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ART D’ECCO – In Standard Definition (Paper Bag Records, www.paperbagrecords.com) Art Deco was a flamboyant style of art and design in the 1920s and 1930s. Art D’Ecco is an artist making flamboyant music reminiscent of the heyday of David Bowie and similar acts. Heavy on the synths, heavy on the glam, and heavy on the fabulous are the main ingredients in the dozen songs on offer. They’re full of pop, full of joy, and full of splendor. Besides Bowie, I’m reminded of the dazzling synth pop of the 80s new wave made by Bill Nelson (of Be Bop Deluxe fame). “Bird of Prey” is a particular favorite, with its emphatic “oh-ohs,” the bright synths, warbling tenor vocals, and the strong bouncing beat. “I Am The Dance Floor” is another favorite, for many of the same reasons. I mean, I’m not one to like dance music, but this stuff is great! It’s super creative in the choice of synth tones, injecting some flute sounds and horns, and in the use of various timbres of percussion. “Channel 7 (Pilot Season)” and “Channel 11 (Reruns)” are glorious instrumentals that sound like liturgical music from a science fiction program of the 1970s. And the closing track, “I Remember,” is a lovely waltz with acoustic guitar, piano, and synths that’s delicate and captivating. What a fun and lovely record!
DEVON KAY AND THE SOLUTIONS – Liver. (devonkayandthesolutions. bandcamp.com) It’s time for the April installment of DK&TS’s “album of singles!” Like last month’s “Parchment and Petroleum,” “Liver.” is bouncier and poppier than a lot of recent output from the band. But unlike last month’s track, which had a very chorale-like quality, this one has elements of funkiness and ska punk mixed together. It’s bright and bouncy, and it’s got a short jazzy trombone solo. I mean, what more can you ask for? The joy shines through. 
THE DOPAMINES – Hard Pass: Singles/Rarities 2006-2020 (Rad Girlfriend Records, www.radgirlfriendrecords.com) Since forming in 2006, The Dopamines have been one of the defining forces in Midwestern pop punk music. Normally on a new record with this sort of sound I’d comment on how it’s fun and well done, but it’s not genre defining or won’t break new ground. But in this case, The Dopamines did define a genre and did break new ground. Rad Girlfriend Records (whose boss, Josh Goldman became the second guitarist for The Dopamines in 2013) has collected together twenty-seven songs previously released on long out-of print singles, splits, or compilations. This represents over an hour’s worth of Dopamines material that you should have bought when it came out, but you were too stupid or too broke. Good for you, because now you can get this all in one place instead of hunting everything down. Not only does this release present a comprehensive collection of all the 7”ers, splits, comps, covers, etc., it also includes some previously unreleased material, making this a must-have for anyone who calls themselves a fan of pop punk.
One highlight is the band’s cover of Huey Lewis and the News’ ”Power of Love,” a version that hardly shares anything with the original. It’s more raw, more frantic, harder and edgier (well, it’s not hard to be edgier than Huey Lewis). There’s an acoustic version of “The King of Swilling Powers Part I” from the LP “Tales of Interest,” which puts a completely different spin on the song. Another acoustic song present is “10 Stories,” originally from the album “Vices,” but rendered as an acoustic track for a benefit compilation. “Douglas Bubbletrousers,” from the split with Dear Landlord, is another highlight; it’s a song that uses harmonized vocals, a simple melody, and lots of power to great effect. The social conscience of The Dopamines comes through on “Try THIS Kids at Home!” from a split with Be My Doppleganger. “You know it's time to leave this place / When you go to bed sober and you wake up shit-faced / The empty bottles won't ease your pain.” The Anxiety pair of tracks, “Jon Has Anxiety” and “Ryan Has Anxiety” are classics. Hell, all of these are! Listening to this record sounds so much like Awesome Fest from days of yore and makes me pine for mass gatherings of friends from all over the country. I don’t know whether to laugh with joy or cry in anguish. And listening to this record is sure to conjure strong emotions from any pop punk fan.
