- Payola (Epitaph Records www.epitaph.com)
Incredibly, it has been more than a dozen years since Desaparecidos
unleashed their first record upon the world, and the raw and
abrasive sound that dominated Read Music/Speak Spanish
still remains, but is more polished on Payola. For those not
aware, the band is a significant departure from leader Connor
Oberst’s more commonly known act Bright Eyes, as Desaparecidos
play richly melodic and bombastic punk miles away from the
aforementioned more reserved nature. There is a ragged edge
but a pop center to much of the work here as “City on
the Hill” (featuring an appearance by Tim Kasher) and
the beautifully sardonic “Golden Parachute” ripple
with massive riffs and catchy hooks from both Oberst and fellow
guitarist Denver Dalley. Payola is a sweeping condemnation
of many of the country’s political ills, ranging from
immigration to corporate greed as “Parachute" attacks
so perfectly when Oberst bellows “numbers too big to
fail/never have to go to jail”, wonderfully surmising
the frustration that so many feel about the hallowed One Percent.
Yet despite the angst and bluster, the band never loses sight
of harmonious song structures, even on the virulent “Radicalized”
and the “Te Amo Camella Vallejo”. The finest moments
of Payola strut with a swagger reminiscent of the
Clash’s apex, as heard on “Slacktivist”,
which also features the So So Glos, and the bashing, blunt
force stomp of “Steps Behind”, on which drummer
Matt Baum truly shines, accompanied by Landon Hedges’
perpetually pummeling bass playing. Smartly crafted and highly
intelligent both musically and lyrically, one is given a bare-bones
civics lessons through fourteen barreling tracks in barely
over forty minutes and people should welcome the resurrection
of Desaparecidos.
 SMALLTALK
IV (https://smalltalkplus.bandcamp.com)
Jersey’s Smalltalk are back with another truncated release
and those of us who love what they do should be appreciative,
but I still long for a full-length someday. “Just Thought”
is a burst of twenty-first century The Wedding Present-like
anguish with Pete’s controlled fury on guitar meshing
perfectly with emotionally charged vocals. “June July”
is a cutting tale of romantic betrayal (“You kissed
me all night/then called me by his name”) that could
easily be a Bouncing Souls anthem if the pace was sped up
a bit, but in the hands of Smalltalk, the song becomes a classically
crafted rock song. “Only You”, like the EP’s
opener, includes beautifully delicate backing female vocals
from Tara Jones, expanding the breadth of the splendor of
the effort. Smalltalk takes the finest aspects of Echo and
the Bunnymen and the Cure’s less lethargic emotions
and propels it thirty years forward for a new audience. Pristine
in both quality and scope, EP IV is another step forward in
the evolution of this band. I look forward to what episode
V will bring.
 DOWNTOWN
MYSTIC - "On E Street" EP (http://downtownmystic.net)
The name of this release is fitting as Downtown Mystic is
joined by two legends of Springsteen’s Hall of Fame
E Street Band, namely drummer Max Weinberg and bassist Garry
W. Tallent. Collectively, Downtown Mystic plays very traditional,
straightforward guitar rock that smacks of the 80s corporate
hey day. “And You Know” is a meandering tale of
heartbreak and woe with soulful vocals that match the weariness
and sorrowfulness of the lyrics. “Hard Enough”
is a rollicking, piano-driven track that could have been buried
somewhere on the B-side of Tunnel of Love, but is now destined
to be your parents’ (maybe grandparents?) favorite song
of the summer. “Sometimes Wrong” and its successor
“Way to Know” both include a subtle honky-tonk
vibe the smacks of, if one wants to be positive and optimistic,
Rockpile or mid-level Stones, but the Fabulous Thunderbirds
if one wants to be snarky. This is clearly geared for the
late middle-age set that remembers popping their collars while
listening to the Boss on cassette and following the antics
of the Reagan administration. This is nowhere near my first
choice, but maybe all that hardcore I still love is just my
way of fighting off
 SELF
EVIDENT The Traveler (Double+Good Records www.doubleplusgoodrecords.com)
This retrospective of sorts offers listeners a bit of everything
Self Evident has to offer, blending four old tracks with a
pair of new efforts and even two smart covers. One finds tremendous
consistency but not redundancy over the decade covered here,
and The Traveler celebrates the intriguing nature
of this band. Self Evident is a swirling mass of sophisticated
contradictions-the trio is bombastic yet delicate, complex
yet harmonious, challenging yet welcoming. This ability to
straddle jazz-tinged, emotionally charged rock without alienating
the less-than musically gifted is rare but it abounds throughout
the disc. The oldest of the works, 2004’s “Time
Capsule” is a massive expanse of power, encapsulating
the foundation of an intricate, fascinate band, heard on the
majestic “Swell” and the richly layered “Salvaged”.
“A New Way” and “House” are the two
new products and while there is a noticeable evolution in
the band’s penchant for experimentalism, the groundwork
of captivating vocals and guitar acrobatics remains true.
The two covers, one by Bear Claw (“Loaded Down with
Static”) and the other from Traindodge (“Drowned
in Flames”) are skilled tributes to the rightful owners
but Self-Evident adds their own unique approach to each. The
Traveler is a wonderful celebration of this act’s
immense talent.
 TEEN
MEN - s/t (Bar/None Records www.bar-none.com)
Teen Men is more than a band, they are in actuality, a
multi-sensory, multi-genre artistic expression. Blending
both audio and visual storytelling into one form, with a
name taken from a 1960s Playboy magazine advertisement,
Teen Men offer ambient, graceful anthems brimming with fragile
guitar playing, atmospheric keys and evocatively innocent
vocals. Nick Krill has a voice that abounds with vulnerability
on “Adventure Kids” and “Rene”,
songs that sound as if they should be handled with white
cotton gloves. The haunting nature of the band lies not
in the creation of ghostly keys, but the distance from which
the songs seem to be played, creating a sense of longing
that dominates the disc. At times psychedelic (“Fall
Out a Tree”), lush (“The Sea, The Sea”),
and experimental (“New Kind”), this self-titled
release is a complete sensory experience that merges various
art forms into an intricate mold of sophistication accented
by purity. The swirling keys of “Los Angeles”
are reminiscent of a classic torch song before childlike
vocals enter and alter the overall tone of the piece. The
closing “Kids Being Kids” is the finest work
of the record, meshing male/female vocal interplay between
Krill and Catharine Maloney into a well-woven story. This
is out of my comfort zone, but a fascinating listen.
 DONOVAN
WOLFINGTON - How to Treat the Ones You Love (Top Shelf Records
www.topshelfrecords.com)
This New Orleans-based band brings back Seattle, Portland,
and Chapel Hill from the 90s into one insanely catchy brew
with a little NOLA flavoring. How to Treat the Ones You
Love was recorded as a dear friend of the band suddenly
and tragically passed away, and the frustration, confusion,
and sense of loss manifests in various manners over the course
of the baker’s dozen tracks here. There is pure rage
on the fittingly titled “Hxc Punk”, and angular
speed on “Basalisk”, but much of the record is
a steady burn of uniquely melodic indie punk. “Ollie
North” “Slow Lois”, “John Cena”,
and “Rhonda” are hook-rich slabs of well-crafted
darkness highlighted by Matthew Seferian’s guitar work
and Neil Berthier’s emotionally charged vocals. His
ability to accurately and sincerely convey a multitude of
conflicting feelings gives every song a distinctive personality
within the larger construct of Donovan Wolfington’s
sound. One of the many highlight is on “Manchac”
when he asks “How many shotguns how you shot/ I forgot
it’s a lot/We smoke pot” with a knowing sarcasm
that is nearly tangible through one’s speakers. The
majority of the songs fight to extend much beyond two minutes,
but there is quite a bit of power stuffed into these tiny
packages. However, the band truly shines a the selection of
lengthier tracks, especially “Hershel Tuesday”
which takes In Utero style clamor and funnels it into a sleek,
modern take on punk rock. The closing “Sadhead”
will make Pixies fans weep with pride and it a perfect way
to conclude a record that is both an homage to the recent
past and a celebration of the present. Donovan Wolfington
gives me hope for the future.
 GRIM
DEEDS - Psychologically Displaced (grimdeeds.bandcamp.com)
Grim Deeds is exactly the band the world needs right now.
In an age of false outrage in which every person is potentially
offended by everything, Grim Deeds is here to stuff your arrogant,
self-righteous head into a public toilet. Sure, the raw punk
of “No Con-troll” or “Cuddle Café”
are great, but I equally love the acoustic, country punk of
“Ode to Oderus”, a loving homage to Dave Brocke,
the lead scumdog of the universe who left us far too soon.
Brimming with obnoxious lyrics, garage rock riffs, and unapologetic
honesty, Psychologically Displaced is both brilliantly comical
and wonderfully confrontational. Yet, in the midst of the
classic two-chord gems like “The Benefits of Getting
Laid”, “High School Scars”, and “Andy
Social”, there are the more heartfelt anthems “The
Archives” and “Strung Me Along”. The former
is particularly bold in terms of the humanity that is revealed,
detailing a notebook of memories that caused suffering to
others. However, before anyone thinks that Grim Deeds is somehow
growing older and more sentimental, there is “When You’re
Stoned” that proudly tells the kids of today how “everything
is better when you’re stoned”. I have this entire
record on repeat, but I keep coming back to a trio of hilarious
acoustic tales led by “I Smoked Weed with Cronos”.
Grim Deeds has long made references to metal in previous records,
and this story of Venom’s legendary leader is a classic.
Following this up is “We’re All a Little Racist”,
a song that is both funny but also bluntly honest (“We
can blame each other or acknowledge our own faults/we’re
all a little racist after all”). Lastly is “No
One Gives a Shit” which places personal educational
success into proper perspective. The world may be a mess,
but as long as a band like Grim Deeds continues to exist,
it is a bit easier to endure.
 JOHN
THE GUN - Tread Eternal (www.johnthegun.com)
John The Gun is a band for fans of indie rock with a flair
for adventure. The guitar playing on “Ghost” conjures
the artistry of Coheed and Cambria or The Mars Volta. Dense
and punishing, Tread Eternal is not an easy listen but it
is worth the effort, as “Unilateral” and “Please
Advise” attest. The songs are driven by complex arrangements
and tempo shifts that are intricate but not convoluted, which
is the strength of the band. Skilled musicians will identify
the sophistication of the playing and appreciate the wealth
of talent, but those of us without a shred of ability will
also be able to allow the force of “Sticky Ninjas”
or “Renaissance” to wash over us. These two pieces
are tightly wound tracks of hair-trigger guitar force and
shockingly nimble arrangements. The sullen and delicate “Whiskey
Water” and “Emilia” unveils yet another
facet of the aptitude found within the ranks of John the Gun.
The band sounds much larger than a trio and the ten songs
on Tread Eternal feature a broad range of emotions and lyrical
cleverness. John the Gun is a thunderous act that also has
the talent to deliver “Lunar”, the warm, richly
harmonious conclusion. Erudite, well produced, and intriguing,
John the Gun is a band bringing elevated skill to the often-uniform
world of indie rock.
 MAN
OVERBOARD -Heavy Love (Rise Records www.riserecords.com)
This Jersey crew has longed been attached at the hip to Blink
182, due to both their moniker and their sound, but Heavy
Love, while still significantly steeped in late 90’s
punk-pop, features subtle advancements in tone and direction.
“Reality Check” and “The Note” are
classic pieces of sleek, poppy punk for the teen scene and
their girlfriends, but “She’s In Pictures”
bubbles over with 60s harmonics that are more Brian Wilson
than Mark Hoppus. Produced by Bill Stevenson, the band’s
energy is allowed to shine through on all twelve tracks, highlighted
by the raucous “Cliffhanger” and “Invinsible”.
The rough and tumble “Deal” highlights the talents
of drummer Joe Talarico while vocalist Nick Bruzzese spins
anther yard of frustration and confusion that will ring true
with those dealing with the reality of adulthood as readily
as those struggling with high school. The rollicking “Anything”
is another example of Descendants-inspired melodies layered
on top of New Found Glory’s best moments, while “For
Jeannie” will bring a tear to the eye of any Yellowcard
or Box Car Racer fan. Closing with “A Love that I Can’t
Have”, Man Overboard perfectly sums up romantic challenges
with three chords and warm harmonies. Man Overboard is a band
that should only release new material during summer months
because they capture the energy and fun drama of the season.
Despite its title, Heavy Love is like summer fare-light, easy
to digest, and does not stay with you for very long, but it
is highly enjoyable.
 BLOODY
YOUR HANDS! - Paper Cuts (bloodyyourhands.bandcamp.com)
Jameson Edwards and Ava Farber are best known in circles of
East Coast hipsters as members of I Am the Heat, and they
bring their distinctly harmonious voices to Bloody Your Hands!
Like the aforementioned act, Bloody Your Hands! travels a
wide swath of indie pop, beginning with the bass heavy rumble
of “Grass Stains”. This is a bit of an anomaly
when compared to the gentle fun of “Boys and Girls”
and “Stacking Dolls”; two songs with pristine
vocals and infectious fun. The record truly hits its stride
on “Little Notes”, a jangly, punk-pop gem that
overflows with kinetic energy and is exactly what your summer
soundtrack needs. Edwards and Farber sound as if they have
been singing together since birth and their talents are majestic
in scope. Borrowing a bit from post-punk deities like Television
and Wire, “Product of Luxury” shakes and rumbles
incessantly, seemingly ready to lapse into chaos, but somehow
this trio always grasps tightly to brilliant melodies as Jamison
cries, “I want to rule the world/but I’m too lazy
I’m told”. “Strangers” could be a
rare Feelies B-side with slightly heavier guitar playing,
and “Sleep Forever” is a rattling frenzy of irresistible
power again highlighted by the verbal interplay of Edwards
and Farber. I still do not know why I Am the Heat is not a
nationally celebrated act, but if that cannot be the case,
Bloody Your Hands! should make these kids stars because Paper
Cuts is a multi-faceted canvas of all that is likable about
twenty-first century indie rock. Bloody Your Hands! pays homage
to giants of the past but their gifts are unique and undeniable.
The closing “Blackthorn” reveals a more complex
song structure and arrangement in contrast to the previous
efforts, offering a peek at where the band may be headed and
it is extremely promising.
 USELESS
ID - The Lost Broken Bones (Fat Wreck Chords www.fatwreck.com)
There are obvious connotations associated with being a punk
band from Israel, but Useless ID focuses their collective
energy on producing equally aggressive and harmonious punk
in a Southern California style a la Bad Religion. It would
be easy for these guys to craft overtly politicized punk and
I am sure it would be articulate and powerful; however, all
nineteen efforts here are relatable for a global audience
and there in lies both the brilliance and maturity of Useless
ID. There are certainly political implications to “Shallow
End” and “Always the Same”, but what captures
the listener instantly is the astounding shared vocals and
contagious hooks that abound here. The gallop of “Already
Dead” is matched by the hardcore energy of “Dissolve”
which is then equally impressive as the soaring harmonies
of “My Alter Ego”, demonstrating remarkable range
for this veteran four-piece. The marriage between Fat Wreck
and Useless ID is a perfect match, as Useless ID nestles ideally
in the Fat stable of sonically bruising but melodically attentive
punk. Quite often nineteen songs would be a bit too much for
a single sitting for me, but The Lost Broken Bones glides
effortlessly and I loved the seven bonus tracks included here.
This record was originally released on Suburban Home Records
in 2008 and it is a glorious re-issue, for Broken Bones sounds
as if it was recorded last week. It is safe to say that seven
years is a lifetime in punk years and one may worry about
this sounding dated, but this is fresher than anything taking
the stages at festivals across the country. Vocalist Ishay
Berger has a voice that is both powerful and empathetic, generating
a broad range of emotions throughout the record. If you share
my shame in missing this the firth time around, run out and
find this immediately. There is an urgency to the playing
that reflects the tension and intensity of the region from
which the band hails, but this transcends the band’s
role as Middle Eastern punk ambassadors; this is just a scathing,
sleek, profoundly human record that needs to be celebrated.
 THE
BROOKLYN WHAT - Room EP (thebrooklynwhat.bandcamp.com)
The Brooklyn What are a classic sounding rock outfit that
transcends decades and remembers when rock music was about
guitar hooks and melodious choruses. “Runway”
could easily be a Hollies track updated for the twenty-first
century, while the opening title effort is a rollicking smash
and grab of a song that opens with the lines “I don’t
wanna die, I don’t wanna have something to do, I just
wanna be high, I just wanna be in my room”. The song
is overflowing with punk angst, but the soaring backing vocals
courtesy of guitarists Evan O’Donnell and John-Severin
Napolillo softens the blow a bit and makes the track majestically
harmonic. These two pieces perfectly encapsulate The Brooklyn
What, as Jamie Frey’s vocals are heartfelt and delivered
with poignancy, particularly on the less bombastic “Jesse’s
Trip”. The closing “Buzzards and Dreadful Crows”
is a Guided By Voices cover that is expertly handled here.
GBV is not an easy act to cover and Brooklyn What take on
this challenge and confidently master the task by retaining
the gritty grandeur of the original while also injecting their
own raw energy. This is a bold release from another band proudly
waving the flag of good ol' rock 'n' roll.
 THE
HARMONICA LEWINSKIES -
"Suck Berry" EP (theharmonicalewinskies.bandcamp.com)
Everyone already knows that Brooklyn is one of the hippest,
coolest dens of musical inspiration to be found in this great
nation, but I dare say one would be hard pressed to imagine
a band like the Harmonica Lewinskies calling that particular
borough home. This multi-talented eight-piece with a wonderful
name plays horn-laden funk and soul with some fun loving pop
energy mixed in for good measure. While the quick-moving “Wandering”
features more traditional rock energy, starting with a feedback-heavy
intro, “Aberdeen” grooves and slides through nearly
five minutes of bluesy lamentations about growing up in a
small town. With nimble guitar playing and the strong vocal
interplay of Rob Roberto Bettega and Madeline Gioia, the song
displays the wealth of talent here. The horn section of Chris
Lucca, Marco Sanchez, and the aforementioned Gioia inject
a jazzy, high-energy jolt into “Papa’s Got a Brand
New Man”, bringing together a hybrid of James Brown
and the J. Geils Band. Everything about this band is cool
and I love how they boldly follow their own path, for no one
in the clubs of NYC is bashing out anything like what one
hears on “Suck Berry”. The closing “Song
# 42” has a meandering pace in which the band dramatically
constructs a track with a much more deliberate tempo, but
it is no less infectious that the earlier efforts. The Harmonica
Lewinskies are a multi-purpose act that can either make people
move furiously or allow an audience to sip their drinks with
leisure. However they choose to perform, I am a fan.
INSECT ARK - Portal/Well Autumnsongs Records www.autumnsongsrecords.com)
This is my new favorite record-Insect Ark creates the penultimate
anti-summer album with Portal/Well. Dark, mysterious, and
perpetually sneaking up behind you, Dana Schechter is a genius.
This one-woman instrumental project has a crushingly heavy
vibe on each song, but the doom is merely a strand in the
larger fabric of this effort. “Octavia” is majestic
in its beauty and devastating in its power-it is a thunderous
mass of intensity that envelops the listener and renders them
deliciously helpless. The majority of the tracks here are
over six minutes long, but none ever approach redundancy.
Instead, the lengthier pieces are given room to breathe and
explore the aural capabilities of this staggering artist.
“The Collector” is driven by low-end power that
meshes seamlessly with freely flowing distortion and sanguine
guitar work, cascading into a result less doom and more post-grunge.
The highlight for me is the terrifying “Taalith”:
this effort has all the necessary components for a horror
film. It is sinister, brooding, and also offers the listener
brief respites from the impending doom. Schechter’s
ability to alternate between various emotions is mesmerizing
and her skill for expressing such intense sentiments sans
words makes her a true virtuoso. When one learns about more
about the woman behind Insect Ark, her penchant for generating
such devastating music makes sense. Schechter immersed herself
in Bay Area metal in the 1990s and even toured with Swans
leader Michael Gira. The blending of metal’s ferocity
with the Swans intellectual noise manipulation is palpable
throughout Portal/Well, but is most apparent on the title
track and the staggering “Parallel Twin”. The
stifling “Low Moon” that closes the disc has a
paranormal sensibility that demands for a late-night listen,
but I certainly do not have the courage to try. It is haunting
in the truest definition of the word, and while it may not
contain the same level of punishing doom as its predecessors,
“Low Moon” would make the guys in My Dying Bride
shudder in fear, and therefore is a perfect closing anthem.
Insect Ark will be touring soon with Schechter adding a live
drummer, Ashley Spungin, to more completely animate the unending
nightmares heard here. Those bold enough are commanded to
find this immediately.
MARION WALKER - Serious Picnic (Casino Trash Recordswww.marionwalker.org)
This three song EP clocks in exactly at 11:11 and is formatted
to be a singular piece to be enjoyed in a lone listen. Led
by guitarist/keyboardist/singer Jessie Marion Smith and guitarist/vocalist
Kyle Walker Akins (see the name now?), the band is rounded
out by drummer Donovan Williams and bassist Cark Demeritt.
The opening “Seriously” is highlighted by Smith’s
lush backing vocals over the top of Akins’ solid but
less emotive singing style. This is the liveliest of the trio
of songs on Serious Picnic, as “Seriously” is
replete with sinewy guitar work and tangible pop aesthetics.
As the EP progresses, the band’s unique take on traditional
guitar rock becomes more apparent as they add elements of
subtle psychedelia, wonderfully placed noise, and abstract
time signatures that help to make “Silver Drone”
in particular such a fascinating piece. The closing “Volunteers”
features a more pronounced low end, highlighting the power
of Williams as Akins again takes command of the lead singing
responsibilities. There is quite a bit to celebrate here as
this is is a band with a distinctive sound. Smith is a dancer
and choreographer and her talents are metaphorical for how
her band plays-there is a significant amount of moving parts
throughout the three songs. I would like to have them divided
up into individual segments, but that complaint aside, I am
very impressed with Marion Walker.
THE PLURALS - “An Onion Tied to My belt”
(GTG Records/Diet Pop Records www.gtgrecords.net)
This highly energized Lansing, Michigan trio had me as a fan
before I even heard the first note-the title of this disc
is a partial quote from Homer Simpson’s aged father
Abe Simpson, who less obsessive fans may know simply as “Grandpa”.
Regardless, guitarist Tommy McCord, bassist Nich Richard,
and drummer Hattie Danby set a high bar for themselves in
my eyes, and they did not disappoint. Onion is a twelve-song
collection of various degrees of intensity, but each track
includes a heartfelt devotion to authentic melodic punk. There
is just enough noise sprinkled throughout the disc to keep
me satisfied, particularly on “Oh Yeah”, “Dunwanna”,
and the highly off-kilter “Red Lobster”. All three
members share lead vocal responsibilities and while I do not
have a particular favorite, should the band decide to promote
Danby to primary vocalist, I would not object. While references
to early 90s DC indie noise is appropriate, it is far from
the entire story of the Plurals. The sarcastic, understated
“Facebook” is a significant departure from the
more challenging “Term Oil” or the slow burn of
“Rock N Roll”. There is everything to like about
this band, particularly the manner in which they carve out
a unique niche within a well-worn style. The Plurals do not
reinvents any genre here, but they bring energy and a purity
back to indie punk-pop that is severely missing. This is a
great find.
 CHELSEA
- Saturday Night Sunday Morning (Westworld Records/Four
Worlds Media www.fourworldsmedia.com)
Chelsea is a band that can honestly count themselves among
punk’s pioneers. The memories may be hazy at this point,
but when the Sex Pistols and the Clash were learning how to
tune, Chelsea was producing the type of raw, angry slabs of
musical angst that would define the British scene of the mid
to late 1970s. The band ultimately splintered into two factions
with one half of the band moving on to become Generation X
with singer and future cameo highlight of Adam Sandler films,
Billy Idol. All these many years later, Chelsea can still
bring the goods as evident on Saturday Night, Sunday Morning.
The anger is still living within these guys but it manifests
itself through highly melodic pieces that are far more polished
than their early work. Obviously age and practice will change
the band’s sound over the decades, but classic British
cheekiness still reigns supreme. A band has to be a little
arrogant to write a song called “Crazy Train”
without even the slightest nod to Ozzy. This is wonderfully
harmonic punk that will get old fans to break out their safety
pins but may not necessarily resonant with younger punk fans.
However, “They Don’t Care About You”, “You’ve
Gotta Survive”, and the les than subtle “Fuck
All” are each darkly rhythmic pieces featuring well
chiseled riffs and impassioned vocals from Gene October. “You
Never Listen” sounds like a perfect teen anthem regardless
of the age of the performers, for the central message never
gets old. I do not know how much attention Saturday Night
Sunday Morning will garner, but for those fortunate enough
to hear it, Chelsea proves how old pros can stay current while
never abandoning their roots.
 DUSTIN
KENSRUE - Carry the Fire (Vagrant Records www.vagrant.com)
The devoutly religious former Thrice member returns with his
third solo record, a collection of songs dedicated to the
power of love and the celebration of watching it flourish.
In complete honesty, I was never a fan of Thrice and it took
me quite a while to find the time to review this. What one
finds within the ten songs of Carry the Fire is a
record with a very serious tone and a collection of straight
ahead rock with some subtle variations. It is an easy listen,
and while moderately enjoyable, I am not moved by anything
I hear. Perhaps I am just a curmudgeon who no longer subscribes
to the wondrous mystery and excitement of a loving relationship,
but really, I am just a guy who likes loud, abrasive, angry
music more than songs about how beautiful Kensure thinks his
wife is, as heard on “Juggernaut”. The old-time
feel of “There’s Something Dark” is authentic
in nature but not stirring and while “Death or Glory”
has the same title as a legendary Clash song, the similarity
ends there. “In the Darkness” could easily have
been recorded by Springsteen in the late 70s and while “Of
Crows and Crowns” and “What Beautiful Things”
reminds me of Bill Janovitz’s finest solo work, I keep
waiting for the record to feature at least a fleeting moment
of raucous guitar. While the closing title track shows signs
of life, Kensure never fully unleashes either his vocal prowess
of guitar weight. That is disappointing, for these songs are
the skeletal blueprints of what could be immensely powerful
tracks if placed in the hands of more devastating musicians.
If you are looking for streamlined, readily accessible rock
from a man who formerly led a church, this is your record.
 DEAF
RHINO - Dirt, Rust, Chaos (www.facebook.com/deafrhino)
Once I dropped my own snarky attitude towards the band’s
name (seemingly a combination of a properly spelled Def Leppard
and Rhino Bucket?), I realized that this New Jersey outfit
has noticeable chops and an ear for radio ready rock. “Don’t
Believe What You’ve Heard” opens with a riff straight
from late 70s Crazy Horse before settling into an elastic
groove with an instantly memorable chorus. After a slow start,
“Hey You” rocks with a controlled burn that should
delight those looking for a more mature take on contemporary
rock with enduring another grunge revival clone, while “If
I Could” is driven by rousing rhythm section interplay
and a level of infectious energy that must get every person
moving in a small club. The bluesy “Infinite”
and the guitar-fueled “The Heights” act as bookends
for the record’s two slower efforts, “Once in
a Lifetime” and “The Dance of You”. While
both of those works have their value, I am far more drawn
to the sturdier, more bombastic work on Dirt, Rust, Chaos.
With an ability to alter tempo and tone, heard wonderfully
on the closing effort, “The Water”, Deaf Rhino
plays a with a sophistication that makes them real contenders
for notoriety far outside of their Jersey stomping grounds.
This is not just a local opener, for based on the quality
of this self-released work, Deaf Rhino should soon have local
acts supporting their tour stops.
 ANNABEL
- Having It All (Tiny Engines www.tinyengines.limitedrun.com)
Perhaps early adulthood angst has never been so succinctly
stated as on the title track of Annabel’s third full-length
when Ben Hendricks offers this nugget: “I just wanted
the acceptance of my peers/I got this feeling that I wasted
all these years”. The direct, unapologetic, and somewhat
self-deprecating nature of that line surmises the entirety
of Having it All. The record is richly melodic and
harkens back to the dawn of the emo age with eleven pop-infused
anthems of introspection and heartache. The band wants the
listener to believe that these songs are straight forward
efforts that could be mastered by any group of frustrated
teens with enough time on their hands, but this belies what
is a highly talented outfit led by Hendricks. The song structures
on “If Only” and “Ex-Introvert” (“I
have been working on an impression of myself but it still
needs work”) are darkly beautiful and obtusely coherent
while the misanthropic “Days in Between” is the
band’s high water mark. The jangly guitars that dominate
the opening “Another Day, Another Vitamin” and
the closing “Nothing Gets Away” fade away on the
more rugged “The Fortunate Ones” and the equally
buoyant and heart-wrenching “On the Importance of Disappointment”.
There is an energy that sweeps throughout the record, a subtle
intensity not even lessened by the more delicate acoustic
guitar playing on “”How To: A Self Help Guide”.
While one famous son of Akron, Ohio just came up a little
short in an effort to be a champion, all of the mid-west can
rally around these guys.
 IKE
REILLY - Born On Fire (Firebrand Records www.ikereilly.net)
If one listens to the majority of prognosticators about the
current state of music, it is easy to believe that there is
a dearth of talented songwriters and the concept of constructing
heartfelt, poignant stories set to music is now a lost art.
However, one listen to Ike Reilly’s Born on Fire is
enough for me to completely dispel that earlier assertion,
as his latest assortment of down-home heroes, their struggles
and triumphs, is a sterling collection of authentic folk-infused
rock that brings the listener into the lives of the topics
being discussed through wonderful eloquence by a dynamic vocalist.
Reilly’s influences are obvious, but his implementation
of various styles is always homage more than imitation. Dylan
is certainly alluded to on “Am I Still the One”,
with its subtle twang and words of love and confusion, and
how those two ideas often intertwine. The title track is a
defiant declaration of independence and fearlessness devoted
to anyone who has ever felt repressed or doubted, while “Do
the Death Slide” rattles and shakes like a late-50s
lost gem, a style later heard on the sexually charged and
innuendo-laced “The Black Kat” (“I rub your
spine/ you throw head back”). “2 Weeks A Work,
1 Night A Love” is expertly titled and Reilly delivers
his lyrics with passion of a preacher and the mixture of rhythm
and blues and soul makes this one of Born on Fire’s
many highlights. “Let’s Live Like We’re
Dying”, “Upper Mississippi River Valley Girl”,
and “Good Looking Boy” is a trio of immaculate
songs that resonate like Twain set to Americana musicianship.
The songs spins yarns of hope, beauty, pain, and desperation
through hauntingly poetic phrasing and Reilly’s voice,
a gruff feature often accented by elements of heart-breaking
vulnerability or earnest exuberance. Reilly has selected to
release his first record in nearly five years on Firebrand
Records, the new imprint of Tom Morello, who amazingly hails
from Reilly’s hometown of Libertyville, Illinois and
contributes his talents to the concluding “Paradise
Lane”, a powerful piece about the dichotomy of growing
up and growing older in one place while life continuously
changes. Soaring, impassioned, and emotionally charged, Born
on Fire is a bold return from a talent who deserves broader
national recognition.
 CARTER
PRINCE - "Electric Love" EP (carterprince1.bandcamp.com)
Carter Prince hopes people will turn up the volume on
his new five-song collection and “explore this tasty
audio tunage just as a lion explores the carcass of a downed
zebra”. I do not know if I can go as far as to compare
anything about Electric Love to a hungry carnivore tearing
through the lifeless body of a zebra, but this is a fun
assortment of tracks from a unique talent. “High Off
Beans” does not need to be nearly five and half minutes
in length with its extended keyboard solo, understated guitar
riff, and occasional harmonica, but all of those components
help to paint a picture of Carter’s good-natured quirkiness.
His confession of “I’m in love with being in
love” is the center of the song, and one is left wondering
if that is providing him hope or agony as he continues to
say that “I don’t think I can go on anymore”.
That same theme is heard on “Helpless Unromantic”,
another roughly recorded piece from this Jersey native’s
home studio. The track includes surprisingly noisy guitar
work and expertly delivered deadpan lyrics: “you tell
me sex is my only goal, when I’m looking at your chest
I’m looking for your soul”. A suggestion across
the board here is to trim a bit of fat from each song, as
they can meander, particularly “Home” and “Happy
Day”, but for only one kid with a guitar, a keyboard,
a percussion loop, and assorted samples and noises, that
is a bit of a nitpick. Prince’s Korg gets quite a
workout on “Happy Day”, whose title matches
the overall vibe of the song, before giving way to extended
guitar solos. The closing piano-laden “Good Morning
You Stupid Armadillo” again draws upon Prince’s
penchant for self-effacing lyrics about getting out of bed,
taking a shower, and returning to bed as the accomplishments
of his day, before fading away in a cloud of drum loops
in a manner that may not bring the EP to its proper conclusion,
but certainly encapsulates the unpredictable and non-conformist
style that defines the release.
 COMRADES
- We Got This (comradescollective.bandcamp.com)
It takes a tremendous amount of guts for a relatively unknown
band to christen themselves as “NYC’s only punk
band” but after listening to We Got This, I
defy someone to tell me that Comrades does not deserve real
consideration for the title. Comrades deliver blasts of kinetic,
bombastic punk with a fearless dedication to challenge and
decimate all in their path through raw shared male/female
vocals and politically scathing lyrics. Listeners gain an
education about the seedy side of New York City on “Benjamin
Swenson” (“I'm robin hood on Easter/ Sixth and
seconds where I'll spend it have a little feaster), “Cats
Not Cops”, and “Tompkins Lullaby” (“dirty
mattresses and crying under trees/and I guess I am my disease/and
I guess I'll do just what I please”). There is an unforgettable
urgency and fury in each syllable and every riff, and when
the songs spin out of control, such “Lice Bingo”
and “In Circles”, the chaos only adds a punctuation
to the rage and importance of the band’s message. Comrades
brazenly encourages the destruction of entities they see as
corrosive on “Wal-Mart Liberation Front” and “The
Party’s Over” with a les than veiled shot at a
certain American leader: “No change no hope! We're sad
we're broke toxic air we choke on/The lies they spoke their
intimidation manipulation exploitation indoctrination all
of it needs to end resist revolt”. This is not predictable
punk politics of blaming Republicans for the world’s
ills, but rather no one is left off the radar here and that
ability to find responsibility and fault within all parties
for the current state of America is both refreshing and representative
of a more intellectually sophisticated act (For the clearest
proof, check out he spoken word “Freedom Interlude”).
However, at their core, Comrades is a band that subscribes
to the age old, but increasingly difficult to find, beliefs
that punk rock should be abrasive to the point of being obnoxious,
fear is a powerful emotion, and that a great band will frighten
people. Americans have been able to sit in the comfort of
their homes and watch as lives have been taken and cities
have been burned; as panic begins to take hold, the citizens
are then berated by talking heads who act as the denizens
of mass media before moving on to the next interesting calamity,
leaving behind the destruction of the previous night’s
lead story. Comrades is the sound of a burning city after
the news crews have left and the solution has not been found
within the construct of a sixty-minute talk show. Even when
Comrades inject a country and western swagger into “Once
Upon a Crime”, they still sound profoundly disgusted
with their world and all that they see. We Got This will cause
some people to worry and others to run; therefore, Comrades
are a perfect punk band and not to be taken for granted.
 THE
EARLY NOVEMBER - Imbue (Rise Records www.riserecords.com)
This Jersey outfit first earned their stripes as an unknown
act on the early years of the Warped Tour, and although Imbue
is not a record designed for skate parks, it is a lush achievement
of soaring vocals, harmonious guitar playing, and a warmth
that is nearly tangible. While the ebb and flow that defines
the ballads “Circulation” and “Harmony”
is quite beautiful, I am drawn to the more energized emo of
“Boxing Timelines” and “Cyanide”,
as Ace Enders shines as a vocalist with an understated intensity.
Throughout the record, the vocals and guitar riffs play off
of and against each other in a sophisticated dance that takes
one back to 90’s alternative without simply repackaging
an old trick. “I Don’t Care” roars with
simmering angst, while the opening “Narrow Mouth”
is instantly attention-grabbing with a tightly played riff
accented with a subtle pop bounce that reminds me of The Starting
Line. In essence, what The Early November clearly is a more
refined, polished, and battle tested emo band that are very
content to be just that. I find nothing on Imbue to be overwhelming,
but everything is well played. This is a record that just
requires someone to start the first track and then let it
play out for the duration of the ten offerings here. For fans
of the 90s, The Early November will take you back, and although
their sound is not wholly unique, it is easily palatable.
There is nothing here to not like, but I just find myself
have a difficult time getting truly excited about Imbue.
 JAWBOX
- My Scrapbook of Fatal Accidents (Arctic Rodeo Records
www.arcticrodeorecordings.com)
Jawbox is one of those bands for those of us of a certain
age that instantly conjure images of swirly vinyl seven-inch
singles, sweaty, small clubs, and indie rock’s glory
days. This career-spanning collection will remind listeners
of how talented this band was and show today’s youth
was it like to be a hard working, endlessly touring outfit
that earned each fan through a relentless commitment to connecting
with an audience. Over the course of twenty-three songs, Jawbox
evolves from a raw trio brimming with unharnessed talents
to a confident, daring four-piece that boldly covered artists
ranging from Frank Sinatra (“I’ve Got You Under
My Skin”) to Tori Amos (“Cornflake Girl”).
Along the way, J Robbins, Kim Coletta, Adam Wade (later Bill
Barbot joined on guitar and Zach Barocas took over for Wade
on drums) delivered remarkably melodic and richly textured
guitar rock with Robbins’ soaring vocals initially emerging
from the fray of “Static” and “Chinese Fork
Tie”, and later settling in as an accompaniment to his
fellow players on “The Big Shave” and “Mirrorfull”.
The rollicking force of “Sound On Sound”, the
MTV hit “Savory”, and “It’s Expected
I’m Gone” still stands up nicely regardless of
now being nearly twenty years old. Jawbox was renowned for
their classic DC sound and nearly unprecedented decision to
abandon Dischord Records for Atlantic Records, but they are
also a band that influenced legions of others to follow in
their path and Jawbox simply did not garner the appreciation
they truly deserved. It is easy two decades after the fact
to look back fondly upon a band and lament the apparent lack
of respect they incurred, but in the case of Jawbox, this
is not rose-colored hyperbole; one listen “Low Strung”
or “Won’t Come Off” and it is easy to realize
why a two-record retrospective is more than nostalgia but
is actually a testament to a band that embodied an age that
may never return, but whose music will endure.
 HUNGRY
TIGER s/t (Sex Sheet Records www.sexsheetrecords.com)
Beer-loving, basement dwelling beasts from the streets of
Portland, Oregon, Hungry Tiger offer eight blasts of loosely
played, fun-loving punk. Billy Kemmer has a strong voice and
is backed up by fellow guitarist Jeff Borkgren most powerfully
on “Status”, “Falling Houses” and
the closing romp “Positive Side of Negative”.
Nothing here is particularly furious, but each song is a well
constructed and memorable. Hungry Tiger reports on their Bandcamp
page that they “are stoked” about what they have
produced here, and with good reason. The record soars past
very quickly, and this is an effort worthy of instant repeated
listens. “Loser Candy” and “Tuesday Night
Lights” are two other pieces of infectious punk-pop
without all of the sugary elements that too often bog down
other bands of this ilk. The ability to inject greater than
average intensity into this genre is due to largely to the
outstanding low end of bassist Ledena Mattox and Amai Hart
who anchor the band across the entirety of this self-titled
release. Sex Sheet is a young label but they are off to a
perfect start.
 NEW
POLITICIANS - Remission (www.newpoliticiansmusic.com)
New Politicians may call Centerville, New Jersey home
but they sound as if they should be sharing a flat with
the members of Joy Division. There is a majestic elegance
to the seven songs of Remission; music that hovers with
atmospheric fragility yet is still immediately impactful.
“Killer on the Mend” is chilling in its precision
and ethereal breadth, while “Cut a Hole” is
cinematic and deceptively heavy in its delivery. While nothing
here pounds or screams, it is a slow death by a thousand
subtle riffs and stirring playing. Opening with “Revelator,”
New Politicians present themselves as a darkly fascinating
act with a substance that is impossible to label and more
difficult to ignore. The songs seem to embrace the listener,
particularly “Been in the Wars” and “Cut
a Hole” with a low end that hangs menacingly like
a low cloud ceiling on a bitter day, accented by slashing
guitar work. Vocalist Renal Anthony has limitless talent
and he routinely leaves me stunned with the passion and
emotional depth of his performance, best heard on the stately
title track. Even as the songs meander, the tracks seem
to repeatedly reintroduce and reimagine themselves, morphing
into intricate, emotionally driven masterpieces. This is
music most people would love to make but simply do not possess
the prowess to do so-each moment of Remission carries the
listener away and reminds each person that there are bands
out here still taking real changes, making distinctive music,
and celebrating an adherence to non-conformity. Become the
coolest person in your circle of friends and claim this
band as your own before they do.
 GOOD
RIDDANCE - Peace in Our Time (www.fatwreck.com)
It is extraordinarily rare for a band to have eight years
pass between records and still sound relevant upon their return.
It is an even more startling feat for a band that soared throughout
their brief career but faded away too quickly, such as the
story of Good Riddance. Politically and socially conscious
long before people believed that statements of one hundred
forty characters could impact the world, this California outfit
roars back with Peace in our Time, a blazing collection of
high-energy punk that is intelligent and powerful. “Contrition”
and “Take it To Heart” rumble with warm harmonies
in a Pennywise vain, while even when Good Riddance slow the
tempo down a bit, as they do on “Grace and Virtue”
and “Teachable Moments”, there is a still a profound
force behind the playing. The heartfelt honesty of “Washed
Away” resonates with an openness and maturity that only
experienced, confident, and battle-tested veterans can write.
“Shiloh” and “Dry Season” are textbook
West Coast punk, while “Running on Fumes” is my
favorite of the fourteen; a sleek, articulate look back upon
one’s life that never comes across as remorseful or
bitter, but simply accepting of what has transpired. Good
Riddance is a band that deservingly rabid fans but they never
became the household name they deserved to be-perhaps history,
unlike the actions of Neville Chamberlain for which this disc
is titled, can be corrected this time.
 TEENAGE
BOTTLEROCKET - Tales From Wyoming ( riserecords.com)
The best punk band from the Big Sky Conference returns with
another batch of pop-infused, good natured anthems that reveal
the band’s sense of humor as much as their musical prowess.
Teenage Bottlerocket has a wonderful penchant for taking jabs
at metal and it continues with “Nothing Else Matters
(When I’m with You)” with references to listening
to Kill ‘Em All and defending Jason Newsted, but the
band’s finest moments come when they bow to the Queers
and write riffs more contagious than Ebola in a refugee camp.
“Cockroach Strikes Again”, “Can’t
Quit”, and “They Call Me Steve” are classic
pop songs with a serrated edge accented by brilliantly sardonic
lyrics. However, the video for the latter is a mock-up of
Minecraft, which seems a few years too late, but it’s
OK; perhaps that game is just reaching Wyoming now. “I
Wanna Die” is a furious track that injects SOA style
rage into less then two minutes of visceral honesty, while
“Haunted House” is a return to the band’s
ability to write songs that may contain ridiculous lyrics
but the quality of the musicianship demands one’s respect.
The one clunker is the closing acoustic effort, “First
Time”. Coming across as TB's desperate attempt at their
own version of “Good Riddance (Time of Your Life)”,
the track is a misshapen prom song that brings an otherwise
sterling record to a screeching, forgettable halt. Perhaps
future printings will simply leave this one, for the first
thirteen efforts are superior pieces of perfect punk fun.
 THE
CUT 45 - 10" EP (Sex Sheet Records www.sexsheetrecords.com)
This Portland, Oregon trio play a unique brand of grunge-inspired
punk on four highly individualized tracks. Each song has its
own personality, yet successfully retains the remnants of
a distinctive sound, whether in the form of Tom’s vocals
or the intensity of the low end of drummer Gordy and bassist
Ethan. “House Flies” is noisy triumphant slab
of rugged pop carried by an unexpectedly catchy groove and
raspy, shouted chorus. “Plague of Information”
sounds as if it was found in an early-90’s time capsule
with its shared vocals, high energy riff and moody shifts
in lyrical delivery. This is my favorite of the four, followed
closely by the lengthier closer, “Corn Liquor”.
Sounding very much like Fugazi’s hyperactive younger
cousin, this track is a demonstration of truly adroit musicianship
from a band that has a wealth of ability and is willing to
experiment with tempo and tone, occasionally several times
within the same track. “Satellites” is a bass-heavy
effort that also includes dissident guitar work and impassioned
vocals. I love what this band has to offer and need to hear
more very quickly.
 HEY
MANDIBLE - The Arse (Fort Lowell Records http://fortlowell.blogspot.com)
Where was this band twenty years ago when I was in college
radio? Hey Mandible is a bruising, acerbic celebration of
squealing guitar noise that is constantly churning with some
form of indescribable rage. The opening “Supernovatone”
is equal parts hook-laden fun and anti-social fury, with both
halves driven by deliciously pummeling angst. “It Figures”
is an abrasive, chaotic gem with understated vocals walking
seemingly obliviously to the imposing vortex swirling around
them, and this would have fit well alongside Guzzard and Lubricated
Goat on AmRep. To that end, “Human Ape” interjects
a subtle, almost subversive, pop aesthetic into an otherwise
thunderous explosion of blunt force, and Jesus Lizard would
approve of what these three twisted Floridian geniuses. The
bass line of “Missing Monet” has me instantly
hooked, and this track is perhaps the most moderate of the
ten on The Arse. The closing “Kids” included the
refrain “Kids today don’t know anything about
anything”, and after numerous listens, I am unsure if
Travis Taylor, Mike Easters, and Kevin Roberts are lamenting
about the state of today’s youth or mocking the frustration
felt about the contemporary generation. It’s a brilliant
lyrical conundrum and the answer will depend solely upon the
mood of the listener. The intentional ambiguity encapsulates
Hey Mandible-this is a band that seems to borrow heavily from
the recent past yet creates something wholly unique and futuristic.
This could be where punk is headed, and if so, the future
looks hopeful.
 SHILPA
RAY - Last Year’s Savage (Northern Spy Records www.northernspyrecords.com)
Shilpa Ray has long prided herself on being a true artist,
not conforming to any preconceived standards or altering her
musical visions in any manner. For that alone, she deserves
to be celebrated; however, while her path has been gloriously
confrontational, her talent is undeniable. Shilpa Ray has
the kind of voice that simply leaves one speechless. Her tone
alternates between defiant and vulnerable throughout Last
Year’s Savage and there is a brimming sensuality to
each approach. Any woman who can so powerfully deliver a song
titled “Sanitary iPad” is instantly my dream girl,
but she truly shines on the more rambunctious “Johnny
Thunders”, a rugged musical tumble deserving of its
namesake. Ray’s biting sense of dark humor is also readily
apparent on “Pop Song for Euthanasia” and “Pipe
Dreams Ponzi Schemes”, two tracks in which her devilishly
angelic voice hovers through the air like a mist before settling
upon your skin and absorbing itself into your bloodstream.
This is music that is not forgettable because a woman not
tied to corporate mass production but rather to a desire to
generate songs that are endearing, challenging, and majestic
produces it. “Shilpa Ray on Broadway” bounces
with a buoyancy one may not associate with her normally, but
that song once again proves that Shilpa Ray cannot be neatly
identified, while “Oh My Northern Soul” and “Hymn”
are soaring, gorgeous efforts that seem effortless in their
delivery, but the humanity found within is exalting. Beautiful
keys act as the driving force within most tracks, accented
naturally by the power and the honesty of Ray’s voice
and lyrical prowess. This is not punk, but there is something
more rebellious about it than the overwhelming majority of
kids playing three chords and inspiring spin kicks, for Shilpa
Ray takes the ugly aspects of life and exposes it through
a lens that is equally brutally honest and gorgeous. As much
as I want her to succeed, selfishly, I hope Shilpa Ray always
remains a prized secret for those who truly value ambitious
art.
 THE
GRIP WEEDS - How I Won the War (Jem recordings www.jemrecordings.com)
The Grip Weeds clearly do not know what decade this is and
they do not care. How I Won the War could be described
as a “Maximum R&B” record a la old posters
of The Who. With jangling guitar, soaring, richly harmonic
Byrds-style vocals, and trippy tales of rainbow quartz and
inner lights, this Jersey act is more of a Mersey act. For
people who routinely enjoy having a Sunday morning “Breakfast
with the Beatles” or find themselves puttering around
an Underground Garage, How I Won the War is a seventeen-song
celebration of beautiful songwriting from four highly gifted
players who took the name for this record from a 1968 film
starring John Lennon. There elements of sugary pop-rock, particularly
“Life Saver” and “Heaven and Earth”,
two songs on which guitarist Kristin Pinell truly shines,
but even in this lighthearted moments, there is a depth to
the playing that prevents the Grip Weeds from simply trying
to recapture the innocence of Meet the Beatles or Out of Our
Heads. This is made abundantly clear on the stunning “Force
of Nature” and the equally emotive “Other Side
of Your Heart”. Kurt and Rick Reil have the type of
vocal interplay that only siblings can share, and even if
the band has suffered through personal struggles, the euphoria
heard throughout War makes that difficult to believe. This
is not a blindly optimistic record, but rather one that is
cautiously celebratory. There is a gamete of emotions explored
throughout the vast canvas of the disc, and the Grip Weeds
can move easily between soul churning honesty and giggling
pop goodness.
 GRIM
DEEDS (grimdeeds.bandcamp.com/album/grim-deeds)
You may not have more fun this year than Grim Deeds. We all
love the Queers, and I have certainly spent years writing
about bands that sound like Joe and his revolving door of
mates, but few bands capture the perfect blend of humor, self-loathing,
sexual frustration, and general sardonic disgust more effectively
than Grim Deeds. “I Don’t Care (About Your Kids)”
perfectly sums up the pretentious, overly self-congratulatory
parents of Millennials better by declaring “I don’t
see why the world has to salute you/just because a husband
came inside his wife”, while “Fake Dad”
takes on the same anger as “My Old Man’s a Fatso”
and relates it solely to an obnoxious step-father. The bouncing,
kinetic punk energy of “Mouth Off to Mom and Dad”
is just amazing as the band juxtaposes pop-kissed punk with
sharp political observations about the current disaster that
is the Middle East and the legacy of the Iraq invasion (“Mouth
off to mom and add/ they voted for George Bush twice and that’s
bad”). Grim Deeds once sang a song about smoking weed
with Cronos from Venom and their metal adoration continues
on “I Only Listen to Goregrind”, a song that proudly
name drops Carcass and Cattle Decapitation with tremendous
comfort and ease. However, these guys really secured my undying
devotion with a triumvirate of lonely guy songs: “She
Won’t Fuck Me”, “Massage Parlor” and
“Addicted to Porn” are just perfect anthems for
frustrated married men and these efforts are not only hilarious,
but also provide support for all the guys who worry that they
are the only men in sexless marriages. The closing duo of
“Violent Videos” and “Ballad of the Opening
Band” are both lyrically spot-on, particularly the latter
as Grim Deeds sings about playing to empty rooms, greedy club
owners, and printing up stickers and t-shirts. This Foster
City, California band is a punk rock gem. Go make them famous
immediately!
 GONG
I SEE - You (Madfish records www.madfishmusic.com)
Apparently the 1960’s never quite ended for the men
of Gong, but that is perfectly fine for this is not a gaggle
of upstarts attempting to recapture a long-lost sound, but
rather, Gong has proudly existed for over forty years and
I See You is another step for a band continuously progressing
and challenging itself. Founder Daevid Allen, now in his 70s
and sadly undergoing cancer treatment so all at JB wish him
only best, drives Gong through a dozen wildly creative and
layered tracks, brimming with superior horns and jazzy interludes.
This is a record with which one can simply press play, sit
back, and let the music waft over and through one’s
mind, as each song is electrifying and perpetually surprising.
The closing duo of “Thank You” and “Shakti
Yoni and Dingo Virgin” is roughly twenty minutes of
beautifully expressive playing, even as the closing moments
of the latter are largely hushed. The title track starts the
record in manner that mixes lyrical innocence and a complex
song structure as Allen says “I’ll see you in
your dreams” in a manner more hopeful than frightening,
while “Eternal Wheel of Life” sounds as if it
could be a cornerstone of any street performer in Haight Ashbury
with the message “Harmonic waves we are riding/shimmering
with light/fractured moments passing/octave doctors calling”.
I am not quite sure what that actually means, but I am positive
that in the correct frame of mind, it is a work of staggering
genius. Meanwhile, “Syllabub” is the highlight
of the disc for me, not only due to a soaring sax solo from
Ian East, but also because of the wickedly sharp lines about
the paranoia and invasive nature of today’s world-when
Allen sings “Whatcha doin big brother” and “take
a peek-take a peek at Wikileak”, he is both lampooning
and sadly summarizing life in the twenty-first century, an
Orwellian nightmare so feared by those who first rebelled
against big government, lies, and political maneuvering in
the 1960’s. This concept emerges again on the fittingly
titled “This Revolution” which should be studied
as a primer on how to express why people rise up in unison
against perceived ills. I am fairly certain that most people
by age 75 have slowed done, forgotten about the idealism that
drove them to eschew traditional life for a an existence of
greater significance, but that is not the case with Daevid
Allen or the other members of Gong and we are fortunate for
that.
 HALF
CLEVELAND - Live at the Wi-Fi café (www.facebook.com/halfcleveland)
This twelve-song, largely acoustic record was recorded within
a student center at the Recording Arts and Technology and
according to the band’s own press, it only comprises
a small percentage of Half Cleveland’s self-described
high energy that dominates their more electric performances.
I will never criticize anyone for trying, but this was music
played for older people by older people that even old people
would struggle to enjoy. Half Cleveland’s set is a mixed
bag of folk-tinged rock but the stories are just not highly
engaging. The lyrics to efforts such as “Workingman’s
Beer” and “Le French Movie” are difficult
to absorb with a straight face, and the band seemed unsteady
in a more intimate, stripped-down setting. Perhaps if these
songs were played through more volatile amps and delivered
with greater intensity, “Larry’s in the Cut-Out
Bin” or “New Enemy” would have more bite,
but here they seem flat; as if the songs themselves are struggling
to find the energy to get moving. Chris Butler and Harvey
Gold have impressive resumes that span decades and the quality
of their songwriting cannot be challenged, but Half Cleveland
sounds like just that: half a band. I will chalk this up to
a talented group of players caught between two worlds and
committing to neither of them. I am not ready to simply discard
Half Cleveland for there is far too much talent within this
group; however, I am going to pass on this version of the
band and wait for them to deliver more force in the future.
 THE
DESCRIBED MOUTH - "Play for Fates" (www.bryanelkins.com)
Bryan Elkins does not offer much in the way of information
about this four-song solo EP, but his performance is highly
engaging. Also a member of In Musth and Black Vail, Elkins
has a haunting voice that conveys deep emotion yet also sounds
quite ethereal as it each word delicately dissipate into the
air. All of the tracks are stripped down acoustic pieces,
and Elkins plays with a deliberate force on “The Bell”,
alternating aggressive chords with interludes of serene quiet.
“A Reversal” is a lush track with a rich structure
and Elkins’ understated vocal delivery that allows the
lyrics to be fully appreciated for their intriguing beauty.
The title track is less controlled than its predecessors as
the song unravels at times, exposing a vulnerability that
is one of the hallmarks of the EP. The mood of the song ebbs
and flows, and Elkins’ ability to take the listener
on a winding journey in only a matter of a few minutes is
his finest skill. Ironically, he closes with “Normal
Song”, and while it is the most traditional sounding
of the four, “Normal” does not mean repetitive
or predictable. I know nothing of Bryan Elkins and his artistic
ventures, but Play for Fates certainly motivates me to explore
what else this man has done, for if this EP is any indication,
it will be unique in nature.