ELEVENTH DREAM DAY – Since Grazed (Comedy Minus One, www.comedyminusone.com) Though I no longer live there, I’m from Chicago, and lived there most of my life. So, naturally, I was familiar with Eleventh Dream Day, and bought their self-titled debut EP when it came out in 1987. And, while Eleventh Dream Day was never a fast and loud punk band, they had garage and power pop leanings that appealed to me. Their breakthrough debut LP, “Prairie School Freakout,” was a tour de force, full of easy edginess and nonchalant raucousness, attracting the attention of critics and major labels, alike. I lost track of the band after that, and apparently after several years with Atlantic, they were dropped (like most of the indie bands signed in the 90s). I see they proceeded to release a series of LPs, typically every few years. But they fell silent after 2015’s “Works For Tomorrow.” Until now. Without any fanfare or advanced warning, Eleventh Dream Day surprised the world with “Since Grazed,” a double LP with a full hour of music. It sees them take the “easy” and “relaxed” part of their sound several steps forward, but they’ve left the garage and power pop leanings behind in the dust. Songs like “Just Got Home (in Time to Say Goodbye)” and “Tyrian Purple” are the indie equivalent to adult contemporary: light, slow, relaxed music to unwind to with a glass of wine. The latter has strings and vocal chorale, too, bringing back memories of orchestral versions of pop tunes by the likes of 101 Strings or Percy Faith. “Nothing’s Ever Lost,” too, is just too soft and calm. Some of the songs feel kind of like Neil Young songs, but smoother and easier. Like “Look Out Below;” its melody and vocals remind me of the 70s songwriter, but this track has strings and harmonized backing vocals.
Lest you think the entire LP is the rock generation’s version of “elevator music,” “Cracks in My Smile” has a nice chugging feel, with hints of Americana twang underneath. It lopes along, aided by the jangle of an acoustic guitar. “A Case to Carry On” is the closest to the Eleventh Dream Day that I recall from decades ago. The guitars mix hardness, jangle, and a droning quality, creating a song that has that same easy edginess that attracted me in the first place. “Yves Klein Blues,” too, has just enough noisiness in the guitar and enough spring in the step of the tempo to rekindle the flame of Eleventh Dream Day past. But for me, it’s not enough. The album is too long and too sedate for my tastes, and it makes me lament for the past.
HARKER – Axiom (Wiretap Records, www.wiretaprecords.com) Wow, just…wow. I reviewed an LP from Harker a few years ago (“No Discordance”) and while it was fine, it seemed somewhat generic, similar to a lot of other bands, and all the songs were too much alike. Fast forward to 2021, and I can hardly believe this is the same band! These songs are hardly generic; they’re harder, edgier, more frantic and chaotic in many cases. There’s more variety, and the melodic portions are even stronger, with a nod to progressive rock. The album starts with “The Beast Must Die,” the opening of which is deeply sinister sounding, with hushed evil sounds, and someone speaking words that are hard to make out. When the full band comes in, it’s tense, blending edgy post-hardcore and prog-rock sounds in a pretty unique way. You can hear this even more strongly in “Sigh of Crows,” which demonstrates a lot of creativity in the songwriting and in the arranging; it’s got a truly epic feel and huge dynamic range in under three minutes. And is that a trumpet I hear? I like the dissonant post-hardcore of “Moriah,” with odd chords and changing meters that up the tension. It’s one of the standout tracks of the album. Daisychain uses a mixture of strange guitar noises and a smooth melody to create a distinct sound; the juxtaposition of pretty harmonized vocals against the cacophonous background is something out of the ordinary, and done quite well. The closing track, “Antenna,” is truly brutal, both dissonant and melodic, a sweeping epic of a track that has enormous range. Yeah, I can hardly believe this is the same band. They’ve gone from just OK to outstanding with this new LP.
THE VENOMOUS PINKS – Based On A True Story (www.thevenomouspinks.com) Arizona’s Venomous Pinks ran into the same problem a lot of bands did last year: the pandemic shot down any plans they may have had. This four-song EP was recorded pre-pandemic, mid-tour, and is culled from their Bridge City Sessions. They had limited time to record, having to rush across town for a show they were booked to play, and the Bridge City crew were certain they would only have time for a few songs. They hadn’t worked with The Venomous Pinks before, though. The three-piece proceeded to rip through their entire set in one take, the band’s raw fury captured perfectly. Yes, three-piece. You won’t believe it, though, because the trio’s sound is power-packed and immensely energetic. Listen to “I Want You,” the first song of the EP. Listen to the raw power of a rock and roll trio. Listen to “Todos Unidos” (“Everyone Together”); listen to the blazing speed and the unbridled hardcore intensity. Listen to the fast and loud yet melodic pop punk of “I Really Don’t Care” and be amazed. And listen to “Hold On” and experience bouncy fun. This EP may have been delayed by the pandemic, but damn, it was worth waiting for!