 THE
REAL MCKENZIES - Rats in the Burlap (Fat Wreck Chords www.fatwreck.com)
Blending raging punk fury and traditional Celtic beauty, the
Real McKenzies prove to be a band that continues to burn with
a youthful fire even after more than two decades touring the
globe and seeing the finest and nastiest elements of the world’s
offerings. For those who admire bag pipes, Aspy Luisson’s
playing on “Lilacs in the Alleyway” and “Yes”
is magnificent and is the centerpiece of two soaring anthems
that also revolve around a driving punk riff, while “Midnight
Train to Moscow” and “Stephen’s Green”
are punishing slabs of power on which Paul McKenzie paints
vivid images of tough living and survival with wonderfully
descriptive lyrics. The band erupts out of the gate with “Who
saw the 42nd?” and maintains a unwavering devotion to
swinging punk vigor until the tongue in cheek tale of a food
stealing feline, “Bootsy the Haggis-Eating Cat”,
proving that even battle-scarred vets like the Real McKenzies
have a sense of humor. Rats in the Burlap works so well because
the record includes a diversity of tempos and techniques-while
“Who’d a Thought” is unabashedly aggressive,
the closing “Dead or Alive” is a poignant, personal
acoustic track about the life-long struggle that is the residual
effect of loss. Both songs are indicators of the wealth of
talent possessed by ?guitarists Mario Nieva and Mark “The
Bone” Boland, along with the thunderous rhythm section
of bassist Troy Zak and drummer? Jesse Pinner. The Real McKenzies
have richly and rightfully earned a reputation as a touring
juggernaut and Rats in the Burlap provide fourteen potential
new classics to be added to increasingly impressive set list.
 LUNAR
ELECTRIC - EP (www.dredimura.com)
Lunar Electric will shatter most preconceived notions of what
“indie” music is supposed to be, and that is what
makes this band so engaging. Guitarist and leader Dre DiMura
is a rock god from another time and perhaps another dimension.
The riffs on this four song EP are monstrous and easily mesh
the bombast of T Rex and Zep with subtle psychedelics into
a whirling, moody voyage. The closing “Crossfire Child”
is my favorite as a monstrosity of a groove generated by drummer
Kaleen Reading and bassist Geena Spigarelli swallows the listener
like a sinkhole while DiMura playing swirls above the heavens.
The opening “Bread and Circuses” would have been
the dream of an FM radio jock in the early days of the format,
yet it is not dated. Rather, Lunar Electric brings the familiar
to a new age with a swagger that sets this band far apart
from its contemporaries. From the song titles like “Moonlight”
and “Sleepwalker” (two more pouting, stomping
gems) through the throw back vibe of their band’s font
for their moniker, everything about this band rejects twenty-first
century culture. I am surprised they even have a website;
something about Lunar Electric would lead me to believe that
they are traveling across the country in a van, handing out
flyers, and spreading their music through actual face to face
contact rather than through social media. However, while Lunar
Electric may have to join in with the blogosphere and Twitter
World, let them use those tools to promote exactly what they
are: one hell of a great American rock n’ roll band.
 MATTER
OF PLANETS - The Ballad of Baberham (Bastion Recordings
www.bastionrecordings.com)
The one fear a band like Matter of Planets must face is the
inevitable concern that their brand of instrumental prog-metal
may be too much of a niche sound. Specifically, are they able
to be a band that the average, no-talent, knucklehead (i.e.
me) will be able to fully appreciate, or will they only be
adopted by expert musicians able to dissect each chord progression
with a twenty minute dissertation? Fortunately, The Ballad
of Baberham is incredibly accessible and easily grasped, despite
its very pronounced intricacies. The band’s origin story
is as fascinating as their music, as drummer Joel Chastain
has a hip-hop and jazz background, the latter of which is
readily apparent throughout the record. His fellow comic book
loving virtuosos, Joe Rosenblum, Blake Herschler, and Jake
Laramore each played in doom bands prior to exploring the
sonic universe with MoP. The seven songs weaves engaging stories
even without the presence of lyrics, and the nine minutes
epic “Heavy is the Head” is a thunderous, rumbling
piece that possesses a multitude of personalities as tempo
and abrasiveness shift throughout the track, but always with
a dazzling sense of control. Some may listen to an instrumental
outfit with a jazz-trained drummer and imagine a free-form
ball of improvisation, but while that feeling exists, the
true form of the band is remarkably precise and expertly crafted.
“Stress Fracture/And So On” is a glorious thirteen
minutes of lush, majestic instrumentation delivered by four
individuals thinking and playing as one. I am particularly
taken with the brilliantly titled “Baberham Lincoln”
and “Water Wolves”, two methodically pummeling
efforts that also inject a sense of levity into a genre of
music often derided for taking itself far too seriously. Nothing
on Ballad is a laughing matter, but it is obvious that MoP
love what their doing, and rather than simply glaring down
at their instruments, this is a prog-metal-rock hybrid with
members that may actually look at the audience and even smile.
 NEVER
YOUNG - (www.fatherdaughterrecords.com)
The four songs on Never Young’s self-titled EP are bruising,
crushing prophesies as to what the future of punk may become
in the not so distant future. Blending gaunt guitar power
and blunt, mechanized force, songs like “Spectacle Boy”
and “Like a Version” are anthems for a new wave
of aggressive music. However, this band’s subtle calling
card may be their abilities to also write a big harmony, as
heard on “Crigsaw”. Christopher Adams and Nikolas
Soelter share both vocal and guitar responsibilities and the
two have equal skills in each area, and understand how to
bring the listener to the edge of chaos but pulling back just
before their songs explode. “Ur a Front” takes
elements of early Sonic Youth and plays it through the speakers
on a mid-priced laptop so the energy is caught up in a swirling
ball of fiery noise; in short, it’s awesome! Samuelito
Cruz’s drumming is colossal throughout each of the four
songs, but he instantly makes his presence known on “Like
a Version”; a dark, scathing song that opens with futuristic
beats and a brief soundscape before quickly becoming submerged
in the roar of this youthful and gloriously talented outfit,
rounded out by the wallop of Niko Escudero’s bass playing.
 SHILPA
RAY - Make Up EP(Northern Spy Records www.northernspyrecords.com)
After listening to the two tracks available on this EP, I
cannot wait for the arrival of Last Year’s Savage, Shilpa
Ray’s next full length, scheduled for a May release.
At Northern Spy’s site, one can check out “Pop
Song for Euthanasia” which will certainly encourage
your fingers to pre-order what should be one of 2015’s
most eclectic and thrilling releases. As an appetizer, Shilpa
Ray, often described as “an artist’s artist”,
delivers two beautiful efforts on Make Up. She takes Lou Reed’s
second side opener from Transformer and injects her own unique
interpretation to a song that was already wildly distinctive.
When Ray declares “you’re a slick little girl”,
there is a level of sensuality that makes the song irresistible.
Ray adds a level of bombast to the verses not heard on the
original before quietly cooing about “coming out of
our closets/out on the streets”. The song bounces with
thunderous energy as Ray delivers Reed’s sexually charged
lyrics (“Rouge and coloring, incense and ice/ perfume
and kisses, ooohhh, it's all so nice”) with both great
poise and defiance, traits that have marked her career. She
then effortlessly changes gears with “What a Difference
a Day Makes”, the 1934 Maria Grever song originally
titled “Cuando Vuelva a tu Lado”, but known more
readily in America as a 1959 hit for Dinah Washington. This
torch song ballad is a perfect platform for a demonstration
of Ray’s remarkable range and the fragile beauty of
her vocals. Go find this immediately.
 ALECTRO
- School of Desire (www.alectro.net)
If a tear comes to your eye whenever you see “Hang ‘Em
High” or “For a Few Dollars More”, then
Alectro is the outfit for you. Jeff Eyrich and Steve Kirkman
brings surf-country twang to life through eleven tales of
hard living, lonesome traveling, and trying to find an elusive
place called “home”. With a healthy application
of fuzz and distortion, School of Desire resonates with 60’s
fidelity from a pair of weathered vets with endless stories
to share. “Fork in the Road”, “Hard Travelin’”,
and “Take Me to the Highway” are just as one would
imagine; the songs conjure images of open roads and American
independence offset by a melancholy realism that individualism
has its sacrifices. “Shining Star” is nearly six
minutes of washed out surf guitar and Eyrich and Kirkman’s
poignant vocals, while “Sunset at County Line”
is sans vocals and merely pulls at one’s heartstrings
through a soulful, haunting riff. Some of the material here
is a bit too slow in tempo for my liking, but the story telling
of “Cross and the Switchblade” and “Whiskey
Water” is superb. The duo also do a faithful rendition
of “Tobacco Road”; one that is much more true
to the original of The Nashville Teens than some of the world’s
failed attempts. One need not be driving through a remote
section of the dusty Southwest to appreciate this, but if
listener closes their eyes, one can almost hear a lonely coyote
howling at the moon while Alectro performs.
 ENRAGE
- Gateways Vol. 1 (www.worldenrage.com)
Enrage is a scathing example of New York hardcore with a tangible
infusion of punishing metal, and Gateways is the first of
a three EP series which promises to explode this band onto
a world that needs more bands like this. “Godhead Murderer”
pays homage to classic thrash metal with a monstrous riff
that kicks in around ninety seconds into the track and is
a ruthless assault that fans of Agnostic Front and Sick of
It All will love. “Monday Morning Steamroller”
is a fist-throwing, spin-kicking juggernaut of a hardcore
anthem with chugging guitar, gang vocals, and the instantly
recognizable pipes of Sheer Terror’s Paul Bearer. This
is the most fun one can have while getting pummeled. The closing
“Folsom Prison Blues” is a tough-guy interpretation
of the legendary Johnny cash’s anthem, and covering
such an iconic song is a challenge. However, Enrage beef up
the song’s intensity and its tale of desperation rings
with even greater despondency and fury. I only hope the next
two releases follow quickly.
 MODERN
WARFARE - “Delivered” (UT Records ut-records.com)
Once one fights through all of the results that are connected
to video games, one can finally gather some biographical information
on this highly distinctive outfit. This early 80s punk gem
has been resurrected thanks to the geniuses at Buffalo’s
UT Records, and if you are like me and was too young for Modern
Warfare the first time around, this single is a primer on
what LA punk was like just before the hardcore scene took
control. Quirky, jangly, spastic guitar riffs cut jagged edges
throughout each track as Jim Bemis sings about “post-nuclear
fashion” (“Dayglo”), a menacing figure,
bullied by society, lurking in the dark (“In the Shadows”)
and the urban decay of America during the last moments of
the Carter era (“Delivered”). Surrounding Bemis
and his Richard Hell meets Jello Biafra delivery is Tim Gaines
and Steve Sinclair both on bass (!), Ron Goudie on guitar,
drummer Randy Scott and subtle keyboards from Tish Lucca.
The high pitched, rapid fire guitar riff of “Delivered”
sounds like Devo jamming with the Damned while “Dayglo”
is a hyperactive blast of apocalyptic terror that sounds quaint
in comparison to modern threats of global terror. Bemis ran
both the band and Bemis Brain records which ultimately morphed
into Enigma, a company that celebrated the unique in their
own right. This is both a fun and worthwhile blast of nostalgia
compliments of one of America’s best little labels.
 THE
MONOCHROME SET - Spaces Everywhere (Tapete records www.tapeterecords.com)
The Monochrome Set is the musical equivalent of the person
who you see waiting in line and you swear you know them but
you just cannot place them-everything about Spaces Everywhere
seems distinctive yet also maddening familiar. From Bid’s
vocals, a hybrid of Morrissey, Ray Davies, Mark Knopfler,
and torch song crooners, through the warm harmonies of “Fantasy
Creatures” and “rain Check”. There are the
morose elements of Velvet Underground, bubblegum pop energy,
and rock’s most visceral qualities. “Avenue”
rollicks with a keyboard riff straight from FM radio of the
late 70s, while “When I Get to Hollywood” is a
bouncing anthem that is quite effervescent in personality,
but like much of the record, the light-hearted nature of the
music defies darkness within. The turbulent emotions of the
protagonist in “Oh, You’re Such a Star”
and the eulogy of “In a Little Village” stand
in contrast to the flute that adorns the latter or the banjo
on “”The Scream”. Spaces Everywhere is an
eclectic, vibrant collection of songs that would be comfortable
in the confines of a 60s cooperative, but will undoubtedly
stun people in 2015.
 SCREAMING
FEMALES - Rose Mountain (dongiovannirecords.com)
There are c ertain bands for which there is no simple label
or genre that one can thrust upon them and be done with
it; for my money, no act embodies this more effectively
than Screaming Females. I know this trio is a pretty big
deal if you consider yourself among the living, but why
they are not ruling the world is beyond me after checking
out the first four efforts on Rose Mountain. The dark, angular
“Empty Head”, the aggressive “Ripe”,
and the boisterous “Burning Car” take Sleater-Kinney’s
finest moments and inject a level of angst that even Carrie
and her mates cannot quite match. Marissa Paternoster has
a voice that is wildly expressive and her guitar playing
matches her vocal intensity, even when she plays more delicately
on “Wishing Well”, or adopts an island vibe
on “Broken Neck”. Accompanied by bassist King
Mike and drummer Jarrett Dougherty, the band has the ability
to erupt violently and then recede with equal ease into
serenity, albeit usually quite short-lived. The rugged,
metal tinged riff of the title track gives way to graceful
versus in which Paternoster displays her rich, harmonic
range, a trait also found on the closing “Criminal
Image”. “Hopeless” captures its title
through the melancholy mid-tempo pacing and somber vocal
delivery, while “Triumph” rebounds with a kinetic
energy and a soaring chorus. This is a flawless record as
it alternates between abrasive and charming, punk fury and
pop hope with an adroitness few can imitate. I want to start
a petition to get Screaming Females on next year’s
Super Bowl halftime show.
 MAKE
DO AND MEND - Don’t Be Long (Rise Records www.riserecords.com)
There is scant information on this four-piece, Boston via
West Hartford, Connecticut outfit, but Don’t Be Long
says much more than any clichéd press release ever
could. Despite an existence that measured close to a decade,
this is my first exposure to the band, and their hardcore
roots occasionally appear on the title track or “Ever
Since”, but Make Do and Mend have clearly softened the
corners to produced a highly melodic record replete with huge
hooks and moments of heartfelt sentimentality. “Sanctimony”
opens with the line “what ever happened to the first
summer we ran away/ Hearing our hearts pound on 95 Southbound”
and gives way to powerful riff tempered with rich harmonies,
while “Begging for the Sun to Go Down” is a genteel
acoustic track that is mirrored by the equally reserved “I
Don’t Wonder at All”. Both of the latter tracks
allow singer James Carroll to demonstrate his emotive and
warm vocal skills. Other tracks such as “Bluff”,
“All There Is”, and “Sin Miedo” are
slightly more rugged in tone, but even when the band elevates
the bombast, there is always a pop sensibility that stops
any song from becoming overly aggressive. To their credit,
Make Do and Mend have put together a collection of highly
crafted, intelligent songs that rattle some walls as they
break some hearts, and they certainly have a sound ready for
prime time. I can imagine these guys getting thrown into a
“post-hardcore” blender, but there is much more
“post” than hardcore here; which is fine, as Make
Do and Mend are clearly leaving some of their younger angst
in the past and are focusing on more refined work. I believe
they have the potential to become a significant band if given
the right exposure, and there is an earnest quality to all
eleven songs without any filler. I just wish they would enhance
their online presence!!
 LIFE
EATERS (killinghorserecords.com)
The members of Life Eaters do not care what rock is “supposed”
to sound like in 2015 as these five New Jersey area vets,
including two members from the always incredible Rye Coalition,
strut and smash their way through twelve pummeling songs.
“I’m the One You Wanted” is a jarring opener
with its boundless energy and a hook-laden chorus, but before
the amps finish humming from that track, the guys shift gears
into the bluesy sludge of “Man Pain”, a tar pit
of an effort that nearly doubles the length of its predecessor.
Regardless of tempo, Life Eaters deliver the goods in the
form of no frills rock for those who may have forgotten what
that art form sounds like; “Look Out” and “Lock
it In” are among the finest one-two punches one will
hear this year, while the closing “Lie to Me”
is delivered with a wry sensibility and an underlying sexuality
that drives the song. Taking the energy of Night Birds but
exchanging the Dead Kennedys influence for some Monster Magnet
and a healthy dose of 60’s groove ( check out “Atom
Bomb”), Michael Sylvia leads his friends through twelve
blasts of sultry, hard-edged rock n’ roll bombast. Romel
Espinel (formerly of No Pasaran!) and John Gonnelli are a
ferocious guitar duo, buzzing through the rollicking “Animal”
and the blazing “Cut Above” with garage-punk intensity
and refined skill. The low end is handled by drummer Gregg
Leto and bassist John Feuerbach, who carry the rousing “Government
Kicks”, a track that drags the sound of the Damned into
the twenty-first century. The ability to import a wide array
of styles and angst into one cohesive knock out punch makes
Life Eaters a disc deserving of celebration.
 DWARVES
- Gentleman Blag (Fat Wreck Chords www.fatwreck.com)
Can it really be possible to be exhausted after listening
to a scant four song EP, including one track that is over
is thirty seconds? It is when one is discussing the mighty
Dwarves! The Gentleman’s Blag EP is the band’s
first release on Fat Wreck Chords and one has to wonder what
took this marriage so long to occur. For fans of this seminal
act, nothing here is a surprise-it’s fast, aggressive
punk that is dripping with sex, but not in a charming way,
and it also includes more legendary cover art. “Gentleman’s
Blag” is a celebration of Blag Jesus’ male apparatus,
while “Trisexual” is a blindly quick gem that
is over before it starts. (Some may relate to that problem)
However, lest one believe that there is limited substance
here, “Kings of the World” is one of the most
hook-laden songs you will hear this year, and “Stuck
in the Void” is carried by vicious guitar playing and
includes guest vocals from Rex Everything (Nick Oliveri) along
with pristine production from Andy Carpenter. The band sounds
huge on this EP, as each player is allowed to shine, particularly
on “Kings” and “Stuck”, the two more
complex anthems of the bunch. If you can handle huge harmonies
and like it little rough, jump in bed with the Dwarves again
for this one.
NOISE BY NUMBERS - High On Drama (Jump Start Records
www.jumpstartrecords.com)
After listening to “High on Drama”, the opening
title track of Nose By Numbers EP, I am furious with myself
that I had never heard of these guys pre viously.
This six -song effort is an impressive display from a Chicago
four-piece that uses the band as an outlet for fun, but I
for one would love to see this become a permanent project.
“Are You Still My Enemy” rattles and smashes its
way over the listener the way Mission of Burma’s best
work did, as Noise By Numbers injects poetic bombast into
each song without losing the intimacy that makes the record
so impactful. Their brand of Husker Du meets Superchunk power
punk hits its apex on “Southgate House”, a rollicking
song with an infectious hook and the impassioned vocals of
Dan Schafer, who clearly grew up inspired by the rugged honesty
of Paul Westerberg ‘s delivery. “Make up Your
Heart” is another soul-bearing anthem that resonates
with a warm guitar tone and celebrates the glory of a guitar
riff that fans will hum in their heads long after the song
finishes. Noise By Numbers plays sincere rock with an understanding
that catchy songs are increasingly rare commodities and all
of High On Drama is unavoidably memorable, including the slower
paced “Town of Hamburg” and their version of the
Lemonheads “Rudderless”, which is a fitting homage
to the song without simply recycling it. This may be the concluding
chapter of Noise BY Numbers career or it could inspire the
to continue to write full lengths together; regardless of
what happens in the future, no one should miss the opportunity
to check out High on Drama.
 LOW
FAT GETTING HIGH (Money Fire Records www.moneyfirerecords.com)
The rugged instrumental “Introduction” that opens
Low Fat Getting High encapsulates the band’s grunge
worshipping, noise-rock aesthetics by punching the listener
in the back of the head and then walking away laughing. It
is a thrilling start to a sterling record from an abrasive,
primal act that has rightfully earned high praise and a healthy
buzz around the NYC area. Drummer Kaleen Reading joins Artie
Tan and Michael Sincavage, and Reading steals the show on
the thunderous “Start All Over Again” and “No
More Feelings”, while the guitar acrobatics of “Bath
Salts” and “Mint Gum” are viciously beautiful.
“Hate Them All”, which opens the second side,
and “Gunther” possess a controlled aggression
reminiscent of a band like Titus Andronicus. Low Fat Getting
High clutches on to riffs with white-knuckle intensity as
the songs spin dangerously out of control in an exhaustive
listen. After eleven slabs of teeth-rattling, concussion-inducing
sludge, the band shows a sly wit by ending the disc with a
mid-tempo stomp in the form of “The Car is Waiting”.
I do hope this band gets out and slays the rest of the country
with the ferocity they are currently enjoying in the big City.
 P.R.O.B.L.E.M.S.
- “Hit and Run” b/w “45 Minutes”
(Doomtown Sounds www.problemspdx.com)
This Portland, Oregon five-piece brings high-energy fun to
their brand of punk rock on a highly enjoyable single. “Hit
and Run” displays an affinity for the early masters
of sleazy, gritty rock n’ roll, as the track borrows
heavily from Raw Power-era Stooges, particularly the guitar
work of Scott and Matty and the vocal intensity of Bradly.
This is not rewriting the punk manual, but no one is asking
P.R.O.B.L.E.M.S. to do that and listeners do not have to work
very hard here. They do fall back on another well-worn trick
by injecting some country twang into “45 Minutes”,
but like its predecessor, this is an entertaining ride.
 WIDOWS
WATCH - This Message Repeats (Toxic Pop Records www.toxicpoprecords.com)
This Baltimore outfit is comprised of long-time scene vets
who play harmonious, hook driven efforts that sound like 1993
never ended. With former members of Greasegun and Can’t
Say, among others, Widows Watch is a band that makes music
for the pure appreciation of writing good songs and their
passion shines on This Message Repeats. Because Widows Watch
is not a full time job for the members, as they all wrestle
with real responsibilities like families and jobs, this is
not an outfit that will tour the nation. While this is a shame
as the world needs more bands this pre and honest, their reclusiveness
adds to their mystique. If you are waving goodbye to your
twenties (or older), it is difficult not to find solace in
the laments of songs like “Bleeding Heart” and
“American Gulag” with their tales of the daily
hassles of life that bind many of us together. I was also
taken with “Lazy” and “Stumble” for
their ability to capture the challenges that can make each
day conquered a victory, (“It’s the lonely times
that drag on and on/ I Know it’s all in my head/A lot
of good that does in practice/ Because its where I’ve
go to live”-“Stumble”) or the importance
finding comfort in the people who truly matter on “Kindred
Company”. Ultimately, it was “Fake Smile”
that resonated most personally for me, and the poetic nature
of Andy’s vocals is the highlight of the record. With
a double guitar structure, the songs are each richly textured
and can hit with surprising force, such as the All-inspired
“Zero Sum”. This is a rewarding find and a band
worth celebrating beyond their occasional local club app
 SMALLTALK
III (smalltalkplus.bandcamp.com/ album/smalltalk-iii)
Smalltalk is best known as the side project of Pete Steinkopf
from the Bouncing Souls, but the band should be regarded as
a wholly independent entity worthy of respect solely based
on musical acumen more than name recognition. This three song
EP integrates 90’s pop jangle and Smith’s styles
harmonies for three richly engrossing anthems. The opening
“Spellbound” steadily builds with a structure
similar to that of the best moments of Siamese Dream, complete
with squalling guitar and rich melody, while “Like You”
could easily be a single from Meat is Murder. With a bouncing,
rollicking aesthetic, the song gallops along for a scant two
minutes before moving along to “Indecipherable”,
a smoothly delivered effort that drips with references from
Big Star to The Wedding Present with the biting line “every
time I need you to step up, you step down”. This is
another impressive collection from a skilled collection of
players (Zak Kaplan, John Chladnicek, Jamie Goldfarb and Tara
Jones round out the outfit), and hopefully a full length is
coming soon.
 EARLY
AND JUSTIN - Jonsing For Some Jones (https://earlyandjustin.bandcamp.com)
This five-song gem is the byproduct of a drunken 2am conversation,
and this only proves that alcohol fuels brilliance. Early
Gates and Justin Melkmann take a handful of soulful George
Jones anthems and play them as if it was open mic night at
CBGB’s in 1978. Their fast, fuzzy, and punky playing
takes country lyrics of alcoholism, loneliness, and general
exhaustion with life and injects a vivacious energy that makes
the tracks almost uplifting. “I’ve Got Five Dollars
and It’s Saturday Night” sounds like a fun night
out in the hands of Gates and Melkmann, while “Just
One More” and “The Race is On” are kinetic,
highly charged efforts that bounce with a joy that only emerges
when the homage is performed with true admiration. The finest
of the group is “Something to Brag About” with
the lush and sultry vocals of Mariann Salvato who is irresistible
when she coos lines about her ”hourglass figure and
her big brown eyes”. I know that country music can become
a caricature of itself and the same can be said of some punk,
but in the hands of true professionals, both genres are incredibly
expressive and deeply human. These qualities dominate this
EP that is more than just two friends having fun-this is sparkling
punk-pop.
 d.smith
- Groping For Luna Vol. 1 (Dromedary Records www.dromedary-records.com)
The d. smith in question here is Dan Smith who first gained
a level of prominence in the early through mid 90’s
act Shirk Circus, a band I distinctly remember through the
haze of my college radio salad days. Groping for Luna is sixteen
tracks of largely melancholy, sometimes aggressive, but always
introspective pop-tinged rock that brings one back in time
around two decades without sounding imitative of his earlier
career work. Smith is a bit of a unique character, never touring
and rarely granting interviews, so the songs here are glimpses
inside his thoughts and “So Long (And So Forth)”,
“The Ballad of Squeaky Fromme”, and “Ghost”
are among a trio of articulate songs that examine life in
a unique manner under the warmth of fuzzy riffs and rolling
bass lines. While some of the work becomes a bit too reserved
for my tastes, such as “Walk Through Fire” or
“On (and on and on and on)”, [although the latter
of those two features a lush backing vocals from a bevy of
talented singers] the majority of the record is pointed and
poignant, blending latter career Husker Du riffage with late
90’s pop harmonies. My greatest surprise here was the
warmth of Smith’s voice-never straining too far in terms
of range, Smith envelopes the listener and invites the person
into his world for a little while. One feels as if Smith is
sharing secrets that he will later wish he did not reveal
but the honesty is engaging. Along with drummer Bobby Diamond,
Smith concocts straightforward but not simple songs that offer
his distinctive worldview. Not only is this record worth picking
up because of the talent heard within, but it also marks the
final release for Al Crisafulli’s Dromedary Records,
a consistently impressive indie whose releases I have routinely
enjoyed since the company’s inception. The good news
is that while Dromedary closes a chapter, The Sugarblast Music
Company is now shaking off the afterbirth and will soon unleash
music that, according to Crisafulli, is “louder”
and “more obnoxious” than the work heard on Dromedary.
Sounds good to me.
 THE
GOOD GRACES - Close to the Sun (Fort Lowell Records fortlowell.blogspot.com)
The Good Graces is largely a one-woman show in the form
of Kim Ware’s delicate guitar playing and serene vocals.
The genteel nature of her work allows for her insightful
lyrics to shine. Her impressions and observations on the
complexities of relationships dominate Close to the
Sun and the emotions span a wide gamete. The lamentations
of better times are haunting on “My Own Grace”
(We went dancing and stayed out ‘til two/You held
me close and I looked up to you/And everything felt right/Now
all we do is fight”), while Ware boldly embraces loneliness
on “Cold in California” (I’ve been spending
all my days/Wondering hat might have been”). Ware
surrounds herself with the appropriately understated musicianship
of John McNicholas, Erik Ostrom, and Rob Dyson among others,
and these players shine on the lush “Standing in Line”
on which Ware is frustrated with a partner’s lack
of decisiveness (“If you could just make up your mind/
Make up your mind/Why can’t you just make up you mind?”).
The closing “Before You Go” celebrates the subtle
gestures that comprise true love with Ware’s voice
gracefully emoting “Before you go, please know that
I love you” with a profound sincerity. Ware is a highly
skilled songwriter with highly astute assessments of the
intricacies of human relationships.
 THE
MODERNS - “When She Gets Back” b/w “Escape
Velocity”/ “Run” (Ut Records ut-records.com)
There is a cool story to this one: This was originally recorded
in 1979 but Ut Records has unearthed it and released upon
a 21st century that desperately needs more bands like this.
The A-side is a standard piece of jangly pop fare with a slight
edge, but the record truly explodes when one flips the record
over to side B. “Escape Velocity” is properly
titled as the track is a speedy, punk-tinged effort that sounds
like it could crawl along the alcohol-stained streets of London
even thought he band was led by California’s Modern
Warfare mastermind Jim Bemis. The closing “Run”
has traces of what became grunge as the track blends fierce
intensity with soaring harmonies. This is a nice find, and
while the recording sounds a bit dated, the energy and emotion
is timeless.
 WHOLE
WHEAT - Songs From My Parents Basement (Mystery Circles
facebook.com/basementmold)
I was not sure if this was a joke, but Brian Austin, aka Whole
Wheat, has been actively recording music since the late 1990’s
and he kept the tapes stashed in his basement until last year.
I am uncertain if they deserved to be released from their
mildew and mold infested crypts. The songs range from primitive
beats with monotone deliveries (”Tragic Death”,
“Seaworthy”), to acoustic melodrama (“It’s
Alright”, “He Knew How to Smile””,
and “Spread Eagle”), to Beatles-esque pope delirium
(“We Can be So Happy”) to finally, the keyboard
laden moodiness of “Depression Days”. All the
while, despite the occasional moment of levity, for example,
“Tragic Death” does have some very sarcastic and
sardonic lines about suicide, the majority of the work is
monotonous and repetitive. For those who truly love a lo-fi
vibe, this is it, and while I know that recapturing a 90’s
aesthetic is quite popular right now, I think Mr. Austin is
best served retaining these memories for himself.
 THE
HARLEM DOWNTROTTERS - Don’t Panic (harlemdowntrotters.bandcamp.com)
In addition to having a great name, this Columbia, South Carolina
outfit has an ear for pop-punk harmonies and a willingness
to make their points quickly and then get out of your life.
With eleven of the fourteen songs here checking in at under
two minutes, and four of those at under one, the Downtrotters
do not waste the listener’s time nor do they care to
demonstrate technical dexterity. They simply unload a barrage
of guitar fueled, garage-laden punk with warm harmonies and
make songs like “Bipolar Bears”, “Will Never
Save the Day”, “40 Years”, and “Homewood”
both powerful and memorable. “40 Years” is also
reflective of the band’s lyrical prowess, writing with
a style that tempers bitter sarcasm with realism (You got
an MBA from USC/Now you're standing on the corner with the
guys on the street/If you had another chance you would do
it differently/But it's much to late for that). The shared
vocals of guitarists Kyle Cooley and Chip Duncan along with
bassist Kellen West give the songs resonance and depth even
in their brevity. Thousands of bands have and will continue
to steal the best moments of the careers of Ben Weasel and
Joe Queer and attempt o make them their own, but the Harlem
Downtrotters do not simply recreate Love Songs for the Retarded;
instead they succeed in making intelligently crafted hook-happy
punk that could stand out among the throngs of acts attempting
to do the same.
 DANIEL
LANOIS - Flesh and Machine (Red Floor Records www.redfloorrecords.net)
Daniel Lanois’ career as a producer is renown and overflowing
with majestic achievements. He is also a leader in the ambient
music genre as exemplified by Flesh and Machine; a staggering
achievement of beauty and elegance. Lanois first gained recognition
as the Aristotle to Brian Eno as Socrates, and Lanois revisits
elements of those early days on his latest work. Among the
sterling moments is “Sioux Lookout” as Lanois
merges what appears upon a cursory listen as a combination
of human and animal sounds, but in actuality, the songs transcends
the natural world as the composition of noises were created
by Lanois himself. “My First Love” strikes a fitting
tone that is less abrasive than “The End” or less
complex as “Two Bushas” as it both ethereal but
also hauntingly beautiful and hopeful. The irony of that is
that Lanois used the same instrument to create “My First
Love” as he did for the song “Apollo…”
made famous in the gut-churning toilet scene from the classic
film Trainspotting. Perhaps the most impressive aspect of
Lanois’ work is the humanity behind it; when one usually
contemplates ambient work, the connotation is a series of
keys and other machines being manipulated by one twisted madman
buried within his recording studio, but Lanois employs bassist
Jim Wilson and the punishing drummer Brian Blade to inject
real flesh into Flesh and Machine. The presence of these men
makes “Tamboura Jah” and “Forest City”
two more of the brilliant and confounding mesmerizing works
fond here. Daniel Lanois is a musical visionary and genius
who borrows from his past to present an entirely new future
on Flesh and Machine.
 THE
SAINTS - King of the Sun/King of the Midnight Sun (Highway
125 Records www.highway125.com)
The legendary Austrians punks The Saints continue to find
ways to reinvent themselves; this time they do so on the same
record. The wily vets have released a double album that is
the same collection of songs recorded in two different manners.
This obviously runs the risk of becoming redundant, repetitive,
and even disturbingly arrogant. However, none of those adjectives
fit here as the Saints simply offer fans a glimpse into the
diversity of their talents as the Chris Bailey and mates have
clearly matured and refined their sound over the many years
of the band’s existence. The first batch of songs that
make up King of the Sun are more reserved in nature, adopting
a less bombastic approach as well as slower tempos. This allows
for each syllable to be articulated with greater clarity and
each riff or chord progression to be appreciated with more
lucidity. While the title track and “Sweet Chariot”
are my favorite of the group, I am highly relieved that The
Saints increased the volume and the intensity on King of the
Midnight Sun. “Road to Oblivion Part Two” and
“Mystified” are lush, sweeping anthems on King
of the Sun and their beauty is unquestionable, but the crunchier
riffs and darker sensibility one hears on Midnight Sun makes
them more engaging. The Saints have brought Barrington Francis
back into the fold of the band for the first time in over
fifteen years, and the injection of spirit and energy is obvious.
The Saints have never been an outfit to do the expected and
this has unfortunately relegated them to a band that is not
immediately mentioned within the Pantheon of punk legends,
yet their position as leading punk pioneers cannot be doubted.
However, this overt eschewing of traditional path courses
and the embrace of individualism makes The Saints an act of
contemporary resonance and impact while the overwhelmingly
majority of their peers have long faded from recording studios.
Long time fans of the band will admire both sides but may
ultimately find themselves returning to Midnight Sun more
frequently. This is proof positive that there are musicians
out there still defying standard modes of operation and defining
their careers on their own terms.
 VORTIS
- Safety First (vortistheband.bandcamp.com)
In an age in which punk rock can be interpreted in a myriad
of ways, it is wonderful to have Vortis back. This Chicago-based
trio of Jim DeRogatis, Louie Calvano, and Tony Tavano play
short, sharp, and biting songs that truly deserve the moniker
of punk. Safety First is a 17-song exploration of
political hypocrisy and redundancy through the lens of three
gifted and unafraid social commentators. As a fan of the band
since 2003, I am thrilled to see the old gem “Free the
Detainees” rerecorded with extra verve and poignancy
here; sadly the need for the song reflects one of the failures
of the Obama administration as then candidate Obama promised
to close the doors to Guantanamo Bay. The band’s classic
style dominates the disc as the trio race through aggressive
anthems that often struggle to reach one minute in length,
but their brevity does not undermine their impact. “Raison
D’Etre,”“ All American Drones,” and
“Cosmos” are thought-proving efforts that combine
blazing speed, low-end bombardment, and unapologetic realism
in their lyrics. “Downtrodden” and “Know
More” are two of the brightest moments here, with the
latter acting as a sardonic look at the digital age. Throughout
the years, Vortis’ sound has not drastically changed,
but Safety First has a fluidity to it that allows
the band to sound like they are in their first rehearsal space
banging out abrasive noise. There is positively nothing to
dislike about this record and I do hope that the guys can
make their way to the East Coast.
 THE
SUCCESSFUL FAILURES - Captains of War, Captains of Industry
(FDR Label www.fdrlabel.com)
For fans of easily digestible soft, pop-rock., there are certainly
more success than failure on Captains of War, Captains of
Industry. With strong harmonies and a commitment to hook-laden
choruses, The Successful failures offer mass-market accessibility
on “Milwaukee”, “Hit the Ground Running”,
and “Falling Out”. “Navigation by the Stars”
has a slight Southern twang, while “1954” and
particularly “Ghost Around Here” takes 90’s
indie pop and integrates a modern sensibility to flesh out
well-rounded songs. Efforts such as “O Carolina”
and “Knew Me on a Sunday” would please fans of
the Florida-Georgia Line as both revolve around a pronounced
country aesthetic. The Successful Failures are solid songwriters,
but there is nothing truly memorable here-ultimately Captains
of War, Captains of Industry features songs that could movie
score fodder, but the band will struggle to separate itself
from the clutter of radio-ready pop-rock.
 THE
SATISFACTORS (Bongo Boy Records www.bongoboyrecords.com)
Make room in the garage for some of rock’s most primal
energy in the form of The Satisfactors-a gritty, gutsy, and
grimy act from Jersey that is what the world needs so desperately
right now. From the opening “woah-oh’s”
on “She Got Charm”, it is instantly apparent that
this is genuine, hard knocks rock n’ roll, and the very
next track, “I Love Girls” sums up all that American
music should be with its celebration of lechery through a
triumphant riff. This is a dream team of well-traveled, battled
scarred vets who eschew fads for authenticity and produce
majesty through simplicity. No overdubs, no samples, no tricks-just
loud amps, monstrous hooks, and lyrics that one can memorize
after a single listen. The bluesy, Stones-flavored one-two
punch of “Hey Mama” and “Sweet Sunshine”
shows off the skills of vocalist Bruce Ferguson, while “Johnny
Commando” is the stand out track here. It’s a
loving tribute to the legendary Johnny Ramone that sums his
life and personality up perfectly when Ferguson says, “You
broke down the doors with a buzzsaw slam/never gave in to
all the glitz and glam”, while Gar Francis captures
Johnny’s likeness with ripping guitar work. It is a
perfectly fitting salute to the godfather of punk guitar,
but “Hit Me, Hit Me, Hit Me” will make Chuck Berry
beam with delight as the guys invoke rock’s earliest
originators. Honoring the past while moving forward is a theme
on the record, as “Give Me My Rock N’ Roll”
is a sentiment to which many can relate today as the track
pays homage to Iggy Pop, Johnny Thunders, and Richard Hell
among many others as The Satisfactors decry, “there
ain’t nothing on the radio!” Rounded out by a
furious rhythm section of bassist Kenny Aaronson and Curtis
Roy, The Satisfactors are the real deal and prove that once
again, rock and roll will never die.
 TETHERBALL
- Whimsy (Silver Point Records www.tetherballmusic.com)
Upon an opening listen, one may inclined to label Tetherball
as another up-tempo, buoyant pop-rock band, but there is so
much more happening here due to the complex visions of Steve
Voss an friends. The opening “Bootss” and particularly
“Vegetarian” have elements of classic 70’s
rock, from Squeeze to ELO to McCartney’s post-Beatles
work placed through an indie rock meat grinder. Meanwhile
“Puzzles” and “Gilded Rings” may be
mid-tempo but both possess highly intriguing lyrics, particularly
the latter as Voss states, rather matter of factly, “You’re
all alone, father’s gone and left you here/By the water,
with a hacksaw”. The gentle “Hometown” features
lush backing vocals from Joshua Vaught and drummer Nathan
Wahlman, while “Spring Chicken” includes sterling
horn accompaniment from Ryan Tullock as Voss issues the following
gem: “Thinking logically will only get me so far”.
My favorite of the ten efforts here is “Absinthe”,
an energetic, bouncing song that summons Queens of the Stone
Age with beautifully dark lyrics about sniffing out a girl
and talking to a dinosaur with an English accent. It may be
difficult to follow exactly where Voss is going at times,
but Tetherball offers a profoundly mature and decidedly interesting
twist on standard pop fare.
 THE
TRANSMISSION NOW - White Night (thetransmissionnow.bandcamp.com)
This Pennsylvania’s four-piece bring together tightly
wound indie pop with a healthy dose of punk angst to create
an EP of passionate and acutely melodic pieces that will resonate
with a wide swath of a rock audience desperately craving songwriting
just like this. The opening “Time Bomb” is a menacing
song, from the guitar tone to the lyrics about emergency surgery,
tourniquets, morphine and pain. It’s not exactly what
I expect from former members of Digger and Weston, but I love
the juxtaposition of pop harmonies and disturbing images.
“White Night” is a quirky bit of splendid songwriting
about being on the road, driving recklessly and getting in
a fight. The unexpected point of view makes the song all the
more interesting: it is told through the eyes of nervous thirteen
year old, which is what vocalist Phil Milia remembers being
on the night this occurred while his uncle and his uncle’s
roommate drove like maniacs. “To the Sun” is powered
by Ben Stephens’ bass work and it rattles with intensity
before flaming out and giving way to the very heavy “Dressed
to Kill”. Matt Balikian shines on this rugged, aggressive
nugget of punk anguish that expresses pure disgust as Milia
spits “disguised like a fine faux fur/I despise everything
about her” while his band mates slam forth a bruising
groove. There is quite a bit to like here and if one reviews
the resumes of the men involved, it is not difficult to understand
why.
 AARON
and THE BURRS - “Release the Bats” b/w “Oh
No, More Bats”
( www.ut-records.com www.feralkidrecords.com)
To begin, a great name; this Buffalo three-piece has taken
one of the great rapscallions of American history (he killed
Alexander Hamilton is a duel in Weehawken, NJ-Hamilton did
not think Burr was serious so he shot into the air as Burr
shot Hamilton in the stomach) and turned his namesake into
a surf band. A surf band from Buffalo is a great concept in
itself, and “Release the Bats” is a fun, sunburned
surf gem that is as much Dick Dale as it is Man Or Astroman?
The B-side, “Oh No, More Bats” is a bit more abrasive,
but in both cases guitarist Nicholas Reynolds shines and he
is well supported by Carson Cain on drums and Biff Bifaro
on bass. The second track takes more liberties musically and
distinguishes itself slightly more than the A-side, for it
is a more punk interpretation of surf, while “Release
the Bats” is a traditionalist’s dream. I have
no idea where Aaron and the Burrs plan to go with this sound,
but it’s a fun single that I will certainly turn to
once the snow kicks in; something that has probably already
happened in Buffalo.
 BEACH
SLANG - Cheap Thrills on a Dead End Street (Tiny Engines
Records www.tinyengines.net)
Philly’s Beach Slang compress an impressive amount of
talent and musical diversity into a tightly played four-song
EP which will only make people yearn for a full length as
quickly as possible. The opening “All Fuzzed Out”
is fittingly titled, but the vocals are not lost in the guitar
haze, but rather they mesh perfectly with the surprisingly
thick riff that carries the track. Blending understated Teenage
Fanclub drone with reckless, Replacements style uninhibitedness,
“All Fuzzed Out” is a glorious homage to Westerberg
and Stimson through both verbal delivery and bass hook. “Dirty
Cigarettes” feeds on Catherine Wheel style indie rock
with an injection of pop aesthetics that distinguishes this
song from the other tracks, but Beach Slang is well on its
way to developing a distinctive sound as a band. There is
great energy on “American Girls and French Kissers”,
cleverly titled ball of compactly wound energy that is restrained
but not subdued. The song surmises in one articulate line
the lives of so many making music about which they care so
passionately: “Friday night and I’m in the basement/
screaming out my lungs with my best friends/ I hope when I
die I feel this alive”. “We Are Nothing”
is a great acoustic closer that instantly hooks the listener
with the honest reflection, “Sometimes I don’t
wanna try/ I’d rather just fuck up”. Powerful
and defiant, the song resonates strength with both warmth
and intensity. This is a great listen from a very promising
band.
 MERIDIAN
- The Awful Truth (Victory Records www.victoryrecords.com)
In a world shattered by war, oppression, and disease, there
is not much positive news or optimism to be found, and that
always sends me running to music to salvage some vestige of
sanity. Apparently, despite their young ages (all under twenty-one),
Poughkeepsie’s Meridian feels the same way. The Awful
Truth is a sharp, intelligent, and thrilling collection of
modern hardcore with a devotion to big riffs, soaring harmonies,
and passionate playing. The opening “Gloom” sets
up the record perfectly-at less then two minutes, Meridian
introduces itself briefly before launching head first into
“Everything That kept Me Moving” in which lead
singer David Mitchell laments viciously while guitarist Chris
Evanko delivers richly moving vocals creating a seamless balance
between fury and refinement. Each of the twelve songs reflect
a search for a more profound meaning in one’s life,
and “Slip Away” embodies this struggle with a
majestic chorus and tremendous lead playing from Juan Espinoza.
Seventeen-year-old bassist Chris Titer is a flawless counterpart
to the menacing playing of drummer Ronnie Scocozza, and the
band hits their collective apex on “Waves”, a
punishing yet unavoidably melodious anthem that captures the
best elements of this genre. “Piece of Mind” and
“Making My Way” are daring songs of independence
and emotional strength set to the backdrop of playing that
is suffocating in its intensity, while “Slither”
is an uncompromising assault that revolves around a heavy
low end groove and a malicious verbal thrashing from Mitchell.
Meridian understand how to balance the two varied vocal styles
without ever becoming redundant or predictable, which is an
impressive feat for a band of grizzled vets, much less a collection
of guys still adjusting to shaving regularly. This is an incredibly
exciting album because one can only imagine this band will
be doing in five years if it already this cohesive and skilled.
 COURTESY
DROP - Stabilize (Animal Style Records www.animalstylerecords.com)
This five song EP truly stands out in a world of repetition
and monotony. Nashville’s Courtesy Drop play intensely
visceral indie rock without utilizing the traditional musical
styles to articulate such disgust. The opening “The
Eighth Gate” speaks to this point beautifully with its
ethereal opening that evaporates before a wave of guitar fuzz
and raw, gut-wrenching vocals from Paul Chalos. “What’s
the point of living life if you live it when you get home?”
is a biting, sharp-tongued jibe that carries more resonance
when barked with the passion heard in Chalos’ strained
vocal chords. “Orion” ebbs and flows in both volume
and structure, creating a track that is uniquely melodic and
bold. The song weaves a convoluted musical path but never
gets lost within its own construct; it balances simplicity
and bombast with equal aplomb. The dream-like “Space
and Interaction” is a lush, expansive song that sounds
as if it was recorded within a black hole and includes majestic
backing vocals while “Beauty is in the Eyes of the Imperfect”
moves with a deliberate pace through a maze of guitar haze
and dynamic power as the furiousness of the messages intensifies
as the songs draws to a powerful conclusion. The last track
of the bunch, “Pegasus” is a soaring, expansive
effort that beautiful concludes a thunderously impressive
EP of sparkling, modern shoegaze.
 ENTROPY-All
Work, No Plagiarism (Say-10 Records http://www.say-10.com)
Raging out of Orange County, New York for another dose of
old-fashioned, blink and you miss it hardcore is Entropy,
and not a second too soon! America needs this desperately
and I am thrilled to hear this band return with such aggressive,
yet well honed fury. There is not a wasted moment to be found
on All Work, No Plagiarism, even when the songs do not reach
sixty seconds in length. I cannot get enough of “War,
on Drugs”, “Forever Unclean”, and the vicious
“Strange Things are Afoot at the Circle K”. Played
with a freewheeling sense of urgency, this is early 80’s
hardcore done in its purest form. What I admire about Entropy,
besides the ability to deliver sixteen songs in barely twenty
minutes, is how they tinge their anger with biting humor and
fun pop culture references. The hidden track, “Crazy
Eddie’s Business School” is a loving homage to
ska, but “There’s Always Money in the Banana Stand”,
“Dead Things, Mikey, Dead Things”, and “Choppin’
Broccoli” are all brilliant in their no nonsense approach
to traditional hardcore. Entropy is not a band interested
in style points, technical sophistication, or experimentation-they
know what they are and they are superb. If you claim to be
any form of hardcore fan, throw away the masturbatory act
of unnecessary subgenre assigning and start your own circle
pit to this gem.
 AP
MAURO - The Rebel in Us (Lamon Records www.lamonrecordscom)
AP Mauro employs a number of very talented friends on The
Rebel in Us and the finished product is a warm collection
of country pop songs with a smooth polish and sheen. The opening
“Unfaithfully” could be a crossover radio hit
on pop rock stations as much as any country station as Mauro’s
rugged voice is free of twang. However, “River Leave
Me Alone” is a honky-tonk ready piece, although is hugged
in a loose bluesy embrace. “I Fall from Grace”
and “Miami” could easily fall under an adult contemporary
label as the tracks eschew much of what one associates with
country music, and “Miami” features a subtle Caribbean
flair. While Marc Muller’s lap steel is featured prominently
throughout the record, Rebel is also buoyed by the soaring
background vocals of Deb Lyons and BethAnne Clayton, two dynamic
performers in their own rights. What AP Mauro performs is
not, and will never be, my type of music, but I am not ignorant
enough as to deny talent, and Mauro has an abundance of skill.
Even when “Sophia” begins to drag or “Cry
and Cry”, inspires a country-line dance to materialize,
the musicianship is excellent. I wish more of Rebel is cut
from the “Unfaithfully” mold, but the soulful
“Let’s Dance in the Rain” is a stand out
effort, as it the piano ballad “The Way I Look at You”,
a song more appropriate for a small jazz club rather than
a ribs and wings joint with the Alabama game on TV. The dark
“Dragon Chasing You” charts one’s suffering
as a friend wrestles with the agony of addiction, and “Tenderly”
bounces with a similar verve as the disc’s opener and
balances light rock and pop quite effectively. I will never
have any of this on my iPod, but AP Mauro is a strong songwriter
with an honest appreciation of Americana and downhome aesthetics
without allowing them to slide into caricature.
 O’DEATH
- Out of Hands We Go (Northern Spy Records www.northernspyrecords.com)
It is amazing to think that O’Death hail from Brooklyn
as their sound resonates from deep within the American South.
Bluesy, folk-inspired music played with occasional fits of
aggressiveness has been the band’s calling card since
first emerging over a decade ago and the same is waiting here
for those lucky enough to listen. Out of Hands We Go
is a pristine collection of rugged acoustic demonstrations
of angst and raw emotion, led by vocalist Greg Jamie. “Wait
for Fire” is a supremely beautiful in its haunting fragility,
while “Apple Moon” hums with a tangible kinetic
energy that is richly infectious. Fans of The Builders and
the Butchers and Murder by Death will adore this if they are
not already doing so. “Go Play with Your Dead Horses”
is as bleak and gripping musically as its title would suggest,
expressing a longing that is nameless in its depth, while
“Roam” and “Wrong Time” are driven
by a picking style that takes one to a back porch hootenanny,
only missing a jug band and gallons of moonshine. “We
Had a Vision” is a meandering, graceful song whose intimacy
is matched by the brief but lovely “When My Dog Gets
Out Let Him Run”. The gem of the disc for me is the
stark “Isavelle”, a rolling, engaging effort that
allows Jamie to flex greater vocal muscle. O’Death is
another of the gaggle of unabashedly unique acts that call
Brooklyn home.
 SCREAMING
HEADLESS TORSOS - Code Red (www.torsos.com)
The Screaming Headless Torsos, one of the world’s most
fascinating acts, finally remerges for the first time in nearly
a decade with a wild concoction of blues, rock, funk, soul,
jazz, and pop on Code Red. The eleven songs here make the
nine year dry spell worth the wait as the opening title track
features a muscular riff from guitar virtuoso and Guggenheim
fellow David Fiucyznski and is anchored by a thick, funky
bass line compliments of David Ginyard. “Brooce Swayne”
features both a great title and Maroon 5 guitarist Jimmy Valentine,
and one can certainly imagine his band performing this blend
of soaring pop and transcendent soul. There is an extraordinary
complexity to the music of the Torsos, as they feature two
drummers (Gene Lake and Skoota Warner), yet their talent is
so staggering that the final product is still accessible to
those without any musical acumen, i.e. guys like me. “Wizard
of Woo” includes bassist Bernie Worrell and the song
is a headspace, mind-melting fantastic voyage that brings
the Mothership into the twenty-first century. With innumerable
tempo and genre-shape-shifting, “Wizard” bounces
effortlessly between ‘70s funk, dark blues, and contemporary
anti-corporate rock, replete with a mooing cow and a reference
to a “purple kazoo” that somehow makes complete
sense in the scope of the song. A similar ride is provided
on the sprawling “Fried Tongue”, a rollicking
ride of harmonic gymnastics and musical dexterity that is
richly engrossing, experimental, eclectic, and stabilized
by a thunderous low end. “Tongue” steps aside
for “Sideways”, a jazzy ballad that is only given
two minutes of existence before quietly departing for the
arrival of the richly layered “Running Black Water”.
Delicate, beautiful, and lush, the longest track of the bunch
(it has one second on the closing “My Reasons for Silence”),
includes elements of jazz and soul, along with a spoken word
component, and profound bass playing; again seamlessly blending
funk and jazzy-inspired soul, the song takes the finest qualities
of Earth, Wind, and Fire and Steely Dan to construct a rich
tapestry of musical expression. The wah-wah pedal gets quite
a work out on “Almond Pear in Love”, a song whose
lyrics may be obtuse, but the seductive nature of the track
is undeniable, and when it reaches its climax with the refrain
“lust for life, life for lust”, the afterglow
is majestic. The sardonic “Dead Christmas Trees”
is my favorite of the bunch, with yet another example of remarkably
intricate percussion and a deeply emotive vocal performance
from Freedom Bremner. This could be for a very select audience,
but I am glad I am a part of that group.
 KING
GIZZARD AND THE WIZARD LIZARD - I’m in Your Mind Fuzz
(Castle Face Records www.castlefacerecords.com)
One may snicker at the name and dismiss this band before an
adequate listen, and that my friend, would be an act of unforgivable
ignorance and laziness, for King Gizzard and the Wizard Lizard
play fuzzed out garage rock that finally embodies the sound
Dave Davies was looking for when he experimented in the studio
on “You Really Got Me”. The seven members of this
outfit thrive on free form rock lawlessness and the ten songs
play out as nearly one continuous jam. The opening contradictory
duo of “I’m in Your Mind” and “I’m
Not in Your Mind” sound like a schizophrenic arguing
with himself both in title and in musical form-bathed in heavily
distorted guitar, the latter of the two is a wild voyage through
the musical unknown with a multitude of playful tricks without
a vocal to be heard. The initial single from the record, “Cellophane”
borrows trippy late 60’s psychedelia and introduces
it to punk energy and pop flair. It is a recipe that results
in disasters for lesser bands, but it works here flawlessly.
The may adore the Zappa-Beefheart school, but they have clearly
done graduate work at the Underground Garage for tracks like
“Ami in Heaven?” and title track rattle and shimmy
with a delicious disregard for technical arrogance and instead
teeter a line between exhilarating and destructive, always
managing to barely hold the sound together while flirting
with spontaneous combustion. Even when the band alters the
tempo a bit, as they do on the bouncy “Hot Water”,
the more deliberate and wah-wah happy “Slow Jam”,
and the nearly Sabbath style sludge of “Satan Speeds
Up”, I’m In Your Mind Fuzz still shakes with an
energy lacking in most bands. The disc closes with “Her
and I (Slow Jam 2)” and it the most conventional of
the tracks here, but it is also the most fully fleshed out,
including a guitar lead taken straight from Carlos Santana’s
playbook circa 1971, Steely Dan rhythms, and warm, richly
harmonious vocals. There is a little something for a wide
variety of fans here, and I find myself deeply intrigued by
this.
 MEATBODIES
(In The Red Records www.intheredrecords.com)
Chad Ubovich may be from Los Angeles, but he sounds as if
he grew up living on the dole in London. The self-titled effort
from his act Meatbodies is a celebration of the raw elements
of traditional punk rock angst, spruced up with cleverly crafted
harmonies. For fans of Stiff Little Fingers and the Buzzcocks,
“Disorder”, “Off”, and “Gold”
are speedy and pogo-inducing traditional style punk with savvy
guitar playing and Ubovich’s distinctive vocal delivery.
“Mountain” retains a classic style with the addition
of a thunderous bass line, while “Dark Road” is
a moody yet menacing effort that approaches slowly before
launching itself uponits prey. A similar vibe is heard on
“Two” and “Plank”, with the latter
carried along on a groove that is instantly infectious. Two
of the most interesting moments come on the brilliant “Tremors”which
employs dexterous, J Mascis style guitar playing to generate
an aggressive yet highly artistic experience and the closing
“Master” that bounces with a nearly funk-fueled
dynamism. Throughout the slight variances within the songs,
Meatbodies never fully surrender their adoration of punk’s
kinetic spirit and boundless energy, as heard on “Wahoo”.
Punchy, energetic punk never gets old and Meatbodies takes
a classic sound and injects a fury that makes them contemporary
and not solely beholden to the sounds of the past. This is
a soaring debut from a expert songwriter.
 PILGRIMS/GHOSTT
BLLONDE- Home and Home Vol. 2 (Negative Fun Records www.negativefunrecords.com)
The members of Pilgrims were clearly born too late as their
brand of indie rock has influences from their parents’
generation, if not earlier. “Blue Bloods” is a
shot of 70’s Southern rock swagger replete with handclaps
and a huge, piano-kissed chorus. Amazingly, as well worn as
this path is, Pilgrims play with a genuine fervor that is
the hallmark of any band that found its voice in a garage.
There is a level of devil may care sloppiness that keeps this
fresh and wildly interesting. Additionally, it is simply a
fun ride for three and half minutes. “Captain”
is a no frills slab of jangly guitar and sugar rush energy
with a penchant for harmony akin to that of Surfer Blood,
but with a subtle snarl in the same vain as Johnny Thunders
or Richard Hell. When contrasted with “Blue Bloods”,
this is band that has the talent to follow any musical path
they choose. Ghostt Bllonde’s “Dissonance”
is perfectly titled, for there is delicate, nearly fragile
beauty to the song as it approaches the listener sheepishly
before displaying moments of greater fury before retreating
once again. Marc Kuzio’s vocals are limitlessly passionate
while occasionally fighting for air in the midst of the fuzzy,
ethereal playing swirling round him. Incredibly, Ghostt Bllonde
has only existed for a year, but their future is gloriously
promising.
 CASSAVETES
- Oh So Long (Black Numbers Records www.theblacknumbers.com)
Oh So Long is a collection of straight ahead, driving rock
n’ roll with no pretense and no overdubs. “Follow”
is simultaneously harmonious and bombastic, converging two
highly admirable qualities into one package. “Like Ghosts”
has the jangle of 90’s indie pop with enough of a low
end punch to keep heads bobbing until a wall of guitar force
kicks down the door to a rousing chorus. “Realize”
and especially “So Loud” incorporate a highly
melodious loud/soft dynamic that was the calling card of Nirvana
and a scores of imitators, but these songs possess a vitality
that prevents Cassavetes from falling into the category of
some sort of post-grunge karaoke. The thick rumble of “Maribel”
invokes a darker, more Melvins-esque approach and is one of
the true standouts here, particularly the abrasive guitar
solo. The record closes with a highly subdued acoustic title
track that is slightly unfulfilling when contrasted with the
earlier pieces, but the majority of Oh So Long is a return
to the fundamental principles of rock played with intensity
and veracity.
 FAMOUS
LAST WORDS - Council of the Dead (In Vogue Records www.invoguerecors.com)
I normally shudder at the mention of a concept record, particularly
one that addresses the worn topic of life after death. However,
rather than construct a theological exploration of the afterlife,
Famous Last Words uses Council of the Dead to tell the tales
of seven individuals who find themselves in the Land of the
Deceased-a type of purgatory in which they await judgment.
While their eternities hang in the balance, listeners are
treated to the intricacies of their lives-their mistakes,
successes, and the manner in which all of the group are intertwined.
The title track lays the groundwork for the record as the
deceased are informed of their current condition by an anonymous
force who says “I’m not here to judge you and
I’m not here to preach/My role here is to guide you
as we search through your past”. The twelve songs are
pummeling metalcore efforts with unearthly keyboards accenting
the thunderous playing. Two delicate instrumentals (the opening
“Letter to the Council” and the beautiful “Entity”)
offset the raw intensity of “Hell in the Headlights”
in which Eric, a devoted father, is killed by a drunk driver
while his daughter lives and “The Killing Zone”,
a tragedy in which a young, misguided man joins a gang and
commits a murder in the hopes of someday earning the respect
of his father. In “The Uprising”, a young girl
named Aisha is caught in the midst of a war-torn city in a
story that all too well mirrors the violence the world is
witnessing in the Middle East, while “The Fog”
explores the death of Nancy, a woman who ultimately loses
her battle with dementia through the mixing of various drugs,
and her death sends her son Jake into a violent downward alcohol-infused
spiral that ultimately impacts the life of the aforementioned
Eric in the most nightmarish of manners. Vocalist JT Tollas
is the star here as his voice is able to capture the various
emotions connected with confusion, loss, and the feeling of
hopelessness that the death of a loved one can produce. There
is a legion of bands that share this sound, but Famous Last
Words is among he leaders of the class along with Adestria
and Capture the Crown. The band incorporates keyboards and
even a little dub step here but they never lose sight of their
ultimate goal of producing deafening, thought-provoking metalcore.
 HOAX
HUNTERS - Comfort and Safety (Negative Fun Records www.negativefun.com)
The twelve songs on Comfort and Safety are bathed in distortion
and feedback but the talent on display is still quite evident.
PJ Sykes has made quite a name for himself behind the camera
as an artfully stylistic photographer but fans of noise-soaked
rock will be happy to have him back on a stage. Starting with
a punk foundation Hoax Hunters builds an avant-garde monolith
on Comfort and Safety with songs usually clocking in at less
than three minutes, but there is certainly room fir unique
experimentation as well. The raw “Copy of a Copy”
is a thrilling ball of high-energy noise and while the Husker
DU comparison may be too easy, it does fit perfectly, particularly
as one hears the punishing playing of Tim Falen. “Volume”
and “Breathe” are two examples of brief tracks
that display subtle harmonic nuances before erupting into
a swirling din, while “Perception of Choice” takes
its cues from Mission of Burma with its low simmering rage
and impending bombast. Regardless of which path the band chooses
to follow, there is not a misfire here and not a moment wasted.
“Riskless Business” gains a running start before
hurling itself at the listener with endless sonic brusqueness
and ultimately collapsing from exhaustion. “Erase”
is among the longest tracks on the record and the five minute
long effort provides a broad canvas for Sykes, James O’Neill,
and Falen to merge into a precisely honed torrent of aggressive
and intelligent noisy punk. This is a sweaty, glorious mess
in the best possible sense and captures what music should
sound like when it is played by passionate and recklessly
brave souls not interested in following trends. The closing
“F.Y.T.W.” is simply two minutes of noise that
appropriately completes the record, for it is grating but
also acts as a calling card for future chaos. If SST Records
still existed, Hoax Hunters would be the leading act, but
since that is not possible, Negative Fun has a great release
here.
 REAGAN’S
POLYP - America Needs More Ass/Number Ones/Deadenator (Vetoxa
Records www.vetoxa.com)
I would like to believe that I have heard a wide variety
of musical styles in my four-plus decades on this planet,
but nothing prepared me for the genre-smashing, confusion-inducing,
mind melt that is Reagan’s Polyp. This ridiculously
talented outfit haunted the dives of Little Rock, Arkansas
from 1992-2006 and released thirty (!) records, most of
which on cassette or reproduced on CD-R’s, but through
the visionary actions of Vetoxa Records, twelve of these
masterpieces will be re-released upon an unsuspecting world
three slabs at a time. I begin with America Needs More Ass-firstly,
this is a position I can firmly get behind (sorry), but
it is also a brilliant cocktail of noise, punk, hardcore,
and grind that sounds like the unholy creation that would
result if Genghis Tron and the Boredoms molested Zappa’s
corpse. The nineteen pieces on America Needs More Ass are
frightful bursts of keyboard laden chaos with a thunderous,
nearly suffocating low end, splashes of skull-crushing guitar
force, and eerily digitized vocals spitting out perverse
lines about all varieties of sexual perplexities, one more
disturbing than the next. “Todd Y. Takes Facial”,
“Stop Sucking my Cock” and “Don’t
Fuck the Snack” (the lyrics instead tell the listener
to “fuck the fish”), make anything done by the
Meatshits look like a Disney production. However, this is
not just about grotesque shock and awe, that would become
very tired very quickly; instead, Reagan’s Polyp attack
the occasionally overly serious and myopic punk rock world
with a barrage of ferocity and sarcasm that is far more
abrasive than anything generated by the legions of tough
guy hardcore bands that one finds in every town in America;
with specific insults directed as Little Rock suburbs Benton
and Bauxite, the title track may be a bit too inside of
a joke, but the brilliance of the song makes its message
universal. One only needs to hear the dark humor of “Rich
and Horny” (I belong to the country club and I’m
17 years old/My daddy runs a bank or two and I’m gonna
put my cock in you”) or “Let Me Fetish Your
Jockstrap” to realize that this band hopes to shine
a light on punk’s hypocrisy and make people laugh
as they do so. To that end, the political nihilism of “Oink
and Die (Fucking Capitalist Pigs)”, “Vote for
Mondale”, and “54-40 Or Fuck” are among
my favorites, particularly the latter for one usually does
not hear the presidency of James K. Polk referenced in such
a manner. “Tina of the Warrior People!” and
“Pleasures of a Girl” are stunning in the breadth
and relentlessness of their sonic bombast. Although “The
Obscene “Anal” is Father of the Secret Father
of Enjoyment” is a blasphemous, terrifying work of
power electronics whose lifespan is barely over a minute,
it would lay waste to cities with its force, and after concluding
this indoctrination, I am excited for what comes next.
Number Ones is a “greatest hits” collection
with music spanning the career of Reagan’s Polyp from
the early nineties until the mid-2000s. Among the numerous
points of interest is the French horn laced “You Smell
Bad” (with the lyrics “I hate you, I hate you,
I hate you, you stink”). From the band’s debut
Facefuckingbatspermantidotepudding is “They Installed
Teeth in My Ass” and from fan favorite Cream Gun is
the amazing “Tunky the Talking Bear”, a tale
of pain, misery and violent sexual revenge that defines
the life of a science experiment gone wrong. While the scientists
promised that Tunky “will make you come like the San
Francisco earthquake” as a lush jazz standard plays
as accompaniment, the song quickly shifts tone and one learns
of Tunky’s rape of the scientists that created him
as a form of punishment for their actions before the song
concludes with an equally vicious barrage of blunt bass
pummeling. The jazzy, funk-tinged “Queen of Sados”
exposes the wealth of talent possessed by Krel and Astronaut
Body along with their supporting cast as the song lulls
the listener into comfort before ravaging the victim with
crushing wrath, while “Have Sex with Us” is
noisy and disjointed chaos backing a light hearted verbal
dialogue about being face down in cocaine and sex binges.
The live portion of the disc, “Reagan’s Polyp
in Concert”, recorded at a now defunct Indian restaurant
in Little Rock, must have completely frustrated and angered
the suburban teen punks in attendance as Reagan Polyp asked
“Are there any Beatles fans here” and then played
the intro to “Day Tripper” four different times,
spicing up their set with samples of Led Zep’s “Whole
Lotta Love” and even The Doobie Brother’s ubiquitous
70’s radio staple, “China Grove”. I can
only image the vitriol spat at these guys, but their bravery
and devotion to a fractured musical vision in a community
that either could not or simply refused to accept them is
impressive. “Take Off Your Pants” is simply
a voice and vocal beatbox attempting to coerce the removal
of one’s trousers because “there’s a nice
breeze blowing”, while “I Can’t Stop Fucking
Myself” closes the disc and is truly the oddest of
the bunch, and that is quite a feat-it is found on a “free
jazz” record called Polyp Ah Um from 2000 and the
constant refrain of the song’s title is heard buried
under a wall of keyboard trickery and electronic manipulation.
It is experimental noise at its finest that lasts for four
perplexing and exhilarating minutes.
The 1998 release Deadenator includes the first batch of
re-releases, and this true masterpiece opens with “Bridge
of Asses”, a song that borrows is musical styles from
stars ranging from Paul Simon to ELO to Japanese noise-core
before finishing with a ska riff. The English language lacks
the proper amount of adjectives to adequately describe the
wildly experimental, improvisational genius one hears throughout
these discs; Reagan’s Polyp must have befuddled most
and potentially thrilled a tiny minority during the course
of their careers, but like most who are truly ahead of their
time, the recognition they so richly deserved will arrive
posthumously (the band is over, but the guys live on and
I am calling for a reunion). However, for those who believe
that fearlessness is the primary component of artistic greatness,
then anything by Reagan’s Polyp is a mandatory listen.
The band’s ample use of jazz’s polyrhythmic
structures combined with their own atonal nature truly does,
in the words of the legendary Flying Luttenbachers, destroy
all music. The vicious, uproariously obscene “Tunguska
Blast of 1908” and anarchic breakdown of the sexually
disconcerting and psychologically unsettling “Pony”
carve permanent homes in one’s brain and Reagan Polyp’s
sense of twisted humor is my favorite trait of this band,
as they deconstruct arrogant intelligentsia with searing
satire and obtusely cringe-inducing concepts. Reagan’s
Polyp is wickedly subversive on “Rock and Roll ‘Music’”,
although their targets will most likely not even realize
that they are being humiliated, much like the audience at
the Riverfront Hilton as another brief live set is heard
on Deadenator. One woman in the third row is asked, “Who
dressed you? Spiro Agnew?” Does it make any sense?
No, but that is not the point-Reagan’s Polyp unhinges
the concept of musical structure and in their efforts to
obliterate commonality, spawn something wholly unique.
 TEENANGER
- EP LP (Telephone Explosion Records)
This Canadian outfit sounds as if they just finishing opening
up for Johnny Thunders as they play with an arrogant swagger
that defines the best of the late 70’s punk. While
Teenanger pays homage to the past they are not interested
in simply recreating it; the eight songs here slither in
the muck of a band frustrated with the world around them
right now, not the world of their fathers. “Fly on
the Wall” opens with snarling vocals from Chris Swimmings
and an elastic bass line from Melissa Ball, and I am instantly
hooked. “Sky Saxon” allows guitarist John Schouten
to shine as he captures a tone reminiscent of garage bands
of the sixties while drummer Steve Sidoli keeps a steady
and rollicking backbeat. The song morphs into a scourge
of Michael Jackson as Swimmings repeats Jacko’s name
with pure disgust. This is old-fashioned, ripping rock n’
roll with rough and tumble kinetic energy, best heard on
the hyperactive “Think About It”. Yet the guys
can still create full bodied grooves such as “Mild
Survival” and the brilliant closer “Hot Rods
at the Loser Convention”, a tune in which Swimmings
barked that “your name means zilch”. The fact
that a band this cool would drop the word “zilch”
in their put-down proves that these kids do not care about
what others think, another critical prerequisite for rock
authenticity. I do hope Teenanger get across the border
soon because this is among the most complete punk bands
to come around in the post-CB’s era.
 USELESS
EATERS - Bleeding Moon (Castle Face Records www.castlefacerecords.com)
Useless Eaters make rock n’ roll as if they had never
heard it before and were asked to create how they believed
rock should sound. Each track on Bleeding Moon is a raucous,
stripped down anthem of adrenaline and passion spat back
in the listener’s face with reckless abandon. These
are guys having a great time slamming through efforts like
“Out in the Night”, “Sitting on the Fault
Line”, and “Whip”. Why the world melts
over the Strokes and not these guys in incomprehensible
to me as Useless Eaters delivers a raw garage vibe with
far greater intensity than the now innumerable collection
of bands trying to do the same. Everything here seems to
shake with enthusiasm and unbridled angst, capturing lust,
disgust, and excitement of the unknown in the form of three-minute
(on average) nuggets of abrasively harmonious songs. Useless
Eaters are deceiving in the fact that they create music
that is both contrarian in nature to mainstream formulaic
bands but yet Bleeding Moon screams potential sweeping mass
acceptance. Granted, the muddied vocals and the serrated
edges of the guitar playing will alienate some, but this
is a band on the precipice of true importance. Check out
“American Cars” for a stunningly impressive
rhythm display and then jump over to “Aftershock”
if you like a little noise and experimentalism in your rock
soup. This is cool from start to finish.
 ILL
NINO - Till Death, La Familia (Victory Records www.victoryrecords.com)
Ill Nino has been kicking around for quite a while now and
has survived through the years of metalcore’s ups and
down and even nu metal’s desperate attempt at resurgence.
To that end, they have never fit snuggly into one label and
that trend continues on ‘Till Death, la Familia with
the opening “Live Like There’s No Tomorrow”.
In addition to sounding like some sort of teenage Facebook
message of naïve optimism, the song is a departure from
the expected-it’s nearly poppy and would be a bona fide
radio hit if Cristian Machado did not curse like it was his
only form of communication. Machado is a fascinating vocalist
as he can sing, harmonize, bark, and scream with equal aplomb
and the band crafts songs that allow him to demonstrate each
skill. There are qualities to ‘Till Death, La Familia
that may confound or even ostracize some hardcore fans of
the band, such as the keys heard on “Not Alive in My
Nightmare” and the richly textured but less hardened
nature of “Blood is Thicker Than Water”. I applaud
the guys for not simply making another traditional metalcore
record and for having the courage to challenge themselves
as musicians. However, Ill Nino is a band that also understands
its roots and appreciates its fan base, so the closing salvo
of “Dead Friends”, “Breaking the Rules”,
“Payaso”, and the rattling closer “My Bullet”
strip away and niceties and are vicious barrages of guitar
brutality led by Ahrue Luster, albeit accented by choruses
with which one can still sing along. The band has always included
traditional Latin instrumentation and this record is no different,
particularly with percussion thanks to Oscar Santiago and
even a bit of flamenco on “I’m Not the Enemy”,
so Till Death La Familia does stand out from the majority
of the metalcore crowd. Ill Nino is a band that is now seven
albums and over fifteen years into its career and is continuing
to refine and creatively enhance their sound.
 ISLANDER
- Violence and Destruction ((Victory Records www.victoryrecords.com)
With a title like Violence and Destruction I hope to hear
bruising, skull-splitting fury that has defined Victory’s
stable of artists, but instead, Islander steals the Deftones
playbook and makes hook-filled, hard rock with a few nu metal
touches, but nothing that will connote images of Fred Durst.
The twelve songs are well crafted, guitar heavy, melodic anthems
that interject elements of morbidity (“Pains”,
“Hearts Grow Cold”) as well as experimentation
(“Mira”). Nothing about Islander is revolutionary
but they are not redundant either. While I struggle to get
through “Coconut Dracula”, I am much more impressed
with the aggressive “Side Effect of Youth” and
the well utilized vocals of P.O.D.’s Sonny Sandoval
on “Criminals”, two efforts that are emblematic
of a band that does not hesitate to honor their influences
but is still working to truly refine a sound that is uniquely
their own. Andrew Murphy is a highly skilled guitar player
and his riffs march in perfect lock step with the melodious
voice of Mikey Carvajal, particularly on “The Sadness
of Graves” and the strong closing title track. None
of the work here is is particularly punishing, but Islander
brings back hard rock, a sound rapidly moving into extinction.
There is no need to add a hyphen to the type of music Islander
makes; while it may remind some of the mid-2000s, the band
has enough of a polished sound to remind listeners of the
better acts of that time period, particularly as they minimize
any rap delivery. I will watch this band with interest for
there is quite a bit of potential here and how Victory handles
Islander, an act that does not necessarily meet the criterion
of the typical Victory line-up, will be crucial. More growth
is needed, but Islander may stand on the precipice of actually
becoming rock stars.
 GASLIGHT
ANTHEM - Get Hurt (Island Records www.islanddefjam.com)
The Gaslight Anthem has been one of America’s darling
bands for a few years now and that is an immense amount of
pressure for anyone, much less a collective of humble Jersey
guys who somehow seem immune to the rock trappings that usually
befall young and talented acts. Get Hurt is a rock record
from another age - perhaps the 90’s, but in the midst
of contemporary music, the Gaslight Anthem sound as if they
have been dropped from another generation entirely. The sixteen
songs are well crafted, radio ready guitar rock anthems that
invoke Vitology-era Pearl Jam as readily as 70’s Cheap
Trick. “Stay Vicious,” “Rollin’ and
Tumblin’,”and “Ain’t That a Shame”
are majestically fashioned blasts of quick-hitting rock in
its purest form, while the title track is a gentle, ethereal
beauty, and “Break Your Heart” is a haunting,
folksy ballad that echoes of pristine Americana through the
prism of ragged angst. Brian Fallon stretches himself as a
vocalist, proving to be a singer of tremendous depth and emotional
range whether barking out lyrics in the sweaty “Helter
Skeleton” or sounding thoughtfully haunting on the deftly
poetic “Sweet Morphine.” Supported by a highly
adroit rhythm section of Alex Levine on bass, drummer Benny
Horowitz, and the multi-talented Alex Rosamilia, Gaslight
Anthem is a band comfortable in its own skin and proud to
expound upon their influences. The record closes with a triumvirate
of sparse efforts in “Mama’s Boy,” “Halloween,”
and “Have Mercy,” the last leaving the stage in
a beautifully minimalist manner. I am unsure if old time fans
will be thrilled or befuddled with what one hears on Get Hurt,
for the steady diet of pounding, punk-inspired anthems played
through Springsteen’s equipment circa The River is no
longer the only option on the menu; instead Gaslight Anthem
open themselves up as performers and writers, producing a
highly diversified record as resoundingly satisfying as any
of their earlier works. This is authentic American rock n’
roll played with a genuine level of integrity and authenticity.
 THE
BASTARDS OF FATE - Vampires are Real and Palpable (This
Will be Our Summer Records www.oursummerecords.com)
The Bastards of Fate could be the finest examples of indie
rock anti-heroes alive today-their brand of music is so
deliciously bizarre and wondrously off-putting that one
is unable to turn away but it is not due to some type of
desperate attention seeking exaggeration, but the irrepressible
intelligence on display. Shattering the conventional paradigm
of song structure is a goal of many bands, but it usually
defines power electronics, grind, or other more abrasive
genres. Roanoke’s Bastards of Fate are as mysterious
and confounding as the disappearance of their hometown’s
initial settlers; Doug Cheatwood sings, croons, rages, and
emotes feelings one did not even know were human throughout
ten twisted anthems that should be what indie rock sounds
like, but is far too daring for most bands to attempt. By
no means will this ever reach commercial success, hence
the limited knowledge of the band’s debut record,
but for those who appreciate distorted visions spun through
delightfully dissonant chaos, Vampires is a scintillating
listen. Gentle piano gives way to squalls of guitar noise,
shrieking explosions of anti-melody cuddles up to warm harmonies,
and waves of noise hold hands with pristine serenity as
a perpetual darkness permeates each effort. The opening
“Winter of Our Discontent” leads the listener
down a path of harrowing intrigue as the song grows increasingly
unbalanced and intimidating, setting the stage for a deranged
carnival of musical genius. The closing “Optometrist”
features barreling rolls of thunderous noise, while “Go
No Further” rivals anything constructed by Beefheart
or Zappa in their most inexplicable moments. “One
True Love “ is a swirling mass of heartfelt emotion,
constantly teetering on the verge of unraveling, hovering
effortlessly between the worlds of campy fun and deeply
unsettling depravity. Occasionally, bands emerge whose place
in music cannot be readily defined or explained, and their
contribution to society may be ignored but all but a select
few, but for those who are fortunate enough to embrace The
Bastards of Fate, their lives are enriched and their minds
are opened. I am lucky to call myself a fan of this band.
NICK OLIVERI’S UNCONTROLLABLE - Leave Me Alone (www.schnitzel.co.uk)
Nick Oliveri’s numerous abilities are well known
to anyone who has been conscious over the better part of
more than two decades through Kyuss, Queens of the Stone
Age, Moistboyz, and the myriad of other projects with which
he has been associated. However, Leave Me Alone is Oliveri’s
first true rock solo record, as he did release acoustic
products in 2004 and 2009. Nick Oliveri’s Uncontrollable
is largely just Oliveri-he plays every instrument on the
record-with some help from a few very cool friends such
as Phil Campbell of Motorhead, Dean Ween, and Stephen Haas
to drop a few impressive names. Aside from the quiet title
track, the primary objective of Leave Me Alone is to rattle
the heads of those who listen with thunderous and classically
driven rock bombast. Oliveri strips away all pretense on
“Luv is Fiction” and “Death Leads the
Way”, while “Keep Me in the Loop” is an
unfettered mass of noisy blunt power. Oliveri’s is
preeminently known for his bass playing and the low-end
is among the highlights of the record across all the tracks,
but it is the guitar work that carries the disc. From the
opening heavy crunch of “Human Cannonball Explodes”
to the groove-laded “Get Lost with Me”, Leave
Me Alone is a feast of high-powered playing that should
translate to a crushing live show. Oliveri is a man with
a colorful and somewhat convoluted past, but this is a straightforward,
exceptional burst of energy from a highly gifted player.
 SW/MM/NG
- Feel Not Bad (www.oldflamerecords.bigcartel.com)
There is quite a bit of depth to the music of Sw/mm/ng
but it is difficult to not imagine this Arkansas act as
the best Cure cover band ever. Brian Kupillas has his poignant
vocal delivery enveloped by luxurious guitar playing and
a majestically ethereal tone that makes “Some Dreams
Come True” a soaring achievement in modern indie rock.
Despite the band’s insistence in some interviews that
their playing is traditional and simple, there is a complexity
to the songwriting that makes Sw/mm/ng different from other
collections of upstarts attempting to simply imitate late
80’s/early 90’s haze. “We Do It All the
Time” celebrates one of the freak ice storms that
hit the Deep South within the past year and how this weather
anomaly provided a great reason to have parties and connect
with people. It’s a charming song with an equally
endearing story accented by lush guitar playing by Kupillas
and Jared Hennessy and ethereal keyboard playing compliments
of Jack Lloyd. Feel Not Bad is a collection of pristine
pop with subtle power behind it - none of the songs are
rollicking or overly aggressive in nature, but “Younger”
has an unexpected level of energy and antagonism I find
highly enjoyable. “Oils” comes across as the
best song The Church never recorded, driven by the rhythm
section of bassist Joel Paul and drummer JD Paul as flashes
of guitar cut through the track with surgical precision.
Although “Slow Den” is indeed a touch too slow
for my liking, the harmony is still striking and it gives
way to the slightly more up-tempo “All I Want”.
Although Feel Not Bad is only eight songs, there is is much
to enjoy within each, and I am impressed by the talent on
display here.
 EUREKA
CALIFORNIA - Crunch (HHBTM Records www.hhbtm.com)
Eureka California actually calls Athens, Georgia home and
features the sarcastic, snarky musicianship of Jake Ward
and Marie Uhler. The two have a penchant for capturing mid
90’s indie pop with subtle nuances that make eleven
songs on Crunch memorable and instantly relatable. Ward,
who labels himself “overeducated and underappreciated”
in the band’s bio sings of life’s general frustrations
for the twenty-somethings who will instantly recognize themselves
within his lamentations. “Oh, I’m a deep thinker/And
I know who Descartes is” he announces on the wryly-titled
“Edith (One Day You’ll Live in a Bunker)”
and declares, “You know Athens is dead” on “This
is No A-side”. Alongside simple but richly harmonic
riffs and a steady backbeat from Uhlie, Ward’s lyrics
tell tales of emptiness on “No Mas” (“Nobody
will remember your name”) and general apathy (“I’d
like to think that I still care”) on “There’s
No looking Back”, a song that displays a more rambunctious
side of the band, and while its never abandons its steadfast
pop sensibilities, the track incorporates more aggressive
punk aesthetics into its structure, a trait matched on the
brief “I Bet That You Like Julian Cope”. The
apex of the record is the self-reflective and self-ridiculing
“Art is Hard”. Ward is a clever wordsmith who
demonstrates a keen sense of acerbic introspection when
he states, ”Money, money is everywhere, but there’s
not a cent to spend/So what do I care? If I don’t
get my share?” The song bounces in a manner similar
to the A-side’s closing “#1 in the State”,
but it also retains a tangible despondency that makes the
track so intriguing. Ebbing and flowing in intensity, the
song encapsulates the talent and comradery shared by these
two skilled individuals. Some may claim that they have heard
this before, but only if one is of a certain age: the kids
just gaging the frustrations of a burgeoning adulthood will
find this refreshingly identifiable and those who appreciate
agitated pop will also find quite a bit to like.
 MUUY
BIIEN - D.Y.I. (HHBTM Records www.hhbtm.com)
What makes good punk rock worth listening to is its ability
to redefine what “punk” is supposed to be. Muuy
Biien is one of those young bands who simply do not care
about rules, expectations, guidelines, or predispositions:
they simply want to create angry, intelligent, hyper punk
and if you do not like it, then you were not supposed to
get it anyway. D.Y.I. is a throbbing, convulsing record
that stands on a ledge and dares itself to jump- a highly
kinetic explosion of force and sound accented by ambient
touches and the most unexpected of harmonies. After the
opening ethereal rush of “Cyclothymia I” passes,
vocalist Josh Evans leaps on top of the listener with “Human
Error”, an violent spasm of a song in which the words
“human error/its inevitable” have never sounded
so authentic. With a throbbing bass line, “She Bursts”
is a riotous slice of youthful frustration married with
a level of control that defies the ages of the members.
This could have been a song of blind rage, but it is instead
a smartly crafted anthem of gender relations set to a furious
and well-defined riff. Each of the members of Muuy Biien
took time to release solo ambient projects before reconvening
to create D.Y.I. and the three “Cyclothymia”
pieces pay homage to that interest without deterring from
the overall record-they actually allow for the listener
to catch a breath before being doused again with a relentless
wave of animated passion of “Virus Evolves”
and “Dust”. Clocking in at under one minute
each, Muuy Biien say much in a brief amount of time, declaring
in the latter that “It doesn’t matter to me/the
people say what they think/uneducated and vain”, while
a schizophrenic guitar riff swarms the track. The highlight
of the record for me is the pummeling title track that precedes
the closing splintered piano of “Cyclothymia III”,
as Evans orders with bile rising in his throat, “Be
a man/do yourself in”; a call to depart this world
rather to live by the naïve and empty standards set
by others. This is a call for purity rather than self-destruction
and is followed by a cacophony of angst-driven liberation.
The aforementioned piano that lingers only briefly concludes
an exhaustive journey through the staggering progression
of a gifted and incredibly exciting band. Get these kids
opening for Night Birds and you’ll have the greatest
tour in the world.
 SMALLTALK
– EP (smalltalkplus.bandcamp.com)
For many reading this review, the fact that Pete Steinkopf
of the luminary Bouncing Souls is a member of Smalltalk is
the band’s primary’s selling point; in full disclosure,
it is what certainly grabs my attention. However, in less
than several seconds, “Fountain of You” proves
that Smalltalk is nothing like Pete’s other job. Rather
than hook-laden, high energy punk, Smalltalk pays homage to
the darker, more melancholy acts of the 80’s and early
90’s. Blending Echo and the Bunnymen delicacy with college
rock jangle, “Kill Me Fast” is a sterling example
of a band that creates a new subgenre of “shoe-glancing”-there
is too much energy on “Go Love” to create a full-on
gaze, but the tendency is there on the other two efforts.
The opening “Fountain” is pristine and heartbreakingly
beautiful-it is a song of profound longing expertly delivered
by Zak Kaplan, and when he announces how he wants to “dive
into the fountain of you”, the emotion is genuine and
boldly raw. With an ethereal riff that could be co-opted by
anyone ranging from the Cranberries to Parquet Courts, Smalltalk
talks classic indie goodness and injects a modern flair. The
song hovers with a lush fragility and features layers of subtle
drone that envelopes the pop, while “Go Love”
is accented by gorgeous backing vocals from Tara Jones. Usually
a three song EP is too small of a sample size to make concrete
determinations about a band, but that is not the case here.
The talent on display is well tested and highly proven, but
a collection of great players does not always make a great
band. Once again, Smalltalk defies that fear by producing
a trio of intelligent, poignant songs that are both instantly
recognizable and obtusely unique. This is sure to be a highlight
of the summer.
CINEMA CINEMA - A Night at the Fights (Lumiere Label www.tunecore.com/music/thelumierelabel)
The relationship forged between Cinema Cinema’s Ev Gold
and Paul Claro with producer Martin Bisi began during a chance
meeting during the clean-up in the wake of Hurricane Sandy.
The devastation of that storm and the resilience it took for
the band to soldier forth is heard on the abrasive aggression
of A Night at the Fights. There is a visceral, primal quality
to the eight songs here as Cinema Cinema creates sinewy yet
furious slabs of punishing guitar rock. Gold has a vocal delivery
that is as thrilling and aggressive as his guitar playing,
yet he is not averse to writing songs with covert harmonies,
such as “Raging Bull”. The record opens with a
blast of precise bellicosity on “Broad Daylight”
and follows that up perfectly with “Decades”,
for when Gold screams “it’s 1994, now who’s
the whore?”, there is a maniacal quality to his voice
that is simultaneously engrossing and wildly intimidating.
However, the duo truly excels on the noisy, expansive “Boxcutter”
and “2010” as Claro’s thunderous drumming
anchors the experimental and wonderfully unrestrained guitar
playing of his cousin. The loud/soft dynamic of the former
track goes well beyond bending tempos; it is off-putting and
rattles the listener with its explosive transformation (“the
blade is out so shut your mouth”). The dark ambient
noise that opens “Gowanus Ghost” gives way to
an impenetrable low end rumble that carries the track through
seven exhilarating minutes, borrowing expertly from Fugazi
along the way. The closing “Shiner No.4” is a
splitting, fascinating soundscape of swirling clamor played
with a mechanical precision that reflects a terrifying sense
of detachment without ever surrendering its intimacy or humanity.
The entire record, but particular this song, takes the listener
into the heart of the band’s sound and one is perpetually
surrounded by a whirling mass of fiendishly exhilarating musicianship,
seemingly surrounding and even swallowing the listener. This
is an extraordinary record that covers a massive swath of
musical landscape in a scant eight songs, but with six of
the eight clocking in at five minutes or more, the band offers
ample room for their brand of fearless and intelligently crafted
hostility.
 BUENOS
DIAZ - The Love Balloon EP (www.buenodiazmusic.com)
Buenos Diaz plays music from a different era-specifically
the 1950’s, and while they do it well, this is too much
of a niche act for my liking. Nick Diaz is a talented crooner
and skilled blues guitarist, but The Love Balloon falls flat
for me. The title track sounds like a Richie Valens B-side,
and while “Out of My Arms” has soul, its trombone
and trumpet is more Blues Brothers than downhome blues. The
record explores various failed relationships, with “My
Love” best embodying this theme as Diaz wallows in the
pain of losing a girl named Roxanne, doing a fine Bobby Darin
impression in the chorus. “Santa Cruz” has the
coolest vibe of the five songs here; reminiscent of hipster
jazz clubs that would inspire Beat poetry, its porcelain guitar
work and smooth percussion is unavoidably infectious. I can
listen to a track of this nature all night, and perhaps its
finest aspect was its lack of vocals-not that Diaz is not
a good singer, for he is quite polished, but quality of the
musicianship can get lost in the overly fanciful vocal delivery.
“The Love Device” suffers from this affliction
as the song is anchored by a classic blues lick that invokes
the spirit of Stevie Ray Vaughn, but still comes across as
a lounge act-a very likable lounge act, but Buenos Diaz can
be more.
HEROES OF TOOLIK - “Aquarium School” b/w
“Dances with Elsa” (www.heroesoftoolik.com)
It is rare for a band to release a two-song single and have
so much happening within each track, but not many bands are
like Heroes of Toolik. This is an act that treats the accordion
as a pivotal aspect of their sound and not something used
for clever accents, and engages in shared male/female vocals
with a sense of powerful urgency and simmering sensuality.
“Aquarium School” is driven by trombone and the
aforementioned accordion while vocalist Arad Evans delivers
a subtlety sarcastic take on conformity through deliciously
deadpan vocals backed up by the hauntingly beautiful voice
of violinist Jennifer Coates. It is a song that demands multiple
plays, not only for the unique idiosyncrasies of the structure,
but the song becomes increasingly infectious with each listen.
“Dances with Elsa” has an old-timey feel to it,
but it is also gritty, harking back to both traditional American
music as well as the grime of bluesy rock n’ roll. Evans
and Coates again engage in a vocal dance, with Coates’
voice accentuating the despondence heard from Evans. With
the additional of original Moderns Lovers Ernie Brooks on
bass, Heroes of Toolik only continue to elevate the quality
of their work, and this is a tempting sample of what is to
come.
 IL
SOGNO DEL MARINAIO - Canto Secondo (Clenchedwrench/Org music
www.clenchedwrench.com www.orgmusic.com)
For those not familiar with Il Sogno del Marinaio (“The
Sailor’s Dream”), one name does instantly leap
off the page, and that is the ubiquitous and inexhaustible
Mike Watt. Watt and guitarist Stefano Pilia met in 2005 while
Watt’s opera The Secondman’s Middle Stand
was touring Italy and ultimately recorded a full-length
effort together, along with drummer Andrea Belfi in 2010.
The work on Canto Secondo is beautiful and challenging,
at the same time. With minimal vocals, and when they do appear
they are quite often monotone in nature, the record is a celebration
of three supremely gifted musical thinkers who master their
instruments with such command that they are free to generate
music with staggering fluidity. Much of “Alain”,
“Skinny Cat” or “Il Songo del Flenile”
may sound improvisational in nature, and perhaps it is, but
the trio’s interactions are so flawlessly intricate
as to lead one to imagine that each second was painstakingly
preordained. The three recorded the music for Canto Secondo
over the course of only eight days and literally emailed their
vocals in later, and the tone of the record reflects this
frenetic pace and explosion of musical visions. Canto
Secondo is incredibly intimate and warm, from the lovely
traditional structure of “Nanos’ Waltz”
to the more experimental, light-hearted and elastic “Stucazz?!!”.
The denser, guitar heavy “Sailor Blues” is a climactic
moment in a record that is a pure delight-one simply presses
play and is escorted to another place and time over the course
of ten extraordinary songs; the works reflect the beauty of
Italy where the tracks were recorded while always maintaining
a very modern sensibility. I am honestly surprised by how
much I enjoy this, but il Sogno del Marinaio make music simply
for music fans-one not need adhere to any one particular genre
to be able to find this engaging.
 DEAD
TENANTS (http://deadtenants.bandcamp.com)
Upon first listen, I am instantly taken by how seemingly primitive
the recording quality of this five song release is, but I
soon grasp that this is intentional, and I love it. Dead Tenants
wallow in the muck of noise, grime, and years of festering
filth that defines exciting punk rock. Their name alone captures
a sense of loss and unexplained dread; no one knows how these
tenants died or who found them, but there is an ominous sense
surrounding this EP. The Queens-based trio is most scathing
on “Syntax”, beginning with an ear-splitting guitar
squall from Doug Capraro before he lends his vocal talents
to the effort. Capraro is the ideal singer for an act of this
nature-he is aggressive and abrasive, yet he is not a vapid
screamer. There is authentic frustration being exorcised in
a mastery of cathartic release on “Soft Spot”
and “The Light that Broke the Vial” as bassist
Alex Capraro and drummer Alex McKendry flex their pronounced
low-end muscles. Woven within the tracks is also a concerted
devotion to psychedelia, but not in a traditional, stereotypical
definition of the word. The ethereal portions of the work
by Dead Tenants is more representative of a scary trip that
lasts far too long than anything soothing or passive. Additionally,
this juxtaposition of post-punk noise and experimental psychedelics
is extraordinarily liberating as the songs are both engaging
and punishing. This may not reach the same level of intimidation
of an act like Unsane, but this is a promising start from
a band that does everything right here-the packaging is as
primeval as the music and this is a band I will follow with
great interest.
 THE
JIGSAW SEEN - Old Man Reverb (Vibro-Phonic Records www.vinro-phonic.com)
I am hoping and expecting some old fashioned rock n’
roll angst with a title like Old Man Reverb, but instead of
blistering rock attitude, one hears a cornucopia of soulful
Americana. There is a great deal of old man here, but little
to no reverb. Dennis Davison is the mastermind of The Jigsaw
Seen, and his direction takes the band down numerous pathways,
from the acoustic “Idiots with Guitars”, a sardonic
look at selling out, to the spitfire “We Women”,
and the gut-wrenching “Grief Rehearsal”. Even
if acoustic guitars, piano, and the occasional Johnny Cash-style
song structure (“Abide”) are not for you, there
is much to admire here. Davison is surrounded by skilled players,
notably Jonathan Lea on guitar, and the record is a wildly
diverse swath of traditional American music. Not all of it
works for me, as I find “Hercules and Sylvia”
a touch redundant in its attempt to clone Magical Mystery
Tour-era Beatles a bit too blatantly, but the aforementioned
“We Women” is a smart-mouthed, snarky track that
crackles with guitar sparks and oozes sarcasm (“We women
are tired of taking all the blame”). “Your Mind
is Like Mind” and “Understand” are equally
beautiful in their sparse grace, highlighting Davison’s
warm vocals and lyrical chops, while “Madame Whirlgig”
utilizes the most subtle of psychedelia and strings the accent
the fragility of the title character as the song fades gently
into the good night. There are not many bands doing what The
Jigsaw Seen is doing and their work was even featured in Futurama,
and that is enough to earn my seal of approval. However, for
fans of folk, Americana, garage rock, and pop-flavored psychedelia
will find something to their liking on this vast musical buffet.
 SOTO
ST. - Lies (www.facebook.com/sotostofficial)
Soto St. is a much needed kick of energy and adrenaline as
the band plays classic sounding California punk in a style
reminiscent of the Adolescents or TSOL with a flair for modern
fury. The ten songs here are no frills punk rock with blazing
guitar, intense vocals, and traditional topics that are always
ripe for ridicule. Cops and politicians take the brunt of
the assault (“Police Brutality”, “Johnny
Law”, and “Two Party System”), but each
song is an incendiary gem. The title track takes one back
to the age of matinee shows, while “Regret” displays
a true penchant for hooks as vocalist Jeff eases off the aggression
slightly in exchange for a more rhythmic delivery. “Falling
Down” and “Going Nowhere” as they become
tracks to sing along with after only one listen. Soto St.
is what I hear in my head when I think of punk rock music-it
is fast, and abrasive, yet tinged with a level of intellect
that holds the attention of the listener. One hears years
of experience and deliberate thought on songs like “This
is Your Life” and “False Flag”; these are
not frustrated teens setting up shop in a garage, but the
angst and disgust harbored by those bands is still heard in
the work of Soto St. Lies is only the second release from
this band and it should quickly make this act more than a
California favorite.
 TWIN
FORKS (Dine Alone Records www.dinealonerecords.com)
The key component to any good Americana act is story-telling;
the band has to be able to paint images that, even if they
are not necessarily events to which the listener can intimately
relate, they are compelling enough to move people emotionally.
This is the strength of Twin Forks. Their classic Americana
singed with country twang and marinated in downhome folk
spice is not my first choice for musical expression but
damn if I do not find myself brought into the warmth of
the yarns being spun. “Kiss Me Darling” and
“Something We Just Know” are beautiful, fanciful
efforts while “Back to You” and “Done
is Done” are gritty, heartfelt anthems that celebrate
the vast talent of this four piece. The band excels lyrically,
painting stories both vivid and personal. The potential
success of Twin Forks is found in their ability to appeal
to a broad audience who enjoys a variety of traditional
musical styles. This is class American music played with
straightforward percussion, acoustic guitar, and some strings
supporting warm vocals. Twin Forks is not bringing anything
wholly original to this party, but they are instantly endearing
and that is more than most can do.
 NOX
BOYS (Get Hip Recordings www.gethip.com)
The sound of the Nox Boys is pure garage rock n’ roll;
it is testosterone and angst driven mayhem so desperately
needed today and it is being churned out by a line up including
three high school kids and a veteran slide guitarists in his
late fifties. The elven songs on the band’s self-titled
debut pay homage to everyone from the Count Five to the Zombies
with enthusiastic gems of ragged, fuzzed-out bombast accented
by supremely written harmonies. Bob Powers is the (very) old
man of the group and his slide guitar playing is the centerpiece
of the majority of the work and makes an instant impression
on the opening “Desperate Girl”. Powers, a fixture
in New York City performance art during the 1990’s and
uncle of drummer Sam Berman, brings well-honed sophistication
to the Boys’ wild-eyed energy. Leader vocalist and guitarist
Zack Keim may only be seventeen but he handles the delectable
pop of “Mrs. Jackson” and “Susie Lee”
and the more raucous “I Don’t Care Anymore”
and “Save Me” with equally adroit aptitude. “Take
My Heart and Break It” should delight Jack White while
“Novelty” and “Smilin’ Dave”
are both destined for heavy rotation within a certain Underground
Garage. Keim has a voice that defies his age, but that is
a quality found within each of the three teenage members,
rounded out by the bluesy bass playing of Zach Stadtlander.
What is most satisfying about the Nox Boys is their ability
to resist over thinking the rock n’ roll process-the
majority of the tracks hang around for less than three minutes
but it is enough to clearly grasp the gifts these kids possess.
The Nox Boys are not another band trying in vain to save rock
music; they are simply proving that it is doing far better
than what one may think.
 SECRET
PHOTOS - Layers (I Love to Hate Records www.ilovetohaterecords.com)
Layers is a fitting title for this release as Shaun Weeden
leads Secret Photos through a winding demonstration of finely
crafted indie pop. This is bold departure from the life Weeden
once led as the leader of New Jersey hardcore act Purpose,
but the music of Secret Photos is no less intense than his
hardcore efforts, just delivered differently. I am not a fan
of drum machines and therefore, “Spouses” or “Red
Lights” are not among my favorite tracks here, although
their energetic pop crackles behind the warmth of Weeden’s
vocals. For me, Layers hits its stride on the deeper tracks
that conclude the record, particularly a string of anthems
in the form of “Catch the Breeze”, “How
She Said It”, “and “Awakenings”. “Catch”
revolves around a complex time structure after an intriguing
opening sample that makes it a challenging yet fascinating
listen. “How She Said It” may be the most straight
forward rock song of the bunch with the trio (backing Weeden
is Mark Weinberg and Ernest Intorella) driving ahead with
aggressive drumming and a more pronounced riff. The dreamy
“Awakenings” is a supremely delicate work of haunting,
atmospheric pop detailing the struggles and euphoria found
within so many relationships. This song is a credit to Weeden’s
talents as a lyricist and Secret Photos’ ability to
capture human emotion in a memorable pop structure. The danceable
closer “Find Your Way” harkens back to the up-tempo
vibes that carried the earlier tracks and it concludes with
a soaring crescendo before quietly fading away in a wave of
droning noise and feedback to close a unique record.
 THUNDEREGG
- C’Mon Thunder (www.Thunderegg.org)
Thunderegg’s Will Georgantas is a wonderful storyteller;
the lyrics on C’Mon Thunder are personal pieces of highly
descriptive writing that captures life’s moments with
remarkable clarity, be them awkward, tender, or funny. However,
once placed to music, I lose interest. The playing of Thunderegg
is as perplexing as their name-the band simply does not know
what they want to be. Are they acoustic, folk-inspired rock?
Are they country-twinged pop? Are their mildly rollicking
rock? It is impossible to know for certain, but one receives
tastes of all of the above on their record and all of it is
delivered through Georgantas’ monotone vocals that,
while they are not fully without expression and emotion, become
overly redundant. The shame of this is that there is so much
potential here-“We Kissed Again, and Ran Some More”
recalls a majestic teenage moment when the protagonist stole
a car belonging to his girlfriend’s grandmother hoping
to escape with his love for a few stolen moments (“We
released the brake and rolled it down the driveway, and made
ourselves believe we would never see this place again”),
only to crash to car, but still managing to enjoy a few kisses
on his neck. It’s a poignant, wonderfully romantic tale
that captures the innocence of youth while “An Absolutely
Ordinary Date” sums up today’s digital relationships
with the words “He crafted his approach, hit the button
and then just hoped”. In both cases, the band taps into
heartfelt emotions of fear, exhilaration, and anxiety, but
the playing simply does not match the levels of emotion being
conveyed lyrically, as pedal-steel guitars and sitar guitars
leave me feeling flat. The band does score a pair of wins
with the lovely “Write Me a Caption” and the autobiographical
“Blazin’ in Princeton”, but these successes
are mired by attempts such as “The Richest Men in the
World Were Saying Nice Things About the Astronauts”
and “I’d Stay”. The former wastes nearly
two minutes in an atmospheric intro that does not push the
song forward and the latter is designed to be a song about
a man finally moving on and taking a chance with his life
(“I have been telling everyone I know either me or this
city has got to go”) but the lyrical delivery seems
more listless then restless. Ultimately, C’Mon Thunder
is a smart, albeit flawed record that will appeal to fans
of softened rock but I have to pass.
 DWELLERS
- Pagan Fruit (Small Stone Records www.smallstone.com)
The sophomore release from Dwellers opens with the lines “I
cut off my hair/ I sold it to a witch” from “Creature
Comforts” and one is off and running on a pummeling
trip through a world of heavy distortion, fuzzed out guitar
histrionics, and a thick, bubbly slow-boil groove. Pagan Fruit
recalls the finest moments of Sabbath, Spirit, Neil Young,
and a legion of other guitar-led acts, but Dwellers refuse
to rely upon a finite number of influences or limit the scope
of their sound. Dwellers play a different type of heavy music,
for none of the songs are vicious in nature; they simply repeatedly
hammers at the listener with a consistent force that includes
lush atmospheric riffs and pointed solos that balance the
blunt with the refined on “Return to the Sky”
and “Waiting on Winter” to name but two. This
Salt Lake City trio harkens back to 60’s psychedelia,
70’s acid rock, and contemporary doom-tinged bombast
to generate nine fully fleshed out visions of sludgy, stoner
glory. Vocalist Joey Toscano has a subdued but soulfully expressive
voice that works in wondrous tandem with his soaring guitar
work, while drummer Zach Hatsis and bassist Dave Jones fluidly
author punishing low end thunder. The seven minutes of “rare
eagle” are an extensive journey through atmospheric
guitar force that would delight fans of St. Vitus while “Son
of Raven” feels like the type of song that could be
played for a jam of unlimited tie mina live setting as Toscano’s
cry of “come home” reverberates with vibrant intensity.
The soaring “Devoured by Lions” includes perfectly
placed harmonica in the midst of warm hook and rolling drumming,
and the subtlety of this makes the song all the more engaging,
particularly as the solo startles a line between Iron Butterfly
and Mudhoney. If you worship at the altar of power chords
as I do, Pagan Fruit is an instant modern class-an emotional
expedition through the power of well-structured musical force
performed by artists with an ear and sense of dynamics.
 EX
FRIENDS - Animal Needs (Coolidge Records)
Despite only existing since late 2011, Ex Friends have been
remarkably proficient, and this four song EP is either a helpful
introduction to the band or a satisfying stopgap between full-lengths.
The four efforts here are quite quick and richly harmonious
with vocal duties shared by founder Joel Tannenbaum (you should
all remember/know Joel from Plow United) and guitarist Audrey
Crash. Crash carries the sly opener “Don’t Do
It Like That (Do It Like This)”, a bouncy sugar-fueled
gem that boldly flaunts its pop-kissed energy and she joins
Tannenbaum for the sixty-two seconds of the sardonic “Word
Police”, a song that says quite a bit in only a few
words and a simple, infectious riff. “Real Life”
and “Fadeage (City Inspector)” are far more fleshed
out, with the latter including understated saxophone to accompany
Tannenbaum’s forceful vocals and soaring backing assistance
from Crash. All the while, drummer JP Flexner, the second
mastermind in the formation of the band, is tireless in his
intensity and guitarist Jayme Guokas rounds out a collection
of musicians who insist upon precision in their quest for
pop-punk purity. If one wants noisy punk with a softer but
not inhibited edge, Animal Needs should be your early summer
soundtrack.
HOT BLOOD - No Kings (Little Dickman Records www.littledickman.com)
New Jersey’s Hot Blood are fast, angry, and loud-the
three key ingredients for any hardcore band. However, what
makes them sound a bit more refreshing than the thousands
of other testosterone fueled, politically and socially frustrated
bands out there is guitarist Alex Rosen. Rather than a continuous
buzz saw playing that is fun but ultimately monotonous, Rosen
punches up his playing with garage inspired, even surf-tinged
riffs that gives Hot Blood a more polished and finished sound.
Everything here rages with the ferocity one expects from Jersey
hardcore-it’s fifteen songs in under thirty-one minutes
so you do the math, but even the gone in sixty seconds gems
like “Your Band Sucks” or the more fleshed out
“The Wolf” possess a level of intellect then other
acts lack. The record includes a series of scorching pieces,
including “Scott”, “Class Warfare (with
the fist pumping refrain “they have the numbers but
we have the power”), “Hypocrite”, and “You
Can’t Hold Us Down”. Vocalist Matt Kiley really
can sing even when he’s shouting at you, and the low
end rumble of bassist Charlie Schafer is matched with equal
bombast by drummer Billy Straniero, making Hot Blood a complete
act. There is no filler on No Kings, and even when the band
interjects a little humor on “Don’t Be a Dick’,
it comes across as much more of a warning that a light-hearted
joke. I would love to hear these guys destroy a live setting.
MUSCLE AND BONE Peace and Light (Black Numbers Records
www.theblacknumbers.com)
Robert Travis’s voice overflows with heart-wrenching
emotion and his lament “I don’t want to feel blessed,
I just really want to feel perfect loneliness” on the
opening “XO” encapsulates Muscle and Bone’s
sincere appreciation for an emo sound some may believe is
long gone. Peace and Light intersperses pop and emo moodiness
accented by a bare honesty that makes the music both intriguing
and endearing. Along the way, the eleven songs include both
boisterous guitar riffs and moments of tranquil fragility.
“I am an Oak” is a majestic demonstration of the
band’s appreciation for various levels of rhythmic intensity
while the record’s title track is warm embrace of a
song that begins innocuously then gradually raises the level
of intensity before exploding into a cascade of soaring beauty
like a person surrendering to an onset of tears. There are
unapologetically pop-infused efforts here as well, starting
with the bounce of “Song for the Broken Road”
and later, the serenely textured “Direction”.
“Keep Sinking” bears a striking resemblance to
the ubiquitous radio hits of the Gin Blossoms, but I do not
know if the band appreciates the comparison. In a slightly
more indie-credible vein, much of Peace and Light harkens
back to bands like the Anniversary or Joan of Arc, and the
men of Muscle and Bone have a tremendous gift for crafting
angular pop that is both sweet and clever, best heard on the
beautiful “Neither the Vine, Nor the Branch” and
“Meaningful Things”. The former stops nearly completely
dead mid-song with only the faintest audible hum left to those
straining forcefully enough, and just before one assumes the
song is simply an unnecessarily short effort, it erupts into
a torrent of Travis’ haunting vocals, wraithlike guitar
playing, and jarring cymbal crashes. With no previous knowledge
of this Asheville, North Carolina four piece, I am admittedly
smitten with their dour world view and emotionally driven
playing.
 BEING
AS AN OCEAN - As We Wondrously Perish (InVogue Records www.invoguerecords.com)
Much of the post-hardcore/screamo/whatever term you choose
to use material out there can quickly grow stale and repetitive.
While I am consistently drawn to the earnest energy and often
hopeful worldview exposed by so many of the acts, the riffs
simply could not hold my attention for a full record. That
problem does not exist with Being as an Ocean, a band whose
hope for the world is obvious in their moniker, a name inspired
by a Gandhi quot. I have listened to As We Wondrously Perish
over two dozen times and what repeatedly leads me to return
to it is the diversity of the playing. Whether it is the subdued,
jazz-like conclusion of “Mothers” or the unbridled
intensity of “Death's Great Black Wing Scrapes the Air”,
the band consistently reinvents itself throughout the disc
in a manner sounding wholly organic and not the least bit
contrived. The alternating screaming/clean vocals are manifestations
of tempo shifts and work seamlessly within the context of
the songs and are not unnaturally forced upon the listener.
Lead vocalist Joel Quartuccio has an intimidating growl which
is superbly juxtaposed with the more refined efforts of former
The Elijah guitarist Michael McGough. There are moments of
spoken poetic lyrics on many of the songs here, such as the
opening moments of both “The Poets Cry for More”
and the exquisite “L'exquisite Douleur”, a track
with a sophisticated start/stop structure with a multitude
of abrupt shifts in both intensity and measure. The band’s
willingness to expand the boundaries of the genre is heard
on the concluding hum and noise of “We Drag the Dead
on Leashes”, and the greatly subdued closer “Natures”
which contrasts to the more straight ahead groove of “Even
the Dead Have Their Tasks” and the lush “Grace,
Teach Us What We Lack “, two tracks that come the closest
to pop than of any others on As We Wondrously Perish. This
is a unique and captivating record from band with less than
three years’ experience and two new members on board.
Being as an Ocean takes the best moments of post-hardcore
and combines them with an experimental streak to produce a
record of driving, heartfelt anthems.