WILD POWWERS – What You Wanted (Nadine Records, www.nadinerecords.com) Wild Powwers is a trio from Seattle, and though you can hear the influences of their home scene’s glory days, they aren’t easily categorized as a grunge band. Wild Powwers are more than that, as is evidenced by the varied sounds of this new LP. Even when they do get grungy, the ten songs here are quite melodic. Melodic, yet tough. The opening track, “…Sucks,” is about the grungiest they get. The rumbling bass, roaring guitars, and searing vocals combine into a singularly fiery track. The verses are screamed in a way that will pierce your soul, while the chorus is melodic and brawny. As soon as I thought I knew what sort of album this was going to be, “Bone Throw” began, and it’s got a pretty melody with intertwined vocals, while the instrumental arrangement is both tough and jangly. If there’s anything that ties the songs of this album together, that’s it: they sound melodic and jangly while still maintaining a sense of powerful resoluteness. “Decades” does get lighter and smoother, those harmonized vocals gliding placidly above the instrumentals, which still maintain their sense of grit. “Chrome” and “Tricky” bring some dream pop atmosphere into the mix, the latter with bits of psych, too. This blend of different styles of music, with pop and grunge dominating, makes this a compelling listen.
VARIOUS – Get Stoked! Volume 2 (Say-10 Records and Skateboards, www.say-10.com) Say-10 is back with the next installment of Get Stoked! It’s their series of lathe cut bundles to give people hope and joy in these dark pandemic times, some new music to get stoked for. The volume 2 bundle includes lathe cuts from Bad Idols, Shotclock, and Xed Out. And I can confirm, the eight songs here will definitely get you stoked. Bad Idols offer up four tracks. “Bad Ideas” is short, speedy raw pop punk in the Awesome Fest sort of vein, “Lucas” is a brief ska punk sojourn, “Peace Frog” is quality mid-tempo pop punk, and “(Treat Yo Self to Some) Night Terrors” brings back the speed and reminds me a little bit of the late band, Rumspringer. Shotclock offers two tracks, “With Your Ghost” and “We Are Wild Stallions.” These songs are still pop punk, but they’re bigger and grander, more emotionally charged and more melodic. And the pair from Xed Out are even bigger. With a name like Xed Out I expected hardcore, but this is super melodic stuff, bordering on alternative rock sounds. Three lathe cuts in the bundle, three different bands, three different sounds, all great. Get stoked, indeed!
ASSERTION – Intermission (Spartan Records, www.spartanrecords.com)Veteran of the Pacific Northwest music scene, William Goldsmith, has a new band. A decade after walking away from his music career, the founding member of both Sunny Day Real Estate and The Foo Fighters is back, and “Intermission” represents the new band’s debut. It’s a somewhat uneven debut, at that, though, with some songs sounding expansive and emotional, others thin and unexciting. The best songs seem to be mostly in the front half of the LP, with “Down Into The Depths,” the track that opens the LP, being a driving song, the rumbling bass bringing up memories of 90s grunge while the chorus has an almost dream-like quality, with a thick guitar tone and fuzzed bass. “The Lamb To The Slaughter Pulls A Knife” is a favorite, too, for its enormous sound that belies the size of the trio, alternating with quieter parts that are more introspective. The waltz time “Defeated,” too, has a bigger sound than the size of the band would suggest, and the vocals on this one are intense and pleading. I enjoy “This Lonely Choir” for the way it alternates between big and intimate sounds, and especially for its melodious chorus, with fierce vocals and buzzy guitars. Some of the songs just don’t work quite as well, however. “This Dream Does Not Work” is, I guess, aptly titled. It’s much more thinly arranged and doesn’t have the same sense of going anywhere as some of the other tracks; it just sort of idles. “Deeper In The Shallow,” too, is pretty sparsely arranged through most of the track, and just doesn’t do much for me. “Supervised Suffering” doesn’t fit with the rest of the album, sounding much smoother in several sections, only getting noisy in a couple parts. And the closing track, “Set Fire,” which should be blazing hot, leaves me cold. It’s a soft ballad with a hollow feel. This one’s a mixed bag.