 ONLY
CRIME- Pursuance (Rise Records www.riserecords.com)
While the term “supergroup” usually makes people
shudder as the results rarely live up to expectations (Killer
be Killed, anyone?), it is not much a stretch to use the term
here on Only Crime. This staggering lineup includes Russ Rankin
from Good Riddance, Aaron Dalbec of Bane and Converge, and
the legendary Bill Stevenson to name only three-fifths of
the band, and the style of playing on Pursuance is brash coagulations
of the different histories and styles of the members. One
can hear touches of the acts with whom these men first gained
notoriety, but within this cacophony of punk genius lays subtle
jazz influences and explosive bursts of deafening power. In
terms of lyrical themes, the record emphasizes the more distressing
elements of life, particularly on “No Truth in Love”,
“Emptiness and Lies”, and the closing “Bred
to Fail”. The pain that drives the lyrics is matched
by the power of the playing as “In Blood’ and
“Absolution” shower the listener with a vicious
cascade of guitar barbarism from both Dalbec and second guitarist
Matt Hoffman, while Stevenson is paired perfectly with bassist
Dan Kelly. Rankin’s vocals were always the centerpiece
of Good Riddance, but he shines even more brightly here, with
“Drowning” and “Find Yourself Alone”
emerging as two of the many high points on the records. With
adroit musical precision, this is a collection of songs that
cuts through both speakers and listeners with deftness to
the intensity that allows the band to generate a unique sound
but one that also gives each track a highly distinctive personality.
This is a majestically cathartic release from a collection
of proven, limitlessly talented players from whom young bands
can learn much.
 DIKEMBE/THE
JAZZ JUNE (Tiny Engines Records www.tinyengines.limitedrun.com)
This split release features one song each from two bands with
inimitable talent for creating lush music that balances serenity
and force. Dikembe’s “Healer of the Pride”
is driven by powerful drumming and warm vocals with guitar
playing that dances in and out of the song. The track slows
down considerably around the two minute mark and adopts a
stark, haunting aesthetic until gently fading away. It is
a style reminiscent of the band’s debut record and bodes
well for their new release this summer.
The Jazz June has not been heard from in over a decade but
“Over Underground” sounds as if the band never
left. Striking a chord that follows a direct line from Archers
of Loaf or Superchunk, The Jazz June still possess an uncanny
ability to craft pop harmony in the most unique of manners.
Richly melodious and sincere with a pristine guitar riff and
supremely placed backing vocals, this is a wondrous three
minute return. It is great to have this band back and they
plan to release a new full length before the end of this year.
 THE
HUNTERS - Art Electric (www.thehuntersmusic.com)
These four twenty-somethings from Quebec City play a smoldering
form of intelligent punk with a keen mind for harmonies. The
thirteen efforts on Art Electric have a whip-smart energy
and daring openness. The opening “Dave Grohl”
would make that individual quite proud as The Hunters balance
rage and melody with a skill as adroit as Grohl’s Foo
Fighters. While well-polished, there is nothing clichéd
about the work here, as “Connecticut” and “It
Had to Be You” are soaring tales of intense and genuine
passion constructed on the backs of anthemic choruses and
soaring guitar riffs. Even when a well-worn line like “I
love you more than I can ever say” is delivered on “Promises”,
it is so intensely passionate that one is drawn into the song
and one feels the immediacy of the sentiment. The synergy
of the rhythm section and guitar force on “Lighthouse”
is stirring as the refrain of “all I do is miss you”
cascades beautifully within a rollicking din of force. The
lyrics throughout Art Electric are quite emotional, loving,
and even pretty, yet they are funneled through a swirling
mass of punishing punk-tinged rock. There is an energy that
is tangible on “Hold On, Marci” and “Paranoia”
in which the songs are tightly wound coils of potency ready
to explode. It is extremely rare for a band to have a sound
that is both radio-friendly and raw, but The Hunters celebrate
their ruggedness as freely as their abilities to craft pop-inspired
hooks. Each of the songs shimmer with sentiments and are majestically
crafted. A disc like this gives people hope that meaningful
rock with a potential mainstream appeal is still being made.
 BROWN
PLAID - Chico’s Revenge (www.brownplaid.bandcamp.com/
album/chicos-revenge)
Long Island New York’s Brown Plaid claim to have written
this record while “drinking beer, listening to Screeching
Weasel, and watching cats poop in a dirty basement”:
while the amount of cat excrement and beer is unknown, the
Screeching Weasel influence is blatantly obvious. This is
fast, hyper-melodic punk played with an abundance of goofy
fun and obnoxious attitude. Nothing here lasts over a minute
and a half and the guys pride themselves on avoiding the trappings
of a famous punk act that Brown Plaid skewers on “I
Hate the Sex Pistols”. It’s strange to think that
the Pistols have become the Pink Floyd of modern punk bands-just
as Johnny Rotten once defiled musical royalty by hand-scrawling
“I hate” above Pink Floyd’s name on a t-shirt,
Brown Plaid rips Mr. Lydon and his mates for crafting “four
minute songs on a major label” and selling “shock
value like Marilyn Manson and image like Good Charlotte”
(Ouch! Really?! Good Charlotte?) The song is the centerpiece
of this nine-song effort with other highlights including the
Queers-inspired “Hippies” (imagine a sloppier
version of “Granolahead” with the lamentations
“why don’t you take a shower, why don’t
you get a job, put down the bong and shave your armpits”)
and “Guidos”. There are a few unabashedly silly
moments here such as “Flapjack Faceslap” and “Baby
Wants a Bottle”, a song detailing the moment when your
girlfriend tells you that she does not drink beer out of a
can. Every song is supremely harmonious, even if the harmonies
are gone after thirty or forty seconds. Brown Plaid is not
trying to change the world-they simply want to help people
forget about it for about it for a few minutes.
 PORCH
- Walking Boss (porch.bandcamp.com)
Originally forming the early 1990’s, Porch lay dormant
until 2011 when guitarist Todd Huth recompiled the band with
bassist Christopher Frey and drummer Michael Jacobs. Walking
Boss, a discordant, free-flowing, and musically complex
record borrows heavily from jazz and noise-rock dynamics to
produce mesmerizing efforts. While the blazing “Spider
Attack” is forty-three seconds of guitar wizardry, the
melancholy “Dark Corner” is anchored by thunderous
bass work and vocals that are haunting in their dissonance.
The instrumental “Bow to the Clown” epitomizes
the band with its ethereal riffs and start/stop interludes
that is terrifying in its beauty, while the opening “Heart
Attack” begins with sullen, simple notes before over
the course of several minutes gradually working towards a
coagulation of the trio’s combined fury and musical
dexterity. Huth had first made his make with Primus, leaving
the band before the mainstream MTV market found out about
them, but his adoration to challenging traditional song structures
is heard throughout Walking Boss as “Tourette’s
Class” is a rattling, thunderous machine of a song and
this is juxtaposed by the reserved “Manana” and
the plodding “Ballad of Cruelty”. This is a brilliant
celebration of non-conformity and Porch is a band desperately
needed.
 ICED
INK - Television Ears (www.icedink.com)
With the recent appearance of a “blood moon”,
some are claiming that the end may be upon us-if that is the
case, I can die contently having heard the work of Brooklyn’s
Iced Ink. Forming originally in the Minneapolis/St. Paul area
in 1998, Iced Ink calls New York City its current stomping
ground and NYC is one of the few places that can appreciate
and contain the monstrous amount of twisted brilliance this
act demonstrates. “Bob Forrest Relapse” begins
with a thrilling very loud/quiet song structure highlighted
by jazzy interludes that are too well played to be in jest,
while “Stupidface (v5.0)” is carried by a thunderous
guitar riff. However, as both songs are perfectly interesting,
they merely set the stage for a whirlwind of deliciously bizarre
anthems to follow. Each of the fourteen efforts one finds
on Television Ears are sans vocals and while many of the songs
stand alone, some, such as “These Aren’t’
the Drones You’re Looking For”, act as an introduction
for the explosive chaos of the subsequent song. This is the
case with the aforementioned “Drones” bleeding
into “There’s a Bee in Here”. These two
tracks are emblematic of the band: “Drones” is
a subtle, unsettlingly reserved soundscape that gradually
increases in intensity until “Bee” explodes in
the listener’s face, but even the latter includes moments
of bouncy, nearly cartoonish interludes before returning to
a crescendo of grindcore speed and skull crushing doom riffs.
“There’s a Bee in Here” manages to incorporate
nearly every form of contemporary metal into one glorious
work. To thwart those expecting a grand follow up, Iced Ink
offer “Ride the Dragon”; a majestic track only
six seconds in length. Television Ears has no set pattern
or flow, no level of predictability or formula, and therefore
is both immensely satisfying and the antithesis of the pop
culture swallowing us today. Clearly the members of Iced Ink
are devotees of all areas of the popular landscape, but their
homage to television and other forms of beautifully mind-rotting
activities is superbly crafted chaos. Rather than attempt
humor through campy sound effects or samples, the playing
of Iced Ink reflects an appreciation of super heroes, sci-fi,
and long hours spent basking in the serene glow of television’s
forgiving warmth, best exemplified through the whistles and
sheer goofiness of “Here Comes Gary”. (Gary later
returns on the record’s closing track) The band returns
to its more aggressive nature on “I’m Feeling
Good, I’m Feeling Great, I’m Feeling Wonderful”,
a song whose bombast may hide the fact that it is a tribute
to Bill Murray’s much-revered character in the semi-lost
classic What About Bob?. “Naan-Compliant” is a
lush but nearly silent work of delicate soundscape that says
very much with very little, while “Devonshire Tea”
is just a few seconds of uncomfortable sound effects. Although
Television Ears did not end in particularly convincing fashion,
this is a tremendous amount of fun and an intriguing listen.
 THE
KIMBERLY STEAKS - To Live and Die in West Central Scotland
(makethatatakerecords.bandcamp.com)
This Glasgow, Scotland trio produces bouncy, sugar-fueled
punk-pop perfectly designed for the short attention span-afflicted
among us. With the average track clocking around one minute
(only the closing title track alters this by delivering a
n impressive five minutes replete with acoustic section and
brilliantly placed Simpsons sample), the songs come and go
quickly, but each one does retain enough distinctive traits
to prevent this record from simply amalgamating into one repetitive
three chord parade. Greig (guitar) and Ade (bass) share vocals
and tales of loneliness and frustration, such as “Wrong
Exit” (“So I shut myself in my room and lock the
door /And write songs about watching TV and being bored /But
I don't think I can live like this anymore”), “My
Quarter Life Crisis” (“And I'm all wound up in
my feral thoughts and apathy/And this gradual but steady detachment
/Is what’s really killing me), and “Fear and Loathing
in Larkhall” (“Feels like my best years are behind
me now/Pretty sad when you're only twenty-five years old/I'm
not coping well at all”). These lyrics of depression
and sorrow are juxtaposed by effervescent, infectious hooks
and highly kinetic playing infused with energy of over-caffeinated
kids. This is certainly not revolutionary, but it is a wonderful
example of a contemporary act that is certainly inspired by
the legions of now classic punk bands of this style-The Kimberly
Steaks may not play with the same snarl as the Queers or with
the speed of the Ramones, but the spirit remains quite similar.
I am a fan of self-effacing, brutally stark tales of woe that
are funneled through three chords and a blissful delivery,
for I find the stories more unsettling. This is highly impressive.
 SPACE
WOLVES The First Year: The First Four Tapes on One Cassette
(UT Records www.ut-records.com)
With only eighteen of the fifty (!) songs hitting the two
minute mark, one may expect blazing, jaw-shattering hardcore,
but Space Wolves play upbeat, light-hearted songs about girls,
break-ups, bad relationships, and more girls. The Buffalo
duo have clearly struggled with the ladies in their past as
five of the songs have women’s names and “I Watched
You Go”, “I’m Pretty Sure (You Don’t
Want Me)”, “I Saw You (With Your Boyfriend)”,
and “(I Don’t Have the Nerve) To Talk to You”
surmises the emotional angst splattered for the listener’s
consumption. However, rather than scream about their fits
of despair, Space Wolves incorporate the most elemental components
of rock on “Die Trying” and “Halfsies on
a Rock”, playing with a style reminiscent of Buddy Holly
and the Crickets. There is nothing particularly flashy or
rambunctious about the musicianship here, as they meld innocence
and instantly catchy riffs into an easily digestible package
that can either break one’s heart (“Does She Still
Love Me?”) or make one laugh (“Here’s Pizza
{Do You Love Me Too?}”). “Too Short” utilizes
Dick Dale style surf guitar (“too short to kiss the
tall girls/too plain to kiss the pretty girls”), while
“Disjointed’, “I Watched You Go,”
and “Stay” provide a glimpse of what the Smiths
would sound like if only Johnny Marr and Morrissey played
together. The twelve second “Issue 363” is a lovingly
snarky crack at Maximum Rock N’ Roll while “(It
Broke My Heart) When You Forgot My Name” is another
celebration of rejection played in a austere fashion for ninety
seconds. The Space Wolves are talented songwriters for they
articulate sorrow with a knowing smirk and a sense of camaraderie;
granted, fifty songs of this is a bit much in one sitting,
but I do hope these guys get out of basements and take their
tales of sorrow on the road to the weary masses who should
undoubtedly relate.
 STREET
EATERS - Blood: Muscles: Bone (Nervous Intent Records www.streeteaters.com)
This Bay Area duo smashes through ten blistering songs on
Blood Muscles Bone that retain elements of punk pioneers
from the late 70’s as well as the riot grrl fury of
the early 90’s. Drummer/singer Megan March and bassist/singer
John No have remarkable symmetry with each other as the songs
rumble and rage with an infectious amount of harmonies. Their
shared vocals, quite often delivered in a call and response
style, are vastly different but mesh seamlessly. Not afraid
to incorporate a few “woahs” and “oh-ohs”
into their songs, Street Eaters deliver smartly crafted noise
brimming with unorthodox melody on “Dead Parts”,
“West”, and the soaring “Reverse”.
March’s voice is rich in tone and perfectly balances
the blood-curdling intensity of No’s impassioned yelps.
The two play with a sense of urgency and immediacy that is
only achieved from countless days spent on the road playing
basements and small clubs, while also existing in a relationship
on a personal level. “Running Dog” and “Null”
are sonic avalanches of musical force that defies what most
duos are able to achieve; there is no minimalism here as Blood
Muscle Bone has a monstrous sound in which one can able hear
the walls of the studio shake. Politically savvy and not afraid
of confrontation, “Waxwing” (“we must produce,
we must consume”) is a perfect primer on the band’s
personal stances as well as its musical prowess. Street Eaters
is described as a “truewave” band; I am not sure
of exactly what the term means, but if it is intended to represent
a great band, then it fits this gifted two-piece perfectly.
CHUCK RAGAN - Till Midnight (SideOneDummy Records www.sideonedummy.com)
Chuck Ragan was one of punk’s most intelligent and unique
voices when he was a member of the seminally brilliant Hot
Water Music, but he has reinvented himself as a voice of Americana
as he replaces blazing riffs and howling vocals with sweetly
delivered songs of love and introspection accented by folk
guitars and strings. We have seen this movie many times before
as the once flammable punk giant mellows out and becomes a
more subdued singer/songwriter. However, Ragan should be a
nationally celebrated hero for his current work. This is not
just an aging punk giant breathing easier; this is a superbly
gifted songwriter using another vehicle to express his emotions
as ferociously as ever. One need not scream to be passionate
and Till Midnight is a beautiful collection of heartfelt,
earnest songs and Ragan paints pictures with words with the
same blue collar clarity as Springsteen or Steve Wynn. “Bedroll
Lullaby” includes lines with which any transient heart
will identify as Ragan emotes “Somewhere I hear a lonesome
train burning in a direction I can’t name, I’ll
shut my eyes and lay these bones to rest, off the beaten path
we all know best.” His voice is gruff and exudes honesty
while his backing group is an enormously skillful collection
of players, particularly Todd Beene on pedal steel and guitar
and Jon Gaunt’s poignant fiddle. The brooding “Wake
With You” is stirring in its inspirational openness
as Ragan asks his love to “take me in, I’ll be
good to you babe, and I’ll do my damnedest to make my
mistakes but once” as lush harps and lap steel cascade
around Ragan’s poetry. On “Revved”, Ragan
describes a scene in which a woman stands “to the wind
as her hair blew back” with an equally romantic level
of passion as heard when a young Jersey troubadour sang about
Mary’s dress and a screen door on “Thunder Road”.
Ragan also appreciates the power of a great pop hook and “Vagabond”
has it when he sings about “waking up on the wrong side
of fantasy/waking up on the wrong side of you and me”.
The closing “For All We Care” is a genteel effort
that centers itself on Ragan’s brusque vocals before
concluding during the last minute and a half with the rumbles
of drummer David Hidalgo. This finishes the record on a soaring
note and marks the completion of a wonderfully played ten
songs that balance the finest aspects of Americana with daring
candor and brazen sincerity.
 BROKEN
DARLING - Dust (reverbnation.com/brokendarlingmusic)
Broken Darling may have recorded this six song EP in East
Brunswick, New Jersey, but the down home sounds would fit
quite nicely in Southern fried honky-tonk joints or front
porches throughout the heartland. The songs are pristine
gems of country-twinge pop flavored with just a sprinkle
of rock energy. Each of the six tracks is a radio-friendly,
instantaneously catchy effort overflowing with beautiful
vocals, particularly Lia Menaker. Menaker is an undiscovered
star-a performer with a soulful, haunting voice that shines
either exclusively on “Bones” (a track she wrote
as well) or with Mark Bodino on “Willow Tree”
and “Grains of Sand”. The closing “Nothing
That You say” has a darker riff bathing in distortion
subtlety buried within the mix under a wall of melodic vocals
and acoustic guitar. Reminiscent of the Decemberists, this
closing tune is my favorite moment of the disc. Blending
Americana with a sly pop sensibility, “Grains of Sands”
is stirring, while “Pass the Years” is screaming
for massive exposure-a buoyant track with a chorus accented
with hand claps and ideally balanced vocals, it is a supremely
well-constructed song. At times evocative but often cheerful,
Broken Darling is a band with authentic musical chops and
this release is a wonderful tableau for their talents. This
will certainly appeal to an adult contemporary style crowd,
so therefore I will never be found at a Broken Darling show,
but genuine talent is still easily distinguishable, and
this band possesses it.
 THE
FALLING BIRDS - Native America EP (www.thefallingbirds.com)
Despite playing around New York City, The Falling Birds retain
a sensibility of small town America. The five songs on Native
America wrap themselves tightly in a blanket made of blues
and country, but there is a garage component on “Arms
Out Wide” and “Dead Man Walking” that add
even more grit to an already rugged collection of tracks.
Stephen Artemis is the leader of The Falling Birds and his
fixation with the more primal elements of rock n’ roll
is discernable on three of the five pieces here. The wah-wah
pedal work during “Dead Man” is scintillating,
and the controlled aggression heard within the riff of the
opening “Darling” is equally impressive, harkening
to the foundations of rock with a nod to grunge and even a
little punk. Conversely, “If Time Allows” and
“A New York Love Song” are genteel in nature,
particularly “Time” which swaggers with a Wild
West aesthetic highlighted by rousing harmonica playing before
erupting into a full on hootenanny for the closing two minutes
that would make the members of the Charlie Daniels Band smile.
Apparently, a New York love song must be quite sullen in nature,
for the closing effort revolves around Artemis’ melancholy
vocals, understated acoustic guitar, sparse harmonica, and
even an appearance of triangle. I greatly enjoy the rowdier,
more guitar fueled songs here, and The Falling Birds are on
to something; I am curious to see how they fit within the
parameters of the New York Club scene, but this one is both
engaging and unique. And for a band still in its infantile
stages, its virgin release comes as a disc enclosed in the
pocket of a pair of Lee jeans (give them credit for understanding
their audience right there) and the stitching looks like it
may have been done by hand. This is undoubtedly a labor of
love by a three men looking to push a standard American music
form into new directions.
 IRIE
IDEA - Blues Like Sandpaper/Rocksteady Like Dirt (www.irieidea.com)
The concept of a two-man ska band seems highly unrealistic,
but Curtis Irie and Morgan Smith not only deliver a record
of tremendous depth and warmth but also one that incorporates
a myriad of styles. Granted, they do receive some musical
assistance and accompaniment along the way but Irie and Smith
are the heart, soul, and brains behind Irie Idea. I am not
and will never be a devotee of ska, but the varied genres
explored here prevent me from becomingly overly fixated on
one particular delivery. The more traditional ska vibe of
“Soul Vending” and “Smoke Signals”
coexist effortlessly alongside the bluesy, harmonica-driven
“St. Johns Alley” and the appropriately title
“Oregon Blues”. “Good on Paper”, “Portrait
of a Lady” and the closing “Hours” each
possess an infusion of pop energy to accent the warm harmonies.
“Han Shoots First’ is a wonderfully played rocksteady
instrumental that took me back to the finest moments of Madness
while “There Goes the Neighborhood” harkens back
to the duo’s earliest days as members of punk bands
with the song’s fast, rugged guitar, heightened intensity
and duration of just under a minute. Following this injection
of aggression, Irie Idea deliver a n island paradise soundtrack
with the wafting “What’s a Matter” whose
rhythms lazily float through the breeze. Both men are extraordinarily
talented and have enjoyed distinctive careers that have led
them from local punk scenes in New York, New Jersey, and Pennsylvania
out to the more serene Pacific Northwest hub of Portland,
Oregon. I am highly impressed with the skills on display,
even if efforts such as “Who” or “Machines
(Here I Am)” are a bit too slow for my liking. Irie’s
and Smith’s lives on the road and their devotion to
generating distinctly unique music has resulted in an eclectic
disc that will undoubtedly thrill fans of the Specials or
The Menzingers, but the references should not stop there,
for this places Americana, folk, punk, rocksteady, surf, and
blues into a musical blender and rather than pouring out a
discombobulated mess, Irie Idea create finely crafted anthems
of authenticity and charm.
 SAINTSENECA
- Dark Arc (Anti Records www.anti.com)
Columbus, Ohio’s Saintseneca play folk with a punk rock
spirit. It is not that every track on Dark Arc is a voluminous
explosion of anger and force, but there is a menacing quality
to the lyrics and ferocity to the playing that one does not
usually hear with Americana-inspired bands. “Happy Alone”
celebrates isolation and immersing oneself within personal
darkness, but the tune itself is deliciously effervescent.
This is a musical duality that has been used in the past,
but Saintseneca make it sound fresh. The more meandering “So
Longer” is played with a tangible intimacy as Zac Little
sounds as if he is sitting next to you, deftly singing in
your ear. This is a wonderful juxtaposition to the glorious
“Takmit” and “Falling Off’ which are
driven by shockingly powerful percussion. “Visions”
features majestic vocals and an interesting balance between
reserved country and more boisterous pop-oriented song structures.
It is Saintseneca’s ability to switch gears so effortlessly
that keeps Dark Arc intriguing. One can certainly imagine
Gordon Gano offering this his seal of approval, and like the
Femmes, who could shift from raw-nerve punk angst to country-tinged
darkness with equal aplomb, Saintseneca provide a multitude
of ideas within each effort without the songs ever feeling
too busy or disjointed. Each track tells its own distinctive
and occasionally oft-putting story with the natural ebbs and
flows that reflect any individual’s life. The concluding
“We Are All Beads on the Same String” is intensely
moving through the raw delivery of Little as he lays himself
out bare repeatedly wailing “don’t you let me
down again”, all the while utilizing his voice in a
such a profoundly unique manner that this phrase will undoubtedly
create various connotations, while the title track also prominently
features Little and little else before his bandmates join
in with lush group harmonies and a massive expanse of acoustic-flavored
musicianship. New interpretations on Americana are not an
easy sell, but Saintseneca bring a multitude of new ideas
to Dark Arc.
 THE
GENERATORS - Life Gives-Life Takes (Randale Records www.randale-records.de)
L.A. punk has a legendary reputation and The Generators have
been carving out their own unique niche for over twenty years.
Life Gives-Life Takes is a traditional punk record
in the finest sense of the word. Overflowing with rugged yet
free-flowing riffs, The Generators balance aggression and
harmony with pristine skill. Vocalist Doug Kane voices his
frustration on “Gotta Be a Better Way” while guitarists
Mike Snow and Teddy Schrader create a vicious assault that
envelopes him, particularly during the soaring chorus. The
majority of the dozen tracks here clock in around two minutes
and do not waste a second-“Critical Condition”,
“Goodbye California”, and “Neck and Neck
with Death” are simply blazing in both speed and energy.
While “So Sick of This” is a classic punk anthem,
“Heartbreak Beach” is touched by a flavoring of
ska and has a more lighthearted, even slightly experimental
atmosphere. Manny Murders (one of punk’s greatest names)
carries “Critical Condition” with a punishing
bass line, and along with Mando Del Rio’s drumming,
The Generators capture a late 70’s sound with a contemporary
aesthetic. It would be wise for upstart acts to listen to
both Life Gives-Life Takes as well as the entire Generators
catalog to better understand the purity of legitimate punk
rock. This is a band that eschews trends and relies upon a
sound that is true and always dependable; there is not an
empty riff here and The Generators should be celebrated for
refusing to cower to the emptiness of modern embarrassments
that attempt to pass for punk.
 PANTHER
MODERNS - Strange Heaven (panthermodernsnyc.bandcamp.com)
Not to be confused with a band of the same name from Rhode
Island, New York City’s Panther Moderns play a highly
melodic brand of modern punk with a strong adherence to hooks
that come at the listen from multiple angles at once and create
a sound that is sneaky in its infectiousness. The disc explodes
with the opener “In the Hills, the Cities” with
a mass of guitar force and thunderous drumming before settling
into a highly melodic anthem with strong backing vocals. This
energy is maintained throughout the disc, particularly on
“Disappear Here” and the rousing “Hog Heaven”.
With a series of local references, the closing “All
Ageis” is a classic homage to New York City delivered
by a band that truly loves the city they call home. The band’s
ability to write hooks is wildly apparent on “The Custom
of the Country”, as Oliver’s husky vocals spins
a sorrowful yarn (“I sold my soul to pay off the rent”)
above a rousing guitar riff, while “Whipwreck”
strikes with a subtle force that perfectly balances punk angst
and pop harmony. What makes this record so enjoyable is how
it can be played on repeat and there are multiple nuances
to each track that emerge with each subsequent listen. This
is an act comprised of deftly talented players that channel
frustration into honest, passionate anthems such as “One
for the Road” and “Nothing Short of Drugs”
(“I already miss you more than when the days when you
could smoke indoors”). Intelligent and ready for crowd-wide
sing-alongs, the songs on Strange Heaven are well honed modern
pop infused punk that still leaves enough rough edges.
 THE
BAD PARTS (www.thebadparts.com)
The Bad Parts are a perfect band for a party as every track
here bounces with the type of good-natured fun that only ska-kissed
bands can deliver. To that end, I tire of this quickly, but
my aversion to ska and reggae is well documented. However,
these four energetic kids from New Jersey have written a handful
of summer theme songs, including “Good Times”,
“This Song Isn’t About You”, and even “Bitch
Song”. The latter is particularly interesting, for while
one expects a vitriolic attack upon an ex-love, one is instead
treated to a light-hearted romp that even features a lyrical
tribute to Jimmy Soul’s “If You want to be Happy
for the Rest of Your Life”. The minute long introduction
“Oh Yeah” gives way to a sugar rush in the form
of “Shake it Off” and vocalist James Burns’
smooth delivery is juxtaposed with the kinetic playing behind
him, particularly of drummer Christopher Garcia. Jon Sequiera’s
horn work is impressive throughout the disc, and those who
have a more developed appreciation for this style will certainly
love “Aneurysm”, the spirited “Take Me to
the Movies” and the potentially anthemic “Beer
Song”. A cover of Muse’s “Starlight”
is both an interesting and adventurous choice that demonstrates
the willingness for this band to push itself outside of the
more conventional corridors of ska acts. The Bad Parts lack
the musically bombast of multi-horn acts like the Mighty Mighty
Bosstones or the genre-bending quirks of Fishbone, but there
is a vast amount of talent to be harvested. I can certainly
imagine them carrying a stage on the Warped Tour.
 HEENEY
- Demos (http://heeney.bandcamp.com)
I have it upon very good sources that Heeney is a band that
lit up the joint during SXSW and this three track collection
certainly lends one to understand how that is possible. Rugged
yet vulnerable, Heeney strip away pretentiousness and replace
it with innovation and an adoration of 90’s indie punk
on “Durge”, a pristine piece of guitar-punched,
pop-tinged rock that sounds like 1992 never ended. The members
of Heeney heard grunge in their cribs and now play with an
aggression accented by a love memorable harmonies. The quiet/loud
construct is very easily redundant, but “Infintfly”
gives it a makeover though the low rumble of Scott Andrews’
bass and an apparent appreciation for the Archers of Loaf.
“Tipsy” is a buoyant pop song infused with sugar
rush energy and sarcastic lines about getting one’s
strength through vodka. Max Kagan utilizes his voice to its
maximum potential, altering levels of intensity while possessing
a wonderful sense of melody and clear articulation of his
lyrics. Great rock n roll bands are difficult find, and Heeney
is one of those finds.
 PERFECT
PUSSY - Say Yes to Love (Captured Tracks www.capturedtracks.com)
Perfect indeed! Perfect Pussy play lo fi punk through a wall
of heavy distortion and relentless dynamism. Frontwoman Meredith
Graves captures the best traits of Kathleen Hannah in both
form and function, verbalizing her frustrations through heartfelt
and unapologetically honest lyrics and a fearless vocal delivery.
Her intelligence and ability to clearly express complex truths
found through self-exploration is evident on the opening “Driver’
(“I have a history of surrender/part of a certain set
of choices/found among the many paths/forged by lies I told
myself/lies like ‘I will be protected’). Despite
the brevity of “Bells”, “Big Stars”,
and “Dig”, Perfect Pussy is able to reveal various
musical personality traits. The songs are not brief slabs
of blind rage; rather, there is an ambience to each effort
that acts as intros and outros. Thesehaunting, swirling balls
of noise are occasionally benign, sometimes menacing, but
always gripping. For me, “Work” is the high water
mark of Say Yes to Love; a tightly wound ball of nervous energy,
the song twists and shimmies through two minutes of scintillating
disenfranchisement. (“We make love and fall so/And it
doesn’t feel good/It’s not magic, it’s work/But
it’s real and that’s cool”). The fuzzed-out
“Interference Fits” invokes a young Kim Gordon
fronting a brash Sonic Youth as Graves reveals the pain and
dissatisfaction felt by so many, referencing the record’s
title when she asks “When did we all decide to give
up?/Since when do we say yes to love?” The song stares
down the reality of growing up and growing older, watching
friends and ourselves change, and the moral and spiritual
ambiguity that comes when one reassesses what life should
mean. It is a fascinating journey through the mind and emotions
of a highly gifted young woman that is both fearless and almost
uncomfortably candid. “Advance Upon the Real”
opens like a kick to the face before morphing into an extended
soundscape that creates a sense of anxiety for the listener.
One wonders when the song will return; it does not, and therefore
the discomfort created is deliciously challenging. Simply
a low hum and a few subtle tones exist for rough four minutes
before giving way to the claustrophobic noise of “VII”.
Graves has a spoken word piece deeply buried in a mass of
churning distortion and quality headphones make this a brilliant
experience. The sense of independence and courage one hears
throughout Say Yes to Love is peerless in contemporary punk
and I absolutely love this.
 DIRECT
EFFECT - Sunburn (Tiny Engines Records http://tinyengines.limitedrun.com)
Direct Effect is aband existing within a time warp of 80’s
hardcore, 90’s grunge, and 21st century garage revivalism
and their lack of respect for any space-time continuummakesSunburn
one of the great albums so far this year. “Commit to
Memory” clobbers the listener with the subtlety of a
cinder block to the skull, but even its obtuse pummeling features
subtle nuances that help make this an album to revisit often.
The opening “Permanent Vacation” helps one forget
the dreadful Aerosmith record of the same name withthree minutesof
squalling guitar and dexterous low end gymnastics. Direct
Effect sounds like the bastard child of the Minutemen and
Mudhoney who now goes drinking regularly with the Night Birds.
The yelped vocals of “Unknown Disorder” claw for
survival in aural quicksand of suffocating riffs and thunderous
drumming. The title track is ablistering sixty-nine seconds
that channels the most ferociouselements of hardcore a la
Black Flag or Government Issue. The sludgy, bombastic “Thursday”
sounds like an In Utero B-side with its reliance upon feedback
soaked guitar, a trend that continues on “Moderate Rock”;
perhaps a nod to a sardonic quip on Nirvana’s “Tourette’s”.
Direct Effect is in the business of musical destruction but
the songs on Sunburn are shockingly nimble, imaginative concoctions,
such as “BMPV”; a Frankenstein monster of a track
with three distinctive ideas stapled into one terrorizing
figure. This gem eases smoothly from chaos to a controlled
detonation mid-song while “Nostalgia” opens with
a riff from Never Mind the Bollocks and is the closest example
Direct Effect has to a sing along anthem. There is limitless
talent on display here and Direct Effect is not going to remain
someone’s favorite unknown band for long.
 THE
FEELING - Boy Cried Wolf (BMG Management www.thefeeling.com)
The Feeling channels 70’s soft-rock in the vein of Bread
and Air Supply throughout the weepy, sob-fest that is Boy
Cried Wolf. I would never condemn anyone for expressing
emotions, particularly when the cause of those emotions is
a woman. However, Dan Gillespie-Sells whines and laments through
eleven tracks that just bleed into each other. It is difficult
to note when the longing of “Rescue” ends and
the whimpering of “Fall Like Rain” begins. Gentle
piano, falsetto vocals, and desperate attempts to generate
heartfelt loss results in the disastrous “Empty Restaurant”;
this is the story of Billy Joel’s “Scenes from
an Italian Restaurant” if Brenda and Eddie hated each
other. I just loath this type of music so much-I know there
is an audience for this, and at times, a band like The Fray
do not always offend me, but The Feeling is Bruce Hornsby
and the Range for the twenty-first century, and it must be
asked if this is needed. Gillespie-Sells grasps both hands
around one metaphor and chokes the life out of it on “Anchor”
and “The Gloves are Off”. As one can imagine,
the singer is no longer the “anchor” of the relationship
and his former love has now gone on to “sail another
shore” while the latter track refers to the failed relationship
as something other than “a fair fight”. Although
the songs on Boy Cried Wolf are reflective and introspective,
they are too often overly blunt in their symbolism and the
intent to be pensive morphs into clichéd. If one enjoys
elevators for the music or finds the latest artists through
the speaker system in the local supermarket, one will certainly
relish The Feeling. However, for those who prefer music with
a less geriatric approach, I suggest ignoring this feeling.
 GRIP
WEEDS - Inner Grooves: Rare and Under-Released Tracks (Ground
Up Records www.gripweeds.com)
I have found that “rare tracks” releases are often
compilations of throw away songs that are meant to appeal
to only the most devoted of fans of any band one cares to
mention. The polar opposite is true of Inner Grooves-if this
was released as a new record of fresh material, it would be
heralded as a brilliant display of Beatles meets Byrds harmonies.
New Jersey’s Grip Weeds sound as if they cut their teeth
at the Cavern Club and I am shocked that these songs are relegated
to the B-side category. The abundance of pop hooks is dizzying
throughout the eleven song collection, but “Nothing
Lasts”, “It’ll Never Be Me” and “Over
the Edge” are instantaneously infections. Kurt Reil’s
voice is buoyant on “She Don’t care About Time”
and the stripped down “Every Minute” while brother
Rick and Kristin Pinell deliver a guitar tone straight out
of Electric Ladyland studios supported by the bass work of
Dave DeSantis. I remember the Grip Weeds vaguely from the
earlier days in the mid-90’s but most of Inner Grooves
catch me as a wonderfully pleasant surprise. Granted, the
seemingly endless waves of psychedelic guitar fuzz on the
closing “Sun Ra Ga” becomes too much for me as
the song hits the eleven minute mark, but “Sight Unseen”
and “Love’s Lost on You” are pristine pop
gems played with a fierce dedication to soulful and classic
sensibilities right down to the use of vintage equipment.
With a sound more reminiscent of Mersey than Jersey, the Grip
Weeds proudly display their affinity for rock that relies
on harmony rather than fury to be expressive. This is like
walking back in time, both in terms of the Grip Weeds’
career and even through musical decades, yet there is an undeniable
authenticity to what this band does that makes their sound
so engrossing.
 IRON
BRIDGE BAND - Road Not Taken (Messej Media www.ironbridgeband.com)
I am simply the wrong guy for this band. As I listen to Iron
Bridge Band’s Road Not Taken, I can only imagine them
as the opening slot on a Kenny Chesney or even worse, Toby
Keith tour. Ripe with country influences, the songs are just
perfectly constructed for mainstream rock radio if that still
existed. Instead, this is the type of band that would appear
on America’s Got Talent or perhaps on the soundtrack
of a Reese Witherspoon movie. This is music for old people
or people who feel old-as a guy too far past my prime to jump
into the pit as often as I do, I simply had to fight my gag
reflect on “Best Wine”, “Petticoat Road”,
or “The Most Benevolent Wind”. Shockingly, the
band features three members from the New York/New Jersey area
which defies the small town, rural, backwoods feel to the
record, as only vocalist Chandler Mogel grew up outside of
a significant metropolitan area. The band does interject some
pop sensibilities into “Bittersweet” and “Smokin’
Gun”, but each track is so slickly produced that any
true humanity has been stripped away and one is left with
a collection of rock clichés that would make even the
Eagles or surviving members of Boston cringe. There is a poignancy
to “”Wildflower” or “Once Beautiful
(Love Like Rain)”, but Iron Bridge Band is specifically
designed for paunchy Boomers driving overpriced cars to crank
up as they drive to their second home in the Hamptons. Anyone
outside of this demographic is wise to move along.
 I
LOVE RICH - Respect the Rich (www.iloverich.net)
I love sophistication as much as the next guy-I am consistently
stunned by the dexterity and endless imagination of bands
like Between the Buried and Me, Animals as Leaders, or Dillinger
Escape Plan. Bands of that ilk play music to be thoroughly
analyzed, dissected, and studied as a means of truly grasping
their mesmerizingly complex approaches. However, there are
also times when one simply wants to drink a lot of beer, talk
about chicks, and listen to old Krokus. I Love Rich is the
band for those affairs. The Respect the Rich EP includes the
cornerstone “(You’re So Hot) I’m Gonna Fuck
You With the Lights On”, and the guys are kind enough
to provide both a radio-sanitized and Spanish version of this
gem. With riffs and attitude that make Kiss seems humble,
“Wake Up, Let me Rock You” and “If You Don’t
Take Your Clothes Off, Tonight’s Gonna Suck” are
as catchy as the Black Plague and nearly as filthy. If one
truly considers himself or herself a rock fan, this must be
owned. “We’re Here to Save Rock N’ Roll”
is more than just boasting; I Love Rich believes this mantra
and they are a band who could actually achieve this goal.
The monstrous riffs, the surprisingly harmonic vocals, and
the airtight playing coagulates perfectly on “Fight
the Fire”, resurrecting the glory of 80’s era
hard rock when music was the score to a glorious night of
hilarious debauchery back when people did not to worry about
drunken photos being posted for your employer to see online.
Pick up a six pack of the cheapest beer you can find, eject
your Manowar disc (or cassette, possibly) and put Respect
the Rich on repeat. I’m in heaven with this!
 AMERICAN
LIES/DUDES NIGHT OUT - Split 7” (http://radgirlfriendrecords.bandcamp.com)
Two young Southern California bands play together and offer
two songs each here. Both acts have a serious infatuation
with the Bouncing Souls, and for me, one can never go wrong
with a loving homage to those Jersey heroes. American Lies
demonstrates a penchant for rolling harmonies on “Groundhog’s
Day” with a bouncing bass line and tightly knit chorus.
“Glassbones” begins with a noisy mass of feedback
before launching into a melodious pop-influenced track with
lyrics that defy its rather warmly crafted hook. Dudes Night
Out has a slightly rougher edge to them, but the band is still
able to inject some sugar into their punk on “26th and
Alston”. The song includes gruff vocals with an aggressive
nature and an energetic bounce from a rousing rhythm section.
“Selling the Car for Gas Money” alters tempos
before kicking into a huge chorus that soars with effortless
refinement. There is a supremely crafted balance between punk
energy and pop refinement by both of these acts and both could
become potentially breakout bands.
 JUST
BREATHE/FORTY HELLS (7AM Vinyl www.7amvinyl.com)
Two California punk acts are captured in their raw and ragged
glory on this split. Just Breathe delves into a variety of
punk aesthetics here, ranging from rugged but refined “Better
Days” to a more traditional hardcore sound with burly
guitars, gruff vocals, and gang choruses on “Feel the
Light”, easily the strongest of their triumvirate. “Walked
Away” straddles a line between aggressive and melodious,
reminiscent of Pennywise or No Use for a Name. Conversely,
Forty Hells has a sound not representative of their more menacing
moniker. “Seven and a Half” is a classic tale
of a failed relationship (“we’re both just wasting
time”) played with grit bit also with a careful attention
to harmony as soaring backing vocals take some of the sting
off this song. “Down and Out” leaps with pure
youthful joy and adrenaline, projecting an infectious joy
despite ambiguous lyrics. Snippets of early Green Day are
apparent here and as Forty Hells are not afraid to celebrate
a spoonful of sugar in their punk medicine.
PEZZ/SET ASIDE split 7” (7AM Vinyl www.7amvinyl.com)
7Am Vinyl is a new label to my eyes and ears but they have
some impressive young talent on their roster as this split
demonstrates quite clearly. Pezz roars out of the gate with
the soaring “Don’t Walk Away”. Vocalist/guitarist
Marvin Stockwell channels an inner Mike Ness as he delivers
each syllable with relentless passion and authentic intensity.
The chorus features a sweeping hook that displays a great
appreciation of both melody and punk force tinged by an understated
bluesy swagger. “Til You Can’t Breathe”
is a blistering burst of a song that is gone in a flash and
leaves one feeling slightly underwhelmed. Much speedier than
its counterpart, “Til You can’t Breathe”
seems unfinished-Pezz is a band that should take its time
and flesh songs out as much as possible. I love what this
band is doing, but of the two, “Don’t Walk Away’
is far stronger and is the star of this split. Set Aside is
another rousing and impressive act with a pair of strong songs
but in their case, each track is fully developed. “Clear
of Disaster” and “Live Today” both bounce
with a level of energy worthy of a deal with Fat Mike. “Clear”
has a denser tone while “Live” displays more nimble
guitar playing. Both tracks are steeped in Southern California
punk-pop and represent a band with a very promising future.
In short, Set Aside has the more consistent pair of efforts,
but Pezz’s “Don’t Walk Away’ is the
best of the bunch.
BAYSIDE - Cult (Hopeless Records www.hopelessrecords.com)
Bayside can be a confounding band for some: If one is seeking
acerbic punk, this band is not it. But the Queens four piece
demonstrates substantial musical growth and a self-depreciating
sense of humor throughout Cult. Antony Raneri has
proven for years to be a skilled lyricist, both with Bayside
and on his own, but two of his finest gems appear here in
the form of “Hate Me” and “Stuttering”.
The latter is a sharp, self-critical examination of a song
writer who recognizes himself as “the voice of the depressed”
who would lose all credibility as well as his job if he ever
allowed himself to be happy. The reference to “Robert
fucking Smith” is magnificently delivered and this is
my highlight here as it emphasized the band’s tremendous
sense of melody. Raneri’s voice soars above the guitar
playing of Jack O’Shea throughout the first half of
the record, but as snarky frustration of “Stuttering”
fades, Cult takes on a pronounced softer sound on
“Bear With Me” and ”Something’s Wrong”
with both songs far too dependent upon the pop element of
“punk-pop”. None of the record will ever be confused
with circle pit inducing hardcore, but “Pigsty”
and the aforementioned “Hate Me” (“we’re
perfect as perfect can be as I hate you and baby, you hate
me”) possess an edge lacking the latter tracks. Christopher
Guglielmo’s drums offer an opening salvo on “Big
Cheese” before the song explodes into an aggressive
ball of harmonious force, demonstrating how, even after fourteen
years together, Bayside has the energy and passion of bands
half their age. Cult is the next logical step forward
for a band that has been perpetually refining its rough edges.
Cult is a crisply played,richly harmonious, and easily
digestible record that will please more than it offends. If
the members of Bayside are poising themselves formainstream
acceptance, Cult may be the ticket.
 THE
OFFENDERS - Endless Struggle/We Must Rebel (Norman Records
www.normanrecords.com)
Texas has played a substantial role in American punk rock,
from MDC and DRI to Scratch Acid and the Butthole Surfers.
Among the circle of fame are Reagan-era stalwarts the Offenders.
This compilation offers 25 scathing blasts of highly aggressive,
yet well-honed punk fury. Vocalist JJ Offender rails against
militarism, corruption, grotesque materialism, and other 1980’s
hallmarks with pure vitriol while surrounded by three talented
players. Guitarist Tony Offender utilized a beautiful Les
Paul in a manner that made him the hardcore equivalent of
Leslie West, with a massive sound and bombastic tone. Drummer
Pat Offender (now Pat Doyle in Ignitor) is a drummer who I
feel is terribly overlooked when one considers early pioneers
of the genre; one only needs to hear “Trials and Tribulations”,
“Get Mad”, “Wanted by Authority”,
or “Do or Die” to be completely overwhelmed by
his dynamic power and sense of timing. Bassist Mikey Offender
delivers a low end fury that pushes tracks like “We
Must Rebel” and “Like Father, Like Son”
along a breakneck path. The Offenders crafted a unique sound
throughout their career and while there are certainly similarities
to some of their aforementioned Austin-area contemporaries,
this collection displays the varied approaches the band could
employ, from the brooding “Endless Struggle” and
“Bad Times” to the hyper-active “Direct
Defiance” and “New Militia”. Selfishly,
this is music I can listen to on an endless loop, and a song
like “I Hate Myself” is simply an unparalleled
slab of emotionally driven self-loathing that is too authentic
to be created by Pro Tools. This is a brilliant history lesson
for those curious about hardcore legends who did not reside
in D.C., Boston, or L.A.
 NOT
AVAILABLE - No Excuses (Ant Street records www.antstreet.de)
Twenty years of writing, touring, and struggling has given
Not Available quite a perspective on the punk-pop genre and
these guys deserve credit for staying true to a sound in which
they firmly believe. It would be easy to alter one’s
sound in the name of momentary fads, but No Excuses is fifteen
songs of early 90’s, Green Day-before-Broadway punk
with unapologetic hooks and catchy choruses. The opening “Raise
Your Voice” bookends ideally with the closing “Hello
Boys and Girls” as both are calls to arms for the new
generation of kids who are just finding their collective way
into this type of music and feature lyrics of inspiration
and cautious optimism (“It is your choice, it is my
choice/Instead of being quiet, we better raise our voices”).
There are moments of reflection here as well, as “We
Won’t Let You Down” addresses the band’s
adoration for their fans and for the music they play, admitting
“a million brain cells died for you”, while “My
Name is Joe” tells a story of a small town boy and global
success like a punk-pop version of Foreigner’s “Juke
Box Hero”. Admittedly, by the time I reach the soulful,
much slower “Song For You”, I have had enough
of No Excuses as the sound becomes too redundant for my taste.
That should not be taken as a knock against Not Available,
for they do three chord punk-pop extraordinarily well and
with uncompromising heart, but just as some grow weary of
hardcore after thirty straight minutes, I feel the same about
bubbly punk. Tracks like “Leave Me Alone” and
“Yesterday Love” are instantly memorable and one
is singing along before the second verse, and once again the
band presents a sly sense of humor with their lyrics on the
latter (“You catch me with your eyes/your lovely face
and well, your boobs were pretty nice”). There is little
to dislike about No Excuses but those with a little silver
in their hair will already be very familiar with it; however,
for those still worried about acne and driver’s education
classes, this is worth grabbing.
 RISE
FROM ABOVE - Ain’t Like You (District 763 Recordswww.district763.com)
Perhaps I am being overly judgmental and stereotypical here,
but I believe that almost every word known to man seems more
frightening when said in German, so imagine combining German
intensity and hardcore; the result is the heavy, pummeling
sound of Rise From Above. In only ten songs, the band places
a Teutonic twist on Agnostic Front’s legendary sound
resulting in a record that will get hardcore fans of any era
up and moving in the pit. Jan Willert has a voice made for
hardcore as he barks with vicious vengeance but still retains
a sense of melody that elevates him above those who are simply
screaming themselves raw. There is not much room for subtlety
of “2 Faced”, the title track, or “Swimming
with Sharks”, but there is no need for any deviation
from a winning hardcore formula. What I most admire is the
concerted lack of “breakdowns” as the band simply
rages for two and half minutes, destroying everything in its
wake and then moveson to the next track. Tito Apaujo’s
guitar work is thunderous and void of solos, as Rise From
Above write thick grooves and rage through them with impressive
power. Each of the songs feature lyrics of unbearable frustration
and rage as Willert spits out vitriol in “Grave Dohl”
and “The Most”, discussing a “gruesome world”
and how “the world is dead to me”. Ain’tLike
You is a brilliant example of how hardcore has become a truly
international language in which individuals from limitless
backgrounds can have a commonality through an exhilarating
form of music. This is not reinventing anything, but Rise
From Above creates punk with an authenticity that cannot be
forged.
 SKA
SKANK REDEMPTION - Wicked Bees (skaskankredemption.bandcamp.com)
First off, great name, simply a great name! However, as a
person who can stomach ska for a maximum of two songs, I enjoyed
this as much as possible. Most ska bands come across to me
as a bit clichéd or gimmicky, but Ska Skank do a wonderful
job of crafting real pop songs that happen to include a horn
section and a reggae-inspired backbeat. “Hit N’
Run” is infused with a soaring amount of energy and
pure enthusiasm and captures the party atmosphere this music
can inspire. However, the band’s shining moment is the
more introspective and self-reflective “Minnesota”.
Playing out a drama of two people currently lost within their
own lives, the tempo is slowed and the horns are subdued,
but the craftsmanship is superb. This song emphasizes harmony
and a mature sense of structure, deviating from even traditional
ska to produce a highly fulfilling anthem. “Sheila”
and “Christine”may both be songs about women,
but are wonderfully independent of each other. The first is
a sultry, temperamental anthem that is riveting, but lacks
the energy of the latter which rattles with emotion. To help
illustrate how young this Fargo, North Dakota band is, “Age
Like Wine”, another sharply crafted, pop-infused nugget
that was the senior project of leader Dan Christianson when
he was in high school! To his and the band’s general
credit, Ska Skank defies their youth with sly sophistication,
and these five songs should only be the start of much larger
exposure for this band.
 STILL
BLEAK - Not Dead Yet (District 763 Recordswww.district763.com)
This young band injects life into a post-hardcore sound first
refined by angry kids in Washington DC as these four rising
stars take the best moments of early punk rage and smash it
together with angular and intricate guitar riffs. “Bleeding”
is a thrilling explosion of a song while “Kill the Day”
and “Vacuity” are given ample time to breath and
develop into sophisticated slabs of guitar-fueled sonic bliss
anchored by dual vocals and serpentine riffs. The songs ebb
and flow with equal parts harmony and wrath, cascading into
a surge of blunt force. “Failure” is scathing
and is matched by the powerful “More Rufulness”,
yet the closing “Come to an End” moves more deliberately
and cautiously, creating a heightened tension that never fully
explodes, but instead gives out like an athlete exhausted
from too much exertion, and that is a fitting metaphor for
how one feels when finished listening to this disc. The riffs
are monstrous ins cope and the vocals are not only democratic
in their distribution, but are equally harmonic; there is
no “good cop/bad cop” screaming vs. clean vocals
here which is refreshing and more in line with the influences
to which the band pays homage. For a group of young kids from
Germany, their sense of American hardcore history is impressive
and their manipulation of their instruments is even more notable.
The use of tone and tempo shifts perpetually keeps the listener
intrigued and curious and none of the ten tracks disappoint
here.
 TEEN
AGERS - I Hate It (www.facebook.com/Teen.AgersFL)
The name alone had me with these guys, but their music even
trumps their moniker. The four members of Teen Agers are decades
removed from their teen years, but this experience allows
them to meld the angst of youth with the perspective of age
to create intelligent punk rock that is both richly melodic
and energized. The guys really let loose on the brief burner
“Well Dressed”, but much of I Hate Itis a touch
more controlled, as “Moving Forward” and “Float”
indicate. This does not mean that any of the record is mundane,
for it is not; instead, Teen Agers balance ferocity with competency
and craft harmonies that sting with sharp playing. Mastered
by Stephen Egerton, there is a distinctive Descendents feel
to I Hate It which naturally makes this a great record, as
“New York, NY” and “Here We Go Again”
crackle with excitement as Justin Goldman and Jordan Shroyer
carry their tracks with their guitar playing. It is a very
demanding challenge to place a new spin on a style of punk
that is attempted by so many, but with a resume that includes
Go Rydell and Direct Effect to barely scratch the surface,
the four members of Teen Agers (also featuring Kyle Macdougal
and Nick Noble) are able to still be distinct in a highly
saturated market simply but the quality and crispness of their
playing. I Hate It is supremely well crafted but still retains
a humanity that too many bands eschew through the use of digital
enhancements. This band could be a group of supremely talented
fifteen year olds in a garage and punk should always retain
that sense of immediacy, even if played by guys with a few
years on the audience coming to see them.
 BRAIN
FLANNEL - Empty Set (Grave Mistake Records www.gravemistakerecords.com)
Modern life is incredible complicated; there is a feeling
among so many that the world is being swallowed up by ever
more rapidly changing technology and the calls for simplicity
are growing increasingly louder but heard by increasingly
fewer. It is with this fact in mind that I come to celebrate
the bare bones, stripped own, brutal honesty of Brain Flannel.
Screaming and squalling out of Charlotte, these distortion
junkies never met a song less than two minutes they did not
like and they bring affection for all things skull rattling
to their ten song gem Empty Set. The dual vocal approach of
Elise Anderson and Nick Goode works flawlessly here as the
two possess divergent styles that mesh together into one simmering
concoction of frustration and twenty-first century rage. Anderson’s
voice can be sarcastic or innocent while Goode simply growls
each syllable with a relentless contempt. The opening duo
of “Dry” and “Sicks” is a crippling
introduction for the uninitiated, but also displays an increased
command of the chaos introduced on Sleep Rough over two years
ago. “Fulcrum” nods to the Ramones for a second
or two, but the majority of the work here is brilliantly unique
in its chaotic din. In the band’s blatant disregard
for crafting easily identifiable melodies, they formulate
a new type of musical rebellion that is noise with a purpose.
The title track, a downright epic at two and a half minutes
long, celebrates the Anderson-Goode vocal alliance but one
cannot ignore drummer Bobby Michaud’s tireless work
and Goode’s blazingly fast guitar playing. The fifty-one
second “Headaches and Vomit” is an explosion of
power that harkens back to hardcore’s earliest days
when the goal was to be as bruising as possible sans any political
and social commentary, and the feedback that opens “Don’t
Tell Me” is a mere respite before all four member s
(rounded out by bassist Eddie Schneider) launch themselves
at your throat. If you claim to like punk, go get this right
now.
 RISK/REWARD
(riskreward.bandcamp.com)
New York’s Risk/Reward is an intriguing take on contemporary
indie rock. The majority of the songs on their self-titled
record are reserved in nature, gently bubbling beneath without
ever generating many ripples on the surface of the water.
If one enjoys serenity with one’s guitar playing, much
of this will be appealing, but I am not among that group.
I sit perpetually waiting for the energy to come forth-the
opening “Killer” was anything but its title. The
song carefully meanders at a measured pace while Patrick Walsh
and Jon Houlihan share vocal responsibilities but do not generate
any sparks. The band briefly perks up on “Easy on the
Heart” and “Honest Man”, the latter tipping
its cap to 90’s indie pioneers like Sebadoh or Archers
of Loaf. Although Risk/Reward record with a garage band aesthetic,
they lack a garage band intensity. The noisier, slightly edgier
“In the Sea” is my favorite of the bunch with
its refrain of “I’ve got a lot of things that
I wanna set on fire”, but at barely over two minutes,
the song disappears just as I fully immerse myself in it.
“B-Side” and “Addle Me” provide a
bit more bounce for the ounce, but I need more pep in their
step. Risk/Reward is quite skilled at controlling their emotions
and adroitly presenting reserved, emotionally tender songs,
but I look for three guys with a punk background to hit me
harder than this. Maybe this is punk for those quiet nights
when you just want to be alone.
 THE
MONGOLOIDS/BROKEN TEETH - Split EP (6131 Records http://music.6131records.com)
This split is a slab of neck-breaking perfection that crosses
international borders. New Jerseys’ Mongoloids are abrasive
and angry, delivering tough guy hardcore with a clearly defined
metallic edge. “Mountains of Misery” will undoubtedly
appeal to all those worship at the altar of all things Jamie
Jasta as the low-end breakdown simply crushes the listener.
“The Go Around” fits nicely with more recent Agnostic
Front and perfectly encapsulates East Coast punk with a teeth-rattling
punch to the face. England’s Broken Teeth may live across
the Atlantic but they sound as if they could live across the
Hudson from their EP partners. “My Law” is a thunderous
slab of power overflowing with testosterone and bravado with
deep, growling vocals and tuned down guitars. The breakdown
is punishing, but it takes second place when compared to the
relentless intensity of “Path of Conviction”.
With its combination of speed, gang vocals, and pit-inspiring
groove, it is a track that celebrates the finest elements
of American hardcore.
 THE
SMOKING HEARTS - Victory (Bullet Tooth www.bullettooth.com)
With comparison to bands raging from Bad Religion to Gallows
I am intrigued by the hype machine surrounding The Smoking
Hearts. What I hear is a band that is on the cusp of doing
great things but have a few wrinkles left to iron out of their
sound. The riotous opening “Off With Your Head”
is a smoking minute-long introduction to a chaotic, messy,
but incredibly genuine attempt on modern punk fury. Vocalist
Ben Mills howls with nearly inhuman intensity but his unholy
yelp gets lost in the mix among dual guitarists Nobba Green
and Simon Barker. Tracks like “Seatbelt” and “Stomper”
are furious efforts but due to an overly-thick production,
the riffs are not allowed to shine. One has to work with extreme
diligence to differentiate the various players here and the
rhythm section of drummer Matthieu Taylor and bassist Calvin
Roffey are rendered nearly indistinguishable from the broad
din that cascades from the speakers. The raw talent here is
inarguable, as one need only hear “Apefight”,
“Natural Disasters”, and the flesh-ripping “Smoke
and Mirrors, Baby!”, but The Smoking Hearts just have
to refine their sound to accentuate their various selling
points. These five Brits have the chops to create harmony-riddled
rage but there is almost too much happening on each song too
quickly-the tracks feel forced overwrought with a lack of
control. I love when a band is devoted to volume, passion,
and the desire to crush everything in its path, but The Smoking
Hearts must simply harness some of their ferocity. If I had
a punk rock draft, this band would be my number one draft
pick-if you are building for the future, get on this bandwagon
now.
 PAGERIPPER
– 7-inch EP (Sex Sheet Records www.sexsheetrecords.com)
The opening moment of Pageripper’s “You Don’t
Wear a Dead Man’s Pants” explodes with a shocking
level of force. The song is a fleeting piece of dark hardcore
that nods towards powerviolence in its intensity. While it
ultimately does not possess the same stamina or dexterity
of Magrudergrind or Coke Bust, it is an impressive introductory
statement. “Collarblind” ( a track highlighted
by the following lament: “I’m a breakdown away
from burning down this fucking place”) is equally punishing
but possesses a sound that is a bit muddier, harkening back
to the days before digital quality recording equipment was
available to anyone with a laptop. I find the primitive approachan
endearing quality and why my only complaint here is the brevity
of songs like “Patrick Swills” and “Real
Eyes/Real Lies”. With seething guitar and a stifling
low end, Pageripper makes contemporary hardcore for those
who love a vintage sound. What is more impressive is that
all of this chaos is churned out by only three players: vocalist/guitarist
Brent I s a beast of a presence on this single and his rage
is matched by Alden and Sean on bass and drums respectively.
Hailing from Portland, Oregon, Pageripper is continuing a
longstanding tradition of impressive Pacific Northwest hardcore.
 POWERBLESSINGS
- Quick Guide to Heart Attacks 12” vinyl LP (Manhattan
Chemical and Electric www.manhattanchemical andelectric.bigcartel.com
I know I am getting old when the “post-hardcore”
sound is now simply the 21st century punk rock sound. Powerblessings
has the ability to manipulatetheir instruments with wonderful
control as “Pickles” and “Administrative
Leave” both gallop with limitless energy reminiscent
of teenage basement shows while “Pale Teens” slowly
builds like an approaching storm, finally arriving as a combustible
slab of edgy, angered, and sophisticated hardcore. There are
four highly active and brilliantly creative minds in this
band, and one needs look no further than the blissfully eclectic
and at times quite thought provoking lyrics for proof. (“Pretend
they had it made, before the roads got paved/land of the grieved,
home of the chaffed” from “Administrative Leave”).
Nick Pappas jumps out at the listener as a highly skilled
guitar player whose individualism shines throughout Quick
Guide to Heart Attacks, but he carries “Fetal Missile
Distance” with combination of buzz saw ferocity and
an innate sense of melody. While “You at Night”
is propelled by a frenzied, seething energy that sways effortlessly
from unbridled wrath to a measured ire, “SSS”
channels the finest qualities of Dead Kennedys to create a
classic example of sharply crafted punk with a shrewd song
construction delivered by highly adroit musicians. The challenging
time and tempo shifts that begin “Gag Order” give
way to a bruising anthem with rich harmony. The closing “Pizza
Party” concludes the record with the words “He’s
in the bed and she’s in the bed/Wrapped up tight all
night/With a hundred thousand dust mites/I just want to sleep
somewhere sterile and bright”. Wonderfully clever finale
to a stirring release.
 BAD
PEOPLE - The First Seven Inches (Bad People Records http://feebleminds.bandcamp.com/
album/bad-people-pearls-before-swine-ep)
This Buffalo, New York outfit plays raging, sexually-charged
hardcore with a nod towards grind and crust. Lacking the overt
perversions of porno-grind bands, Bad People do delve into
areas of depravity on tracks like “Piss + Shit”
and “Uncle Josh”. With a fusion of raw, flesh-ripping
vocals and musicianship that coagulates into a simmering mass
of chaotic noise, Bad People is an acquired taste. It is a
taste I happen to relish so this could not last long enough
to satisfy my twisted desires for musical sickness. Nothing
here has a duration of more than two minutes but despite its
brevity, these thirteen songs are exhausting. One is left
breathless even trying to play air guitar to “Blue Lines”
or “Talking Cat” and “Forgiveness”
is equally bruising. There is a progression from “Pearls
Before Swine” to the second “Mean Talkin’”
releases in the sense that the lattersounds grittier and demonstrates
greater musical dexterity. However, do not believe that any
if this is refined and polished; it is raw, furious and skull-crushing.
Not for the tame or the boring, I believe that the world needs
more Bad People.
 SAVE
ENDS - Warm Hearts, Cold Hands (Tiny Engines Records www.tinyengines.limitedrun.com/
www.saveends.com)
Christine Atturio should be world famous-the lead vocalist
for Boston’s Save Ends has a stirring voice and leads
a band that plays passionate guitar-fed rock with rounded
edges. Atturio shares vocal responsibilities with keyboardist
Brendan Cahill and the dual vocal structure makes “We
Are the Only Ones” sound powerfully immediate as they
cry “We hold each down, don’t leave anyone behind,
won’t let each other down” as precise riffs from
Tom Ciesluk ricochets off the rhythms from Sam Nashawaty on
bass and drummer Burton Wright. The band places a significant
emphasis on crafting pop-infused tracks that bounce and hum
with passion but not fury. Save Ends walks the line between
good-natured pop and grown up angst on “Always Knew”
(“Looking backwards, over shoulders, we crash, we burn,
before we know it’s over”), “Chasing Embers”,
and “Skeptical Sons/Curious Daughters” (“You
are the reason I’m alone, you block the stars that guide
me home”). There is a level of deceiving sophistication
to the music here as the songs cascade over the listener with
such ease that one may miss some of the intricacies. Therefore,
Warm Hearts, Cold Hands is deserving of multiple listens in
one sitting to best capture what these five Bostonians are
generating. With touches of early 90’s indie heart and
blissful affection for heartfelt harmonies, Save Ends is a
band with a limitless future.
 SECRET
SMOKER - Terminal Architecture (www.secretsmoker.bandcamp.com)
There was a time, many years ago, when the term “emo”
was viewed as a positive moniker. Before it became watered
down and twisted into a misguided joke, emo was a fresh, thrilling,
and invigorating brand of punk and Secret Smoker captures
that. Terminal Architecture is a sharp, aggressive, and loud
collection of tracks that feature lyrics that are quite brief
but are woven within the fabric of sophisticated playing.
There is a darkness that permeates the record, beginning with
the reference to “thoughts of suicide” on the
opening “Staircase”. The ten songs all churn with
a sinewy energy, particularly “Volume Diss-course”
and “Part-Time Retail”. Tales of sorrow, loss,
and frustration dominate the story lines and the playing matches
the anguish, producing a record of tangible intensity. Despite
only three members, Matt Hadden, Billy Thompson, and Mark
Waite make enough noise for a band twice that number. This
is emo with a sound leaning more in the punk vein than pop;
the guitar work is rugged, the vocals are gruff yet passionate,
and the low end rumbles relentlessly to unleash a wave of
sound that buries the listener on the title track and “Tides
That Bind”. Climbing out of the bayou in Baton Rouge,
Secret Smoker is a startlingly talented young act.
 SIGNALS
MIDWEST - Light on the Lake (Tiny Engines Records www.tinyengines.limitedrun.com)
Hailing from Cleveland, Signals Midwest is a band of delicate
beauty accented by moments of wonderfully harmonious intensity.
The dual guitar work of vocalist Maxwell Stern and Jeff Russell
(who is also credited with “humor”) ebb and flow
throughout the record and provide a stirring soundtrack for
richly textured lyrics. “In the Pauses” is a heart-wrenching
tale of a complex relationship (“we’ll break pencils
and dry up pens on letters we’ll never send”)
while ”St. Vincent Charity” includes dazzling
tempo shifts, including a rave-up that concludes the song.
Drummer Steve Gibson and bassist Loren Shumaker not only work
in tandem as a steadyrhythm section but their backing vocals
flesh out majestic efforts like “An Echo, A Strain”
and “Greater Planes”. The members of Signals Midwest
have a gift for poignant story-telling and the apex of this
is “Lowercase”, an honest and unflinching examination
of getting older and fighting off regrets (“So while
you’re talking about the next flight out, I’ll
be the one you’re forgetting about”) that also
includes stellar playing by all four members. With influences
ranging from Superchunk to Jazz June, Signals Midwest soars
on the bouncier “Caricature” and the ethereal
beauty of “A Glowing Light, An Impending Dawn”.
I am curious as to how this would translate in a live setting,
but Light on the Lake is a warm and exhilarating listen.
 DEATH
OF SAMANTHA - If Memory Serves Us Well (www.deathofsamantha.com)
Cleveland, Ohio’s Death of Samantha played indie rock
when it was still called “alternative” and actually
lived up to the moniker. The four-piece has reunited and released
a re-recorded collection of eighteen tracks played live in
the studio with minimal effects. Throughout the 1980’s
Death of Samantha played myriad of shows with luminaries of
the decade along with novice upstarts like Smashing Pumpkins
and Nirvana who went on to rule the world after Death of Samantha
broke up. What saves If Memory Serves Us from simply being
some sort of twenty-first century cash grab is the fact that
this is Death of Samantha’s original line-up and the
guys have excellent résumés with stints in bands
like Cobra Verde and Nada Surf. Additionally, by rerecording
the songs, original members Doug Gillard, David James, John
Petkovic, and Steve-O (not the one you may be thinking of
right now) give new life to eventheir oldest tracks. The pop-infused
“Coca Cola and Licorice” is juxtaposed with the
slower, more bluesy “(Now It’s Your Turn to be
a)Martyr”. “Savior City” is the blueprint
for what indie rock eventually became and is everything the
Replacements aspired to be. Death of Samantha demonstrates
a broad array of skills as they shift tempos and texture on
“Good Friday”, a song that reveals an imaginative
younger act that has evolved into a well-polished band of
seasoned vets. The eighteen songs are supremely varied, as
“Amphetamine” is majestically delicate and nearly
fragile, but “Yellow Fever” and the concluding
Blood Creek” revolve around thunderous low end power.
This is a fascinating piece of indie rock history resurrected
for a new audience.
 ACID
FAST - Rabid Moon (www.acidfast.bandcamp.com)
Acid Fast is a band for those who enjoy a great backstory:
The band’s name comes from a drug-riddled three days
for drummer JaspenTamero and vocalist/guitarist Hannah Conda
(yeah, awesome name, too) who somehow went nearly seventy-two
hours without food; their bassist is a high school guidance
counselor who escaped a cult; and second guitarist and vocalist
Frank Mann practices black magic as a form of protection.
At this point, I do not care what Rabid Moon sounds
like, I am telling everyone I know about this band. Luckily,
the playing matches the bizarre, yet fascinating nature of
the members. There is a tangible 90’s affinity here,
particularly for anything involving Lou Barlow or if one can
imagine Velocity Girl using a distortion pedal then one gets
a sense of tracks such as “Old Ideas” and “Tease”.
Every band has their influences and Acid Fast should not be
judged too harshly for they incorporate a ferocious sense
of intensity in to their sound that makes “Breaking
Down the Door of the Law” so impactful. Its well-placed
George W. Bush quote leads to a thunderous low-end pummeling
that is matched by the equally sardonic “War Goes On”.
The two aforementioned tracks are shrewdly political and the
band’s lyrics are worth exploring both for their intelligence
and clever word play that is enhanced through the male/female
vocal dynamic of the band. The rousing opening track “tangle”
begins as a bit of a fuzzy mess before launching itself at
the listening with a wave of more streamlines guitar force.
This order from chaos song structure is also found on “New
Paradigm Mind Reading”, but I enjoy the fearless abrasiveness
one hears on “Rupert”, “Triangle Park”
(featuring a priceless line from an old Cheech and Chong routine),
and the closing “Enough Already” which bombards
the listener with an outburst of coarse fury. Hailing from
the East Bay Area makes Acid Fast another branch on one of
punk’s most significant trees, but this is a young band
wise enough to recognize the past but still defiant enough
to sneer along their own path.
 EVERGREEN
TERRACE - Dead Horses (Rise Records www.riserecords.com)
In metalcore years, Evergreen Terrace are grizzled, battle-hardened
veterans as they have over ten years of recording and touring
to their names and Dead Horses reflects a band
that continues to evolve musically. My primary criticism
of this style of playing is the repetition and predictability
of too many of the bands and perhaps the title of Evergreen
Terrace’s new record is a sly nod to that very fact-too
many hardcore-flavored metal acts repeatedly beat the same
proverbial dead horse for two or three records and then
fade away. What has separated Evergreen Terrace, and continues
to do so, is a willingness to branch out beyond the preconceived
boundaries of the genre. The ten tracks here are not revolutionary
but with a greater commitment to the clean vocals of Craig
Chaney, the band is able to articulate mature lyrics and
themes that get lost in the muddled screams of less competent
acts. Not that Andrew Carey is out of a job, for his malicious
vocals still punctuate the finer songs here, but the members
of Evergreen Terrace are evolving as musicians and asking
their fans to come along with them. Tracks such as “The
Fortunate Ones”, “Browbeaters Anonymous”,
and “It’s All Over but the Cryin’”
include well defined riffs and bruising rhythms that emphasize
melody along with a devotion to a heavy delivery. The apex
of the disc comes with the title track, as its gang vocals
and soaring chorus offer a blueprint for a future anthem.
This track is the perfect marriage between the aggressive
death growl of Carey and Chaney’s more traditional
and wonderfully harmonious delivery as they as collectively
ask “I wanna know what exactly what keeps me hanging
on?”, and their two voices reflect anguish and rage,
discontent and confusion in the midst of a massive wave
of forceful guitar beauty. There are a couple of misfires
here, specifically “Lacuna Inc.”, a track on
which the band attempts to become too pristine, and “Mike
Myers Never Runs, but he Always Catches Up” which,
in addition to an unnecessarily lengthy and lackluster title,
included fury that comes across as forced and prefabricated.
More successful efforts include the opening “Crows”
and the bruising closer “That Dog’ll Hunt”,
as both tracks reach out to purists who want to the band
to retain their teenage punk-inspired intensity but also
celebrate their love of descant song structures as well.
The wasteland of melodic hardcore is littered with bands
that formulate one idea and recreate it until their expiration
date arrives but Evergreen Terrace prove that there are
acts with the courage to ignore hype and trends and produce
music with a level of sophistication to match their fury.
 NASHVILLE
PUSSY - Up The Dosage (www.nashvillepussy.com)
All hail the return of a true American treasure, the mighty
Nashville Pussy. Being a dedicated Pussy lover for over fifteen
years, having first fallen for the band when they nearly,
literally, set the roof on fire in the long lost Philly club
Upstairs at Nick’s, I am thrilled that Up the Dosage
captures a band that is still rugged and unapologetically
sarcastic yet also, dare I say, maturing as well. The opening
“Everybody’s Fault But Mine” revolves around
a dirty, blues-drenched riff that would have been played a
breakneck speed in the band’s past, but is here slowed
down to a mid-tempo pace oozing with the grease and grime
that are the residual effects of years spent refining a unique
Southern-fried style. Speaking of that geographic section
of this great nation, I do not know how pleased people below
the Mason-Dixon line will be with Blaine Cartwright after
they catch “The South’s Too Fat to Rise Again”,
as Blaine deadpans, “we’re having heart attacks
when trying to wipe our ass”, but the riff is better
than a bucket of ribs and cold beer so I think all will be
forgiven. Guitar work has always been the calling card of
this band, and while Blaine sounds incredibly inspired throughout
the disc, the playing of Ruyter Suys carries the record in
her highly capable hands. The slinking “When the Meat
Falls Off the Bone” or the boogie of “Beginning
of the End” sound like Motorhead jamming with ZZ Top,
and Suys is the centerpiece of these anthems that harken back
to the days of authentic rock n’ roll with their bombast
and swagger. The most significant shift for Nashville Pussy
comes in the form of the unadulterated country tracks, “Before
the Drugs Wear Off” and “Hooray for Cocaine, Hooray
for Tennessee”; both songs are laugh out loud funny
but are fairly substantive musical departures as the rough
edges have been smoothed and the finished products are front
porch, hootenanny sing-alongs. However, for those who still
want to see this furious four-piece, rounded out by long time
drummer Jeremy Thompson and powerhouse bassist Bonnie Buitrago,
rage with youthful passion, “Spent”, “Rub
it to Death” and Ruyter’s forty-seven second screaming
musical orgasm “Taking it Easy” should more than
satisfy. Up The Dosage may also spawn the next great Pussy
anthem in the form of “White and Loud”, a thick
stew of Sabbath-inspired riffs and gloriously sardonic lyrics.
Is it too early to nominate my favorite record of 2014?
 TIDELAND
- Lull (http://tideland.bandcamp.com)
Sterling, Virginia’s Tideland plays incredibly warm
and harmonious shoegazing rock with hints of subtle pop aesthetics.
If one is old enough to appreciate this style from its inception
at the dawn of the 1990’s, one instantly recognizes
Ride and My Bloody Valentine, but the bounce heard on “Get
Lost” and “Dinosaur” prove that this band
is not just melancholy and meandering sorrow. The flashes
of guitar force on these two songs, also a driving factor
on “Carved in Mine” and “Edinburgh”
elevate this band beyond the realms of 90’s revival
act, although one does not have to work too hard to detect
the Cobain meets Moore aspects implemented by this trio. There
is a sense of immediacy to Tideland that many bands of this
style do not have, despite the waves of reverb that seemingly
bury the vocals at of John Hand at times. The sonic power
of the George Crum’s drumming is what impresses me the
most here, for his cymbal crashes seemingly erupt from nowhere
and bludgeon the listener before he, Hand, and bassist Chris
Wright relieve some of the pressure for a moment and allow
their songs (and the listener) to breathe. One shining example
of this is “Miless” which alternates between dreamy,
ethereal guitar fuzz and roaring punk-fueled angst. The latter
is my favorite component of the band and while Wright has
acknowledged that the band did decide to turn the volume down
for this record in comparison to their earlier releases, it
is obvious that this material would rattle the walls of any
club attempting to contain Tideland. The serene opening of
“Desolate” slides into a smooth riff that would
bring Teeange Fanclub fans to their feet and “Way to
Die” borrows from latter day Replacements before erupting
into a Pixies-esque ball of force. Yet, despite the abhorrent
use of name-dropping references here, Tideland possesses enough
musical dexterity to make this record their own and not simply
an amalgamation of the best of college radio from the Clinton
years; this is rousing and compelling playing that is as pastoral
yet beautifully rugged as the suburbs from which the band
hails.
 POW!
- Hi Tech Boom (Castle Face Records www.castlefacerecords.com)
San Francisco’s POW! goes back to the future with Hi
Tech Boom although I doubt strongly that any of the members
were alive when that film was released. With an 80’s
vibe and a distinctively basement tapes ascetic, this trio
make gothic pop gems that are best when they are a bit longer.
There are a few songs here that end too quickly (and this
is coming from a guy who adores thirty-second blasts of grindcore)
and I feel that there was much more that can be done with
“Vertical Slum” and “Cyber Attack!!”,
as I am riveted by the spastic guitar playing on the former
and the droning low end of the latter. However, that small
critique aside, I love the challenging nature of this act
as POW! interjects elements of off-kilter noise into their
concoctions beginning with the ear-splitting “Glitch”,
alerting listeners within twenty seconds that this is a departure
from the tired redundancy of contemporary rock, while “66”balances
flare ups of chaos around a well chiseled guitar riff. With
droll vocals lost in a sea of effects and song structures
that bounce riffs from a multitude of angles, this is a defiant
punk record for the modern age by returning to a sound reminiscent
of three decades ago. “Switchboard Scientist”
or “@the Station” could have POW! opening for
Wire or Tubeway Army while “Hope Dealers” reverberates
with an unbridled energy akin to that of the Undertones or
Buzzcocks. The title track is the stand out effort of the
bunch, a statement about the sorry state of the larger world
but the band’s also beloved San Francisco, which according
to Castle Face’s John Dwyer (also of SF’s rightfully
adored Thee Oh Sees), is being overrun with wealthy twenty-first
century yuppies who are quickly stripping the city of its
legendary individuality and replacing it with hallmarks of
the mundane such as “specialty shops and parklets”.
With a chorus that includes the warning that “there
will be no future for the hunted”, POW! is issuing a
warning and I know I am listening. This is a band with a unique
vision and a rare ability to beautifully mesh the serene and
the foul into one impressive sound.
 THE
TYE TRYBE - Word is Born (www.thetyetrybe.bandcamp.com)
The Tye Trybe prove that there is hope for the upcoming generation
as three young guys from the South Bronx play blues with a
swagger and pomposity reminiscent of young English lads in
the early 70’s. Joseph and Jonathan Hernandez, who deliver
the goods on lead guitar and vocals and drums respectively
along with bassist Desi Joseph clearly grew up inundated by
mind-numbing dance pop and nondescript posturing posing as
rock and decided that there has to be a better way. Their
collective desire to celebrate rock’s more base and
primal elements shines on this four song EP, beginning with
the blaring force of “Shine Them Shoes”. The song
slithers and grooves like early Zeppelin and unabashedly offers
a loving homage to garage bands everywhere with its reckless
joy. Joseph’s snarl, here fuzzed out in a wall of overdubbed
distortion, is the perfect complement to his brother’s
airtight drumming. The cynical may simply hear a Jack White
fixation on Word is Born, but Tye Trybe go beyond an attempt
to “save rock” the way White was once saddled
with having the hopes of doing; instead, these kids inject
wild swings of tempo, rousing blues riffs, and Latin flavor
into a style more sophisticated than their years would normally
expect. The sultry “Pachyderms” includes all of
the above and “Bang Shogun” has the subtly of
whiskey burn as the trio bash their way through an anthem
that puts George Thorogood in AC/DC’s rehearsal space.
The closing “Spanish Romance” takes elements of
Cuban flamenco clubs and marries them with classic rock riffs
to place a fitting bow on a record that is inspired from beginning
to end makes Tye Trybe a band worth watching quite closely.
 MAN
MAN - On Oni Pond (Anti Records www.anti.com)
I just do not know of a band more difficult to categorize
than Philly's Man Man. On Oni Pong is another collection of
musically dexterity performed by highly skilled players Honus
Honus and Pow Pow, but I struggle at times to wrap my arms
around the atmospheric pop haze of "Deep Cover"
and "Head On", the old-time piano sensibility of
"Curtains" or the bouncy soul-tinged "Pyramids".
Honus Honus, one of the visionaries behind the band refers
to this record as "strange and beautiful" and his
definition is perfect. The band uses a multitude of instruments
to redefine pop music with a distinctive style and majestic
beauty. "Loot My Body" has an infectious beat that
will undoubtedly be sampled for decades to come, while "Sparks"
bobs and weaves with effortless agility. Honus has a vastly
under-appreciated voice, for as one sits in befuddled admiration
of the musicianship, one can overlook just how warm the vocals
are on "King Shiv" or the poignant "Fangs",
which includes some very sneaky and effective guitar playing.
Borrowing liberally from jazz structure, pop aesthetic, rock
primal energy, and hip hop swagger, On Oni Pond is a cross-cultural,
interdisciplinary gem of a challenge. This is not an easy
listen, but should be done in one sitting. Despite the highly
distinctive personality of each song, the record flows seamlessly,
yet another credit to the band's ability to borrow and improve
upon preceding ideas. I have spent hours listening to the
record and I am still uncertain of my feelings about it; however,
I believe the best suggestion for those like myself who sit
on the fence concerning Man Man is to stop thinking and simply
allow the band to wash your ears and soul with some of the
most unique musical visions available today.
 TWO
COW GARAGE - The Death of the Self-Preservation Society
(Last Chance Records www.lastchancerecords.com)
Micah Schnabel, guitarist for Two Cow Garage, may be my
new favorite musician. In and interview with 614 Magazine,
he raised a vital question when he said "who has time
for a five minute song?". Yes, preach on Brother Micah!
Two Cow Garage does not use any trick plays on The Death
of the Self-Preservation Society; this is old fashioned
rock n' roll played by three gritty Ohio natives. The pervading
theme is dealing with the realization that life, while never
perfect, may not always be as bleak as one may believe.
This can be a frightening and difficult concept to accept,
and this shaky emotional ground shines through on the hardscrabble
opener "The Little Prince and Johnny Toxic" which
is a rough and tumble punch of guitar force. Other highlights
include the slightly more polished "Stars and Gutters",
the haunting "Van Gogh", and the rollicking title
track closer in which the aforementioned "Johnny Toxic"
character makes a second appearance. This is not punk as
how one may generally conceptualize it, but there is nothing
pretty or delicate about the rambunctious noise of "Lost
on Youth". The only stumble was the distortion soaked
crawl of "Mantle in '56". Despite a great title,
the song is just a meandering mash of ideas that did not
truly reveal the power possessed by Schnabel and his mates
David Murphy (drums and other assorted skills) and bassist
Shane Sweeney. There is a darkness that permeates the playing
accented by a subtle sense of uneasy hopefulness that is
almost tangible on "Spiraling Into Control" and
"Hey Cinderella". Once again music has a way of
proving just how many great bands are out there if one looks
fiercely enough-Two Cow Garage have been kicking around
these great states of ours in a beaten up van for over a
dozen years and this is their sixth record, so go find this
because this is a treasure of earnest rock played with a
fearless honesty.
 BOSTON
- Life Love & Hope (Frontiers Records www.frontiers.it)
Years ago Lard wrote a song called “70’s Rock
Must Die” in which they lampooned the larger than life
arena rock sound that dominated the decade of self-indulgent
narcissism. One of the worst culprits of that era was Boston
and their songs were ubiquitous. In the name of full disclosure,
I grew up in Providence, Rhode Island, a child of the 80’s,
and therefore I was force-fed a steady diet of “More
Than a Feeling”, “Don’t Look Back”,
and the inexcusable “Amanda” throughout my formative
years which makes this release all the more perplexing for
me. The question is not really “how did Boston produce
a new record”, but a much louder wail of “why?”
Who was clamoring for a new Boston record? The tragic suicide
of Brad Delp in 2007 was a sad manner in which to close to
book on the band, but releasing new material only stains what
is a proud legacy for many. Five of the songs here include
the term “love” in the title including such original
names as “Didn’t Mean to Fall in Love”,
“Love Got Away” and “If You Were in Love”,
and the playing is as derivative as the lyrics. Tom Scholz
has clearly not left his recording studio in decades, for
Life Love & Hope sounds like the best Night Ranger album
ever made; obligatory guitar histrionics are intertwined with
delicate piano, hushed vocals, and rousing choruses that are
designed for rock radio if rock radio still existed. “You
Gave Up On Love” actually makes me laugh out loud-one
can only imagine a poofy-haired MTV VJ proudly introducing
this one, but since MTV is as dead as rock radio, I have no
idea into what abyss this will find itself. Naturally, the
quality of the musicianship is beyond reproach, but this is
so painfully dated that it is more embarrassing than poor.
From the hollow drum sound to the Nelson-twins style vocals
to clichéd keyboards, this is heartbreaking in its
feebleness. Scholz boasts of using the same amps and equipment
to record this material as he did for Boston’s classic
period: while this may be endearing for some, it only solidifies
the outdated and simply unnecessary nature of this monstrosity.
 GHOST
THROWER (Broken Circles Records)
There is an undeniable nod to 90’s emo and indie rock
within the work of Ghost Thrower, but this band retains a
punk aesthetic that allows them to escape the trappings that
can so negatively impact bandsof this ilk. Ghost Thrower are
not out to dazzle the listener but to engage and enthrall
through raw, passionate playing. The riotous “Lemons”
is an explosion of guitar force and limitless energy, match
inits fury by the scathing “When Are You Coming Home?”.
The latter is an angry slab of low-end heavy, blissfully fuzzed-out
punk that combines the finer moments of Husker Du and early
Dinosaur Jr. with wonderfully acerbic lyrics. The record waivers
between the aforementioned rugged gems and more controlled
nearly pristine tracks such as “Halloween in Brooklyn”
and “The Unexamined Life”, with both songs featuring
rich harmonies and a refined pop sensibility. “The King
of Louisiana” includes a sweeping musical tableau that
cascades with a shimmering radiance and is the apex of the
band’s musical aptitude. The concluding trio of “Young
Luck’, “Apple”, and “Worry Addled
Brain” include guitar-rich goodness with a knowing homage
to the high water marks of 90’s indie punk without simply
mimicking the Get Up Kids and calling it something new. This
is a band worth celebrating.
 TIM
KASHER - Adult Film (Saddle Creek Records www.saddle-creek.com)
Tim Kasher’s first solo record, The Game of Monogamy
had me hooked instantly and the same is true of Adult
Film, yet for different reasons. Monogamy was
quite stark and deeply introspective, and while Kasher’s
latest effort includes his typically brilliant and often self-deprecating
lyrics, the disc has a different approach musically. The ten
majestic songs here are hook-filled pop with synth dominating
the opening salvo of “American Lit” and “Truly
Freaking Out”. At this point I am a bit concerned for
while these songs are both intriguing, there was a bit too
much bounce for my liking. Kasher returns to my favorite form
of his on the lush “Where’s Your Heart Lie”:
replete with tales of his personal faults and failings, Kasher
delicately explores his own shortcomings with subtle humor
undercutting the unembellished sorrow accented by the gorgeous
voice of Laura Stevenson. (“God damn what’s wrong
with me?/I’m ruining your love”) Kasher employs
a multitude of instruments on Adult Film, including vibraphone
on “The Willing Cuckold”, a song that has a bubbly
personality that perfectly accompanies the tongue in cheek
title. The disc takes on a darker persona at the mid-point
of the disc with the mesmerizing and moody “Lay Down
Your Weapons”. Its partner in crime is “You Scare
Me to Death”, and this duo both revolve around heartfelt
tales of struggling relationships and misshapen hopes. At
one point during “Scare”, Kasher thinks about
getting married and having “two lovely children and
a ranch in the ‘burbs where we’ll be murdered”
as a whistling omnichord strikes a frightening tone. “A
Raincloud is a Raincloud’ is a return to more straight
ahead indie pop as Kasher laments his life, realizing that
“English lit is essentially horseshit” and how
he “is done pining for a silver lining”. Seething
with relatable frustration, Kasher is a marvelous wordsmith
for he vents about where life has been less then what he hoped,
but he never whines. Instead, he is a friend simply letting
the listener know that he or she is not alone in being angered
and confused about where one finds oneself. “A Looping
Distress Signal” is a bit noisier and therefore among
the most fascinating moments on the disc as Kasher introduces
a rollicking piano riff at the center of the song and reminds
people that “the world’s a perfect place when
you don’t know what’s swept under the rug.”
Those words ring true, as does much of what Kasher says here
as he proves himself to be among the sharper and more daring
songwriters in contemporary music.
 CHROME
- Half Machine From the Sun (King of Spades Records www.helioschrome.com)
This gem from the Jimmy Carter era finally sees the light
of day and the wait is well worth it. Chrome was the creation
of Helios Creed and Damon Edge largely, and this double
record of lost pieces recorded in 1979 and 1980. Having
missed this the first time around thirty years ago, I was
inspired when I listened to swirling noise, punk angst,
and memorable harmonies found within. Chrome is exactly
the type of band that needs to exist today, for they take
rock in a variety of directions without ever sacrificing
the basic elements of sweat, lust, and fury that drives
rock. The eighteen songs found within includes the menacing
proto-punk of "Anything" and "Fukishima",
two songs that any industrial tinged band should fall to
their knees and worship. Half Machine From the Sun reeks
of the end of the 70's; the sense of confusion and general
societal burnout is tangible on the synth-infused noise
on "The Inevitable" and "Charlie's Little
Problem". The baby steps of 80's synth pop are also
prevalent, as are the finer elements of Joy Division style
darkness buried within warm layers of harmonious hooks.
There is no obvious "Love Will Tear Us Apart"
here, but "Sound and Light" should have been a
hit, and anyone who appreciated Lou Reed's brilliance with
the Velvet Underground should fire up "Looking for
Your Door". The etherial "Ghost" is appropriately
intimidating and disconcerting, while "Something Rhythmic
(I Can't Wait)" even smacks of the foundations of indie
pop. Innovative, distinctive, challenging, and majestic
in scope, Chrome is an act that was decades ahead of its
time.
 VOICE
OF ADDICTION - "Modern Day Meltdown" EP(www.voiceofaddiction.com)
Chicago's Voice of Addiction are an amalgamation of various
punk influences ranging from Dead Kennedys to Bad Religion,
and the four tracks on "Modern Day Meltdown" are
intelligent,crisply played blasts of richly harmonious punk
fury. "Daley Struggle", a less than veiled shot
at Chicago's mayor Richard Daley, is both inspirational
and fiercely sarcastic due to the impassioned vocals of
Ian JohnnyX Tomele. The most significant experiment is "Same
Old Song" as it features a much more progressive chord
structure during the intro and outro, defying traditional
punk song arrangements. With lyrics "Do what you're
told/buy what you're sold", Tomele chastises a population
numb to conformity and lacking an ability to formulate truly
distinctive ideas. The closing "Juvenescene" is
a rousing call to arms for punks of all ages, and allows
those who are getting long in the tooth to remember that
energy and enthusiasm, not one's age, is what makes punk
music so vital. This is a nice hold over until Voice of
Addiction's next full length.
 JANE
EYRE - With Our Thoughts We Make The World (A Landfill of
Records www.janeeyre.bandcamp.com)
Much like Charlotte Bronte’s 1847 work that shares the
band’s moniker, Jane Eyre takes work on the part of
the listener, but upon completion one is a better person for
the effort. The band, led by Jesse Rifkin, whose previous
act, The Wailing Wall, was as equally intriguing as his current
outfit, uses a cornucopia of technology to craft songs that
include audio snippets of television commercials alongside
much more traditional instruments such as sax and harpsichord.
The finished product is a collection of songs that indulge
in blues and folk (“Boy King Island”) but is not
averse to more straight ahead rock “Hazel Motes 1”.
Rifkin utilizes a deep bag of musical tricks to consistently
switch gears through seven thoughtful songs, but does flash
a wry sense of humor by titling one effort “Home Alone
2: Alone in New York”. It struck me as ironically funny
that a band this musically intelligent would borrow an otherwise
forgettable film for a song tile, but this is the nature of
Jane Eyre-like the band itself, the song is complex and engaging.
Live snippets of the band are interspersed with recording
session which are then married to moments of impromptu recordings,
all done in an unfettered manner to capture the honest and
fearless nature of the band. Lovingly constructed with the
finest DIY aesthetic, With Our Thoughts We Make The World
is not for those looking for tap-tapping, simplistic beats,
but if one is up for the challenge, this is a fascinating
musical experience.
 PLACES
TO HIDE - Almost Nothing (www.placestohide.bandcamp.com)
The days of the world not fullyappreciating the talents of
Deborah Hudson should be over. Hudson, the lead vocalist for
Places to Hide, is a Kim Gordon for the 21st century; a brazen,
snarling, fragile, and fierce singer who is the centerpiece
of a band who lovingly recaptures 90’s era fuzzed-out
indie rock and make sit their own. There is a youthful naivety
and blessed recklessness to Almost Nothing that harkens back
to anything on the Simple Machines roster, but this is not
some cloaked tribute band. Each song is played with a punk
immediacy, and while there are moments when the tracks blend
together a bit musically, the lyrics so fearlessly delivered
by Hudson separate each piece into a highly distinctive world.
“Love Song” begins with the lines, “This
Summer is so hot and I just want to have sex with you/We’ll
never pay these students loans off and I just want to spend
my money on you”, while the raw nerve of “Ecotone”
is all too relatable for many as Hudson laments, “I
cried myself to sleep again, I know that’s not very
punk.” The artwork that accompanies the record is ghostly
images of people whose visages are too faded to recognize
and acts as a metaphor for many of the themes here. The band
tells tales of hopes and loves left unfulfilled ina world
that is perpetually disappointing, one in which happiness
is as fleeting as a fading memory and the past is all one
has to truly cling. “Get Me Clean” captures this
sense of hopelessness and desire for escapism as Hudson resigns
to a fate a says “I Miss the old you/Come home and we
can have the saddest sex”, and while “Michael
Jordan” does reference basketball, the song truly addresses
a relationship struggling to survive (“Sorry if I’m
hard to live with/This is me at my best”. Get to bandcamp
and make this a part of your life for it is the perfect addition
to an impending winter of depression.
 THREE
MAN CANNON/LEE COREY OSWALD - Split EP (Black with sap www.blackwithsap.limitedrun.com)
Three Man Cannon is a complicated band from New York that
is rarely seen but greatly appreciated. The five songs on
this split are hazy pieces of guitar rock in which moments
of quiet are suddenly smashed by bombast. None of the five
efforts hang around very long, but each of them retains a
subtle strength, particularly through the vocals. The playing
of Three Man Cannon is straightforward without ever becoming
redundant, and I was taken by the imagery detailed in “Wonderful
Lungs” and the frantic tale of “Los Ruiz”.
This is not revolutionary, but five efforts that do hold one’s
attention. Lee Corey Oswald was the winner here for me, as
the band alternates between bursts of garage style punk angst
and subdued intensity. “We’re Not on the Basketball
Team” has a guitar riff as great as its title and captures
the band’s unadulterated appreciation of Stooges-style
energy, while “Because I Can and You’re Willing”
is almost menacing in its sullen unobtrusiveness. The story-telling
on “Boulevard” and “Bullshit Stories”
is impeccable, particularly for a band as young as LCW. This
split has its moments, but the majority of them belong to
Lee Corey Oswald.
 CLOSE
YOUR EYES - Line in the Sand (Victory Records www.victoryrecords.com)
My initial exposure to Close Your Eyes is the underwhelming
“Deus Ex Machina”, and I am ready to yawn through
a collection of rather standard hardcore; thankfully I do
not give up easily, because when the chorus of “Burdened
by Hope” punches me in the face I am a convert, at least
briefly. Speaking of converting, Close Your Eyes is a Christian
band and I usually hide myself away from such acts fearing
holier than thou preaching coming down from on high, simply
exchanging priestly arrogance and hypocrisy with gang vocals
and guitar riffs. Yet again, I am at least temporarily wrong,
for vocalist Shane Raymond has a voice that is emotionally
charged and stirring, particularly on the warm title track
and “Higher Than My Station”. Unfortunately, there
are more than a few missteps here, notably “Kings of
John Payne” and “My Way Home” which are
too slick for their own good, existing in the land of the
desperate for a teen anthem rather than more authentic hardcore.
The band is both engrossing and frustrating, for while some
songs are grossly overproduced or too sanitary, there are
others, such as “No Borders!” and the crippling
“Skeletons” that are soaring and scintillating
explosions of force. Upon the completion of Line in the Sand,
I am still uncertain about Close Your Eyes. Their energy is
undeniable and this is a band with musical prowess and a penchant
for catchy hooks and choruses, but this may appeal to a younger
set. Of course, that is ideally what the guys would want rather
than appealing solely to bitter old codgers, but I need a
bit more fire with my brimstone please.
 SEEKER
- Unloved (Victory Records www.victoryrecords.com)
Could it really be time to christen a band retro metalcore?
If so, Seeker is it. The Texas four piece certainly love death
metal, but not in the early 90’s, Floridian swamp style.
Rather, the band incorporates elements of AmRep noise into
their aural stew to produce a raw, vicious attack that is
pummeling without becoming overly repetitive. “Pale
Death”, “When Hope Fails” and the title
track are meticulous slabs of contemporary extreme metal with
vocalist Bryce Lucien unleashing a style that is less death
metal cookie monster growl and more hardcore punk emotion;
the integration of unfettered aggression with above average
technical competency makes Unloved a record that will stand
out in a musical landscape with thousands of bands attempting
this style of playing. Guitarist Justin Edgerton does the
work of three men by himself while the rhythm section of bassist
Chris Keasler and drummer Dustin Weaver are shockingly efficient,
particularly on the relentless “She” and the crushing
“There is Nothing”. With themes of suicide, sorrow,
and desperate isolation, this is a dark record made with unrelenting
intensity; however, Seeker’s most endearing quality
is their ability to generate tech-savvy metal without become
unnecessarily esoteric. The guitar work is enchanting and
challenging, but not to the point where one gets lost within
the song; essentially, this is sophisticated yet still grounded.
Fans of Dillinger Escape Plan will hungrily devour this, but
more simplistic types like me will also be drawn to a thunderous,
monolithic anthem such as the closing “Escape”.
Metal has been a part of my life since I was nine years old
and it is always inspiring for me to discover bands that continuously
have the courage to refine the sound, and Seeker is one such
act.
 MOTORHEAD
- Aftershock (www.udr-music.com)
There are few names in any sphere of music as rightfully iconic
as Lemmy, for the Motorhead leader is a model of consistency
and excellence. Lemmy famously takes the stage and barks to
the audience thathe and his mates “are Motorhead, we
are rock n’ roll”, and those words should adorn
the headstone of this man except f or the fact that Lemmy
will never die. Aftershockis easily the fiercest release from
Motorhead in the past decade, and there is not a clunker among
the fourteen pieces of guitar fueled, blues-soaked metal fun;
that’s right, this stuff is fun! Lemmy and the boys
craft massive riffs that have inescapable groves, whether
it is the bad boy boogie heard on “Do You Believe”
and “Crying Shame” or the slow boil of “Lost
Woman Blues” and “Dust and Glass”. Aftershock
is emblematic of Motorhead as a band; it could be a perfect
starting point for those new to the planet or to metal, yet
it will also satisfy long-time fans as well. “Heartbreaker”
and “Coup de Grace” is a roaring pair to start
the disc with both songs highlighting Lemmy’s instantly
recognizable growl over the top of monstrous guitar hooks
and airtight rhythms. Both songs are classic example of well
formulated, tried and true metal power; there is nothing fancy
about anything Motorhead does, and that is exactly how their
fans want it. Motorhead ‘s loving tribute to the Ramones
years ago was always appropriate,for both bands are cut from
the same cloth. Just as the Ramones remained steadfastly committed
to pop-infused punk energy, Lemmy has refused to follow trends
and has kept his band traveling down a path of guitar-charged
metal accented by homages to the original primal roots of
rock n’ roll. “Keep Your Powder Dry” has
a structure that borrows from the London clubs of the 1960’s
only with the amps turned into the red, while the speed of
“Queen of the Damned” and the closing “Paralyzed”
will remind anyone foolish enough to have forgotten that the
name Motorhead need be spoken of with reverence when discussing
the most significant contemporary bands, and not just nodding
to their greatness of the past. Motorhead will never be found
in the bullpen in Yankees Stadium saluting a retiring baseball
player, nor will they ever be featured in a car commercial,
and for that, the world is a better place. There is a legion
of angry boys and men out there who think that throwing punches
and spin kicks in a pit make them tough-those guys would not
survive an hour with Lemmy.
 YOUNG
TURKS - Where I Rise (www.animalstylerecords.com)
The four songs on this EP are incredibly speedy and heavy
slabs of contemporary hardcore. There are chugging breakdowns
and gang vocals, but the band has a genuine control of their
instruments that moves them beyond many of their peers. The
opening “Territo(royally) Pissed” is a scalding
mass of pummeling punk and politically charged lyrics. Vocalist
Matt Koenig is relentless in his delivery, and guitarists
Bryan Zurek and Jason Soejoto write thick hooks that will
undoubtedly get the circle pits moving, yet I could not help
but smile when I read the title “Row vs. Wade vs. Westbrook”
(NBA geeks will grin, undoubtedly). “Zone K” is
a flesh eating disease of a song as it rips the listener to
shreds with a break-neck pace a punishing low end from bassist
Andrew Arellanoand drummer Mason Juve. It is unfortunately
over in a scant minute and twenty-seven seconds, but within
that anthem lays all one needs to know about the band. The
slightly longer “Old Gods” closes the EP with
more impressive guitar playing, but Young Turks is a band
for whom less is more. The kids capture classic Pacific Coast
hardcore virulence without simply rewriting anthems from the
90’s. From all I have read, this is a band that loves
tour and record, and these four songs have certainly increased
my anticipation for their next release.
 ISOLATED
- This is Q-Town, Not LA (District Records www.district763.de)
Isolated play furious German hardcore that does not vary greatly
from their American brethren, but, the German language makes
anything being said sound far more scary and intimidating,
so This is Q-Town has a menacing quality about it. The twelve
songs here range in length but not intensity-the twenty-seven
seconds of “No School” are blazingly fast, but
its fury is matched by the noticeably lengthier title track
and “Chaos is God” (the only song of the dozen
whose lyrics are printed in English). The men in Isolated
are certainly not new to the scene and their technical proficiency
is celebrated on the pummeling “Nur ‘Ne Phase”,
“Alles Schon VerPackt”, and especially “Hardcore
Polizei” as they channel their inner Terror. This is
designed for those who appreciate hardcore that emphasizes
a heavy bassline and is not afraid to find a groove and stick
by it. This is Q-Town is not flashy by any stretch and can
become a bit clunky at times, but it is a fun ride with a
foreign voice. I see this for the purest of hardcore collectors
or those with an interest in niche bands, but it is a solid
release from one of our European allies.
 MOISTBOYZ
V (www.moistboyz.com)
The Moistboyz have a twenty-plus year history and a collection
of four records of raging, grizzled punk and metal. Therefore
it only makes sense for the guys to produce V, an album of
classic, blues, and country-infused rock. It is entirely logical
if one appreciates the career of the enigmatic Mickey Melchiondo,
most famous for his presence in the seminal college radio
deities Ween. Pairing himself with Guy Heller, the two churn
out bouncy, deceptively dark rock n’ roll on “Paperboy”,
while just as adroitly delivering huge helpings of rural goodness
on “Down on the Farm” and the hilarious “Chickendick”.
Rounded out by guests Joe Kramer (guitar) and drummer Chuck
Treece, there is a wonderful divergence of styles throughout
the record. Heller’s lyrics range from the ridiculous
to the philosophical, all the while spinning glorious yarns
of stream of conscious style verbal purging. A significantly
pleasant surprise was the delicate and folksy “My Time
to Die”; this is a track that Hank Williams would have
been comfortable singing, and the song takes on an added poignancy
as it follows a soaring blast of 90’s style indie noise
on “Garbageman” and gritty, angular punk of “The
Fury”. These aforementioned tracks are songs more akin
to what one expects from Moistboyz, but this is not a band
interested in catering to expectations. The intricate, bluesy
“High and Mighty” sits comfortably next to the
honky-tonk, beer-soaked rock of “One Cut” and
the groove-oriented “Medusa”. This is fascinating,
musically liberating record for the members involved and a
tremendous listening experience for those lucky enough to
grab this.
 TRC
- Nation (No Sleep Records www.nosleeprecords.com)
TRC are lighting up London right now after eight years of
recording and playing. However, the band has a sound more
appropriate for the nu metal revolution of nearly two decades
ago as they combine metal riffs, hardcore breakdowns, and
hip-hop vocals. Granted, bands such as Emmure and Stray From
the Path utilize hip-hop into a metalcore sound, but the vocals
here take too much away from the playing that surrounds them.
Many of the songs on Nation have a big hook and a low end
heavy enough to satisfy metal fans but I cannot get past a
lyrical delivery that smacks of caricature more than authenticity.
“Motivator” and “We Bring War” are
two of the promising efforts on the disc as both songs are
furious in their delivery and spare the tired hip-hop delivery
for a more straight ahead approach, as “War” revolves
a monsoon of a riff and features a crushing breakdown accented
by gang vocals. Granted, this is a battle-tested formula but
it works here. Unfortunately, much of the record is bogged
down in either the rap-metal buffoonery of “Gold Metal
Music” or the unnecessarily ambiguous instrumentation
of “Between Bridges” and “Weekend Walls”.
In short, there are highly likable moments here, but TRC employs
too many gimmicks for my liking. There is nothing wrong with
integrating various genres into metal, but not at the cost
of watering down the original intent of the band. Nation sounds
like the product of a band working too hard at gaining mainstream
acceptance by overly catering to the kids. I hope they do
not give up on the band all together, but simply tweak the
vocals and devote themselves fully to crushing people’s
skulls musically.
 STAND
FOR NOTHING - Demonstration of Frustration (http://standfornothing.bandcamp.com)
This could be the best band Long Island, New York has ever
offered. The five blasts of raw, incredibly energized punk
on Demonstration of Frustration are laced with biting sarcasm
and self-deprecating humor. The bandmembers offer a scant
amount of information about themselves, but the music speaks
for itself; this is for fans of authentic, straight ahead
hardcore without any pretentious. This has early 80’s
written all over it, but not any one particularly scene-this
is a band that could have shared a stage with Negative Approach
as easily as Government Issue or Circle Jerks. The lyrics
address a variety of topics, ranging from missing friends
who have passed in “Act II” to the scathing take
on hipsters in “U.R.M.T.” (“Are you really
anti-religion /or just pro-pseudo-rebellion? /Either way,
there are more than Christians” and “Fuck off,
tumblr activists and all of your P.C. shit/Freedom and equality,
but just for you/ Fuck life shaming and fuck Doctor Who”).
The greatest amount of vitriol is saved for elitist punks,
or at least those perceived by the members of Stand for Nothing
to be elitist on “Hardlycore”, as hopefully this
message does not apply to you: “Don’t care about
Youth Attack /and I prefer my vinyl black/ Collecting plastic
in limited runs/ is not my idea of fun”. My favorite
of the bunch is the harsh reality check of “Mother’s
Day” in which a frustrated millennial sums up the anger
undoubtedly felt by many in this country: “Nothing that
I want to do /two times I’ve given up on school/ I am
still living at home/one day I’ll move and die alone”.
I am not sure if Stand for Nothing want to be anonymous, but
this is a band whose name should become more than just a download
on bandcamp.
 WAR
GENERATION - Start Somewhere Never Surrender (Rise Records
www.riserecords.com)
Jon Bunch first made a name for himself in a string of adored
acts, notable Further Seems Forever and Reason to Believe.
His warm, occasionally soaring vocals were the calling cards
of those bands and his voice is as strong as ever on Start
Somewhere Never Surrender. Unfortunately, War Generation is
a band that will get lost in a sea of other acts producing
a safe, albeit skilled, form of “modern rock”.
The guitar playing is quite impressive, particularly on the
opener “Nobody” and the hook-laden “Wake
Up” and Dead and Gone”. Even when the band attempts
to shake up the normal routine on the slightly more aggressive
“New Noise”, one is still overwhelmed by the ennui
that comes when former punk-inspired players smooth the edges
and baby-proof their music. The songs throughout the record
are poppy, catchy, and radio-ready fare but they are not notable.
This is the conundrum of most contemporary rock acts; how
does one generate music that is both exhilarating and challenging,
but still available to the masses? War Generation produces
the type of song structure that produces hits but not memories.
There is no grime, no spots on the carpet here; War generation
comes across as a band that has micro managed their sound
in to a pristine hue devoid of real passion. The playing is
quite good and the members are each uniquely talented, but
the guys need to lose the sheen and inject greater intensity.
This could come across more effectively in a live setting,
but getting people through the door could be the struggle.
 BELLS
- Solutions, Silence, or Affirmations (www.bellstheband)
If one has been paying attention to indie music of late, the
city of Brooklyn has gained wild acclaim for the vitality
and originality of the acts calling it home. Add BELLS to
that mix, despite having to jump through technological hoops
to include that little math symbol after their name on the
CD cover. Normally, anything that triggers memories of attempting
to solve for x would anger me to the point that I would ignore
the music, but Solutions, Silence, or Affirmations
cannot be ignored. The seven pieces of, in the band’s
words, “mostly non-improvised instrumental music”
range wildly in intensity and tone. The common link among
each song is the sterling talent of the members. One could
falsely assume upon dropping the needle on “Apostatic”
that the ride will be fairly easily manageable. However, by
the completion of the inspired drumming ofZach Barocasthat
closes “Metatron” on the first side, the band
leaves the listener exhausted but undoubtedly interested about
what lies on side B. The four songs on the second side are,
I believe, stronger than their cousins, only due to the guitar
wizardry of Chris Ernst and Stephen Shodin. The haunting “Brothers,
Sisters” and the soaring closer “No More Water”
mark the pinnacle of this band’s mighty aptitude. Playing
this type of music automatically limits a potential audience,
as people look for lyrics and a frontman, and therefore it
requires superhuman skills to capture a listener and hold
that individual for an entire sitting. Like Animals as Leaders,
BELLS= are so gifted that one must succumb to their charms.
To their credit, no song even spins out of control or seems
sloppy by nature; rather, this incredibly gifted foursome,
rounded out by Tom Broucksou on bass, generate swirling masses
of intricate and riveting sound.
If one needs an introduction as to the musical concoctions
of Melt Banana, well, pal, where have you been for the past
twenty years? This Japanese gem of a noise-core, spazz-crust,
punk-disco hybrid have been blowing minds and speakers with
their blasts of futuristic, blindingly quick chaos. Yasuko
Onuki is once again the centerpiece of this latest assault
upon convention, and her screeching, high pitch wail of a
voice rips through one’s head on “Vertigo Game”
or “Schemes of the Tails” while blips, beeps,
pummeling basslines and drops all run around and seemingly
through her. This is a remarkably unique listening experience
and there is simply nothing else on Earth quite like Melt
Banana. They take the unrestrained fury of the Boredoms and
the relentless energy of Arab on Radar, add a drum machine
for an increased sense of inhumanity and slam it all together
with a splash of Merzbow to punish anyone with the courage
to listen. However, unlike the majority of earlier releases,
Fetch is not a collection of quick hits; several songs hang
around for over three minutes (“Missing Link”
and “Zero”), while “Infection Detective”
hits the previously inconceivable four minutes. This extended
time allows the band, now just a duo with Ichirou Agata, to
explore their majestically warped ideas to a greater degree.
What I always appreciate about Melt Banana is how they do
not make noise, but music. The guitar work throughout the
record, but certainly on “Lie, Lied, Lied” and
“Then Red Eyed” is outstanding; a buzz saw of
force that would make any devoted metal fan head bang himself
into a coma or fire up the most explosive of circle pits.
“The Hive” is my pick as the track of the bunch-a
grinding ball of pummeling power with a hypnotic dance beat
layered just beneath the surface. The dichotomy of pop and
brutality I find exquisite and acts as a perfect summary of
why this band is worthy of your blind adoration.