CRICKETBOWS – Raised On Rock And Roll (cricketbows.bandcamp.com)Cricketbow didn’t originally plan to release this album this way. The plan had been to release a movie soundtrack for the independent sci-fi film, “The Spherical.” For a variety of reasons, that film was put on hold, and in place of the grand plan, a slimmed down LP was prepared. The Dayton, Ohio band recorded these eight tracks in Dayton, Kentucky, and elements of the previous concept made their way into this LP, which has been released a single per week since January. It’s quite diverse in its sounds, ranging from bright and light rock and roll to hard rock, from psych rock and glam to subtle goth rock. There’s pastoral Americana with twangy steel guitar and equally twangy vocals. One of the highlights for me, “Saccharine Sweet,” is a song that feels ready-made for a stage production. “Gracious Peasant” is almost metallic and will bring you back to the acid rock days of the 1970s. “Ride or Die” begins very hymn-like, with a huge vocal choir and organ, like a sacred song, praising the wonderful qualities of a woman: “She’s ride or die, she gets me high / She does not lie, she’ll tell you right” and “Yes, you can say she turns me on.” Halfway through the hymn gives way to a hard rock tune with space-rock elements. And I adore “Ohio Valley Springtime,” which is mainly Americana, but has a pretty flute solo in the middle that completely changes the character of the song and you really get the feeling of an Ohio valley in the springtime. I’ve said it many times, but variety really makes a record successful, and it certainly does so here.
 DIVIDED HEAVEN – In My Life (dividedheaven.bandcamp.com)Divided Heaven, the sometimes solo, sometimes full-band project of singer-songwriter Jeff Berman, has been spending the pandemic recording and releasing singles, like many musicians facing the limitations of COVID closures and restrictions. This latest release is a benefit, with “all proceeds from the sales and streaming being donated to Lancaster Stands Up, a grassroots organization dedicated to building a better, safer, and more equitable community” in Lancaster, Pennsylvania, Berman’s adopted hometown. And the single, this time out, is a cover of a band many consider taboo to cover: The Beatles. Why mess with classic perfection? “I went for it and put my best effort into ‘In My Life,’ for my own comfort and to add some beauty to these dark times,” Berman says. And, indeed, his version is reasonably true to the original, with overdubbed vocals providing the harmonies. Acoustic guitar takes the lead, while electric guitar fills in with atmospherics until getting its turn at the fore with a gorgeously understated solo. Some may consider it heresy to cover The Fab Four, but Divided Heaven does an excellent job with the song, like it was made for Berman’s brand of touching, emotional singing.
THE HIGH TIMES – Heat (Say-10 Records & Skateboards, www.say-10.com)When I think of a skateboard company putting out records, I normally think of music that’s harder and faster. You know, skate punk. Say-10 has long shunned such stereotypes, opting instead to put out a variety of music that they just like. The High Times are a band that play sunny-sounding pop punk. The songs are mostly mid-tempo, and feature the warmth of an organ in the arrangements. There are whoa-ohs aplenty, and the music is made for jumping around and having fun. Songs cover topics such as living in the moment on one’s own terms (“Nothing Matters”), memories of good times (“Sometimes”), Living life on the edge (“Trouble Again”), and more. “Nothing Matters” is a highlight, with a great bouncy melody and emphatic vocals. And while those lead vocals are great throughout the LP, the vocals in the verses on the closing track, “Figure Out Impossible,” are outstanding. They’re tuneful and powerful, giving the song the feel of a modern standard. The verses have a grander feel, played in waltz time, with more raucous choruses in 4-4 time. While The High Times isn’t going to be breaking any new ground here, the record is very enjoyable.