 REDBUSH
- Milkmaid
(www.whoaboatrecords.com)
With one of the most troubling album covers I have seen in
years, Laramie, Wyoming’s Redbush prove yet again that
it is the quiet towns that produce some of the best noise.
The trio of J.D. Korpitz on guitar and vocals, bassist Ian
Mckillip, and drummer EvBruhnkclearly love big riffs and rich
harmonies, but there is an edge to this band. When Korpritz
spits the lyric “I’m fucking bar trash just to
get you off my mind”, one knows that this is not punk
with a grin, but rather a scowl, as songs furiously call for
revenge or consider escapism with numerous violent images
(“everything has gone as planned/snap that baby’s
neck before it learns to stand” from “Confessions
of a Butcher”). Although the tone of the story-telling
is dark, Milkmaid overflows with highly impressive guitar
hooks, with the combination of “Industrial Morale”
and “Lonely Soul” as my favorites. These tracks
close the opening side of the record on a soaring high notes;
two slabs of grunge flavored punk that retains the best qualities
of each genre. Redbush certainly do not shy away from pop-inspired
riffs, and there more than a few Descendents style moments
on Milkmaid, which is a trait to be celebrated, but there
is a menacing nature to the material here that elevates Redbush
above the clatter of small town kids making cool music. “Polar
Creep” kicks off the second side with a wanton tale
of sexual depravity from the perspective of an older man (a
conversation from a father to a son perhaps) that is also
singed with a permeating sorrow that gives the song incredible
depth even as Korpritz says “what you doing son/hoping
that you can still get it up but I can’t get it up.”
When the trio slows the pace dramatically on “The Stoker”
or channels their inner 90’s indie spirit on “Should
I Stay?”, they never fully abandon the kinetic energy
and great sucker punch qualities that define the record. Milkmaid
is available in a limited pressing so fire up the credit card
and buy this right away.
 STATE
LINES - For the Boats (www.tinyengines.net)
Long Island’s State Lines craft intelligent, passionate
indie rock, and the band is equally adroit at utilizing snarling
guitars as gently, cascading musicianship. For the Boats is
a record of raw emotion and unflinching honesty; an album
with lyrics that will make one cringe, for the situations
are all too relatable. When Jonathan DiMitri sings of building
a small boat “to find the youth from those days that
we seem to have left behind”, he is not a man mourning
the passage of time, but something far more profound and intimate.
The immediacy of the playing on the title track or “Shit
for Brains” makes For the Boats intriguing, but the
staying power of the album, and ultimately, undoubtedly, of
this band, is the multitude of layers displayed here. “The
Same Mistake” tells a well-worn tale of allowing a friendship
to fall apart, but rather than scream over the top of roaring
guitars or sounding unnecessarily hushed, State Lines plays
the song somewhere in the middle; it is not a genteel listen,
but the intensity comes through quite clearly. This is band
that wants to make you think and feel as you listen, not just
sing along. Yet, before one is ready to write these kids off
as dowdy, (too) old souls for their age, there is the recording
miscue at the conclusion of “Tuesday Morning”
prior to the beginning of the closing “Where it’s
Warm”. The laughter is infectious, and the playing,
particularly on “Warm” is stirring; however, the
highlight in my opinion is the chilling “Kids”.
An understated piece of brilliant story-telling, the song
leaves the “consequence” referenced at the conclusion
open-ended. With lines about drinking “a constant diet
of cheap beer-whatever we could get our hands on” and
being “just kids”, the song is gripping anthem
from an immensely promising band. Some bands need to drastically
alter their sound as proof of growth; State Lines annihilates
this theory as they remain true to their musical history but
have simply enhanced their acumen.
ENTROPY
-Out Of Spite (entropyhardcore.bandcamp.com)
Whenever a record opens with a thirty-two second blast of
flesh-ripping hardcore speed, (“Atriums and Exists”)
I know I am home. Entropy’s Out of Spite comes and goes
very quickly, but the stay is exhilarating. Does Out of Spite
do anything to truly move the needle of hardcore forward?
No, but that is not why I love bands of this ilk. Rather than
worry about pseudo-intellectualism or over analysis, Entropy
rage with a fury reminiscent of bands found on early 80’s
compilations. “Intention Tension” includes the
lyrics “fuck your American dream/do you want to be a
wage slave like me?”, and they are barked with a sober
intensity that cannot be feigned. The thirty-eight seconds
of “Principles of Intermediate” and the forty-seven
seconds of “This is Comedy” will undoubtedly generate
pits that could be life-threatening as Pat Bradford’s
guitar playing is the musical equivalent of a machete slicing
through the scream-myself-hoarse vocals of Brian Lawrence.
Brian Labuda and Colin Jay pair up as a ridiculously ferocious
rhythm section, and the emphasis there is rhythm. Entropy
is not simply shouting in the woods without any plan; this
is hardcore with both heart and harmony in the mold of S.O.A.,
Warzone, or even the immortal Minor Threat. With tempo shifts
that introduce classical style breakdowns, limitless adrenaline,
and absolutely no guitar solos, this is a modern classic.
In short, you are a fool to ignore this, and the cd is released
to 75 copies. That is punk-buy this now!
 THE
FLATLINERS -Dead Language (www.fatwreck.com)
I happen to love Canada, our kind-hearted, well-behaved,
gun-control loving neighbors to the north, both for the
decency of the people and the natural beauty that defines
the country. I can also add Flatliners to the list of what
makes Canada great - these four hard working fellows have
been driving, sweating, and playing gritty, well-honed punk
for nearly a decade now. The brand of musicianship on Dead
Language is loud, forceful, and furious, yet there is a
controlled elegance to much of the material. The twin guitars
of vocalist Chris Cresswell and Scott Bringham are continuous
lightning strikes of soaring rhythms and intensity, whether
on the blazingly fast “Dead Hands” and “Young
Professionals” or the equally deft yet lengthier “Sew
My Mouth Shut” or “Birds of England”.
What holds the record together is the precision of the work,
as has a punk edge offset by a sophistication and self-confidence
that develops only as band truly recognizes its own “sound”.
The songs are melodic, but there are few truly memorable
hooks Dead Language; rather, the Flatliners compile terse,
fleeting bursts of ideas and produce songs with dynamic
personalities. This is quite a feat considering the musical
age in which we find ourselves, in which bands tend to do
what is safe rather than what is original. “Drown
in Blood” and “Caskets Full” may connote
images of visceral, violent metal, but these tracks defy
their ominous names and are swaddled in the warmest guitar
hooks of the disc. There are elements of 90’s indie
punk here, which is most likely what these guys grew up
listening to, but their influences never overwhelm the finished
product. Dead Language is original, heartfelt, and thoroughly
enjoyable with an authentic swagger about it. The Flatliners
are a band clearly entering the prime of their career and
I am thrilled to read that these guys will share the same
bill as Night Birds at the Fat Wreck Chords showcase in
Brooklyn at the CMJ festival, as those are two bands that
should rule North America.
 DOYLE
- Abominator (Monsterman Records www.officialdoyle.com)
Recent manifestations of the Misfits have done little to resemble
what was one of the most important acts in punk’s history,
but I am happy to announce a new chapter in the long, strange
history of guitarist Doyle. Abominator will help people forget
about many of the past transgressions as Doyle has masterminded
a scorching collection of classically honed, skull-crushing
metal. Fittingly, the man who loves monsters creates riffs
that are monstrous in scope and act as perfect accents to
the vocals of Alex Story. Story is an ideal frontman for Abominator
as his voice balances a punk growl with a metal yelp on stand
out efforts “Headhunter” and the wall-rattling
title track. The rumbling “Land of the Dead” is
only one of many examples of the power of bassist “Left-Hand”
Graham and the always impressive Dr. Chud. Doyle may not be
a flashy guitarist but he consistently demonstrates an effortless
ability to unleash equally memorable and punishing hooks throughout
this record, clearly heard on “Learn to Bleed”
and the deliciously twisted “Cemetery Sexxx.”
Some may snicker at horror metal and see songs such as ”Dreaming
Dead Girls” or “Mark of the Beast” as clichéd;
however, what Doyle does here is actually strip away much
of the unnecessary pretense that exist within extreme music
today and simply makes loud, aggressive metal. Like the Misfits
themselves, there is a rock n’ roll swagger that permeates
Abominator that lets the listener know that Doyle and his
friends are in on the joke and everyone should just have a
good time. There is not enough of that in today’s music,
and Abominator is a lot of fun-especially if you enjoy the
occult, murder, bloodlust, and the undead.
GREAT
APES - Thread (Asian Man Records www.asianmanrecords.com)
This San Francisco-based outfit only came together in 2011
but has been quite prolific, including a series of 7”’s
and this impressive full-length. Great Apes clearly love pop
harmonies, but do not hide from noise when necessary. While
the opening “17 Years” bounces with the buoyancy
of Blink 182, “Yellow Ribbon” and “San Quentin”
are darker, more menacing songs with a powerful low end and
cutting guitar work. The rich harmonies of “Everything
is Everything” and “The Fine Art of Holtzing”
have a sophistication that illustrates the talent of vocalist/guitarist
Brian Moss. The band openly celebrates their appreciation
of straight forward pop harmonies in its bio, but one should
not misinterpret Thread as disposable fare. Although Great
Apes members mention that they “have been or are in
an array of more complex projects”, they should not
minimize what happens on this record. Moss and fellow Apes
(Rob Carter on guitar, Josh Kuntz on bass and Matt Kadi on
drums) borrow 90’s indie fuzz on “Vial of Life”
and display a more complicated song structure on “The
Edge of the Western World’. Lyrically, each song reads
like a singular vignette with intellectually sophisticated
tales of emotional depth. I am uncertain if the members plan
on making Great Apes their primary commitment, but they have
a limitless future should they do so.
GENTLEMEN PREFER BLOOD/HANDS LIKE BRICKS
Split 7-inch (Radius Records www.radiusrecs.com)
Both acts on this split hail from L.A. and play fairly
similar brands of pop-infused punk. They also mark the return
of Radius Records after twenty years of dormancy. Gentlemen
Prefer Blood, in addition to having an awesome name, have
an unpolished enthusiasm that carries a massive singalong
chorus on "New Year's Resolution", while "Rochester"
is a bit darker in tone. Both songs feature voluminous riffs
and harmonies that will have the kids in the pit flying.
Hands Like Bricks are speedier than their partners on this
disc and are not afraid to air their sorrows and sing about
heartbreak. Imagine the Bouncing Souls before they perfected
their craft and you have a sense of Hands Like Bricks, particularly
on "The Old Crowd". "Sunday Stuff" has
a sentimentality that makes it endearing, as the lyrics
celebrate the comfort that can come from a partnership and
how even the mundane activities are yearned for once the
relationship ends. This is not a genre altering release
but it is two very promising bands that could help to form
the next wave of American pop-punk.
 TERROR
- Live By the Code (Reaper Records www.reaper-records.com)
Terror, one of hardcore's most authentic scene veterans,
return with a fury and intensity greater than bands half
their age. Forty year old vocalist Scott Vogel gives life
lessons without preaching on Live by the Code.
Releasing a record that features liner notes that outline
guidelines for living a life of hardcore purity puts Vogel
at risk of sounding like the punk rock version of the neighborhood
curmudgeon who refuses to return a frisbee to a neighborhood
kid after the toy lands in his yard. However, instead of
retelling stories about the old days or criticizing this
generation collectively, Vogel and his mates celebrate the
power and beauty of music through eleven blazing songs.
Fans of Hatebreed and other metal-tipped hardcore will revel
in this, but this is truly a primer as to how hardcore bands
should sound. Live By the Code will undoubtedly
inspire legions of kids to start bands or take their current
band more seriously, but it should also remind old guys
like (OK, to be fair, I'm Vogel's age) why going to shows,
buying merch from young bands, and escaping the annoyances
of work by getting in the pit and yes, even stage-diving,
is so important. The reality of life's lack of fairness
is explored on "Shot of Reality" and the bruising
"Hard Lessons", while the scathing "Nothing
in Your Head" condemns some in the current generation
of being intellectually, socially, and creatively numb.
The themes of inner strength, perseverance, and hardcore
unity that Jamie Jasta has used as lyrical fodder for used
is also apparent on "I'm Only Stronger", the title
track, and "One Blood". This is a soaring example
of how respecting your elders truly means something.
 TONIGHT
WE STRIKE - Bombs and Bibles (Stop the Machine Records www.themachineshoprocks.com)
This politically astute act from Northern Jersey play sharp
punk in the style of Anti-Flag with a healthy dose of Bad
Religion. There is a healthy skepticism and intelligence
to "Slings and Arrows" and "I Play My Role",
two of the highlights of this four song EP. Led by the dual
guitar playing of Kyle DeMilner and Don Yonker (listed on
at least one website as "Donnie Switchblade"),
Tonight We Strike has the musical chops to back up their
verbal acumen. This is thinking man's punk without any superfluous
musicianship, as the title track blazes by quickly. I know
there are legions of bands who listen to No Control and
attempt to recreate it, but I never tire of this and I certainly
hope that Tonight We Strike carry on with their messages
and skill.
 PLACEHOLDER
- I Don't Need Forgiveness (Black Numbers Records www.theblacknumbers.com)
For an outfit that has only been together for just over
two years, Placeholder has a command of their sound that
is impressive. I Don't Need Forgiveness sees the band stretch
itself in a variety of directions, as there are songs that
barely hang around for two minutes, while others, especially
the five minute-plus "One Year" expound upon a
style that is reminiscent of intelligent, emotive acts such
as Cursive. Thundering bass lines and rapid-fire drumming
give way to enchanting guitar fuzz on "Caught the Crown"
and "Everything's Boring", while the title track
rumbles furiously. There are two strange musical interludes,
the instrumental "(I)" and "(II)" that
last forty seconds each and are unnecessary, although the
latter does feature an interesting pairing of a loud open
chord with a subtle etherial touch. However, these two breathers
aside, I Don't Need Forgiveness is an emotionally combustible
record, both introspective and engaging, reaching its apex
on both points with "December, 2011". Articulate,
occasionally self-deprecating, and musically gifted, Placeholder
is a fascinating act. The Emo Diaries may be gathering dust,
but perhaps new chapters can and will be written by this
Harrisburg, Pennsylvania product.
 SHELLSHAG
– Shellshag Forever (Don Giovanni Records www.dongiovannirecords.com)
Normally I am not a person drawn to punk-pop that is romantic
and effervescent, but there is just something unwaveringly
enticing about Shellshag. I am a sucker for a great backstory,
and John Driver and Jennifer Shagawat have spent the better
part of two decades making music together as a couple, and
their loves for each other is obvious. The opening “Face
to Face” talks about being “birds of a feather”
and “growing old together”, while the two exchange
darling memories on “Sweet Hoodie”. The shared
vocals of “Forever” are heartfelt and passionate
over the hum of a warm guitar riff and steady backbeat, and
even when Driver repeats “liar, liar, pants on fire”
during “Driving Song”, I cannot hate the guy for
it. I am reminded of other wonderful duos such as The Softies
or more fittingly, the Spinanes, but Shellshag have a greater
musical complexity, best heard on “I Love You Anyway”,
a track easily relatable to all couples who stay with each
other and remain focused on creating happiness even times
are not the best or one of the partners is not always making
life pleasant. It’s a great message from a band that
write love songs in a mature manner-these songs are not about
first meetings and the freshness of a relationship in its
infantile stages, but rather celebrating the delight that
comes through years of shared experiences. The songs are quite
brief and this entire disc is under a half hour, but one does
not feel cheated. Instead, the brief snippets of daily relationships
provided here are wonderful images, each played with direct
and highly melodic guitar work. Maybe I’m getting older
and more sentimental, but I love what I hear on Forever, and
score another victory in the long and impressive history of
Don Giovanni.
 THE
ALL ABOUT - Suburban Heart (theallabout.bandcamp.com)
Listening to Suburban Heart makes me wish I was young,
and it is also illuminates Zac Coe’s remarkable ability
to recognize life’s changes despite his youth. The efforts
on Suburban Heart speak of leaving, but not necessarily
loss. Songs like “Nashville”, the title track
and “Whatever, Happy Birthday” are about growing
up and moving on, but always s early 20’s, but Coe paints
dazzling images, such as a reference to a girl picking “grass
up with her feet” in the delicate “Heat Wave”.
Musically, Suburban Heart retains much of what made
their debut Winterpop so charming, which is an adherence to
genteel pop with warm textures, but subtle touches such as
the strings on “Lyla Garrity” or the synths that
morph into a complex pop-rock gem with an ode to Springsteen’s
“Rosalita” on “Bridge and Tunnel”
indicate wonderful growth from a songwriter sophisticated
beyond his years. Just hold on to your youth Mr. Coe; trust
me
 NIGHT
BIRDS - Born to Die in Suburbia (Grave Mistake Records www.gravemistakerecords.com)
They are back: Night Birds, America’s best punk band,
if not most important band, returns with Born to Die in
Suburbia, a fourteen song collection of ferocious and
crucial musicianship. The opening “Escape From New York”
celebrates this band’s long-running fascination with
the Dead Kennedys, as the guitar playing screams with the
intensity heard on “Police Truck”, and this loving
homage is repeated on a second instrumental “Silver
Alert”. However, while one can certainly hear a multitude
of Southern California punk influences, ranging from Adolescents
to Circle Jerks to TSOL, Born to Die in Suburbia truly separates
Night Birds from scores of other acts that attempt to recycle
old styles. Everything on Suburbia is fresh, inventive, and
played with a fearless recklessness that is impossible to
dislike. The title track rages in a firestorm of snotty indignation
that also possesses a sly melody that eludes other bands.
Night Birds are not solely intent on blinding fury; instead
much of Suburbia includes subtle harmonies and catchy
choruses that make each song a track one puts on repeat. “Modern
Morons” is my favorite of the disc, as the aforementioned
SoCal punk is mangled through a SSD-style meat grinder and
the result is a perfect blend of raw energy and pure delirium.
The entire record is a seizure combined with a sugar rush
as “No Spoilers” barely hits the forty second
mark and the brilliant “Ads in my Eyes” grants
you its presence for under ninety seconds. Yet, despite the
brevity, there is more musical acumen and honest emotion in
these two fleeting gems than what the overwhelming majority
of bands complete in a career. To this end, Night Birds display
greater confidence and growth as a band, stretching out their
sound on “Nazi Gold”, a tune with a more deliberate
tempo and accents that one has not previously heard from the
band. Yet, one should not fear, as “Nazi Gold”
is no less noisy or confrontational than any of the Birds’
best moments. Similar steps are heard on “New Cults”,
a song dark in tone and topic with wonderful references to
both Patty Hearst and David Koresh, and “Less the Merrier”,
a song with easily the thickest and most punishing guitar
riff on Suburbia. There is simply a dearth of bands
with the chops to successfullyl deliver“Pretty Poison”
or “Maimed for the Masses”, as these songs are
steeped in classic punk aesthetics, but have a contemporary
sound that cannot be rivaled. There are no tags preceding
or following the music of the Night Birds; this is just stripped
down, bare knuckled guitar punk with uncontrolled and infectious
exuberance. The disc closes fittingly with the aggressive
harmonies of “Golden Opportunity”. It is a delight
to hear a band with such great promise as the Night Birds
deliver upon their talents.
 HUGE
- 7-inch EP (681 Productions)
Huge play traditionally structured punk with nods to classic
tones and energy without descending into the realm of cover
band. Utilizing strong guitar playing and a sense of harmony
that often catches the listener by surprise, “Blackheart”
and “Sun on My Back” are rollicking, hard-throwing
efforts that highlight the distinctive voice of Russ Iglay
(of Underdog fame; brother Dean plays drums.) His is not
the guttural growl usually associated with bands of this
ilk, but it retains a passion that is authentic. “Homefree”
is the most hook-rich song on the four efforts presented
on the self-titled seven inch, and it is a streamlined blast
of unadulterated rock n’ roll energy with a punked-up
aesthetic. There is limited information about this band,
but any act that produces a single on white vinyl with swirled
colors is already a success in my book.
 CLOAKROOM
- Infinity (runforcoverecords.com)
Cloakroom is a mysterious act with a style that is simultaneously
easily identifiable and puzzling. Infinity is a collection
of five songs of shoe-gaze style bombast that is heavy on
the bass and steeped in fuzzy guitar. This overwhelms the
listener on “Dream Journal”, a grandiloquent piece
that is illuminated by a handful of clever guitar tricks which
mirrors “E”, another song that is brutally suffocating.
The listener is subjected to weighty riffs that induce a form
of musical water-boarding; Cloakroom leaves no air to exist
within these two songs, and therefore are my favorites on
Infinity. Less crushing are “Sedimentary” and
“Bending”, as both tracks feature more room for
movement within their walls of sound. “Bending”
has a more pronounced vocal harmony with a rousing buildup
to the song’s distortion-bathed conclusion. Reminiscent
of the best work of My Bloody Valentine or Ride, Cloakroom
is able to construct interesting songs around what is largely
a singular monolithic riff. While the closing “Mynd
Funeral” has subtle elements of Sleep’s immortal
“Holy Mountain”, this is not seminal or groundbreaking.
Instead, this is an exciting release from a band with true
promise. They could perhaps benefit from dissecting some of
Jesu’s finer material, but I like what these guys are
doing.
 THE
SIRS - Miserable (Psychic Volt Records www.psychicvolt.com)
I am instantly struck by the heavy stock and quality of the
multi-colored slab of vinyl found within the seven inch sleeve
for The Sirs, and I am thrilled that the quality of the playing
matches the beauty of the vinyl. The opening title track is
bouncing, buoyant pop-infused gem of a song that liberally
incorporates New Wave energy into an easily memorable song.
This is juxtaposed by the frantic force of the blistering
“Handshakes of the Industrial Revolution”, a track
of boundless energy and unrestrained power. The Sirs are difficult
to summarize as they morph into various forms of punk and
pop, and this shape-shifting skill is their most alluring
trait. “Songs About Volcanoes” has a warmth and
harmony reminiscent of the salad days of 90’s indie
rock. This richly textured song presents yet another musical
trick from this band’s seemingly endless collection.
The closing “Older Sister” is a fuzzy wave of
guitar force driven by garage-band aggression and a complete
lack of pretension. This is a glorious effort from a band
that has the capability to become anything it wants, and hopefully
that includes becoming massively successful.
 X-MEN
- Kid Blast (Brighton Bar Records www.BrightonBarRecords.com)
As I age, I continue to notice numerous changes; for example,
looking at young starlets makes me uncomfortable and I am
finding older women much more attractive. I also love when
old guys strap on their instruments and give Father Time a
kick in the ass. The four-song Kid Blast EP from Jersey’s
X-Men is a raw and unpretentious celebration of punk fury.
The opening title track and “Rear Admiral” have
huge hooks and combative choruses delivered through the prism
of fuzzed-out guitar power. This is not three-chord, two-minute
blasts, however; X-Men create songs that are broader in scope
but still possess a blunt straightforwardness that makes them
endearing. Greg Gory’s vocals are as gruff as his guitar
playing, and his curt delivery is accented by the work of
fellow guitarist Hinge, particularly on “Life”.
David DeSantis and drummer Rafe Levinore play with an intensity
that defies their ages, but this is made even more impressive
by the fact that this is the band’s first release since
the late 1980’s. Kid Blast is a fun slab of unrefined
punk that kids of all ages should pick up.
 PORNOPHON
5 (Hasscontainer Music www.hasscontainer.de)
I have long admired the DIY ethic, be it elemental recording
quality or press releases with glaring typos. Pornophon has
both here in conjunction with their new release, 5. The disc
captures a band laboring through nine songs of borderline
hardcore with standard chugging riffs and breakdowns. The
second track, “Nothing”, encapsulates the disc
for the song trips over itself in a failing effort to be skull-crushingly
heavy. It is a nice attempt but sadly comes across as clichéd,
even with a detectable German accent. Both “Strikedown”
and “Walk” attempt to capture a more melodic sound,
but the band is more effective when the guys simply rage,
as heard on the bruising, albeit a bit juvenile, “Suck
City is Ours” or “Something Quick”. Despite
being the most interesting song of the bunch, “WRCDRMX”
featuring DJ Klitstarr is frightfully out of place. This is
certainly not the worst crime Germany has inflicted upon the
world, but there is no need for these guys to hurry over to
the US.
 RETOX
- Ypll (Epitaph Records www.epitaph.com)
Justin Pearson leads Retox and that is I all I need to know:
Pearson is the bassist for the immortal Locusts and Retox
captures much of that band’s penchant for noise and
harrowing musical delivery. However, rather than simply recreate
the powerviolence fury of Pearson’s primary act, Retox
combines the aforementioned with qualities of more traditional
punk. While “Greasy Psalms”, “You Lost Me
at ‘It Wasn’t Your Fault’” and “Biological
Process of Politics” decimate all in their path, traces
of the earliest forms of hardcore are also heard on “Don’t
Fall In Love with Yourself” and “The Art of Really,
Really Sucking” (“nothing’s going to be
OK”), while “Congratulations, You’re Good
Enough” features Nick Zinner of the Yeah Yeah Yeahs
on guitar. As Pearson screeches “Now it’s time
to grow up and die” on “I’ve Had it up to
Here, I’m Going to Prison”, he taps into the brilliant
chaos heard with my favorite Pearson side band, Some Girls.
What separates Retox, and on an individual level a performer
such as Pearson, is an ability to possess an element of refinement
and sophistication within the madness encircling one’s
self. The heavy bass line that drives “Consider the
Scab Already Picked” is downright catchy and harmonious,
proving that Retox are not interested in shocking listeners
with an undisciplined mass of swirling clamor. Granted, the
songs are often delivered with super-human speed and vehemence,
but this trait is a hardcore staple and forces the listener
to start from the beginning numerous times over. I listened
to YPLL six consecutive times in one sitting and became increasingly
awed by what I heard. With relentless drumming and subtle
touches of melody and guitar twang, Retox is closer to acts
like Fucked Up or members of the old Amphetamine Reptile roster
more than unadulterated noise-core. Regardless of title or
label, YPLL is a flawless record led by a true genius of the
underground.
 STAND
YOUR GROUND - The Chaos Around (District 763 Records www.disctrict763.com)
Stand Your Ground does not do anything revolutionary, but
they are a steady act that plays with true sincerity. The
Chaos Around proves that American hardcore has permeated Europe’s
rich history as this German act borrows heavily from Yankee
Doodle punk and metalcore on “Remember” and “Time
for Action”. Call and response vocals, chunky guitar
riffs from Carl and Greg, and breakdowns abound on the chest-thumping
“We Rape Your Scene” and the defiant “I
Think So” and “Flawless Victory”. The ten
songs on The Chaos Around fly by quickly and must be replayed
to have and lasting impact, but vocalist Robin howls with
great passion over the top of a punishing yet at times surprisingly
melodic din. This is not an act that will in any way reinvent
a genre, but their commitment to a sound of which I never
tire of hearing is commendable.
 THE
EVERYMEN - A Very Short Tribute to Jonathan Richman (Oedipus
Records www.oedipusrecords.net)
Jonathan Richman’s long and storied career, both with
and without Modern Lovers, is lovingly (sorry) honored here
by New Jersey rockers The Everymen. This is a fitting band
to attempt such a feat, as The Everymen are anything but ordinary;
with a line-up that includes up to ten members, there are
few acts with the bravery needed to re-record Richman’s
songs. Yes, “Pablo Picasso” has become a much
covered anthem, but Richman’s more delicate pieces are
on display here. The lush “Down in Bermuda” sways
with tropical warmth, while the closing “New Jersey”
should be used as a celebration hymn to the revival of the
state following the horrors of Sandy. “Just About 17”
and “When She Kisses Me” are beautiful, innocent
works that are reflective of Richman’s musical approach.
His longevity is the result of unwillingness to compromise
and a whole-hearted desire to produce music that is both personal
and intimate without becoming overly serious. This is wonderful
escapist music by an unforgettable artist. What The Everymen
do here is worth celebrating, not only for their talents,
but also for introducing the work of a true American treasure
to a broader audience.
 NIGHT
BIRDS - Maimed for the Masses EP (Fat Wreck Chords www.fatwreck.com)
Pound for pound, the best punk band in America returns with
four furious pieces of surf-punched brilliance. Since forming
in 2009, Night Birds has consistently improved with each release,
moving beyond their classic 80’s hardcore influences
and becoming a uniquely powerful act with a distinct sound.
Maimed for the Masses will make Night Birds fans salivate
for their next release, on which the title track will be found.
Staying true to their style, “Maimed” features
lyrics about the rough and tumble career of professional wresting’s
immortal Mick Foley (Cactus Jack, Dude Love, and of course,
Mankind), but the words could also be a metaphor for the band.
Knocked down, bloodied, and driven by an intensity few share,
Night Birds are punk’s Mick Foley-rugged and uncouth
externally but with a shrewd intellect. The song trembles
with energy and Brian Gorsenger’s vocals are matched
by the roaring guitar work of PJ Russo. There is simply nothing
to not like about this band. The B-side includes three brief,
screaming gems that will not be on the band’s next release,
but could easily become live staples. This is particularly
true of the manic “Last Gasp”. Morbid in lyrical
content but exhilarating musically, it is the centerpiece
of a second side to a single that ends far too quickly. Go
out and find this immediately.
 BIG
EYES - Almost Famous (gravemistakerecords.com)
There is absolutely nothing to dislike about this band.
Kate Eldridge’s vocals are beautiful and overflow
with emotion, while C.J. Frederick and Chris Costalupes
round out this sterling trio’s sound. Once centered
in New York, the band now calls Seattle home but the geographic
shift has not altered the infectious hooks and crisp songwriting
that defined their earlier work. The buzzing guitar of “Half
the Time” is my favorite of Almost Famous, but the
Muffs’ style of “Wanted Sometimes” and
the lush harmonies of the biting opener “Nothing That
You Can Say” are other highlights. What I always enjoy
about Big Eyes is their unwavering adoration of punky harmonies,
ala the Descendents or mighty Ramones, best heard on the
one-two punch of “Ain’t Nothing but the Truth”
and “Can’t Catch a Break”. The blurry
guitar riff of “I Think of You” blankets a rich
chorus and Eldridge’s vocals are majestic while the
closing “You Ain’t the Only One” roars
with the energy of a garage band’s first gig. This
sense of purity and raw enthusiasm is Big Eyes’s greatest
trait; the band simply rocks, and there is nothing corny
about that statement. Almost Famous is also another step
in a young band’s increasing proficiency as songwriters,
working together as a flawless unit. Snarling and raw yet
somehow still mature, Big Eyes must become a national name
if there is any justice in the world.
 LAWNMOWER
- Whack Yr Brain (saveyourgenerationrecords.bandcamp.com)
This one truly makes me feel old; there is a tangible 90’s
revival feel to Whack Yr Brain which is fantastic, but also
documents my aging process. Sounding like 1993 never ended,
Lawnmower makes pop-infused, somewhat rambunctious indie
rock with harmonious vocals and occasional blasts of guitar
punch. The finest example of both comes on “Party
Favors”, a rugged piece with a clear J Mascis homage.
The closing seconds of feedback also hearkens back to an
earlier time and is a great lead-in to “Spinner’s
Got a Mohawk”. With its alternating moments of fuzzed
out chaos and sudden sense of purpose, it borrows from acts
like Archers of Loaf and Sebadoh. The closing “Adams”
is a mid-tempo slab of droning guitar and distortion which
demonstrates a tremendous evolution of a band over the course
of only five songs. The “oh-oh-oh’s” that
dot the middle of the opening “Team Spirit”
seem a world away by the time one finishes the record. As
I listen I am consistently bombarded by the belief that
there is even more musical experimentation alive in this
band. Yes, they clearly studied the grunge-era classics,
but to possess the courage to integrate pop and noise into
an accessible art form is quite an achievement.
 MAN
OVERBOARD - Heart Attack (www.defendpoppunk.com)
I am nervous when a band takes its name from a Blink-182
song, but I try to enter each disc I hear with an open mind.
Man Overboard does what they do exceptionally well but I
can only take a few songs before I grow tired of this. The
New Jersey five-piece consistently provide bouncy, upbeat
pop-punk without pretention or concern for those who deride
this style on the title track, “Boy Without Batters”,
“Where I Left You” and “Swan Dive”
to name but a handful. Nothing here is much beyond three
minutes, as Man Overboard taps into the classic three chords
and three minutes philosophy that also dictates this genre.
There are moments of slightly intensified playing, such
as “White Lies”, as its initial guitar flurry
carries the track, but much of the work here follows a blueprint
of controlled guitar playing tinged with just enough angst
and accented by sweetly melodious vocals. There is nothing
about Man Overboard that help push pop punk in a new direction,
but my larger concern is a lack of sarcasm and cynicism
that makes the pop-tinged punk of bands like the Queers
and Riverdales so enjoyable. If a band prides itself on
an unrepentant devotion to a sugary brand of punk, at least
have a few snarky things to say. The band finally loses
me on “Hoodie Song”, a track that sounds like
a Sum 41 cover band, and the closing “Wide Awake”
will undoubtedly be a summer anthem for love-struck tweens.
This will certainly be in heavy rotation at post-prom parties
and will be quoted on Facebook pages, but I’ll hang
out my angrier friends.
 RED
HARE - Nites of Midnite (Dischord records www.dischord.com)
Veterans of the DC hardcore scene of the 80’s reunite
and do something very shocking: they create music as fresh
and vibrant as they when they were much younger men roaring
through angst-infused punk. For those of a certain age, names
such as Swiz and Dag Nasty connect images of hardcore’s
infancy, a writhing, furious spawn of punk’s waning
days, and the voice of Shawn Brown is instantly recognizable.
To his credit, Brown’s vocals are as potent now as ever,
delivering biting lyrics and highlighting the disc’s
outstanding bookends, “Horace” and “Fuck
Your Career”, respectively. “Horace” rips
apart those who cannot move forward (“you only talk
about how your life once tasted/ post snapshots of a scene
and how you once graced it”), while “Message to
the Brick” could be applied to any political leader
of any party today (“It just dawned on me you don’t
give a fuck about my life/past my vote and my money prettying
on a misplaced sense of pride”). In the midst of Nites
of Midnite the band displays a wizened balance of harmony
and force, whether it takes the form of the straight forward
explosions “Dialed In” and “Hello Disaster”
or the mid-tempo, Fugazi-like title track. The trio of Jason
Farrell, Dave Eight (Brown’s companions in Swiz), and
drummer Joe Gorelick construct thunderous anthems with a resounding
sense of melody and mature song structure. Although this ends
too quickly, Nites of Midnite is a proud return for these
skilled old pros.
ARROWS IN HER/GIFTS split (Meadowbrook Records www.meadowbrookrecords.com)
These two Jersey bands are both new to me, but hopefully
I am among the few that can admit that. The four song split
is a wonderful primer on two young acts with distinctive,
yet equally engaging approaches. Arrows in Her’s opening
“It Tired Me All the Same” is highlighted by
intricate guitar work and vocals that retain a controlled
intensity. This is matched by “I Watched a Show About
Space”: melodic, yet not predictable, the song includes
warm harmonies that carry the song along a cascading wave
of ethereal beauty. Both efforts from Gifts are more direct
and intense in their approach, as “Strange”
opens with an aggressive guitar riff before settling into
a warm groove, replete with emotionally-tinged vocals. “Afraid”
is as equally aggressive as its predecessor, but the power
is not chaotic. Gifts channel passion into intimately constructed
efforts that pull the listener into the heart of the song.
This is the ideal split effort, as both bands entice the
listener, namely me, to go out and find earlier releases
while also looking forward to future works.
IMPLANTS - From Order to Chaos (Cyber Tracks Records www.cyber-tracks.com)
The term “super-group” is generally met with
a sense of skepticism, particularly in the punk world, and
quite often for good reason. However, for fans of melodic
punk it is difficult to find a collection of players more
accomplished than the fellows in Implants. With members
whose résumés include stints in Strung Out,
Death By Stereo, and Pulley, to name-drop only a fraction
of their histories, From Order to Chaos is a sterling collection
of unapologetically harmonious punk with a bit more fury
behind the instantly catchy choruses than traditionally
heard. While “Life Passes” and “Through
the Window” capture youthful, buoyant anthems, “Puppet
Regime” is a vicious assault of face grating energy,
and “Bleeding Through” includes a shredding
guitar solo that once again diverts from the traditional
mold of melodic punk. It is easy to become swept up in the
tsunami of Implants as the playing is remarkably crisp and
precise, demonstrating both a wealth of talent forged from
years of playing and touring, along with a desire to continually
push forward as a band. It would be incredibly easy to simply
reproduce records in the style of their past bands, and
doing so would undoubtedly attract legions of fans, but
Implants include hardcore and even understated metal touches
sporadically through From Order to Chaos, making songs such
as “Mutualism” and “Unveiling” so
impressive. The sum of the parts of this band results in
a highly impressive release that will teach up and comers
how it’s done.
NIGHTSHADE - An Endless Vision (www.facebook.com/nightshadeofficial?)
For those who want more metalcore, I salute you. The men
of Night Shade take a very familiar metal style and somehow
make it work, largely because these guys can truly handle
their instruments. Are all the prerequisites there for a
true metalcore record? Alternating clean/growl vocals? Check.
Breakdowns galore? Check. Moments of occasional surprise,
such as the truly beautiful harmonic vocals on “Contemporary
Ascendency”? hey…that’s a little different,
and unexpected curveballs such as this keep this record
from falling into the black hole of the thousands of other
bands doing this. Night Shade has been around for quite
a while and the combination of French and American musicians
give it an international quality that defies most bands,
as these guys borrow liberally from both American and European
metal, adding complex shifts in tempo and structure that
the kids who are finally old enough for their first tattoo
cannot do convincingly. Tracks such as “Amiss Desire”
and “Betrayal” are brutal enough for any circle
pit newbie, but still exciting and intricate enough to hold
the attention of battle-tested veterans. Night Shade have
a difficult road to travel in terms of metalcore, and they
nicely balance the barbaric nature of the music without
becoming obtuse, but also understand how to punch the listener
silly for three minutes and then move on to the next track.
None of the songs here include labyrinthine time sequences
that usually confound listeners, but this is not your local
high school kid-fronted band either. In short, there is
nothing revolutionary about Night Shade, but who cares.
I want metalcore to simply kick me in the head, help me
up off the floor, and then do it again. An Endless Vision
achieves that, and that is more than can be said the majority
of the acts of this genre.
SO SO GLOS - Blowout (www.sosoglos.com)
This Brooklyn act is part of what could be called the post-millennium
punk movement. These were the kids growing up under the
influence of Kurt and others and may be even more disillusioned
that their influences were, and one can understand why.
However, rather than generating, angry, almost-self destructive
pieces of abrasive noise, these bands, and one can include
Surfer Blood, Waaves, or Parquet Courts, create kinetic,
sardonic, and intellectually cutting indie rock that shimmies
more than it snarls. In short, these guys have more in common
with the Feelies or Mission of Burma than they do with the
Jesus Lizard. Granted, there are moments of genuine disgust
turned into soaring guitar force, particularly the triple
play of “Xanax”, “Blowout”, and
the Rancid-like “Wrecking Ball”. These kids
are also shrewdly aware of the disappointments created in
the twenty-first century. Summaries of life’s frustrations
include observations such ”graduate from twenty years
of school to the slums” (“Wrecking Ball”),
“There’s no one here by the insincere”
from “Diss Town” and “Fuck your good vibe”
from “All of the Time”. Even the muffled, sarcastic
sing along of “New York, New York” that opens
“Speakeasy” reflects the derision and wide-eyed
pessimism that encapsulates contemporary America. Despite
the poppy guitar riffs and even the hand claps that dot
“Everything Revival”, the So So Glos bristle
with energy and produce a rollicking gem, while the acoustic-kissed
“Island Ridin’” includes warm background
vocals and sing along lyrics. Balancing a DIY ascetic while
still attentive to details and unafraid of sounding a bit
too bubbly, Blowout is a great example of contemporary indie
rock.
UNCLE ACID AND THE DEADBEATS Mind Control (Rise Above
Records www.riseaboverecords.com)
Whenever I receive an email from the legendary Jim Testa
that says simply “this will blow your mind”,
I know I am in for something special. Uncle Acid and the
Deadbeats do not disappoint. Currently in the same Rise
Above stable of artists as Gates of Slumber, Unearthly Trance,
Witchcraft, Orange Goblin, and Ghost (well, we can’t
all be perfect), Uncle Acid and the Deadbeats creates gloomy,
heavy as concrete metal with an escapable groove. Hovering
between late sixties’ psychedelia and Tony Iommi’s
finest moments, these four Englishmen may give life to Alistair
Crowley’s long rotten corpse on the thunderous opener
“Mt. Abraxas”, the sludgy, low-end driven “Desert
Ceremony”, and the disturbingly serene “Death
Valley Blues”. My personal favorite, “Evil Love”,
comes out of the gate like something from Masters of Reality,
peppered by elements of classic New Wave of British Heavy
Metal. Somehow, incredibly, in the midst of the suffocating
mix one finds grandiose harmonies and a band not afraid
to expand the boundaries of what normally qualifies as doom
metal. What also must be admired is that, despite the overt
Sabbath worship, Uncle Acid and the Deadbeats are skilled
enough at their craft to avoid becoming a cliché.
The aforementioned “Ceremony” includes wraithlike
vocals that are fittingly haunting, and “Follow the
Leader” could sit next to anything on Magical Mystery
Tour. Mind Control is certainly a sludgy, meandering brand
of metal, but this not devoid of energy or excitement that
plagues so many others in this particular sub-genre. Drowned
in reverb and low-end pounding, “Valley of the Dolls”
is a jarring trip through the darker recesses of one’s
mind, both musically and spiritually. The concluding explosions
of feedback-drenched power are a thousand times more heavy
than any death-core band attempting the frighten people.
The concluding ninety seconds of hiss and wind that wraps
up “Devil’s Work” should connote the opening
seconds of Black Sabbath’s debut, a sound as chilling
now as it was over four decades ago, and Uncle Acid come
as close as any act I have heard at recapturing that same
sense of eerie fear. Uncle Acid and the Deadbeats puts other
acts of their ilk to shame, burying them under a wall of
blunt force intensity. My mind, and my speakers, were indeed
blown.
JOWLS - Cursed (Tiny Engines www.tinyengines.net)
Jowls is a band that is new to me but I absolutely adore what
these three kids do. Staggeringly passionate and explosive
from the opening seconds of “Ruins”, there is
a frantic energy that surrounds this band. Ryan Martin sounds
as if he is screaming for his life and the songs possess a
complex but not convoluted structure. There are no superfluous
riffs inserted just for show, but each wave of force builds
upon itself into a crescendo of soaring intensity. The blunt
force of “Shamewalker” and the crushing intimacy
of “Stay Low” are played with an emotion that
cannot be fabricated. One can hear the pain and toil that
defines the band in each syllable uttered within Cursed. The
latter of the two aforementioned efforts gives way to the
stirring and lengthier “Long-Winded”. With a longer
musical introduction before the arrival of the vocals, Jowls
creates a protracted tension before launching into a furious
demonstration of speed and power. This is a mandatory listen.
 LAND
OF BLOOD AND SUNSHINE - Servants and Light (www.whoaboatrecords.com)
This is one of the strangest musical experiences of my recent
memory. Servants and Light sounds like the type of music played
by hobbits as they journeyed on a quest but got lost in the
forest and ended up as the house band for a wood sprite bar.
Each of the twelve songs is mystical without becoming clichéd
as lush and richly harmonious female vocals carry the record.
“Wormwood”, “Age of the Sparrow”,
and “Night Rainbow” are stirring pieces of kinetic
folk with a pop sensibility and more daring than other acts.
Accompanied by equally perplexing art, Land of Blood and Sunshine’s
visuals are as intriguing as their music. This is not a style
I would actively seek out on my own, but this is a fascinating
release. Levitating with ethereal beauty, Servants and Light
is folk music for people who would otherwise run from folk
music. Stripping itself from any convention, land of Blood
and Sunshine do something remarkable, which is to generate
wholly unique musical visions.
 RUN,
FOREVER - Settling (www.tinyengines.net)
Run, Forever is a dazzling band and Settling is a beautiful
record of soaring intensity. All of Settling is pop-tinged
but is also highlighted by a serious edge and poignant, introspective
lyrics. While there is a tangible sense of melodic, indie
punk, Run, Forever alternative tempos and every song stands
distinctly alone yet retains a commonality within the larger
context of the disc. Anthony Heubel is a majestic singer,
particularly on “Basement” and “Nothing
to Say”; both tracks are accented by serene qualities
before surrendering to Heubel’s boisterous guitar riffs
and the rock-steady flawlessness of rhythm section Cassie
Staub and drummer Tom Moran. Many of the songs address maturing,
fear, and the questioning involved in searching for one’s
true self. Sophisticated and daring, the lyrics need to be
read as one listens. The understated “Braddock Beach”,
the warm grooves of “Postcards” and the subdued
“Close to the Sun” are all accented by soulful
tales of self-exploration and the harsh realization of life’s
more unfriendly qualities. The concluding “Forget”
is a bit bouncier than the majority of the other efforts on
the B-side, and is a perfect finale to a highly memorable
record.
 AUTHORITY
ZERO - The Tipping Point (www.hardlineent.com)
It is difficult to believe that Authority Zero has nearly
twenty years of playing and touring behind them, yet The
Tipping Point is only their fifth studio record. This
clearly speaks to the sheer will and determination found
within this band, and those traits shine through on each
of the twelve tracks found within. Dealing with numerous
line-up changes that would cripple a band with weaker constitutions,
The Tipping Point roars with a fury and urgency befitting
today’s world. The opening “No Other Place”
is a manic track played with staggering energy and is a
perfect table-setter for a disc that slams fiercely but
is anything but a one-speed pony. “For the Kids”
and “Lift One Up” are classic anthems of pride
and hope that channels a Pennywise style vibe, which is
fitting as The Tipping Point was produced by Cameron Webb
whose credits include the aforementioned act. Playing with
tempo and intensity, “Today We Heard the News”
is layered song of various musical structures, while “On
the Brink”, “21st century Breakdown” and
the title track all provide a clear world view through the
eyes of well-worn veterans who continue to fend off challenges.
This trio is each a guitar fueled punk gem that delivers
messages succinctly and articulately. Much like Bad Religion,
Authority Zero address social concerns from a wizened perspective
but still burn with an inextinguishable anger about what
they see. Intelligent, thunderous, and flat out catchy as
hell, The Tipping Point is Authority Zero’s
finest hour.
BRIDGES AND POWERLINES - Better (Daisy Pistol www.daisypistol.com)
There seems to be a dearth of acts that truly capture how
indie rock should sound, or at least how I think it should
sound. Forgive the narcissism, but as a front-row fan of
all things 90’s indie explosion, I have a heartfelt
appreciation for what Bridges and Powerlines do on Better,
for it is a throwback in the most sincere form. Delicate
where appropriate, aggressive when necessary, Bridges and
Powerlines paint intimately personal stories with Brooklyn
as a backdrop. When “we’re finding a way”
is emoted on the opening “Bushwick”, it is both
a positive and wary declaration of survival. The bouncy,
sugar-powered pop of Williamsburg cannot be taken on face
value, for its’ bubbly musicianship is off-set by
a far more solemn vocal delivery. The record reflects upon
the tumultuous year for the members of the band, and the
six songs capture the heartbreak and perseverance found
within. The sullen “East New York” possesses
a harrowing beauty with a haunting refrain of ”and
I was young, and I was wrong” hovering like a gentle
mist with a soaring immediacy. Touching, poignant, and supremely
played, “East New York” stands out as the seminal
effort of the half dozen here, but go find this immediately
and decide for yourself.
 NIGHTMARES
FOR A WEEK - Civilian War (Suburban Home Records www.suburbanhomerecords.com)
Glancing at the title, I brace myself for a visceral attack;
yet again, I am proven wrong about what I thought I knew.
Nightmares for a Week play wonderfully towering rock with
energy and limitless enthusiasm. The opening “Down
in the Streets” is a rollicking piece with a massive
chorus and pop-kissed guitar. There simply is not a misfire
among the ten tracks delivered by this highly gifted trio.
From the pounding “Dead Men” to the more serene
and refined “Cancer Kills”, Civilian War rattles
and bashes with a broad smile on its face, as heard on “Let’s
Talk About Healing” and the closing “We’re
All Going to Hell”. There is an instant sing-along
character to the work here that is the hallmark of sharp
songwriting. In short, these guys know how to write a hook
and they seem to have a surplus of them; the glowing “waoh”
on “The Destroyers” and the aforesaid closer
will be a calling card for the audience to join in, while
“Bloodshot Monday” is a clinic in grown-up guitar
savvy rock. If you consider yourself a fan of elemental
and desperately necessary rock n’ roll played free
from frills and any genre-bending antics, Nightmares for
a Week is a mandatory find.
 THE
COLOR MORALE - Know Hope (Rise Records)
The Color Morale has everything the kids want in their music
and they show their wears off on each song of Know Hope. The
vocals alternate between guttural growls and clean, emotional
cries, the keyboards are present, but buried somewhat innocuously
in the mix, there are breakdowns that are both heavy and occasionally
atmospheric, and finally, there are ample opportunities to
do spin kicks in the pit or storm the front of the stage to
sing along during a particularly dramatic moment. In short,
The Color Morale is an amalgamation of bands ranging from
A Day to Remember to Born of Osiris to fill in the blank of
the hot local band in your town doing this. The songs on Know
Hope may bleed into each other a bit, but the playing is very
tight and the intensity is authentic. For me, the breakdowns
in “Learned Behavior” and “Strange Comfort”
interrupt the structure of the tune, and the vocal delivery
that occasionally straddles the line between yelps and rap
is also too derivative. These kids ultimately come across
as a band that is simply trying too hard to be all things
to all people, even as they publicly assert overt Christianly
themes. The harmonies are soaring (see “In Light In
Me” and “Steadfast”) and sporadic moments
are quite bombastic, such as the unfortunately titled “Saviorself”,
but Know Hope reflects the play on words of the title-kind
of clever for the naïve, but clichéd and hokey
for the rest of us.
 GO
DEEP - Counseling (godeep.bandcamp.com)
Go Deep is a Brooklyn-based hardcore act that performs the
type of hardcore that makes Brooklyn proud-it is furious,
passionate, and delivered at a break-neck speed. The majority
of the seven tracks struggle to reach the one minute mark,
but their brevity does not limit their impact. Beginning with
the ominous-sounding hum of “Late Notice”, Counseling
is an unapologetic wave of blunt aggression, yet the riffs
are present as well. The crushing breakdown on “Leave”
is organic in its delivery and in no way comes across as a
trendy decision, while “Elders” is a pummeling
two minutes of sludgy groove. Other pieces here eschew subtlety
entirely and simply decimate the listener, particularly “Glossectomy”,
“Bundle of Joy”, and “Lockout”. With
lyrics that are clearly articulated at times, Go Deep speaks
of one’s conflicts, both internal and external, and
the often unpleasant ramifications of the choices made. There
is a vast assortment of tough-guy hardcore in existence already,
but much of it is derivative plagiarism of Sick of it All
or Agnostic Front. Go Deep avoids falling into his mire and
produces fresh sounding hardcore, which is quite a feat in
2013.
 NO
MISTAKE – “4 More From No Mistake” EP
(nomistake.bandcamp.com)
Like the title of this EP, the music of No Mistake is not
interested in any pretention or unnecessary symbolism as they
unleash old fashioned hardcore fury. The band, led by Mike
Bullshit, gives the listener four songs in about four minutes
with the minute and a half long “Put Me Away”
clocking in as the epic of the bunch. “Copied, Folded,
and Stapled” kicks the all too brief extravaganza off
with an anthem that will instantly get the pits moving and
the kids screaming along. That is, of course, until the band
plays “No Lies”-a no frills slab of truly classic
hardcore delivered by musicians who actually understand what
that means. The aforementioned “Put Me Away” is
highlighted by rapid fire drumming and the sardonic lyrics
of “We fought and they won!” before giving way
to the thirty-three second closer, “Come Out”.
For those seeking earnest, genuine hardcore, No Mistake must
be your band of choice.
 PARQUET
COURTS - Light Up Gold (What’s Yr Rupture)
Light Up Gold is the soundtrack to a great time.
Parquet Courts reinvent indie noise rock with musical references
ranging from (what I could tell) Mission of Burma to the
Feelies to the Stranglers sprinkled with authentic Americana.
This Brooklyn-via-Texas outfit, led by Anthony Savage, whose
list of past achievements gives Parquet Courts instant legitimacy,
delivers the majority of their work in short bursts but
despite the brevity, each effort stands uniquely separate
from its compatriots. “Careers in Combat” and
“North Dakota” both possess beautifully awkward
time structures and are unavoidably harmonious in a deliciously
confrontational manner, while the opening combination of
“Master of my Craft” and “Borrowed Time”
are enough to make this your new favorite band. “Yr
No Stoner” and “Yonder is Closer to the Heart”
are both bass-driven highlights, but Sean Yeaton demonstrates
incredible flexibility and creativity with his instrument,
alternating between testosterone fueled punk and artistic
post-punk, akin to Guided by Voices or Tsunami. “No
Ideas” meanders along before bursting into confrontational
blasts of angered guitar punk that sucker punches the listener
before retreating back into a more pleasant stoner vibe.
The longest track of the bunch, “Stoned and Starving”
is also the most conventional sounding, but this one could
be the hook that converts the curious into the committed.
The guitar playing is controlled but forceful and the bassline
again carries the track along at a brisk pace, highly reminiscent
of the best moments of 90’s indie punk. “Caster
of Worthless Spells” and “Disney P.T.”
are both kinetic, messy gems of pop-infused noise that channels
the energy of a garage band through the amps of musicians
who can actually formulate harmonies. The closing “Picture
of Health” leaves one a bit unsatisfied; it’s
fuzzy tone and muffled vocals ambles along but does not
match the energy and verve displayed throughout the earlier
portions of the disc. However, the track does pique one’s
interest about what this band goes from here; they have
a sound that can genuinely allow for any path to taken and
I believe this is not a hipster favor of the week. Watch
these guys.
PLOW UNITED - Marching Band (Jump Start Records www.jumpstartrecords.com)
Where have the past fourteen years gone? For those who
remember the 90’s with clarity, Plow United was the
embodiment of indie rock; they put out consistently great
music, toured with some regularity, but then broke up and
faded into the depths of punk rock footnotes. However, with
the advent of the internet, fans old and new began to generate
fresh excitement for this band, and after being begged for
more than a decade to record again, Plow United give us
Marching Band. The typical response to a case like this
may be to roll one’s eyes and hope that the new music
is not an embarrassment, but Marching Band is a slap to
the side of the lethargic head of punk. Brian McGee, Sean
Rule, and Joel Tannenbaum instantly recapture their old
energy and sardonic selves on “Water Rights”
(“Let’s talk about boys, let’s talk about
girls and how they’re fucking up our world”)
and the despondent “The World is a Slum”. When
McGhee screams “I feel like I’ve been here before”
on “Falling, Deeply”, it is both a yelp of frustration
and recognition to which so many can relate. The power and
enthusiasm is infectious on “Next Five Minutes”,
“Act Like it” and the wonderfully acerbic “The
War is Over and Our Side Won”. Staying true to their
punk roots, most of the tracks come and go in a couple of
minutes, but some of their early thrash and hardcore influences
have been put on the shelf of history in favor of a more
streamlined approach, best heard the raucous sing-along
“Get Low” and the equally infectious “Shaking”.
“Meggers” closes the disc with a raw, emphatic
display of passion, both through McGee’s fervent delivery
and his lyrics of guarded optimism. The closing line of
“I will believe” can be applied in a multitude
of ways, but I cannot believe these guys actually came back
with new music, so get this quickly before they retire again
until 2026.
 DINOSAUR
EYELIDS - Conflagration (www.dinosaureyelids.com)
One would not expect the noise heard on this disc to come
from the three gents whose photograph graces the inlay card;
with matching smiles and equally nightmarish sweaters, the
members of Dinosaur Eyelids do not visually equate with
thunderous guitar rock. However, that is exactly what one
receives for the majority of this self-title release. This
disc grows on the listener as it progresses. The opening
salvo of “Answer in the Sky” and “Winter
Wheat” begins a bit unsteadily, but the protracted
“The End is Not the End” displays a potentially
upward projection, and once the title track is reached,
the record delivers five sterling efforts in a row. For
me, Conflagration shifts gears for the better on the bluesy
“White Tomb”. Reminiscent of “Wild Horses”,
the dreamy slide guitar of Patrick McKnight and down home
delivery of Evan Staats is a change in pace from the meatier
“Valis”, but the song exhales and flows effortlessly.