KNEELING IN PISS – Types of Cults (Anyway Records, www.anyway-records.com)Back with the third installment in a series of EPs, Columbus, Ohio’s Kneeling In Piss are a band whose name will deceive you. They aren’t crust punk! On the band’s last installment they were jangly nerdy indie pop, heavy on the synths. This time out sees them get a little more off kilter, eschewing the synths for straight guitar, bass, and drums or acoustic guitar, with repetitive melodic lines and lots of spoken lyrics. There’s a hypnotic quality to the four songs, starting with “I Am A Patsy!” The strong backbeat, lo-fi recording, and expository spoken vocals are mesmerizing, and when the guitars get dissonant toward the end, the tension is palpable. “I Love My Echo Chamber” has an almost mechanical quality to the instrumentals, particularly in the bass, drums, and rhythm guitar. “Return, Return + Types of Cults” seems a throwback to late 70s and early 80s post punk, with droning repetition, the only embellishment coming from the lead guitar. It’s kind of soothing, until the guitars again rebel with some dissonance, and things get speedier and more raucous toward the end of the track. “WWIII (cont.)” closes the EP with some Syd Barrett style psych-folk. Even though it’s acoustic and somewhat psychedelic, the trance-inducing repetition is still there, and the synths finally make a cameo appearance. This EP has somewhat of a different sound than the previous one, “Music for Peasants,” and as much as I liked that one, I think I like this one even more.
OH THE HUMANITY (Hellminded Records, www.hellmindedrecords.com)Oh the Humanity, formed back in 2012, are a group of friends from diverse musical backgrounds, and you can hear it in the music. Metal, punk, and hardcore merge together into a style of music that’s equal measures of crunch, virtuosity, and melody. If you’re a fan of skate punk and melodic hardcore, buckle your seatbelts. Oh the Humanity are proficient at their craft, with tight playing, demonstrating mastery over their instruments. And while the genre is one that some may consider bromidic, there’s little doubt that when played by competent hands, it can be exciting to listen to. The eleven songs on this self-titled LP are played with passion, and unlike many bands of the genre, Oh the Humanity doesn’t dish up a record full of one song played over and over; there’s enough variety here to keep things interesting. For example, “Wit’s End” is a rager, heavy on the metallic crunch and hardcore speed. Immediately after that is “Never Worse,” a mid-tempo song that’s quieter and more melodic, while “Gainesville” is appropriately poppy with big gang vocals. Recommended for fans of Propagandhi, A Wilhelm Scream, and similar bands.
RICKY – Miss You (Paper Street Cuts, www.paperstreetcuts.com)Ricky, if you’ve been unaware, is Ricky Schmidt, of Western Settings and Hey, Chels. Recording as Ricky is his solo outlet for brighter pop songs than what he does with Western Settings, though unlike his debut LP, this lathe cut two-song single is more stripped down and not a full-band outing. He had percussionist Shane Hendry come down to San Diego, and the two of them set up in Ricky’s living room and recorded these two tracks. They had their friend Scott Goodrich handle cleaning up the recordings and mixing in a back and forth effort. The A-side is a pandemic lament about not just boredom, but missing friends and having imaginary conversations with them. Through the somewhat shiny melody, you can hear the synthesized sounds of wind blowing through a desolate landscape, as Ricky sings about feeling lost and alone. The B-side is “Black Room,” is quiet and less chaotic, blending the feelings of cowboy music and crooning standards. Acoustic guitar and subtle percussion provide a galloping beat for Ricky’s smooth vocal stylings. There’s even a section of whistling, just like lots of old cowboy songs. It’s fascinating how this is recognizable as one of Schmidt’s songs, yet it’s so different from anything he’s recorded before.
THE BLIPS (Cornelius Chapel Records, www.corneliuschapelrecords.com) The Blips, a band of multiple front men from other bands, was formed by Will Stewart of Birmingham, Alabama’s Timber. He contacted a group of friends and collaborators about getting together to write and record. The result is an album full of rock and roll, power-pop, and countrified blues-rock. Some of the songs are twangy, like the opener, “Inside Out,” which mixes power pop, bits of country, and some plain ol’ rock and roll. I think the melodies are mostly power pop, but it’s the embellishments that give the songs the country/blues/bar band rock sound. This is pretty clear on “Walking Home,” which has a nice indie melody and rhythm guitar sound, but the lead guitar injects a ton of twang and down-home rock into the mix; to my ears it’s to the detriment of the song. I’m a sucker for good indie, but not so much country or blues-rock. There’s a “sequel” of “Wild Thing,” called “Wild Thing II,” a reimagining of the classic song. It has the general feel of the original, but with new lyrics and some other alterations. I have to ask, “why?” While most of the songs are, honestly, nothing special outside of what you might hear from a bar band (though these are originals, rather than covers), not all is worthless. “Same Do” is interesting, moving between garage power pop and something a little more like experimental post punk. “Patty’s Patio” is pretty solid power pop with some nice guitar jangle. But overall, this didn’t do much for me.