Another masterstroke by this band is following “Tomb”
with “Song to a Girl”, whose loud/quiet dynamic
is heavy on Sabbath bombast compliments of bassist Scott
Staats and drummer Rich Eick, both of whom are allowed to
flex a little muscle. For those of a certain age, the luminous
“Hemophiliac” sounds as if it was left off of
In Uetero with it’s abrasive guitar riff and pained
vocals, while “Kill Your Idols” may be the best
of the bunch; a thunderous, sludgy, head-on collision of
a song. Why the guys selected to end the disc with two quiet
tracks eludes me, as “Snaky Weave” is an acoustic
song with more slide guitar and, despite its downtrodden
lyrics, has a relative buoyant sensibility about it. The
closing “Untitled” is a lovely piano ballad
with sounds of gentle rain failing; it is enveloping and
perfect for those nights when you just cannot roll over
and turn off your brain, but I am truly disappointed when
the record closes. Instead of exhaustion, I stand, mouth
agape, wondering why this decision was made. At any rate,
despite an uncertain beginning and an inauspicious conclusion,
the meat of this disc is tremendous, and I would love to
see this band live.
 NORWEGIAN
ARMS - Wolf Like A Stray Dog (www.bigschoolrecords.com)
As a student of history I am intrigued by any band that
survives Siberia, the land of Stalin’s infamous Gulag.
As unfathomable as it seems, Brendan Mulvihill spent time
in Tomsk, Russia as part of a Fulbright Scholarship. Upon
his return he again joined forces with Eric Slick and with
a collection on instruments, ranging from a mandolin to
a synth to a rubber tub, the two give life to Norwegian
Arms. Wolf Like a Stray Dog captures the atmosphere
of Tomsk-vast, sprawling, and an expanse of delicate beauty.
Mulvihill’s voice flies ethereally along with the
subtle musicianship and lush playing. The opening “And
Then I Found Myself in the Taiga” is stark and emotionally
gripping, acting as a perfect entranceway into an expanse
of a record that overflows with emotion. “She Lives
in a Secret Town” and “Tired of Being Cold”
are my favorite pair of the bunch, with the latter being
a mischievous title in the midst of the backdrop of the
release. There is surprising flashes of energy and intensity
woven within the eleven tracks. Obviously, there are limitations
to the scope of Norwegian Arms’ sound, but for those
seeking a unique interpretation of heartfelt folk, this
duo makes for a fascinating listen.
 NOT
ON TOUR - All This Time (www.dinerjunkie.com)
What I always adore about music is how it smashes internationally
drawn boundaries and cultural stereotypes. For example,
if one was to utter the phrase, “Israeli punk-pop”,
what would come to mind? For most, myself included, it may
not include Not On Tour. However, one should be listening
to this act, for All This Time is a screeching, speedy,
collection of punk bursts that come and go quickly and scream
for all in the room to sing along. Not On Tour play hardcore-pop;
this melds the fury and speed of hardcore with just enough
sugary goodness to soften the blow. All This Time does not
take much of your time, as sixteen songs are delivered in
under thirty minutes, with “Modern Slavery”,
“That’s Why”, the title track, and “Bunnies”
are just a handful of the finest moments here. I was taken
back to the days of the Goops and the Muffs when listening
to this, so if those names ring a positive bell, you should
quickly scurry around and find this. Not On Tour strips
away all pretention and reduces rock to its most primal
elements- a great hook, strong drumming, and vocals that
resonate with passion and melody. This is one of those great
surprises!
 THE
VENETIA FAIR - Every Sick Disgusting Thought We Have in
Our Brain (www.thevenetiafair.com)
The opening seconds of Every Sick Disgusting Thought
We Have in Our Brain welcomes the listener with some
timpani, strings, and a circus motif, which is fine except
for the fact that this record reminds me why I hate the
circus. I just do not see the attraction here; there are
some “angry” vocals at times and loud, more
forceful moments, but much of this seems overly produced
and far too premeditated. The vocals move between harmonious
crescendos and brusque yelps, but I struggle for the hooks.
The Venetia Fair has a simmering pot of ideas, but the band
is just too eager to serve all of them at the same time.
“We Used to Worship the Moon”, “Pride
Alone Won’t Put This Fire Out”, and “The
Sky Came Down” are richly textured, but they border
on the obtuse. Strings, falsetto vocals, piano, and horns
are all components of the record, and while I praise these
guys for defying conventional wisdom, Every Sick Disgusting
Thought We Have in Our Brain lacks cohesion and I am
left bored. The piano laced “Only in the Morning”
and “(Go On) Paint Me a Picture” are two of
the stronger works, as there is a consistency to the playing,
for the trajectory from a delicate piano intro to a rousing,
aggressive conclusion sounds organic. Too many of the songs
here are so busy that one cannot appreciate what is happening,
and the result is a muddy, chaotic mess that distracts from
the skills these guys clearly possess, with one exception
coming on the closing “I Could End My Search Tonight”
which delivers impressive guitar work that is allowed to
breathe on its own. The combining of genres in an effort
to destroy labels and walls is commendable, but songs like
“The Saints of Gomorrah” and the opening “Too
Late to Dream” do not reach out and take hold of the
listener; one is left looking in upon the song
 CALIFORNIA
X (www.californiax.bandcamp.com)
California X actually hails from Amherst, Massachusetts and
it shows. If one closes his or her eyes hard enough, one could
almost imagine this as a young Dinosaur Jr. tearing up the
room at a Boston-area basement show. There is so much to like
here, including the fact that the vocalist has the courage
to call himself Lemmy; sure, Elvis Costello took on a famous
name as well, but this is still very punk to adorn yourself
with that nom de plume. He is rounded out by Dan on bass and
a drummer simply known as “Cool”; if this was
a lesser band, I would hate them based on that fact alone.
However, California X is a soaring victory - a trio of unlimited
energy and a traditional rock philosophy of making one’s
noise as loud as possible. This just screams of music made
by kids who dug up old Eric’s Trip and Piss Factory
discs in a cut out bin somewhere and decided to form a band.
While the opening “Sucker” is perhaps a minute
too long, “Pond Rot”, “Hot Hed”, “Lemmy’s
World” and “Spirit World” are a wonderful
balance of bombast and solid songwriting. What makes this
record different from the legion of Clinton-era babies now
in bands is that California X actually sound like they enjoy
what they are doing-the fun is apparent throughout the record
and one can almost see the smiles on the member’s faces
as they rattle their way through “Spider X”. There
are no prefixes needed here, no subdivision into a sub-genre
of a sub-genre. Perhaps the spirit of pretension-free indie
rock is finally returning.
GOT NUTHIN’ - Back on the Streets (District 763
Records www.district763.de)
Five angry Berliners come together to prove that generic,
tough-guy hardcore knows no geographic boundaries. The opening
“Self-Respect” steals a riff left on the cutting
room floor from any Hatebreed song ever and spices it up with
such heady lyrics as “you are just a motherfucker”.
The title track offers some hope as the gang vocals and guitar
playing this time steals from Agnostic Front; granted, this
musical theft has been done more times than could be counted,
but Got Nuthin’ seems to be trying too hard to imitate
American influences. The more groove-oriented “Got Nuthin’”
features a slower tempo but remains as equally strained as
its predecessors. By the time one reaches the closing “Turn
Around”, with its Sick of it All style bass-playing
and call and response vocals, Got Nuthin’ sounds like
a hardcore tribute band. To be fair, these guys do attempt
to imitate many of the lofty acts of the genre, but there
is nothing happening here to make this more than just a passing
EP that one will bypass in favor of the real masters.
 LA
ARMADA (Fat Sandwich Records www.fatsandwichrecords.com)
La Armada has been churning out smart, biting, political
hardcore for nearly a decade but do not feel embarrassed
if you have not encountered them prior to this self-titled
effort. Originally from the Dominican Republic, the band
now resides in Chicago, and while they tour fiercely, it
is largely through DIY means. Hopefully, this release may
begin to garner them greater attention and broader national
exposure, as I love their brand of blazing, socially critical
punk. The tracks often feature a blending of hardcore and
crust, and the result is a record of eleven captivating
songs, all performed in Spanish, a characteristic of the
band that the members refuse to surrender; another act of
defiance by a band committed to earnest rebellion. That
last aspect does make this record more work, but the translated
lyrics do help to illuminate the astute points these guys
express. Economic themes dominate the record, with slavery
appearing as a consistent metaphor for the current state
of disarray in the world. “Class Warfare” scourges
the monetary dominance of a frightenly small minority, while
“Organic Slavery” specifically targets Wall
Street and the new slavery of the 21st century, and “Credit
is the Hook” is a highly erudite critique of the potential
pitfalls for those who do not understand the larger goals
of financial agencies (“the crisis was created and
manipulated by the banks, crisis created and manipulated
by the Federal Reserve, this is the cycle of capitalism”).
La Armada also refers to their own heritage on the scornful
“Denials” and “The Cave of the Dissident”.
Many of the songs are over too soon, but that only forces
you to lift the needle and start over again; this is a throw-back
punk record with a current message of warning and frustration.
Give this a chance-this music is exhilarating, and this
is pretty cool way to learn some Spanish!
DARREN DEICIDE - “Bomb This Joint” b/w “Hudson
River Hangover” (Ever Reviled Records www.everreviledrecords.com)
Darren Deicide’s music is akin to doing shots with
the devil himself-it is more than a little frightening and
you know the night will end badly, the question is just
how badly. The two tracks on this little slab of vinyl are
Deicide’s trademark sound-foot stomping (not tapping),
guitar slinging blues about drinking, getting hung over,
and then drinking some more. For only one man and a guitar,
the songs are surprisingly rugged and rich; Deicide’s
voice sounds as if he has swallowed razor blades in his
scotch, but that is just one of the luring attributes to
this single. “Bomb This Joint” moves steadily
towards a more rousing chorus that completes the track while
“Hudson River Hangover” rattles around in one’s
head long after its completion, much like the cheap liquor
which inspired it. Gritty, snarling, and jagged, Darren
Deicide brings more danger to rock n’ roll with a
single blues lick and a few moments of your time that most
contemporary bands do over the course of a tour.
 THE
SCUTCHES - Ten Songs, Ten Years (Bright and Barrow Records
www.brightandbarrow.com)
If Joe Queer earned a royalty check for each band spawned
by young kids discovering his mighty Queers, his fortune
would dwarf the GDP of most nations. Adding to the impressive
list of Queers/Screeching Weasel/Riverdales inspired pop-punk
is Long Island’s Scutches. Incredibly warm harmonies,
touches of surf, and lyrics about broken hearts and the
mixed emotions of relationships dominate Ten Songs, and
each track seems to become more bubbly and effervescent
as the disc progresses. The scathing nature of “Glad
You’re Gone” is masked by the joyful tone of
the music, while “Weekend Boyfriend” displays
a more sensitive and emotionally complex side of the band
as it explores the life of a man who wants a more serious
commitment; a topic not often explored, ending with forty
seconds of piano and hushed vocals. “Together Again”
is a modern lyrical interpretation of the Beach Boys’
“Wouldn’t it be Nice” while “Never
Ending Story” invokes “Debra Jean” or
dozens of other love-torn tales. One should not expect only
efforts that tag at one’s heartstrings, however, for
“Full Steam Ahead” and “June 1st”
roar with a garage-band level energy and intensity. The
Scutches have the courage and self-confidence to also open
themselves up to criticism by offering the acoustic “In
Dreams” as well as a similarly subdued bonus track.
Ten Songs, Ten Years should be a staple of your summer soundtrack.
 THE
STEREO STATE - Crossing Canyons (Creator-Destroyer Records
www.creator-destructor.com)
The Stereo State must be young kids with old souls-Crossing
Canyons arrives as a red vinyl ten-inch, harking back to
the light-hearted fun of 90’s indie rock, yet their
songwriting borrows as much from classic Americana as it
does contemporary punk. In short, Crossing Canyons is an
aesthetically pleasing release on numerous levels. It is
impossible, if you are of a certain age, to read the lyrics
of “American Bones” without feeling a pang of
one’s own remorse and a harrowing sense of kinship
with Andy Frongillo as he laments “drunken thumbing
through this yearbook/Right now I’m pushing 30. These
pictures read like paragraphs/ and I wish I checked out
early”). Each of the four songs is personal, raw,
and genuine both lyrically and musically, as the riffs soar
and Frongillo’s vocals are brusque yet still harmonious.
The songs on Crossing Canyons play out like vignettes, perfectly
capturing moments of vast importance in only several moments
each, and I strongly encourage listening to this with lyric
sheet in your hands. The band explores loneliness in “Across
the Susquehanna” and “On the Next Time”,
with remarkable conviction and sincerity. However, “Say
It Again” and “The Flood” are mesmerizing
efforts that address life-altering events from which people
can never fully recover. “I spent countless hours
playing that crash in my mind” recounts Frongillo
on “Say It Again”, while “I can’t
believe that’s your name on this grave” merely
introduces the heart wrenching story explored in “The
Flood”. Guitar players Gabe Griffin and Matthew Spence
contributed the words for these songs respectively and both
should be heralded for their precision with the written
word. In the midst of this remarkable storytelling are a
collection of huge guitar riffs that reverberate with punk
energy but also include a controlled force about them. The
members of The Stereo State want it loud, but they are not
out of control. This is a sophisticated act that simply
wants to play energetic rock without any frills, and that
is a goal sorely missing with most bands.
 EXECUTE
ORDER 66 - In the Shadows of Giants (executeorder66.bandcamp.com/)
As a lifelong Star Wars geek, I always get more than a
little excited to see a band refer its moniker to a scene,
character, or quote from a galaxy far, far away, but my
past experiences have been marginally successful at best,
highlighted by the long defunct Bona Fett Youth from Vegas
and Philly’s The Degobah System. However, Execute
Order 66 (for those of you who actually get outside and
do things with your lives, the name is a reference to Emperor
Palpatine’s command to exterminate all the Jedi from
the universe through the manipulation of the clones of the
Grand Army of the Republic) play bruising thrash metal with
a handful of death metal nuances. Jasper Cobb handles the
lead vocals, and has a commanding presence, alternating
between flesh-ripping screams and highly melodic clean vocals,
with guitarist Damien Ellinghaus also assisting on the latter,
but the death growl/clean delivery interplay is not overused
and therefore Execute Order 66 avoids the trappings of predictability
that affect so many acts of this style. To their credit,
the band explores a multitude of topics on In the Shadows
of Giants, ranging from a tale of medieval butchery (“Crimes
of Passion”) and the inevitable destruction of the
human race through warfare or our own blinding lack of knowledge,
(“Awakening to Desolation” “From Revilement
to Ruin”, and “Terms of Enrampagement”)
to more socially astute critiques of contemporary ignorance
in “Some Men Just Want to Watch the World Burn”
and “Worst Bedtime Story Ever”. Throughout the
disc there are well placed interludes of more ethereal musicianship,
such as the fleeting delicate guitar work in “Secrets”
and the aforementioned “Desolation” or the instrumentals
“Beginning of the End”, “Requiem”,
and “Solace”. This five-piece from Long Branch,
New York, rounded out by Kevin Guaranda on guitar and the
rhythm section of bassist Christian Ziminski and drummer
Luigi Rueda, are remarkably tight throughout the thirteen
songs here and the band steers clear of relying upon breakdowns
too heavily; in fact the sole truly deliberate example of
such does not arrive until the tenth track of the disc,
unfortunately titled “Occupy Endor”….yeah,
I cringe just writing that. The overriding tone of this
record is very serious and highly professional so including
a song in which the words “you forgot we had the ewoks
on our side” are delivered with a seemingly straight
face is more than puzzling. Musically, ironically enough,
“Endor” is among the finest pieces on Giants,
featuring dynamic acrobatics from both guitar players, but
it is probably best saved for the rehearsal space or basement
shows among friends. However, that aside, this is a soaring
collection of songs from highly technical players, who can
balance lofty levels of intricacy without sacrificing a
circle pit inducing groove, and the concluding “History”
(A Reprise) is a crushing finale to a highly impressive
disc. I hope these kids are able to get out and play live
because the talent on display here is undeniable.
 GREYS
- Drift 7-inch EP (Kind of Like Records kindoflikerecords.storenvy.com)
I like when bands try to keep things simple: Greys label themselves
a “loud rock band from Toronto” on their bandcamp
page, and that is a good starting point. However, while simplicity
is a virtue in my eyes, Greys sorely undersell themselves
with that brief bio. The three tracks on Drift become increasing
longer and complex. The opening “Carjack” is ferocious
explosion of force, blunt and unapologetic. Seething with
rage and a crushing bassline, the song does an astounding
amount of damage in less then two minutes with a chorus that
is simultaneously invigorating and frightening. “Drag”
checks in at just over the two minute mark, and like its predecessor,
it captures the visceral brutality of this punishing four-piece
as they rage against not having a “teenage anthem”
or a “martyr who would give his life for hopes and dreams”.
The song is not just blind fury however, as there are moments
of sweeping, aesthetic beauty reminiscent of Fugazi at their
most animalistic. This continues on the swirling masterstroke
that is “Pill”, easily the finest embodiment of
Greys’ future brilliance. Streamlined yet not crude,
the five minute song channels raw emotion into a seething
mass of restless force; the intensity of which is only magnified
following a brief respite from the kinetic bombast. The length
of this track provides a broader canvas for the band to explore
their ideas in a more pronounced manner, and the result is
staggering. Jump on this bandwagon early.
 MURDER
BY DEATH - Bitter Drink, Bitter Moon (Bloodshot Records
www.bloodshotrecords.com)
The heart of rock n’ roll has always existed within
the soul of country and there may not be another band presently
inexistence that epitomizes that ideal more than Bloomington,
Indiana’s Murder By Death. The thirteen songs present
on Bitter Drink, Bitter Moon emphasis articulate, earnest
storytelling through the warm vocals of Adam Turla, whether
it be the anti-sprawl heartbreak one finds within “My
Hill”, the liquor-soaked anecdote of “I Came
Around”, or the mournful isolation of “Straight
at the Sun”. Sarah Balliet’s cello is used as
more than just a musical accent-her playing is central to
majestic beauty of the record. The songs of Murder By Death
can both harness the swagger and grit of Johnny Cash or
the delicate grace of down home Americana. Bitter Drink,
Bitter Moon is an enthralling album that weaves intricate
stories through lush playing from highly capable players,
and why the general tone is solemn, the band does not revel
in misery-the lyrics are honest and affecting. Even the
brief instrumental “Queen Mab” is a sterling
nugget of musical articulation with the numerous talents
of Scott Brackett on display. A dark sensibility overwhelms
and envelops the record, majestically produced by John Congleton,
and each player individual contributions shine within the
larger context of an enticing collection of songs. The images
painted lyrically on “Hard World “ (“Just
barely twenty with a slight frame and a hunger for soemthin’
that I couldn’t name”) and “Ghost Fields”
(“I pass by these houses all out of the way/ a lot
of my friends came from here but they don’t live here
today”) recall lyrical talents of Hank Williams or
a Nebraska-era Springsteen. Somehow, despite this band’s
lengthy tour schedule and devoted fan base, this is my first
extended listen to Murder By Death and I will certainly
go and catch up on their back catalog.
 OUR
LAST NIGHT - Age of Ignorance (Epitaph Records ww.epitaph.com)
It’s a long way from New Hampshire to the offices of
Epitaph Records, but this is what has befallen the talented
kids of Our Last Day. There is a smattering of hardcore influences
here, but this is really arena rock for a new generation,
which suits the Alan Parsons Project style art on the cover.
Sonically, the disc is a pristine collection of aggressively
harmonious songs with bursts of guitar force interrupted by
keyboard garnish, and for a young band, they create highly
structured songs. However, this all takes us down a path that
sounds like Linkin Park 2.0. This is especially true on the
title track, but trace elements of this are found throughout
the record. For the kids who were yet to be born when “One
Step Closer” was illuminating alternative charts, they
can now hold up their cell phones and sing along to highly
sensitive “Reason to Love” and the more ethereal
and socially descriptive “Voices”. When Trevor
Wentworth sadly emotes, “I tried to make it work/all
you did was make it worse” on the aforementioned ’Love”,
he may be speaking about a failed relationship but he could
also be summarizing the state of modern rock in general. The
songs are too conventional in structure-the aggressive riff
that opens “Liberate Me” gives way to isolated
vocals, then into a breakdown before back to original riff
then a breakdown and over again. Maybe I am getting (or are
already) old and jaded, but if a band wants to affix any type
of “hardcore” tag to its name or description of
its sound, that band should truly employ hardcore; inserting
a breakdown or gang vocals (see “Enemy”) does
not constitute hardcore. Conversely, if your goal is to be
a keyboard-kissed, guitar rock band who will sell out coliseums,
then do your best to become that. Stop the forced mixing of
different genres in an empty plea for street cred or a window
display in Hot Topic because in the end, we are all bored.
These kids could very well be a highly successful rock band-nothing
more, no need for any “post” or “core”
tags, and frankly, there is nothing wrong with that. The musicianship
here is quite impressive and Our Last Night will probably
make the girls swoon, and better these guys than One Direction.
Ultimately, I fear that Our Last day will be lost in a mountain
of “post hardcore” bands in the world. If Linkin
Park or Korn dominate your play lists, go find this because
Our Last Day decimates both of those acts, but do not expect
a revolutionary experience.
RSO - Awl (r-s-o.bandcamp.com)
Ryan Owens is a one-man, lo-fi beast. The four songs on this
mislabeled single (The sleeve says three songs on side A,
while there are only two; the four songs are split evenly
between the two sides) are minimalist, intimately personal
efforts. Essentially, whether one listens to “Bad”,
“Luck”, or “Pine” one hears a steady,
occasionally sludgy, sometimes more speedy, riff that is played
repetitively while muffled, yelping vocals are buried deep
within the thin mix. I am admittedly unsure about this. I
adore the garage quality and the pure exposed nature of each
song, but there is not great diversity, aside from “Pine”
being a bit noisier and less structured than its counterparts,
until the closing, cigarette burn vocals of the a capella
“Wry”. I am uncertain if Owens is striving for
a sound reminiscent of Robert Johnson’s recordings of
the early twentieth century or if this was the best he could
do and/or afford. If there is a market for one-man, scruffy
white boy blues from Maine, Owens has it cornered.
 THE
INSTIGATION – 7-inch EP (www.theinstigation.bandcamp.com)
This band is young, they play aggressive garage-tinged
punk, and they clearly idolize Black Flag, as heard on their
lovingly precise cover of “White Minority”.
The above description would normally make a punk act indistinguishable
from the millions out there, except for the fact that The
Instigation hail from Shanghai….as in China!! I had
no idea this music is allowed to escape the clutches of
the government censors, but these kids, led by Toshi, roar
with authentic frustration that can only come from living
under a truly repressive government. “Foreign Moron”,
“Brainwashed”, and “Crack Baby”
are absolute gems-simple, two minute long assaults of raw
vocals, thunderous drumming, and guitar riffs that are blurred
by speed and aggression. In short, this is a nearly perfect
EP and worth what little money is being asked of you at
The Instigation’s bandcamp site. One must also look
them up on Youtube; as it was pointed out to me by our peerless
editor, the fact that an Agnostic Front shirt is on the
back of an angry kid screaming in a punk band in China speaks
volumes about what power music really has. I do not know
much about the members, but The Instigation is worth investigating
and I hope this is only the first step for this band because
the energy and commitment to pure punk is undeniable.
HOMELIFE - Translation (Bermuda Mohawk productions www.bermudamohawkproductions.com)
This is a wonderful surprise for my ears-Homelife is an intelligent
and musically daring band that can proudly carry a “post-punk”
banner for a new generation of kids. This Michigan-based outfit
has clearly moved beyond the hardcore roots shared by their
members and boldly constructs intricate songs of great depth
and authenticity. One is struck by the lush atmosphere and
beautiful musicianship that drives “No Direction”,
a raw and honest exploration of growing up and leaving, or
at least attempting to move beyond, those who surrounded one
during youth, be it family, friends, or home town. Jacob Weston’s
voice is both fierce and vulnerable, accented by a bravado
that is often stripped away to reveal a complex sentimentality
on “Neperthe”, “Viewfinder”, and the
staggering “Coping”. Surrounding him are bassist
Mike Poshedly, drummer Chaz Villareal, and fellow guitarist
Craig Rasmussen, three players with an abundance of musical
dexterity that is far more advanced than traditional loud/quiet
dynamics. The members play off of each other with remarkable
unison, which is all the more impressive when one learns of
the several line-up changes Homelife experienced prior to
the recording of Translation. Each riff and tempo shift help
to paint distinctive pictures on each song, capturing the
mood of the lyrics perfectly. However, one should not expect
a melancholy ride; despite the troubled emotions expressed
lyrically, these are far from morose shoe-gazing laments;
these are efforts that should be blasted as loudly as your
listening device of choice will allow. The songs on Translation
are insightful and candid investigations into how individuals
assess and battle back against loss, disappointments, and
disillusionment. While the majority of the music, six of the
ten songs, is found on the first side through briefer bursts
of intensity, the concluding four tracks that comprise side
B are longer, more deliberate works. Translation is akin to
watching a child grow up before your eyes-it is incredible
at the rate with which this band matures over the course of
one record. Richly recorded and produced, Translation is the
mark of a superior band rapidly refining a unique sound.
 LEGACY
OF DISORDER - Last Man Standing ( Black Orchid Music www.legacyofdisorder.com)
This record makes me wish I was thirteen again; at that
point, I knew very little about heavy metal outside of the
putrid hair metal that was in heavy rotation on MTV, and
Last Man Standing would have made my little head explode.
Sadly, I am much beyond thirteen but Legacy of Disorder
comes across as a refreshing mix of traditional metal fare
with a handful of modern touches. There are moments here
that sound like metal by numbers, but I give these guys
credit for flying a flag that cuts against the contemporary
grain. There are a collection of blast beats scattered throughout
the disc, but much like the most recent Testament effort
Dark Roots of Earth, Legacy of Disorder organically mesh
these touches within the fabric of their largely throwback
sound. Vocalist James Robinson has a classic metal set of
pipes; he is not Rob Halford by any stretch, but he can
hit all the necessary notes and also growl with a level
of authenticity. Guitarist Rana Freilich does pillage much
of Slayer’s back catalog, but is that really a crime?
If one can get past some of the clichés here (the
worst being a snippet of a Hitler speech before “March
to Death”), Last Man Standing is a fun ride throughout
all ten efforts. None of the songs extend much beyond the
three minute mark or feature unnecessarily self-serving
solos; these New Zealanders know how to write a tough hook
and a big chorus and then move on to the next track. Much
of the lyrics, like the accompanying music, are paths that
have been tread before, whether it be the death row nightmare
of “Hell Tonight” (think of the storyline from
Metallica’s “Ride the Lightning”) or a
song celebrating the true character of Dracula with the
banal title of “Impaler”. However, one of the
reasons why I have worshipped at the altar of metal since
pre-pubescence is that this stuff is not trying to win a
Pulitzer Prize: granted, there are acts that make serious
statements and push the genre forward, but some metal bands
should just be a good time, and Last Man Standing defines
that. If you are a kid hearing metal for the very first
time, this is not a bad primer for it covers all the bases;
for those of you who consider yourselves metal fans who
have heard it all before and are ready to dismiss this,
just get over yourselves for a minute and give this a chance.
It is a head banging, unpretentious escape.
 THE
NERVOUS WRECKORDS - Let Them All Talk (thenervouswreckords.com)
The Nervous Wreckords is a band whom you may have heard before
but had no idea at the time. Their music has been featured
in Weeds and The Buried Life, along with
several commercials. Or perhaps you saw them open up for the
Killers in 2009. Or perhaps you are like me and had no idea
who they were, but had at least had some familiarity with
leader Brain Karscig’s previous band, Louis XIV. Regardless
of level of awareness, a listen to Let Them All Talk is a
trip to previous decades in which bouncy, melodious, and impudent
pop is celebrated. Recorded on vintage equipment, “Beautiful
Girl”, “Classy Girls” and “8 Track
(I’m Coming Back)” are a trio of crackling, effervescent
efforts with soaring harmonies and snarky lyrics. The roughest
of the group is the title track; a song that implements a
T-Rex riff and utilizes hand-claps without irony. If one listens
carefully, there are quickly delivered lines that will make
you smile in “Shapes of a Dove” while the purest
of 60’s style pop floats overhead. The Nervous Wreckords
would never be a band I would actively seek out, as I tend
to avoid such sweetly produced goods, but Let Them All Talk
is not one constant sugar rush; there are grittier riffs on
“Love Jammed the Radio”, and a more serious political
statement on “The Rich Get Richer”; a song one
could envision Jim Croce singing. “Doin’ It to
Do It” is more infectious than the flu with its balance
of a fuzzed-out guitar riff and luminous backing vocals. Meanwhile,
“Asleep or Dead” sounds like a recently uncovered
artifact from mid-70’s Wings sessions with its mix of
ethereal pop structure and sparkling vocals. I have a feeling,
either through commercial exposure or perhaps even some old
fashioned radio play, The Nervous Wreckords may become a far
more easily recognizable name.
 MARCH
OF THE MANNEQUINS – “The Remedy” EP (www.MOTMmusic.com)
Essentially, March of the Mannequins is a solo project
for pianist/guitarist/drummer Rob Pratola. He is accompanied
by a few skilled players, led by vocalist Matt Rauch. It
is important to point out the one-man quality of this record
because, sadly, that is about the only truly unique element
of the record. The Remedy is five standard pieces of rock
fare; nothing fancy or revolutionary, just very modern sounding
rock. In other words, it is technically and sonically sound,
but just lacks any staying power. The chorus of “Faithful”
is soaring but the song itself is mundane and divertive,
and therefore it becomes just another piece of music that
kills about four minutes of your day. March of the Mannequins
is the prototype of what is wrong with contemporary rock
music-the songs are traditionally arranged, the lyrics are
sanitized, the riffs, even when raised in volume, are still
harmless, and therefore, the finished result is just generic.
It is not terrible by any stretch-these guys, especially
Pratola are talented, but they lack any truly distinctive
qualities. As one listens to this, March of the Mannequins
could easily be confused with a reunited Creed or maybe
a new 3 Doors Down record; “Sweet December”
is a nice song, it could possibly be used in a car commercial,
but nothing on The Remedy is the shot of adrenaline to the
heart that rock needs. Rauch channels his inner Adam Levine
on “Dreamer” and “Sun’s Eternal”,
and if that is enough to excite you, godspeed but do not
say that I did not try to warn you. Rob Pratola will hopefully
find other outlets for his vast abilities.
 SURRENDER
THE FALL - Burn in the Spotlight (Rum Bum Records www.rumbumrecords.com)
The midpoint of this disc is a song called “Pitiful”,
but I will not make the joke because it is simply too easy
and I do not want to be that lazy, but trust me, it fits.
I do not know if Papa Roach, Evans Blue, Seether, or any
other midland act that desperately attempts to fill a musical
void known formally as “rock” is looking for
a touring partner, but Surrender the Fall would work perfectly.
I am shocked by this record because based on the name, I
am expecting bland metalcore; instead, I hear generic songs
that are actually insulting to the word bland. The first
half of the record must be the “rocking” tracks,
as the angry opening one-two punch of “Everything
You Want Me to Be” and “Love Hate Masquerade”
indicates. The former even features “motherfucker”
within the opening lyric-wow! Now that gets my attention!
After I fight through two more songs that fade from memory
before they end, I am greeted by a collection of five (!)
attempts at a radio hit. One can choose from “Some
Kind of Perfect”, “I Don’t Wanna Know”,
the aforementioned “Pitiful”, “Undesigned”,
and “40 & 12” with equal indifference, for
essentially, it is all the same song. However, perhaps I
am missing the larger point here, for Luis Bicardi, operator
and mastermind behind Rum Bum records (see the connection
in the name of the label now?) says “the music takes
you to another level”. Huh? I do not know where this
level is, but I do not think there is enough Bicardi that
could help me find it. Adding one final handful of salt
into the proverbial wound, the concluding “Into the
Headlights” is a heart-wrenching effort with the obligatory
acoustic opening and lyrics that metaphorically use driving
to represent the decisions one makes in life, as in how
we all make wrong turns. The ironic aspect of this disc
is that this band is so sufficiently safe that this record
will probably make enough money so the members can quit
their day jobs, while acts with far more ingenuity and originality
are languishing in a mire of obscurity. I cannot say definitively
that rock is dead, but it is dying and this will not help
its recovery.
 New
York-Connecticut Hardcore Connection (United Riot Records
www.unitedriotrecords.com)
New York is long famous for its brand of muscle-bound
hardcore, and certainly Connecticut has witnessed an intensified
level of national attention in recent years, so a disc celebrating
both states makes sense. The only name here to be recognized
by those outside of the designated geography is the merry
band of hockey fanatics Two Man Advantage, and they do not
disappoint with either of their efforts, including the less
than subtle “Fuck Off”. Thirteen acts here cover
a broad swath of the hardcore landscape, as Connecticut’s
Drug Shock feature classic gang vocals on “On the
Prowl”, while New York bands Iconicide, Fed Up!, and
Carnage Krew are each musical wrecking balls of force, with
“Godspeed” from Iconicide as my personal favorite,
but song titles like “Life Still Sux” and “Feelings
are for Assholes” tells the listener all one needs
to know about Carnage Krew. Lest anyone believe that this
disc favors New York, Connecticut represents itself quite
well with a diverse array of talent. Broken, All for Spite,
and Progress tend to lean towards the heavier side of hardcore,
but each band provides hooks that are impossible to ignore.
Speaking of hooks, perhaps the most interesting and perplexing
band is Connecticut’s Hooks and Sinkers. In my memory,
this is the only act I have seen on a hardcore comp that
credits an organ player. Rather than snicker or believe
this to be some of gimmick, the band blends sounds not ordinarily
placed together into a wildly entertaining pair of songs.
The interstate collective of Side Swiped delivers the catchy,
yet wry “Hor”. The band includes Dennis F.U.
on vocals and Jonny Foz on guitar, notable for also being
the two masterminds behind this disc. The most impressive
quality of this release is its ability to avoid redundancy
or predictability and with a thirteen band, twenty-five
song collection, this is an impressive feat. For example,
Connecticut’s Blastmat contrasts nicely with New York’s
Truth in Needles and Everyday Dollars. There is a little
something here for every degree of hardcore fan, from the
bombastic to the richly harmonic. New York-Connecticut Hardcore
Connection is a healthy education in contemporary hardcore
and proves that the next generation of Tri-State bands sounds
promising.
 96
- Caught In the Grips (www.hotfootrecords.com)
It does not take long to understand the type of band 96
is as the opening “Had Enough” is a rapid-fire
burst of hardcore. The thirteen songs here usually clock
in at just over a minute, but 96 is not a one trick pony
hardcore act. The band realizes that breakdowns and gang
vocals on every song quickly becomes redundant, so they
continually alter song structures. “Culture Shock”
features pristine guitar work with a dazzling intro that
is not often heard in hardcore, while the environmentally
concerned lyrics of “Dried Up” are rightfully
given over three minutes to be appreciated. The near grindcore
speed of “Iced Tea” is offset by the light-hearted
lyrics, and actually offers a nice respite from the more
serious tones of the disc. “Hard Luck” and “Darker
Days” are melancholy in theme, but extraordinary in
terms of speed and musical cohesion. When the band does
follow more typical paths, the breakdowns on “Fast
Money” and “Last Part” are heavy on the
groove and less concerned about getting the kids to start
spin-kicking. For a debut record, 96 display deftness beyond
their years, and although they have toured with a collection
of premiere acts, 96 are easily on their way to become headliners
themselves.
 NOT
THE BEES - Another Hour to Burn (www.gtgrecords.net)
This overtly melodic punk-pop outfit has a long history
among its members in the Jersey punk scene, and the experience
shines through on this, their first truly proper release.
The riffs are bountiful and Joe Allocco’s voice is
resoundingly harmonic, yet he retains a ruggedness that
beefs up the overall sound of this outfit, thanks also in
part to the accompanying vocals of Jon Barnes. Bassist Steve
Fusko and drummer Mike Pushkin carry a powerful rhythm section,
and there is a delightfully earnest 90’s feel to every
moment here. The easiest connection would be Hot Water Music,
and that is fair, but do not expect a bland imitation. The
opening “Xanax and the Corner Office” is more
than just a fantastic name-the track begins innocuously,
but when Allocco’s raspy delivery emerges, it is obvious
that this is not just another collection of veteran punks
experimenting with pop hooks. The chorus of “Stay
Indoors” is nearly illegally catchy, and “Counting
to Zero” balances speed with polished playing. Each
of the five songs hums along with warmth that captures the
intimacy of a small club, which is where these guys are
most comfortable. Everything about this disc smacks of a
band comprised of really good guys who would undoubtedly
have a beer with you after the gig and sell t-shirts out
of the trunks of their cars. There is hope if one is yearning
for a rare combination of contagious hooks and maturity.
I think these guys are ready to move beyond VFW halls.
 BORN
LOOSE (Drug Front Records)
This one has all the ingredients necessary for the perfect
rock band-the members are scruffy, battle-tested veterans
with résumés and rap sheets of equally impressive
stature and they play music that is loud, raw, and well, loose.
Larry May of the legendary and obsession-worthy Candy Snatchers
is out in front and the dozen songs here are each augmented
by his brand of raspy, guttural barking. The only question
one may have about this record if which speed does one prefer:
the slower, grittier “Bobo Blues” and “China
Bus Express” or the raging, fire-breathing “Deadbeat
Street”, “House of Creeps” and the crowd-pleasing
“Sugar Pussy”? Regardless of tempo partiality,
Born Loose has a flawless record on their hands. This is written
for everyone who is sick of slick production and vapid performers,
or perhaps even as equally vomit-inducing, the ultra-perfectionists
who strip away any humanity from their performances. Born
Loose rage with a recklessness and death-defying level of
fun that is missing so seriously from rock today; the playing
is loud and sloppy across all four members, from May’s
screams of possession to Suke’s rugged guitar playing
and the battering force of drummer Eric Robel and bassist
Shane Konen. These guys have seen thousands of acts only pretend
to be what Born Loose actually is so they know how to create
real rock n’ roll. The sleaze that drips from “Folds
of the Flesh” and “Bad Baby Faye” cannot
be forged and the sax that highlights the opening “Step
Up to the Plate (Be a Runaway)” would sound trite of
performed by a lesser skilled band. After listening to this,
I would not mind if the world ends in a few weeks-this is
a hell of an album with which to end the human race.
 DRGN
KING - “Holy Ghost” b/w ”Son of Wolfman”
(bar-none.com)
This Philly duo, Dominic Angellela and Brent Reynolds, utilize
each other’s unique skills to craft ambient, eclectic
pop with surprising soul considering all the studio magic
on display. The opening “Holy Ghost” introduces
brief flashes of noise into an otherwise neatly packaged pop
structure with lush vocals and a steady backbeat. Energized
guitar nestles neatly alongside more pronounced keys as the
song meanders through its three and half minutes, revealing
a multitude of ideas. “Son of Wolfman” takes a
lighthearted tone juxtaposed by the furious rapping of Peedi
Crakk. This is not my first love in music, as I always run
away from acts which prominently feature a producer as a member,
but Drgn King retains an authenticity that defies most bands
of this ilk.
 THE
GIRLS - “Rodney” b/w “Say Yes” (www.thegirlsbang.bandcamp.com)
The name of this act is a bit of a misnomer, as there is only
one girl, lead vocalist/guitarist Jessica Wabbit. Her voice,
an enchanting mixture of sultry and innocent, stands out amongst
a two song release that is cool and bodes of an interesting
future. With minimalist production quality, the guitar riffs
come across as scratchy and the drumming is unfortunately
buried. However, Wabbit’s passionate performance carries
both “Rodney” and “Say Yes’, particularly
each effort’s choruses, although “Say Yes”
also includes a wonderfully lo-fi gem of a solo from Vug.
I am certainly intrigued, for the Girls have a foot in the
recording studios of bubblegum girl groups that dominated
the late 50’s and early 60’s and another in the
old mailroom of Kill Rock Stars. This brief release is fun
without being foolish and has an edge that I would like to
hear develop over a full length.
 THE
STAGS 7-inch (Drug Front Records www.drugfrontrecords.com)
I am officially indescribably jealous of Jim, the lead singer
of the Stags. Not only in his the lead voice on a band fortunately
enough to associated with Drug Front records, but he is surrounded
by Simona (guitar/vocals), Vicki (drums/ vocals), and Arwen
(bass/vocals); these three ladies absolutely tear the room
apart on this scathing four song effort. The soundtrack of
a long night and even longer morning, The Stags play old fashioned,
no frills, rock n’ roll the way it should be. These
kids would not know Pro Tools from a power drill and they
(and we) are the better for it. The snarling “Told You
So” is dripping with attitude, while “Rock Hotel”
has an inescapably catchy hook. “Moving On” features
a rumbling low end and a fuzzed-out guitar tone that would
make Ron Asheton jealous. The closing “Bread n’
Butter” is the most glaring sing along of the bunch
and it is tinged with a great sense of humor. These four songs
end too quickly and all I want is more. For those who love
the Ruiners, Night Birds, and other acts that do not apologize
for eschewing pretention, The Stags could be your next favorite
band in the world.
THE SWINGIN’ UTTERS (Fat Wreck Chords www.fatwreck.com)
This is a great way to spent four and half minutes. This two
song release is a welcomed sight for long time Swingin’
Utters fans. The band finally reappeared last year after a
nearly interminably long period of silence, and “The
Librarians are Hiding Something” is perfectly representative
of the band’s sound: a disheveled pop nugget with a
warm resonance and a great hook. The B-side, “Rude Little
Rooms” marks the end of the band’s career with
bassist Spike Slawson who was replaced by Miles Peck, naturally
heard on the A-side. Both tracks combine melody and rugged
harmony accented by blurry guitar work and Johnny Bonnel’s
instantly recognizable brusque vocal delivery. This is a tease
for what should be a sterling new record.
 CONVERGE
- All We Love We Leave Behind (Epitaph Records www.epitaph.com)
One of the most important, and deservedly adored, acts
in extreme music, Converge has crafted a record of intricate
brutality and superlative creativity. All We Love We Leave
Behind is a scathing pronouncement from a band that perpetually
raises its own metaphorical musical bar with each release.
My eyes bulged and I gasped when this one fell out of the
envelope, I will admit, as I have adored Converge since
the days of Jane Doe. All We Love We Leave Behind is an
extermination campaign of a record-the opening salvo of
“Aimless Arrow” and “Trespasses”
are mercilessly heavy and fuming, yet there remains an incredibly
mastery of structure and time signatures. Thousands of bands
can rage, but Converge brings a level of humanity to their
brand of extremity that transcends heavy music and becomes
a genre unto itself. Kurt Ballou is a magician of a guitarist,
a talent that should not be overlooked in the midst of producing
genius, while bassist Nate Newton and drummer Ben Koller
is a crippling pair of assassins. True to their history,
there are the brief explosions of blazing grindcore, but
“Tender Abuse” and “Sparrow’s Fall”
are not just ninety seconds of chaos; what has always separated
Converge from the masses is their brazenly bold use of experimental
dynamics, whether it involves significant shifts in tempo,
or the eerily unsettling instrumental “Precipice”.
Vocalist Jacob Bannon is not screaming like a madman in
the woods, his impassioned verbal yelps and pleads are another
element of the assault launched upon the listener. Longer,
more pronounced efforts, such as “Glacial Pace”
and “Coral Blue” are heavy enough to shatter
tectonic plates, while “Vicious Muse” and “Shame
in the Way” are inexorable in their intensity and
power. The aforementioned “Coral” includes a
shockingly delicate and stirring musical bridge before the
song begins to slowly reconstruct itself into a thunderous
mass of blunt force. All We Love We Leave Behind is an exhausting
listening experience; a record that pushes and pulls the
listener in a multitude of directions, oftentimes simultaneously,
before concluding with the punishing “Predatory Glow”.
Frankly, I view Converge as an American treasure- a band
with an unprecedented combination of devastating intensity
and breathe-taking dexterity. Times are tough and money
is tight, so spend wisely and go get this.
 NO
MISTAKE - Connect the Dots…Complete the Puzzle (http://nomistake.bandcamp.com)
Led by guitarist Mike Bromberg, better known to the world
as Mike Bullshit, No Mistake is a celebration of hardcore
in its purest sense-thirteen songs in fourteen minutes,
people! However, it is far more than brevity that matters
here-these songs have hooks, heart, and are avoid any influences
outside of true hardcore. Harking back to the days when
Negative Approach, SSD (starkly appropriate with No Mistake’s
ferocious adaptation of “Boiling Point”) , or
SOA reared back and hurled themselves at the listener with
exhilarating abandon, every furious second on Connect the
Dots…Complete the Puzzle is a ripping jolt of infectious
energy. There is nothing to dislike here, as the guitar
riffs cut through the record like a buzz saw, the drumming
is relentless and the vocals are both infuriated yet articulated
well enough to appreciate what is being said. To that end,
No Mistake offers a variety of lyrical topics, from the
comedic “Unibrower”, to the environmentally
conscious, viscerally crushing thirty-second “Expiration
Date”, or “We Stole Hawaii”, the historically
accurate tale of American imperialistic abuse of the late
ninetieth century. In short, this is as close to perfection
as you are gonna get, my friends, so find this immediately.
And, for those of a certain age, you can truly recapture
your youth and get this on cassette, but please do not hurt
yourself if you break out the skateboard.
 STAB
ME KILL ME - Demo (stabmekillme.bandcamp.com/)
This is why one should never judge a book (or demo) by
a cover. This Seattle outfit plays wonderfully harmonious
punk that clearly does not eschew bubblegum pop influences,
but their demo cover gives the impression of a horror-punk
band. The opening “No Ledge” bounces with a
decidedly positive energy, while the surf-tinged, sun-kissed
“Good as Gone” ends coldly after a brisk ride
lasting under eighty seconds. Yes, the opener possesses
a certainly element of subtle heaviness, but one cannot
ignore the resoundingly hopeful tone of the track. While
there are understated hardcore influences, particularly
on the gruff “Diablo”, Stab Me Kill Me have
clearly worked to harness a distinctive sound. Certainly,
the Ramones, Queers, Screeching Weasel, are in heavy rotation
in this band’s rehearsal space, but they are not clones.
Even the goofy “Lemon Party” is not attempting
to rehash well-worn ideas, as it smashes and crashes upon
itself with the exhilaration of 60’s garage bands.
The quality of production is superb for a demo, proving
that this Pacific Northwest trio is not just in this for
kicks; there is a promising band blossoming here, and I
hope labels with some real cash are listening.
 10cent
FUCK FLICKS (Drug Front Records www.drugfrontrecords.com)
To paraphrase a famous preserves and jelly company who I am
sure would want nothing to do with this band, with a name
like 10 Cent Fuck Flicks, it has to be good. In this case,
it is amazing. The music is, as one would expect, sleazy,
and you will want to wash your hands after listening, but
this is so much fun. The eight songs on this record are a
celebration of excess and debauchery, yet the bands’
level of musicianship sneaks up upon you from behind and has
its way with you. The opening “Womanaire” is gritty
with a boogie quality, while “Do The Beegee” and
“Chew You Up” overflow with powerful grooves;
these tracks are examples of 10 Cent Fuck Flicks’ ability
to craft well-orchestrated and somewhat disciplined songs.
However, “Toyota” is a chaotic mess of a gem;
a blasting, rousing piece that flirts with destruction but
never collapses upon itself. The masterminds behind this act
take the unfiltered energy and enthusiasm once heard in rock’s
infancy and slams them together with a recklessness that is
exhilarating. One should not only view this band as a shock
act, for there are real chops under the beautiful filth; the
poetic “Pussy Flavored Ice Cream” is actually
a rollicking, surf-tinged instrumental with elements of high
caliber blues. Raging with high energy and a fearless indulgence
in self-abuse, 10 Cent Fuck Flicks’ playing mirrors
the grainy 70’s porn images that adorn the cover. Linda
Lovelace should have had this on while rehearsing “Deep
Throat” or, at worst, this should be the soundtrack
to a 21st century makeover of “Debbie Does Dallas”.
You may need to hide this one from your family, but it is
mandatory listening.
 VIBRAM
94 - You’ll Never Take Us (United Riot Records www.unitedriotrecords.com)
I am miles away from the skinhead way of life, both in terms
of the length of my hair and my behavior. I do not roam the
streets looking for trouble, I do not shave my head, and I
do not consider beating someone up as a life-defining moment.
The tough guy lyrics of this band, who came and went between
1994 and 96, should speak to those who share the ideals, but
“travel in packs, clear the way, hold our ground, have
a say, fighting for the skinhead way” (“You’ll
Never Take Us”) may not resonate with those outside
of skinhead circles. That being said, good punk is good punk,
and I like the way this record sounds. The production is limited
and raw, but that should be taken as a compliment. The playing
is speedy and aggressive, and the “whoa” chorus
of “Old Breed” is surprisingly buoyant. The minimalist
cover art and lyrics about “bloody yuppie bodies”
(from “Put in the Boot”) may come across as trite,
but Vibram 94 is not an easily disposable relic: It exemplifies
an authentic puck aesthetic and youthful dedication to a band.
One may have to place politics aside.
 RUNNY
- The Legendary Runny EP (Drug Front Records www.drugfrontrecords.com)
Thousands of bands write catchy chorus, but few write a chorus
as contagious as that of “Sucking on the Wrong Dick”,
the opening salvo to a staggeringly fun, but ultimately somewhat
confusing record by a loose collection of deliciously tweaked
prodigies. I openly admit that I sang the refrain of the aforementioned
classic to myself (and out loud) for several days after first
treating myself to it. The song’s bass heavy hook and
infectious melody make it clear that Runny may jolt people,
but this is not a band to be easily dismissed. The shared
male/female vocals of Lemon Cookie and Colonel Cream, respectively,
make the physical demands and actions they detail with vivid
description in “Way Up Inside” all the more harrowing
and impressive. This reminds me of past legends of the Philly
underworld, namely Rancid Vat and Double Penetration; two
bands that were funny, sick, and very talented. “Punish
Me” and the closing dance remix of “All the Living
Things You Gave Me are Now Dead” pale in comparison
to the A-side, but this is still another example of how Drug
Front Records is quickly becoming one of the coolest and most
independently minded labels out there.
 BEST
PRACTICES - The EP LP (Tiny Engines Records www.tinyengines.net)
Best Practices compress nine scathing songs into a roaring
twelve minutes. Each track is a sweaty explosion of sound
that celebrates basement punk with a sincerity that simply
cannot be feigned. The Providence, Rhode Island outfit does
not seem to take a breath as one adrenaline fueled mass
of force careens and smashes into the next with the force
of a ten car pile-up on I-95. Best Practices does not pummel
with thick slabs of low end force, but rather continuously
batters with punishing body blows that ultimately leaves
the listener exhausted and gasping for air. The cold, mid-sentence
ending on the concluding “Get Confident, Stupid”
perfectly encapsulates the band: they push themselves to
the brink of collapse with a delivery of staggering immediacy.
This is a record that not only celebrates the visceral power
of punk rock, but encourages the listener to take the needle
off the end of the record and start all over again. This
is a triumphant declaration that Best Practices is a band
primed to unleash their vehemence upon the world.
 DIKEMBE
- Broad Shoulders (Tiny Engines Records www.tinyengines.net)
Dikembe possess an intriguing balance of DIY aesthetics
and surprisingly mature experimentation. The atmospheric
opener, “Nothing. Stuff.”, hovers gently while
vocalist Steven Gray releases a highly emotive and gruff
voice. The fuzzy, imperfect sound of Broad Shoulders exemplifies
the band’s desire to challenge the listener musically
without entirely abandoning the garage. The band shines
lyrically throughout the record, usually providing juxtaposition
between snarky, funny song titles and forthright tales of
fears, regret, and nerve-shattering anxiety on “I
Watch a lot of Jackie Chan Movies”, “Librarians
Would Kill for that Kind of Quiet”, “That’s
How What Works”. These songs are haunting in their
stark beauty as a noisy interplay between guitarists Ryan
Willems and Gray is ideally balanced buy the yeoman work
of drummer David Bell and bassist Kenny Jewett. Dikembe
certainly incorporate punk elements into their sound, but
there is much more than three chords and yelping happening
here. Despite the fact that Broad Shoulders is only Dikembe’s
second record, the band displays a remarkable sense of bravery
in terms of their willingness to travel musically rustic
paths. The songs here make the listener think and work a
bit-this is not ear candy-and the result is a record with
a breadth of emotion.
 RESTORATIONS
- “A/B” 7 inch (Tiny Engines Records www.tinyengines.net)
If I am not going to injure myself through a night spent
head banging or sweating in a circle pit, bands like Restorations
is my next choice for musical enjoyment. Complicated, intricate,
and majestically convoluted, the pair of tracks is each
a labyrinthine gem of effusive guitar rock. The energy and
abandon is tempered by a commitment to jagged and jarring
structures. Both pieces bounce with punk-infused qualities
while also saluting the finest elements of rule-defying
indie rock, particularly the soaring guitar solo that highlights
“B”. This single offers two deftly designed
songs from a band not easily quantified.
 STATE
LINES – 7- inch (Tiny Engines Records www.tinyengines.net)
The A side of this EP alone makes this a winner. The loud/quiet
structure of “5’s on the Elephant” is
instantly identifiable, but the urgency with which it is
delivered is less familiar. Long Island’s State Lines
may have young members, but they clearly have a maturity
that belies their collective age. The speedy, warmly melodic
“Plenty of Time” is wonderfully countered by
the serrated “Cave In”. Both songs are worthy
of high praise and reveal a multi-faceted band that is rapidly
finding a unique sound. Distortion, feedback, and passionate
vocals make this a highly notable release. This should not
be viewed as an act that softens its punk roots with harmonies,
but rather, State Lines take harmonious hooks and infuses
them with punk energy.
 SUPREME
COMMANDER - Paper Tigers (Basement Records www.basemenetrecords.com)
Tough guy hardcore with a metal tinge is not new, but doing
it with your tongue occasionally in your cheek does help
to differentiate your band from thousands of other beat
down crews crawling along the seedy bars of America. Supreme
Commander do not offer much in terms of new ideas on Paper
Tigers, but that is fine if you like what you hear: it is
thunderous, heavy on the low end, hardcore that only knows
full speed ahead. The intimidating “More Than You
Can Chew” kicks the record off with a punishing riff
and snarling vocals compliments of Boo. Granted, the majority
of the lyrical content involves violence of some sort, either
attacking one’s own personal demons (the aforementioned
opener), righting wrongs against those who double crossed
you (“The Damage Done”, “Slow Burn”,
“The Woodshed”), and an good old fashioned break-up
song (“Another Day Without You”). However, my
appreciation for this act came on “Flip Flops”,
a hilarious attack upon hippies and preppies with references
to beer pong, bro rape, Jack Johnson tickets, and pounding
Jaeger-bombs with dad’s credit card. I believe that
if Supreme Commander did more of this they could find a
niche in the hardcore game instead of being the second act
on the bill at an Agnostic Front show. There is definitely
something to celebrate here, and I hope Supreme Commander
continues to push themselves.
 I
AM THE HEAT - Endings (www.iamtheheat.com)
The bi-coastal through Brooklyn outfit has quietly existed
since 2005, but Endings is my first exposure to
their sound. In short, I Am The Heat is a tempest of fun;
the three tracks on Endings are brief explosions
of garage pop with elements of contemporary indie individualism.
Jameson Edwards leads the band through the playful tracks
highlighted by “Famous”, a collision of bubblegum
sixties pop, kinetic energy, and sardonic lyrics. “Wake
Up” encapsulates the band’s ability to craft
a memorable hook and the refrain of “shake it up,
oh come on baby, shake it” will refuse to leave your
brain. One consistent point of interest is the well-placed
keyboards in both of the aforementioned songs; the appearances
are fleeting, but the subtle bursts of electronic noise
gives an edge to songs that otherwise retain an air of infectious,
yet safe, pop. The addition of Ava Farber has given I Am
The Heat an injection of both new blood and richer harmonies.
She and Edwards work in wonderful tandem on the title track,
as their buoyancy is undeniable and the musical spark between
them is nearly tangible. This is an effort in which three
songs are not enough.
 JOE
McENERNEY - Wild World (http://joemcenerney.bandcamp.com)
Joe McEnerney’s broad smile on the cover of Wild
World should act as a beacon for what is found inside,
as this has to be some sort of inside joke. Each of the
eleven songs sound like a teenager in 1987 experimenting
with the pre-programmed beats on his first Casio synthesizer
that his mom bought at Radio Shack. I am still unsure if
“Next September”, “Half Hollowed Heart”,
“Blue Eyes, Brown Hair”, and “Don’t
Lose the Nights” are written about the same girl,
but regardless of topic, the theme is interminably redundant.
On each song, Joe is the nice guy with a few flaws, but
he is trying, and yet, nothing seems to work out for the
poor kid. The 80’s pop sensibility grows tiresome
quite quickly, despite some light-hearted, self-depreciating
lyrics. “Clean Up in Aisle Me” is the one keeper
of the bunch, and I do like the fact that the opening “Rut”
features a Howard Stern reference, but even that sounds
dated as McEnerney references “watching the Howard
Stern show”. Watching? Like the Channel 9 classic
or the E! show? Either way, one fleeting line to a pop culture
icon does not a song make. I could simply dismiss this as
a guy and a few friends recording a good-natured, if forgettable,
record if it was not for one unforgivable misstep: McEnerney
has the audacity to apply his 80’s schlock to Buddy
Holly’s “Everyday”. This is a nightmare
of epic proportions and any future release of this disc
should have that song omitted, and McEnerney should send
a letter of apology to the Buddy Holly estate. Joe McEnerney
is probably a really good guy who is a blast to hang out
with, but please, no more music.
 THE
SCENICS - Dead Man Walks Down Bayview (Dream Tower Records
www.dreamtowerrecords.com)
Interesting story here; The Scenics’ history stretches
back to 1979, but this is the band’s first fully original
product since 1982. A lot has changed over the years (gas
averaged around $1.30 a gallon and that was during a rough
economy), but original members Ken Badger, Andy Meyers,
and Marc Perkell reconvened for a record that is both rooted
in the band’s past but also sounds uniquely contemporary.
Tracks like the opening “Dark Cave” and “No
Sleep” are bouncy odes to the basic foundations of
rock that transcend any generation or trends. The band also
displays a penchant for winding, intricately played nuggets,
such as the folksy “A Fox, Her Fur, and Where She
Parks It” and the guitar showcase that is the sprawling
“Miami”. Despite their history in the Canadian
punk scene, do not expect much in the way of slash and burn
fury; rather, the boys have certainly matured into more
soft-spoken men on “When You Come Around” and
“I Can’t Be Careful”. The dreamy, genteel
closer, “The Farmer” encapsulates what The Scenics
are now far more than what they once were. It is always
a risk to see a band reemerge after such a long hiatus,
but the Scenics handle the challenge extraordinarily well.
The songs on Dead Man Walks Down Bayview are pop-flavored,
guitar-rich anthems deftly delivered by skilled veterans.
 SELF-EVIDENT
- We Built a Fortress on Short Notice (Doubleplusgood Records
wwww.doubleplusgoodrecords.com)
Despite a career that has witnessed the release of five
complex, angular slabs of intricate musicianship, Self-Evident
is not a band that instantly comes to mind when asked to
think of contemporary acts that balance the complicated
and the controlled. That inexplicable fact aside, the musical
radiance continues on the supremely titled We Built a Fortress
on Short Notice, where textured harmonious elements and
subtle uses of blunt power make this record intriguing.
The opening “Rumors” has a pent-up aggression
that seems on the hair-trigger verge of explosion in the
vain of Fugazi’s best days, but other tracks drift
off into dreamier pastures. “Half Bicycle”,
“The Ones That We Live Without”, and the stirring
“Cloudless” possess a similar level of intricacy,
but the song structure is more reminiscent of acts likes
Joan of Arc or Laissez-Fair, generating a sense of unsteady,
almost frantic disorientation. These beautiful efforts hover
and shroud the listener, embracing without smothering. Conrad
Mach’s voice moves from strained, impassioned lyrics
of pitch-perfect anguish to labored yelps of frustration;
his “get up, get up, this is happening right now”
in the concluding moment of “In Cowardice” is
chilling and the vocals are truly a weapon of choice throughout
the disc. Tom Berg’s bass playing provides heavy propulsion
through the record and his backing vocals cannot be overlooked
in terms of importance alongside the dexterity of Ben Johnston.
Quite often, at least for a person of my limited intellectual
scope, any band that is tagged with a “math-rock”
label sends me running, but Self-Evident never sounds convoluted.
There is certainly undeniable intricacy on each track, but
each stop and start and every skittish guitar riff is organic
and purposeful. In short, this is worth finding.
 BROTHER
EYE - Emotional Fingers (Strange Pony Records www.brothereye.bandcamp.com)
If there was ever a band whose music is destined for a
truck ad, it is Brother Eye. While listening to the opening
“Dry Summer” or “The Wizard”, one
can imagine mud spraying across your television screen as
some turbo powered pickup has its horse power explained
in excruciating detail. However, to their credit, Brother
Eye does something that few bands do today, which is play
old fashioned rock n’ roll; the type that used to
dominate FM radio before that went the way of the phonograph
and people began creating sub-genres within sub-genres.
There is nothing flashy or challenging on Emotional Fingers,
just songs about smoking cigarettes, bad relationships,
and getting through life. The nine tracks here range from
impassioned anthems (“First Wave”, “River
City Showdown”) and blues-inspired pop (“Fall
on You”, “I Will”) to fuzzy, guitar-rich
efforts (“Barely Watching”). Brother Eye sounds
like Cheap Trick if that band had not been ravaged by the
80’s. I prefer to have music rip my head off and then
move on, but there is always room for guys who just appreciate
a no-frills approach song writing in which two guitars,
a steady backbeat, and a harmonic singer come together and
eschew any concern about trends. Nothing captures this band’s
willingness to avoid the fray of contemporary musical stylings
than their choice of a cover version of Wings’ “Jet”;
that alone should help define the target audience. However,
regardless of age group, Brother Eye is a band that cries
out for a few beers and friends, and that is always a concoction
for a fun listening experience.
 SLIGHTLY
STOOPID - Top of the World (www.slightlystoopid.com)
I know people adore Slightly Stoopid and their brand of
modern ska, but this just refuses to entice me. This band
reminds me of Sublime, and I could not stand that band either.
If this is your taste, then Slightly Stoopid does this very
well. Musically, the band is quite adept and the adroit
balance between harmony and frivolity is impressive, regardless
of genre.There are a multitude of fun, light-hearted party
songs here, including “Ska Diddy”, “Work”
“Marijuana” and “Drink Professionally”.
With each of these, one should break out margaritas and
Tommy Bahama shirts and just unwind. These efforts are easy
on the ears and provide a wonderful bit of escapism, but
this is for a very specific audience. If one is not a true
devote of ska, slower efforts such as “Deal With Rhythm”,
the unassuming “We Don’t Wanna Go” and
the somewhat perplexing choice of a cover of Springsteen’s
“I’m On Fire” become taxing quite quickly.
Maybe I am no fun, and there is a very good chance that
is true, but I can only take a song or two of this at best.
 WRECKLESS
ERIC and AMY RIGBY - A Working Museum (Southern Domestic
Records www.amyrigby.com)
This fascinating combination of Englishman Wreckless Eric
and very American Amy Rigby results is a warm collection
of uniquely constructed avant-garde pop. While “Rebel
Girl, Rebel Girl” and “Days of Jack and Jill”
hover delicately due to the airy vocals of Rigby, “The
Doubt” is a discombobulated gem of a song that meshes
the ethereal with the chaotic as a noisy chorus rumbles
in and then inconspicuously departs. “Days of Jack
and Jill” has all the elements of a classic 60’s
pop sing along with slight variations in tempo and energy
along with a rousing hook, while “Genovese Bag”
is a more straightforward effort with subtle guitar trickery
that becomes increasingly pronounced as the song meanders
its way towards its conclusion. The disc seems to become
progressively more challenging, as “1983” is
a dense slab of blues-fused experimentation, and “Zero
to Minus One” has remarkably stark beauty. This is
mirrored by the rich harmony heard on “Tropical Fish”,
as Eric and Amy’s vocal interplay is riveting. With
varied influences and obviously musical dexterity, A Working
Museum is a treasure waiting to be discovered by the inquisitive
and objective.
 HOT
PANDA - Go Outside (Mint Records www.mintrecs.com)
Hot Panda continues Mint Records’ proud history of unique
pop-punk on Go Outside. Led by Chris Connelly, the songs here
are often bouncy and effervescent, but always retain a subtle
edge. This may be pop, but there is a tangible angst on “One
in the Head, One in the Chest”, “Littered Coins”,
and the superlative “Winter Song”. Connelly’s
aggressive yet controlled vocals coordinate well with the
noisy ebb and flow on “Global Markets” as Meghan
Campbell shines on drums, while “Maybe Now?” percolates
with an infectious energy also heard on the jubilant title
track. Go Outside sounds innocent without sounding naïve,
and this is through the leadership of Connelly, but accompanying
him are the multi-talented Heath Parsons and Catherine Hiltz,
who combine to play instruments ranging from guitar to trumpet
and accordion. Their contributions only accentuate already
impressive efforts and never sound forced. The speedy, textured
“See You All Around” is an inspired piece of supremely
crafted pop and one can imagine the smiles on the faces of
the members as they produce their din. I have been a fan of
Mint since their inception with cub and “cuddle-core”.
The label continues to mature but has not lost their appreciation
for unique interpretations on pop purity.
 RED
COLLAR - Welcome Home (Tiny Engines Records www.tinyengines.net)
The story of Red Collar is a tale of four individuals who
decided to, in their thirties mind you, commit themselves
to a rock and roll dream. Welcome Home is the testament to
that aspiration and is a collection of odes to adulthood,
the significance of familial ties, and the ramifications of
one’s decisions. In short, this is adult music for other
adults. As a man even older than the members of Red Collar,
I have limitless admiration for their dedication to their
craft and the maturity of their songwriting. That said, however,
much of this is a little ham-handed in delivery. If one has
just discovered Gaslight Anthem or appreciates the harmonies
of Jimmy Eat World, songs such as “American Me”
and “Fade Into the Night” will put a charge into
your minivan as you take the kids to soccer practice, but
I am bored and more saddened by some of the preachy qualities
of the Depression-era ramblings of “The Old Piano Roll”,
the overt attempt at sentimentality on both “This House”,
and “Dodge K”, and the laughably transparent “Choices”.
The latter deals with a young girl who made, yes, a bad choice
and is now pregnant. I find it difficult to take the lyrics
“Now you know, they don’t come from storks or
Jesus” seriously. Musically, Red Collar is an upper
echelon bar band which writes temporarily catchy, albeit well
worn, riffs accompanied by impassioned vocals. However, not
much of Welcome Home stays with the listener for very long,
and the record acts as a wonderful metaphor for the longing
for home so often articulated in the collection of songs:
you can go home again, but one quickly realizes that the idealized
memories in one’s head do not match the world waiting
for you and ultimately, disappointment becomes the new reality.
Red Collar has the best of intentions, but I hope they did
not take out a second mortgage for this band, although their
next record could feature songs about interest rates.
 STATE
FAULTS - Desolate Peaks (Tiny Engines Records www.tinyengines.net)
With a remarkably harsh vocal approach, State Faults may illicit
immediate responses of confusion or utter disgust. However,
if one gives this act, and namely Jonny Andrew’s harrowing,
polyp-generating singing style a chance, there is a gem of
a record here. Five of the six tracks on the first side either
do not or barely crack the two minute mark, but this is not
blurry, indecisive punk fury run amok. Rather, the musical
backdrops are majestic in their beauty and are the perfect
foil to the raging caterwauling hovering above them. There
is remarkable depth to “Sleepwalker”, “Faultlines”
and “Wayfarer” despite their brevity. Andrew and
Michael Weldon indulge in thrilling guitar warfare as their
bombastic riffs intertwine, wrestle, and ultimately emerge
as exhausted warriors from a type of bloody hand to hand,
six string combat. All the while, Chip Kelley’s bass
playing and the drumming of Jared Wallace blend the relentless
energy of grindcore with the angular precision of jazz to
create a fully unique listening experience. When the band
fleshes out ideas in greater detail, such as “Teeth
and Bones” and “Hallways”, the result is
as exhilarating without becoming redundant. Darkness permeates
the record, from the slightly hazy production quality through
the lyrics of self-exploration that often revolve around the
pain associated with being a human: “My heart’s
a haunted home and it’s all I’ve ever known”
(“Sleepwalker”) and “These fragile walls
I built from falling stars from the weight of every wish that
fell on deafened ears” (“Skeletons”) are
just two of a litany of poetic, obtuse lines that are simultaneously
beautiful and wrenching. Gaunt, challenging, and impassioned
in their delivery, State Faults have a fascinating record
in Desolate Peaks. This is a band I can imagine acquiring
a limited but viciously rabid fan base. I am now among them.
 BOY
MEETS MACHINE - War Horn (facebook.com/BoyMeetsMachine)
The thirteen songs on War Horn are a baker’s
dozen of intricate, delicate pop songs that introduce just
enough bombast to stop the affair from becoming too dreamy.
The best case is actually the opening, six and half minute
“Assisted Suicide Note”. The riff introduces
itself and then scurries away, only to return and retreat
several times during the track. It is an interesting introduction
and frankly is the high water mark of the record in terms
of uniqueness. That should not be taken as a slap against
the next twelve songs, but because most of them are far
briefer in duration, they tend to not allow for the same
level of emotional investment as the opener. “Man
Behind the Curtain” and “Under Your Bed”
are two powerful pieces of bottom heavy pop, while “Piracy”
is gleefully buoyant and the closing “An Argument
From Incredulity” is intentionally obtuse in both
title and musical structure. Some of the works here, notably
“Fast Forward to the Future” and “Buildings”
are interesting in nature, as they do not adhere to conventional
song structures. This is partially an outgrowth of the band’s
unapologetically progressive style of playing, but it also
reflects a new approach to what defines pop-infused rock.
I have a feeling that Boy Meets Machine may garner only
a niche audience, for this is a touch too complex for mass
approval, and perhaps this is just fine with these guys.
There is something to be said for creating something distinctive,
and that happens here. The guitar playing is quite intricate
and the drumming is wonderfully powerful, and one has to
truly focus in order to appreciate it. This is not my style,
but for you popsters out there who want something a bit
unconventional, this New Jersey via-Alabama-via Georgia
outfit could be what you need.
 MADBALL
- Rebellion (blacknblueproductions.net)
Just as the sun will rise in the east, Madball will always
release hardcore delivered in a classic New York tough guy
style. There is nothing new or subtle on Rebellion, but
true Madball fans will undoubtedly be pleased. However,
what makes Madball sound more imposing on this effort is
the production of Eric Rutan. I am a huge fan or Rutan both
behind the board with acts like Cannibal Corpse and his
death metal prowess with Hate Eternal. Rutan’s production
style retains the essential raw nature of hardcore, but
Rebellion squeezes the listener’s skull and one can
almost feel Freddy Cricien’s spit on your face as
he barks out the lyrics to “The Beast’, “You
Reap What You Sow” and “My Blood”. The
guys even pay tribute to their own rich hardcore history
by re-recording “Get Out” and the bruising interpretation
of The Animals’ “My Life”, both originally
appearing on Madball’s 1989 Ball of Destruction EP.
For those who have loved this band since the late 80’s,
Madball invites you back into the pit. For the kids who
were not even on the planet with these guys began beating
people up at Agnostic Front shows, pick this up and learn
about authentic hardcore.
 THE
MESS AROUND - Boner Time (Drug Front records www.drugfrontrecords.com)
The Mess Around is the type of band that fans of beer-soaked,
gritty rock appreciate: every song here is built around
a great riff, steady drumming, and stories that are instantly
relatable. Imagine the Ruiners with a few more lessons or
the Night Birds if they grew up listening to the Stones
instead of Dead Kennedys, and you have the Mess Around.
“Shake it on Down”, “Find Me Gone”,
and “Answer Me Tonight” are rousing pieces of
shimmering rock energy in the purest sense. Completely free
from pretension, Boner Time, despite its sophomoric name,
is actually a record for adults who value bands with limitless
energy and punk spirit, but also understand when to include
a nice bit of piano. Vocalist Dave Harrison delivers each
syllable with great clarity and enthusiasm, but never pushes
himself too far, always allowing fellow guitarist Nick Petropoulos,
drummer Greg Libbee, and bassist Mark Wheeler to demonstrate
their own talents. With a nice homage to Radio Birdman through
the cover “Burn My Eye”, the Mess Around tribute
a band with whom they share several attributes. Boner Time
is raw and dynamic, an embodiment of what can be produced
when four guys get together and craft something honest.
No studio tricks, no file sharing through laptops; the Mess
Around oozes old fashioned garage enthusiasm. “Stayed
Out Too Late” and “Drunken Words” are
ideal party songs, even if you are by yourself.
 OBEY
THE BRAVE - Young Blood (Epitaph Records www.epitaph.com)
Metalcore is a term that has become overused and therefore
has developed a negative connotation in some circles. Obey
The Brave will help remind people of how the genre should
sound. The opening “Lifestyle” is a minute and
a half blast of pure 90’s hardcore with a simple message
about the purity of music ferociously yelped by Alex Erian,
formerly of Despised Icon, a true beast of a band that deserved
far more recognition that what it received. Rather than
sulking about fame that did not come his way, Erian and
John Campbell (ex-Blind Witness) piece together a band that
speaks to fans who mosh to Hatebreed as readily as those
who spin-kick to Adestria. The band adheres to many of the
rules of metalcore, including the mandatory breakdowns on
“It Starts Today”, “Time for a Change”
and “Live and Learn”, but their musical acumen
allows for greater diversity on Young Blood. “Get
Real” is a galloping effort whose gang vocals should
get the kids storming the stage to grab the mic from Erian’s
hands, while “Unstoppable” features a thick
groove and a burst of speed that pays reverence to thrash
as much as it does contemporary hardcore, and the two divergent
elements mesh together perfectly. The thirteen songs here
never hang around long enough to wear out their welcome,
and I am highly impressed by the intricacy of Obey The Brave.
Their influences are obvious, but the end result is well
produced, refined slab of angered metalcore that pushes
the genre forward into a more mature realm.
 RIPFACE
INVASION - To Not Give In (Scorpion records www.scorpionrecords.com)
It is rare, but there are occasions when you just know
you have a gem in your hands before you press play, and
that is the case with Ripface Invasion. Start with the name:
Ripface Invasion. What would a “ripface invasion”
look like? Who is invading? Do they only rip faces? The
cover of the disc is a cartoon of a muscular alien figure
wearing a breathing apparatus, firing a laser gun, and holding
a dagger with a severed human head affixed to it while stomping
on the broken bodies of other victims. At this point, whatever
music is contained inside is just gravy. Luckily, the music
is as heavy and fun as I hoped it would be. Anthony Paladino,
a long time veteran of New Jersey’s hardcore scene
rages against lying politicians (“Armchair Politician”),
a corrupt society (“To Not Give In”), and indulges
in good old fashioned revenge (“The Dominator”).
Musically, Ant's guitar work is melodic while unrepentantly
heavy, while Tom Conti (bass) and drummer Dan Lockhart anchor
a rhythm section that smashes the skull of the listener
with the energy of musicians half their age. Ripface Invasion
is not a band of subtlety or complexity, but To Not Give
In speaks to the power of unadulterated punk tinted with
just enough metal elements to awaken the angered and disillusioned
fourteen year old that lives inside of us. The refrain of
“no compromise” on the title track summarizes
the EP perfectly: forget trends or what hipsters are currently
touting, get this and rage like it is the first time you
heard hardcore.
 THE
TOADIES - Play. Rock. Music. ( Kirtland Records www.kirtlandrecords.com)
The Toadies are a band that exists in a strange situation
in which they are linked to one mega-selling song, the ubiquitous
“Possum Kingdom” from 1994, but have to thank
that past success because it allows any new music to garner
attention. The direct, simple album title reflects the general
aesthetics of the record, with the opening “Rattler’s
Revival” sounding much edgier and grittier than anything
I remember from the Clinton administration era. Vaden Todd
Lewis sums up the sentiment of many bands on “Summer
of the Strange” when he barks “give me back
control!” for it is an frustrated yelp of aggravation
and perhaps fear, wondering if he will only be remembered
for a song that dotted the landscape nearly two decades
ago and a band name known to people under thirty through
Guitar Hero II. To their credit, the Toadies do not completely
abandon their love of warm pop hooks, as “Beside You”
indicates, but this is a collection of songs from weathered
performers who sound reinvigorated and determined to reintroduce
earnest rock to the masses. It is very easy but horribly
short-sighted and unfairly dismissive to simply view this
as a band attempting to cash in on nostalgia (i.e the Everclear/Sugar
Ray summer tour….ugh), for this is better than what
the Toadies were producing during their “golden years”
of mid-90’s. The bluesy, sinewy “Animals”
conveys a sexuality over a riff reminiscent of “I
Come from the Water”, while “Laments of a Good
Man” features vocal tricks that are strangely intriguing
before the songs slows to a molasses crawl for the droning
chorus and a premature ending. It is a bold experimental
step that deviates from the more straightforward elements
one finds on the ten other tracks. Not everything here works,
as the quiet closer “The Appeal” is a let-down,
but Play.Rock.Music. strikes me as an act of emancipation
for the Toadies as the members allow themselves to have
fun and play traditional rock fare with the type of abandon
that comes with experience and confidence, best heard on
the possible live staple, “We Burned the City Down”.
The Toadies do more than bring back memories here; they
actually forge a new phase in their career.
 VERSUS
THE WORLD - Drink.Sing.Live.Love. (Viking Funeral Records
www.vikingfuneralrecords.com)
With a line up featuring a collection of punk veterans,
notably Mike Davenport of The Ataris and Chris Flippin of
the woefully underappreciated Lagwagon, Versus the World
plays an easily palatable style of punk-pop. Nothing on
Drink.Sing.Live.Love. is dislikable, but there are not many
truly memorable moments either. Perhaps it is the production,
as the record is mixed by Ian MacGregor, a man with Katy
Perry on his resume, but the songs follow a standard blueprint
for this genre. The vocals are clean and harmonious, the
guitar playing is full of melody, and the low end is present
but not overwhelming. “Mason Grace” and “A
Fond Farewell” are soaring tracks, but after they
depart, there is no desire to hit repeat and check them
out a second time. As one reaches “A Love Song for
Amsterdam” and “Oh Brother, Where Art Thou”,
the formula is easily predictable. I understand that it
is exceedingly difficult to shape shift punk-pop, and each
member of Versus the World is accomplished, the final tally
here is just another record that will connect with some,
but does not have any real uniqueness to help separate it
from the ocean of acts like this. Crunchier, noisier elements
could help this, and there are brief glimpses of this, such
as the more aggressive “Donner Pass”, as the
band ratchets up the intensity while still holding fast
to their pop foundation,. I have nothing against this band
or this record; if you still cannot get enough pop-oriented,
slickly produced punk in your life, this is better than
most. However, for my money, that still is not saying too
much.
 ZULUS
(Aagoo Records www.aagoo.com)
Mesmerizing, off-putting, and oddly exhilarating, Zulus
create music that is an amalgamation of punk aesthesis,
heavy distortion, and fleeting moments of spacious beauty.
Daniel Martens and Aleksander Prechtl left the West Coast
and moved to Brooklyn over a year ago where they altered,
but certainly did not fully surrender, their hardcore heritage
and now create noisy, experimental guitar rock with just
a few pop touches buried within the haze, such as the closing
racket of “Death in the Current”. The vocals
fight their way through a fuzzy atmosphere to be manipulated
into wildly distorted screams of garbled words, but they
are so fascinating that the clarity of the content does
not matter. “Surgery”, “To Die in Spain”,
and “Blackout” do not even reach two minutes
in length, but each are densely packed with atmospheric
chaos and genre-shattering performances. The anger is tangible,
but the rage explodes into a myriad of raw, animalistic
directions. “Kisses” and “Tremolo”
are furious and deceptively heavy; the songs are a series
of sucker punches that continue to pummel the listener until
one collapses as a bloodied pulp. This is what every band
should do, but few can muster a level of frenzied, kinetic
force as one hears with Zulus. Within the sludge and pummeling
low end are songs of intricate brilliance-one has to be
immensely gifted to craft a clamor this sophisticated. This
is cooler than anything you are listening to right now.
 BELT
OF VAPOR - “Buck” (Whoa! Boat Records www.whoaboatrecords.com)
Hailing from the quiet eastern Washington state suburb
of Spokane is Belt of Vapor with a rugged, densely structured
style of manic rock. The two tracks on “Buck”
feature thick, punishing riffs while the vocals of Aaron
(only first names given here…I hate that, but I will
let it slide because this band is more than cool) hover
on the edge of blind fury and are driven by authentic angst.
This trio channel boredom and frustration into a pair of
abrasive songs that eschew all the trapping normally associated
with contemporary rock. Namely, there are no showy solos
or elements of computer generated perfection-this is old
fashioned, move the amps away from the oil stain in the
garage and let’s play kinda rock. The B-side “Genius/Failure”
is equally aggressive with a thrilling combination of relentless
fury and a sense of harmony. It can often be difficult to
gage a band by only two songs, but there is a vast amount
of talent here and hopefully Belt of Vapor will be given
a chance to spread their brand of anger across the country.
 DEATH
BY STEAMSHIP - “Facetious” (Whoa! Boat Records
www.whoaboatrecords.com)
The opening of this three song EP is shockingly bouncy,
but one cannot avoid the post-punk sensibilities buried
within, as well as the song’s bitingly sardonic lyrics.
While one can interpret “Smoke and Sweat” to
be a loving tribute to beer and the radio during a warm
summer day, but when Jason Simplot yelps “I wanna
smoke and sweat, live life with minimal regrets”,
there is something much more complex than a simple summer
anthem. A similar aesthetic is heard on “Dirty Venetian
Blinds”, for the songs borrows heavily from Margin
Walker-era Fugazi as it explodes into a slab of blistering
punk before abruptly shifting tempos as it approaches its
conclusion which arrives far too quickly. “You Need
a Super, Specialized, Specialist” could make a person
believe that it is still 1993, and for many of us, that
is a great thing. Buried vocals, a chunky bassline, and
a burly riff make this one the best of the bunch, and it
also features the illuminating lyric: “A conversation
doesn’t consist of bitching and moaning and a list
of your co-worker’s tits.” The upstart Whoa!Boat
label is making an strong impression.
 GUNTOWN
- “Chaos” (Whoa! Boat Records www.whoaboatrecords.com)
Guntown’s sound is a bit rough around the edges,
bit there is an endearing honesty heard on “Chaos”,
the first of the trio of efforts on this release. Blending
an incensed punk attitude with a few sneaky pop elements,
Guntown’s sound is still finding its true voice. However,
even the incipient stage of their musical delivery is more
interesting than the overwhelming majority of the bands
in the world right now. For example, a song titled “Fuck
the Days” may not come across as potentially motivational,
but that is what happens here. Rather than focusing on nihilism,
vocalist Guthrie Allen is moving beyond the loneliness the
song details. (“Fuck the days when you open your eyes
and no one is by your side.”) The slower, more deliberate
pace of “Acid Baby” allows Doug Rose and Matthew
Kelly to show off their highly technical skills, as the
song oozes dissatisfaction and rage. Woven within this is
a strangely jazzy riff that underlies vocals that range
from composed to furious but are always compelling. This
band has not yet perfected their sound, but their evolution
will be highly worthwhile.
 HAUNTED
HEADS (Double Plus Good records www.doubleplusgoodrecords.com)
Haunted Heads is a band that I would safely bet is a riot
in a live setting, but they come across as far too poppy
and non-threatening on vinyl. The dozen songs on this self-titled
release snap and pop with boundless enthusiasm, as if the
British Invasion mated with 90's indie pop. In short, the
music is cute, fun, and hyperactive, but it also lacks any
real punch. Even when a little fuss is kicked up, as on
"The Ones Below", the band choses to allow the
song to recede back into a quiet cave rather than flesh
out its more aggressive nature. Most of what Haunted Heads
does could fit on the Simple Machines or SpinArt labels
if the year was 1993, and while this is a welcomed departure
from much of pop's contemporary fare, "For Esther"
and "Seconds Between Frames" just sound like an
earnest but ultimately unsuccessful attempt to recreate
a once celebrated sound. "Ghosts and Devils" is
a stronger track that offers promise as the second side
dawns, but even here, the Haunted Heads fall back onto a
well worn path, and one would never suspect that this was
a two guitar line-up. If the 90's marked your birth rather
than your coming of age, you may enjoy this; the rest of
us cannot believe that we are old enough to know how this
story ends.
 MOCK
(I Love to Hate Records www.ilovetohaterecords.bandcamp.com)
Striving to appease a more sophisticated audience, Mock
is a struggle at times for a simpleton like me. However,
a record like this is not to be overanalyzed and dissected,
but should rather be taken in as part of one extended sitting.
Mock's self-tilted record is an eclectic, intricate mass
of fascinating musicianship sprawled across a cinematic
forty-five minutes. The songs arrive and hover gracefully
with the instrumentals, all titled as a series of numerical
ordered dots, representing the band's most pristine moments.
For a band with its roots in hardcore, the nature of the
work is astounding-the record has the fragility of porcelain
yet much of Mock's playing simmers with the embers of post-punk
energy. Just beneath the surface on "57" is a
low rumble ready to explode. The song does not ultimately
do so, but the tension created is a momentous achievement.
Granted, some of the guitar noodling does become a bit repetitive,
but Mock is fiercely committed to formulating music located
miles away from the safety of the expected. The ingenuity
on "Montreux", "Corners", and "Mind
is a Pit of..." is unapologetically complex, with labyrinthian
time sequences and convoluted structures. Mock is not an
easy listen; this requires total focus and attention to
detail; it is the musical equivalent of a highly demanding
class-the work is challenging, and there are times when
one wants to give up, but once completed, one is a better
student and person. Mock speaks to the unconventional and
this one will exhaust the listener, but give it a shot.
 SICK
SICK BIRDS - Gates of Home (Toxic pop Records www.toxicpoprecords.com)
The 90's indie rock revival continues with Baltimore's
Sick Sick Birds. Frenzied guitars and vocals submerged in
a gloriously noisy mix greets the listener on the opening
"Pick and Choose" and do not let up over the course
of ten additional songs. The speedy "Marietta"
highlights Mike Hall's vocals as he strains his voice above
a raucous din, while "Spinning Jenny" has a seething
low end groove that makes it my favorite of the bunch. Hall's
lyrics are obtuse, as if one enters the story in the middle
of the action, uncertain of how the story started but curious
about how it will end. The concept of dreams reoccurs throughout
the record and there is a frantic intimacy to each son;,
the Sick Sick Birds sound like they are playing in your
basement, best conveyed on "One Town Over", a
scorching rave-up with a surprise ending and "(Cross
the) Shipping Lanes", a song dominated by a convulsing
fury. Sick Sick Birds return to indie rock roots, but it
is not simply jangle by numbers. "Gates of Home"
may borrow heavily from pre-Document R.E.M., but with subtle
keyboards accenting the rousing guitar work, the song is
entirely fresh. Energetic and honest, the Sick Sick Birds
will remind you why indie rock is fun.
 The
Thing That Ate Larry Livermore (Adeline Records)
If you are reading this you should be familiar with Lookout
Records, the seminal West Coast label that spawned Green
Day and Rancid, along with dozens of bands that did, and
continue to, influence American punk. This compilation celebrates
Larry Livermore, the founder of Lookout, by giving him a
chance to scour the nation for the next wave of exciting
bands making exceptional noise. Sixteen acts made the cut
and a listen will explain why: Each of the songs possesses
a similar energy but retain a distinctive quality. This
is a great educational disc for me, as I have only heard
the work of one band here, Night Birds, an act I believe
to be one of the best in the world, so I know I am in for
a fun ride. The adrenaline-fueled Dear Landlord kicks the
disc off with “Walking Distance”; a classic
slab of two minute punk energy blending harmony and fury.
As an admirer of strong women, “We’ll Be OK”
from Lipstick Homicide and “One Good Night,”
compliments of City Mouse, are among my favorite tracks
here, along with the ferocity of “Good Looks”
by Emily’s Army, a band that deserves to become a
renowned name soon. However, the beauty of this compilation
is that one hundred people could listen to it and there
would one hundred different favorite songs. The aggressive
vocals and furious delivery of The Dopamines (“Business
Papers”) nestle up against the less aggressive but
equally enthralling House Boat (“Love Song for the
Reclusive”) and Vacation (“No Mercy”).
One can imagine each of these bands as part of the Lookout
family for the blend boundless energy and an unapologetic
adherence to the value of harmonies and lyrics that can
be poignant or goofy, occasionally at the same time (The
Hextails’ “Me and My Dad”). Be My Doppelganger
mix and match raw force with a surprisingly buoyancy, while
“Mr. Monday” from the aforementioned Night Birds
lives up to my self-imposed high expectations as it awards
the listener with ninety seconds of their refined surf-tinged
wrath. The disc finishes impressively with The Visitors
whose melodious song structure on “San Andreas”
perfectly encapsulates the collective talents on display
here. Jump on the future stars now because someday, one
of these bands may end up with a Broadway show of their
own.
 CINEMA
CINEMA - Manic Children and the Slow Aggression (www.cinemacinema.com)
Cinema Cinema may hail from Brooklyn, but their adherence
to, and respect for, the classic DC sound is apparent throughout
the musical opus Manic Children and the Slow Aggression.
Each song fluctuates between untamed explosions of
force and refined, nearly pristine pop structures. The juxtaposition
of the vicious and delicate makes each track an uncompromising
and unabashedly experimental ride. “Cycle and Territories”
includes one of the world’s most ferocious riffs off-set
by a warmth and intimacy not associated with a band of this
nature. The duo’s knack for embracing noise and a
penchant for stop/start structures ultimately and fittingly
led them to work with Don Zientara, and his legendary repertoire
is only enhanced by his production efforts here. Mixing
the raw fury of DC hardcore with the smart, artistically-inclined
blunt force of Fugazi, Cinema Cinema make bludgeoning sound
exquisite throughout Manic Children, ranging from
the jarring “Adult Themes” and “Lady Abortion”
to the sprawling “Shiner No.3” and “Party”,
both of whom clock in over nine minutes but move along as
briskly as any three minute pop tune. However, the band
does not allow one to grow complacent and expect a formulaic
approach to their brand of raw noise-fueled rock angst.
The polished “National League Lament” remains
composed and unassuming, while “Anesthesia”
lulls the listener into safety before unleashing a torrent
of guitar force upon the expecting. A significant component
of Cinema Cinema’s recognition is a nearly obsessive
desire to tour, and this relentless work ethic has allowed
them to combine forces with Greg Ginn on multiple stints
around our great nation. The band’s association with
Ginn is as serendipitous as their affiliation with Zientara,
for Cinema Cinema captures the fractured beauty that defines
so much of Ginn’s work, both during the latter years
of Black Flag and certainly his post-Flag years. The serene
intro of “Altamont” slower builds to a chaotic
crescendo, but the songs manages to walk a fine line between
bombastic and refined. “Day Leash” includes
thunderous drumming and well-honed riffs, again demonstrating
the band’s clear affinity for solid melodies; they
simply allow for a wider berth than most bands within each
track in which their more aggressive natures can flourish.
We live in an age of compromise and imitation; Cinema Cinema
rejects both and we are the beneficiaries of their courage.
 FOOD
- Three Pieces From Candyland (Phratry Records www.phrartyrecords.com)
This is quite a line-up and the end result is just as one
would expect from three truly gifted players. Food (sometimes
described as an acronym for “far out old dudes”)
includes fIREHOSE’s Ed Crawford on guitar and vocals,
Gumball’s Eric Vermillion on bass, and the Cynics’
Mike Quinlan on drums. The trio plays with a loose, uninhibited
sense of excitement on “Santa Maria” and “Jesus
and Johnny Cash”. Both of these efforts capture the
spirit of classic 80’s college radio, with Food sounding
like stars of IRS Records. Crawford’s voice is warm
and harmonic, but with just enough of an edge to remind
one that he is still a punk at heart. The rough and tumble
boogie of “Jesus and Johnny Cash” is a grimy,
raucous two and a half minute celebration of everything
that makes rock great. The closing “You Don’t
Know” slows the tempo down a bit, but this only allows
for Crawford’s vocals to take on a more earthy quality
and give the piece an abundance of raw emotion. The vinyl
and downloadable versions of the EP include a bonus track,
but if you are lucky enough to find yourself with the CD,
enjoy three glorious songs from a band that is hopefully
more than just a one-off bit of fun.
THE
SCUTCHES - Ten Songs, Ten Years (Bright and Barrow Records
www.brightandbarrow.com)
If Joe Queer earned a royalty check for each band spawned
by young kids discovering his mighty Queers, his fortune
would dwarf the GDP of most nations. Adding to the impressive
list of Queers/Screeching Weasel/Riverdales inspired pop-punk
is Long Island’s Scutches. Incredibly warm harmonies,
touches of surf, and lyrics about broken hearts and the
mixed emotions of relationships dominate Ten Songs, and
each track seems to become more bubbly and effervescent
as the disc progresses. The scathing nature of “Glad
You’re Gone” is masked by the joyful tone of
the music, while “Weekend Boyfriend” displays
a more sensitive and emotionally complex side of the band
as it explores the life of a man who wants a more serious
commitment; a topic not often explored, ending with forty
seconds of piano and hushed vocals. “Together Again”
is a modern lyrical interpretation of the Beach Boys’
“Wouldn’t it be Nice” while “Never
Ending Story” invokes “Debra Jean” or
dozens of other love-torn tales. One should not expect only
efforts that tag at one’s heartstrings, however, for
“Full Steam Ahead” and “June 1st”
roar with a garage-band level energy and intensity. The
Scutches have the courage and self-confidence to also open
themselves up to criticism by offering the acoustic “In
Dreams” as well as a similarly subdued bonus track.
Ten Songs, Ten Years should be a staple of your summer soundtrack.
– Rich Quinlan
 SKIP
THE FOREPLAY - Nightlife (Epitaph Records www.epitaph.com)
If you have ever wondered what Emmure would sound like
if they listened to too much B-level dubstep (and who among
us has not pondered this), Skip the Foreplay is here to
give you the nightmarish result. The songs on Nightlife
are a hybrid of traditional metalcore breakdowns, guttural
vocals, and cheesy synth. This Frankenstein's monster of
a disc is designed to appeal to both the mosh pit and the
dance club crowd, but I am sure that both can see through
this. "DJ" features effervescent female vocals
repeating "I'm in Love with the DJ" while bland
stock riffs churn around them. The guys seem to fancy themselves
avengers of all potential rape victims out there as they
swear revenge upon a "creep" in "Hawaiian
Killer" and again in the blatant "Date Rape Predator".
All the while I am wondering what Epitaph was thinking with
this-I could it could potentially be a short-term money
grab, sort of a Bring Me the Horizon or Annotations of an
Autopsy; bands that mattered for about ten seconds before
their fickle audiences moved on the the next distraction.
Any band with a song titled "Dinner with Snooki"
should be shunned even if that song is a scant instrumental,
but the embarrassingly cliched "Dom Perignon' sounds
fresh and inventive next to the pitiful 80's synth that
kicks off the band's "anthemic" "This City
(We're Taking Over)", a song more musical barren tan
the Arabian peninsula. I am happy for the guys in LMFAO
as they seem like good kids with a cute sense of humor;
however, they are the impetus for this band's success as
STF had a viral video (can we kill that term, too, please!)
of a cover of "Champaign Showers". However, now
that goofy duo is spawning spin-off inspirations like this
like the way "Three's Company" gave us "The
Ropers". If one is blind drunk, this could be a fun
record, but tongue has to be in cheek, beer in hand, and
good taste out the window. Yes, skip the foreplay, and make
sure you skip this.
 BNLX
EP #7 (facebook.com/bnlxmusic)
When the opening track of an Ep features the "hella
rad punk as fuck" mix of the opening track "See
What I See", I am nervous, and BNLX proves me correct.
It is safe to expect loud, raucous punk, but instead, one
receives bland guitar rock fodder. The riffs on all five
pieces, including the clean version of "See What I
See", are solid, but generally of the stock variety.
BLNX plays a brand of rock that one can hear at any local
club on a Thursday night, as "Round the Dial"
and "Video Games" are solid but not by any means
inspired. Bands like this are why I do not have a facebook
account-the last thing I want to see are pictures of these
guys or the "friends" who find this interesting.
At least in years past, BNLX would have remained an anonymous
weekend warrior act playing for a small cut of the door
and anything they recorded would not have ended up in my
hands or the hands of anyone else outside of their families.
So in short, if you know these guys, you may want to own
this, but for everyone else, just keep walking.
JIM COLEMAN - Trees (Wax and Wane Records www.jimcolemanmusic.com)
Jim Coleman is a name that lights up the eyes and ears
of any devout indie rock aficionado of the 1990's or any
kid now young enough to consider that decade a period worthy
of exploring. Cop Shoot Cop left an indelible imprint upon
those lucky enough to hear them, and Trees will have the
same effect, albeit for very different reasons. Trees is
a majestic, lush collection of soundscapes that cover images
of stunning beauty ("Summer Heat" and "Dawn")
to mesmerizing, trace-inducing aural experiments ("Another
Place", "Closing") to even disconcerting,
sonically oft-putting senses of uncertainty ("Under
Current"). One must fully commit to a record like Trees,
as the songs are lengthy, deliberate exercises in sound
that usually enter and depart on the same graceful note.
This is not abrasive in any manner, but rather Coleman generates
music that moves around and through the listener, taking
the individual on stunningly beauty and serene voyages.
Even the simplest of musical gestures resonates vastly on
a song such as "Tracks" or the opening "Sideways".
With subtle uses of echo and haunting strings and wind instrumentation,
perfectly placed female vocals, particularly on "Dawn",
compliments of Dawn McCarthy, and Phil Puleo's nuanced percussion,
each of the ten tracks here are intriguing and uniquely
intense. The atmospheric quality is cinematic in scope;
each song seems to slowly unfurl itself before the listener,
slowly expanding and receding like a living organism. He
leaves enough air within each song to allow the piece to
breathe, move at a distinct pace, and provide the listener
ample to time to identify and relish each subtle stroke
of brilliance. Ambient and challenging without ever becoming
monotonous, Trees proves Jim Coleman to be a master of electronic
music.
 HOT
WATER MUSIC - Exister (Rise Records www.riserecords.com)
Eight years in between records is a long time so there
must have been a great sense of pressure on Hot Water Music
to produce something that is both contemporary and innovative
without alienating long time fans. Followers of this band,
both old fans and new, will undoubtedly enjoy Exister. The
band first exploded in 1993 with a brand of intense post-hardcore
that was not afraid to implement emotional qualities into
their music that gave them a sound that was very different
from the indie music of the age. Speaking of age, the four
members of Hot Music Water have clearly aged well as the
opening “Mainline” is a sonic punch, while “State
of Grace” and “Take No Prisoners” are
both forceful tracks that are accented by serene guitar
playing and infectious choruses. The grittier “Down
In it” and the equally coarse “Drag My Body”
straddle the line between rage and composure, a balance
that has long defined Hot Water Music. The brooding “No
End in Sight” meanders at a more deliberate pace but
the guitar work carries tangible weight. What is most impressive
here is the band’s ability to coagulate harmonious
hooks with heartfelt aggression, generating a sound that
is both impactful and agile. Exister is more than a pleasant
return after an elongated departure; it is a declaration
of Hot water Music’s continued importance.
 PENNYWISE
- All or Nothing (Epitaph Records www.epitaph.com)
Writing a review about a Pennywise album is a tricky proposition
because the band is so excellent at what they do. The twelve
songs here are classic pieces of Pennywise’s politically
astute yet bruising style. All or Nothing does have one notable
change-after years with the band, singer Jim Lindberg is gone
and replaced by Zoli Teglas. Lesser bands would crumble under
the pressure of replacing a singer so instantly identifiable
with the band’s sound. However, this is another trait
that separates Pennywise from the punk pack. Teglas is a more
than venerable replacement as his voice is warm and melodic;
a perfect fit for Pennywise’s brand of speedy, harmonic
punk. All or Nothing continues the band’s positive stance
against life’s struggles, and certainly the members
of Pennywise have experienced their fair share. The title
track, “Stand Strong”, “Waste Another Day”
and “Tomorrow” are rousing, hopeful anthems of
strength and resiliency. With soaring choruses, memorable
riffs of Fletcher Dragge, and the hermetically sealed rhythm
section of Randy Bradbury and Byron Mcmakin, Pennywise proves
that after nearly a quarter of a century, their brand of punk
is still fresh and powerful. “Let Us Hear Your Voice”
(“Let’s hear your voice or you won’t have
a choice/ haven’t we had enough today/ Rebellion’s
on ice and we’ll pay the price/ Don’t let our
freedoms fade away”), “Songs of Sorrow (“We’ll
never up/ We’ll give in) and “X Generation”
(“the problems of the past are coming fast but we’ll
keep coming strong”) are songs of unity and camaraderie;
calls to action rather than complaints and curmudgeonly apathy.
This is the band that once shouted “fuck authority”,
and the angst is still present here on “Seeing Red”
and “Revolution”; two songs of furious anger that
prove that age does not mellow all. It is highly refreshing
to hear punk done like this-intelligent, emotionally charged,
and deeply passionate playing from highly talented veterans
who have perfected a sound that few bands will equal.
 VERTACYN
ARC MATERIALIZER - That’s a Negative on the Leapfrog,
Captain America (www.10gevrecords.com)
One is hard pressed to dig up much information about Vertacyn
Arc Materializer, which is saying something in today’s
landscape. I could not find a Facebook, Youtube, Twitter,
or even a MySpace account, which is fine because these guys
do not come across as the type who update their statuses
regularly or send birthday wishes to a virtual friend with
a winking smiley face emoticon. From the bizarre opening
38 seconds of “Stealing Office Supplies” through
the equally challenging one minute and 22 seconds of the
closing “Nothing Much Happens in the Verse”,
That’s a Negative on the Leapfrog, Captain America
is a bizarre, poppy, trippy, effervescence jaunt of
a record. The band adheres to no singular musical view,
as they liberally implement ideas ranging from thick funk
bass and bluesy, piano-driven rock to noisy soundscapes.
There are moments of relative mainstream formula, namely
“She Gotta Strange Kinda Auto Reaction”, and
the awkwardly Stones-ish “CB’s”, but the
hiss and feedback of “Wider Eye Glim” or the
eerily subdued “The Twin” quickly eradicates
any attempt at a traditional indie record. “Idiot
I” is thirty-four seconds of country twiddling’
fun, while the dark “I Said Dig” appears overwhelmingly
menacing by comparison. Vertacyn Arc Materializer is not
hoping to entertain the masses; this band simply wants to
find a few misanthropic souls who enjoy being consistently
forced to think on their feet.
 CHUMPS
(Forge Records www.forgerecods.com)
Chumps are four guys who clearly love the nastier, grittier
aspects of the world around us and channel this through
music. The opening "Shivist" is a snarling, sewer-dwelling
nugget of a song; a rough and tumble introduction to this
band. "Julius" bashes and punches its way through
a burly guitar riff, vocals spat out with tangible disgust,
and rattling drums. What stops this band from becoming just
another noisy punk band is their relentless devotion to
awkward time signatures and start/stop unpredictability.
"Lupo" is thunderous and bombastic but eerily
controlled. One waits for the song to completely blow itself
apart, but the madness never arrives. Instead, the guys
construct a dark tale of suffering with pained vocals and
fuzzy guitars. A haze hangs over this song and his unsettling
nature is apparent throughout the record. The thick bass
that opens "Dirt" kicks off a blistering second
side of pummeling dirges that simply assault the listener
with sweat-soaked intensity. "Cop Shot" and "HLLWN"
roar with the cacophonous sensibility of Unsane or Jesus
Lizard, while "Black" is a thunderous wall of
sound. Chumps do not adhere to any one style but are rather
an amalgamation of various feelings of discontent and pessimism,
making for a band living somewhere between angular post
punk and furiously dark guitar rock.
 JOY
AS A TOY - Dead As a Dodo (Cheap Satanism records www.cheapsatanism.com)
Within the opening minutes of Dead as A Dodo's opening
instrumental track, there is a shrill, piercing shriek that
splits the air with a sense of terror while samples fight
each other to the death in an effort to be heard in the
midst of this discombobulated aural stew. The song is messy,
disconcerting, violent, and still precise. In short, it
is a perfect summation of Joy As a Toy. These brilliant
maniacs unleash ten examples of how noise, loops, synths,
and free verse lyrics can coexist in a mystical concoction
of challenging genius. "Mechanical Love" speaks
of "a shiny UFO landing in my garden, female creature
standing ahead." While it may be the start of a wonderful
fantasy about sex with a futuristic, alien robot, in the
hands of Joy As a Toy, one assumes the narrator will be
killed or at least maimed. Unavoidable darkness and a sense
of foreboding permeates this disc in a deliciously intimidating
manner. Such is the truth on "Subway to Your Brain",
a story in which the speaker describes how "any man
can kill." Floating somewhere between watching a Fellini
film after smoking tainted weed and losing yourself in a
pleasant daydream, the boundaries between the real and fantastical
are routinely blurred. "Zombie Safari" includes
a riff suited for a 60's spy flick with lyrics like "women
are much fun to kill, men need a poison pill". The
highly mechanized bounce of "Love Zombie" is unapologetically
infectious and one does not tire of it, even after nearly
six minutes. Joy As A Toy takes well worn topics such as
zombies and robots and makes them refreshingly terrifying,
and one has to love any record with an instrumental titled
"Only the Mother Shot in the Head". This is not
an easy listen, and while the music here is not as abrasive
or menacing as some of their previous work, Joy As a Toy
still uses experimental song structures to formulate a record
of both serene calm and off-putting musical vertigo. Fascinating
work for those who appreciate a challenge.
 LOST
IN THE TREES - A Church That Fits Our Needs (Trekky Records
www.lostinthetrees.com)
The haunting beauty of A Church That Fits Our Needs reflects
the tragic impetus for its music. Ari Picker, the leader
of Lost in the Trees lost his mother to suicide in 2009,
and that indescribably painful moment inspired such remarkably
delicate and stirring works as "Red" and "This
Dead Bird is Beautiful". Using a bird as a metaphor
in each, Picker's etherial voice is chillingly powerful
when he emotes with soul-wrenching passion "brittle
little bird, spread your dark and golden wings" on
the former and "there are no walls in heaven, a golden
armored sky will carry her, but I'll always have her eyes"
on the latter. The songs envelop the listener, creating
music so intimate that one almost feels as if one is invading
Picker's personal space, like an outsider looking in on
a family's torment. Such an ernest and unabashedly open
record is rarely crafted, and Picker must be celebrated
for having the courage to channel loss into such a majestic
product. Soaring voices and symphonic strings accompany
Picker's own lush vocals on "Garden", while "Icy
River" is structured like a hymn; a profound work of
emotional depth with an eternal sense of hope: "Don't
you ever dare think she was weak-hearted, she led me to
the woods where our church was started." Each of the
songs are overwhelmingly beautiful, a gorgeous testament
to a woman who was clearly an inspiration to her son, and
he recreates her spirit without even a moment of rancor
or questioning. Instead, Picker accepts the event with a
remarkable composure and his words resonate with anyone
who has lost someone before their time. He defends his mother,
celebrates all that she was, and does so with articulation
that allows the listener to know her and appreciate what
she meant and the artistic beauty she possessed. As Picker
describes how "a golden angel is floating past my mirror"
during "Villain (I'll Stick Around)" or his assertion
that "you gave me the strength to carry my weak body
from the shore to the boat" on "An Artist's Song",
he composes soul music in its most literal sense. I must
admit, in full disclosure, that I broke down several times
while listening to this as I read along with the lyrics,
a reaction no other collection of songs has ever brought
me in my nearly forty years on this planet. This is simply
staggering in its beauty and the touching, breadth of its
emotional range. All of this occurs while equally talented
musicians accompany Picker to create songs with complex
structures and sweeping waves of classical instrumentation.
The result is a magnificent tableau of emotion that is transformative
in its scope and style.
 DUNEBUGGY
(Little Black Cloud Records www.littleblackcloudrecords.com)
This one takes me back, born the year I entered college,
1991. Dunebuggy is the epitome of underappreciated 90’s
indie rock. The band truly solidified in 1993 with guitarist/vocalist
Jon Procopio and drummer Keith Renna adding bassist Michael
Reilly into the mix and the trio became a indie power pop
force that shared stages with some of the decades coolest
acts, including Archers of Loaf, Blonde Redhead, and Apples
in Stereo and even released two 7” singles on one
of my favorite labels, SpinArt Records. However, this personal
trip down memory land would mean nothing if the songs were
not any good and this collection of never before released
material illustrates the mastery of the pop hook these guys
commanded and for which they deserved more acclaim. The
opening “Humdinger” reflects Dunebuggy’s
initial influences, namely the Lemonheads and the less abrasive
aspects of the Pixies. As the disc progresses, “Green
Eisenhower” and “Chump Change” are ethereal,
beautiful pop with jangly guitar playing, melodic choruses,
and a pristine euphoria that many contemporary indie acts
lack. The songs seem to burst forth with youthful excitement
as “Bucket”, “Pelican” and “White
Chocolate” are brimming with energy but not fury;
the guys in Dunebuggy invoke the quirky fun of The Feelies
and craft lyrics that do not always mirror the buoyancy
of their playing. This is a contrast I always enjoy, the
juxtaposition of melancholy lyrics with blissful playing.
“Preserves” is one such track and it is highlighted
by the presence of Tracy Wilson from Dahlia Seed, a band
I remember loving but have not thought about in forever,
while the closer “Pediddle” begins as a meandering
effort before returning to the band’s penchant for
warm hooks after adding a classic features the age, namely
a wave of feedback. If you are of a certain age and remember
going to VFW halls and buying t-shirts out of the back of
a band’s van, get this and reminisce about a time
when indie rock was limitless in scope and yet to be marketed
and corrupted.
 FOR
OUR LIFETIME - Have You Lived? (www.facebook.com/forourlifetimemusic)
Screaming teenage girls of the world unite! The One Direction
of punk-pop has finally arrived, and it comes in the form
of New Jersey outfit For Our Lifetime. Those of you with
hyperglycemia may want to avoid this at all costs because
the sugar content of “Put Up or Shut Up”, “Verbal
Carousel”, and “Oh’s Make Ex’s”
may just kill you…if you are lucky. Saccharine coated
“punk” has been around nearly forever and frankly,
there is nothing wrong with it and it does serve a purpose;
not my purpose mind you, but I know it makes the kids happy.
However, one would have to be fairly new to the world to
not recognize the formulaic quality of this band. The serene
tranquility of “Sympathy is Overrated” is accentuated
by female vocals in a futile effort to give the song greater
emotional depth and maturity, while “Last Action Hero”
features a heavy breakdown and even “scary”
vocals that I guess are there so the guys who are dragged
to this show can form a circle pit for twenty-five seconds.
For Our Lifetime are not poor musicians, as the riffs here
can be catchy, but the work is so banal that no song resonates
when it is completed; in fact one loses interest before
the second verse in most cases. This is clearly designed
for the lonely, brooding-in-study-hall crowd, for none of
the songs hit four minutes, as they revolve around how life
is confusing and the empowering nature of friends can get
you through it all. If you have a short attention span or
simply do not know any better, enjoy For Our Lifetime.
 THE
SUN THE MOON THE STARS - Mind Reader (www. theblacknumbers.com)
There are bands to whom you listen when you are out for
a lighthearted night with friends, and then there are bands
who are the soundtrack to a night of drunken, hazy, debauchery
which concludes with waking up in the morning to discover
the tips of your fingers mysteriously burned, your money
gone, and your entire body aching. The Sun the Moon the
Stars is the band for the latter. Somehow four guys from
Jersey channeled the spirit of Bon Scott and the filthy
soul of Birmingham, England circa 1970 to create a masterpiece
of menacing, thick guitar force and soaring vocals. This
six song release does not have a wasted moment, as “Moon
Crazy” and “Protostar” roar with relentless
energy, combining the best elements of Black Sabbath and
Deep Purple with mo |
MELT
BANANA - Fetch (