CHASER – Dreamers (Thousand Islands Records, www.thousandislandsrecords.com)SoCal punk band Chaser holds true to the OC sound, with plenty of speedy skate punk, Bad Religion influences, multipart harmonies, and plenty of whoa-ohs. The musicianship is top-notch, with tight arrangements and close harmonies. I love “Good Times,” a tune with a great poppy melody played at breakneck pace. The bass lines on this one are unreal, and given a prominent place in the mix. “Break the Chain,” likewise, is played impossibly fast, and the gang vocals are fun. Some of the slower tracks, like “A New Direction,” are very Bad Religion-like with lots of vocal harmonies, a middling tempo, and a strong backbeat. But others are just great pop punk, like the title track, which is bouncy and crunchy without falling into the rut of “dark” sounding OC skate punk. If you’re a skate punk and/or Bad Religion fan, you can’t go wrong with Chaser, and you won’t be disappointed. The sound can be pretty homogenous, true, but Chaser execute it expertly.
COME CLOSER – Pretty Garbage (Pirate’s Press Records, www.piratespressrecords.com) When I play a record from Pirates Press, I have certain expectations: that I’ll be listening to Oi or street punk. You know, fun music to listen to with a group of your best mates, all drinking and singing along. What I don’t expect is jangly indie rock that borders on pop punk. But that’s what we’ve got here in Come Closer. When I listen to a J Wang band, I expect to hear big beer soaked melodies. What I don’t expect is…well, you get the picture. The most unlikely pairing of J Wang, best known for his stints in Dan Padilla and Shallow Cuts, with Pirates Press Records, America’s premier Oi and Street Punk label, is the most unexpected and pleasant surprise so far of 2021. True to his DIY ethic, Wang recorded most of this album in the back room of his house, recruiting fellow Dan Padilla alum and Tiltwheel honcho Davey Quinn, and Chris Prescott, of Pinback, No Knife, and Rocket From The Crypt, to help with filing out the band and with the engineering. Between the blast of the train whistle that begins the album, and the sound of the train disappearing into the distance at the end, are eleven songs of lush indie rock, catchy melodies, and quiet touching moments. “Mayday” is a favorite, with its strong beat, jangly guitars, and melodic vocal line that hops around. I like the combination of clean pop guitar and Americana twang in “Arms Up.” “Bad Skin” cranks up the fuzz and reverb creating something that’s poppy, but also dreamy. “Never Say Goodnight” might be the closest thing to what I normally expect to hear from J Wang; it’s a bigger song than many of the others, closer to that combination of pop punk and Americana that I remember from Dan Padilla. “Just The Way You Are” starts out with lovely acoustic guitar and quiet introspection, then picks up to become a nicely understated pop tune. Pretty much every song on here is a gem. Unexpected pairings sometimes produce great results, and it certainly does here. Solid.
ELEPHANT MICAH – Vague Tidings (Western Vinyl, www.westernvinyl.com)While this is certainly not typical Jersey Beat sort of music, I’m going to highly recommend checking out this gorgeous new record from Elephant Micah. Elephant Micah is primarily the work of Joe O’Connell, and on this record he sings and plays guitar and piano. He’s joined by Matt O’Connell, playing drums and other quiet subtle percussion. Libby Rodenbough plays violin and provides backing vocals, and Matt Douglas plays various wind instruments. The songs are quiet and understated, many with a distinct folksy feel. Some tracks have an almost tribal feel, too. According to the notes, the inspiration for the songs on “Vague Tidings” came from a DIY tour O’Connell did in Alaska a decade ago, with many stops off the beaten path. He often sings about interactions with the natural world, and in these songs he places these encounters in Alaska and the American West. The opening track, “Glacier Advisors,” blends a quietly jangling guitar, subtle drones from the violin and what I think is a bass clarinet, an understated tribal drum, flute, and gentle piano, all as backdrop for O’Connell’s breathy, pleading vocals. It’s breathtaking in its beauty, and as the song evolves, the vocals and instrumentals become more emphatic, Rodenbough joining in on some of the vocals, and a saxophone providing a flourish of an ending. “Pipe Diversions / Bored Auroras” has a huge sound, the plucked guitar’s notes bending and swaying, tons of reverb giving it a feeling of vastness. Violin harmonics add to the atmosphere, as do the various percussion instruments and the bass notes of the piano played through massive reverb. The whole thing is played in 6/8 time, and has an ethereal otherworldly feel. Flute harmonics do that job, too, in the title track, which closes the LP. The melody has the old timey feel of a small rural town, but with the reverb, the quietly dragging tempo, and the flute, it feels like it’s a picture seen through a gauzy filter, pulled out of time and a bit distorted. It’s solemn and sad, too, like seeing somber events of the distant past. This record is magical.
THE LIVING PINS – Freaky Little Monster Children (www.livingpins.com)Talk about taking your time with a new record! This is The Living Pins’ first release since their debut in 1996! The Austin band recorded the four songs on this EP mostly on weekends during the pandemic lockdown, and the songs all have somewhat different feels. “Raven” is 70s rock and roll with a hint of funkiness, while “Downtown” is mildly psychedelic pop music. Modulating synths provide a backdrop of dreaminess beneath repeating melodic lines and throbbing rhythms. “Jaguar” tries to get down with some rockin’ guitar, but the breezy indie-pop parts with harmonized vocals are the better aspect. And “Fish and Beads” is nice indie-pop with elements of pysch underneath, a throbbing bass line, and a sense of floating in the vocals. As the song comes to a close, the guitars get a little edgy and dissonant. Will it be another 25 years until the next Living Pins record? Let’s hope not.
LAPÊCHE – Blood in the Water (New Granada Records, www.newgranada.com)Lapêche play music that’s part grunge, part pop, and part dream-pop. The music is somewhat heavy, but it’s also got a floating dream-like quality. And the songs’ melodies have a pop sensibility. For example, “Finally Trying” has big and grungy guitars, but the vocals are dreamy pop. Many of the songs have a hypnotic droning quality to them, like “Cool Job,” which throbs easily through most of the track, the vocals casting a spell – until halfway through the track when everything gets big and covered with grunge for a time. I like the rapturous quality of “Oliver,” a track that throbs with intensity. It’s fascinating how this can be both heavy and so mesmerizing at the same time. “Metric” reminds me a tiny bit of Jawbox, starting in waltz time, then moving to what feels like 6/8 time. The time signature keeps shifting, but this isn’t math rock, it flows too smoothly for that. “Salt and Sweet” is a gorgeous ballad that adds strings to the mix. I’m a sucker for rock and roll cello. Speaking of which, “B. Gentle” may be my favorite track of the album. It’s got a busy drum beat and bass, while dreamy guitars and ethereal vocals drift through it all. And the strings come back in a big way, giving this tune a lush sound. The ending, with a small chamber orchestra playing a lovely, lonely melody, is divine. There’s a lot in here that will sound familiar, but there aren’t many bands that sound quite like this. I like it.
THE ROUTES – Mesmerized (Action Weekend Records, actionweekend.bandcamp.com/Bickerton Records, www.bickertonrecords.com)This eighth LP from the Japanese band fronted by Scotsman Chris Jack is very aptly titled. True to form, the ten songs are unmistakably garage rock and roll, but some of them are quite hypnotic, with a strong psych influence, as well. “Broken Goods” is played at a slower pace, but with a strong heavy beat. There’s a pretty evident early self-effacing punk attitude on this track, singing “I’m no good,” and how “I’m broken goods.” “Society,” too, has a slower tempo and a drone-like feel, creating a trance-inducing effect. “Used To” and “Blink of an Eye” have a similar effect. There are also pretty rocking and hopping garage rock tracks, like “ Two Steps Ahead,” and “The World’s At Fault,” fast paced and manic. Oddly enough, the title track is not mesmerizing; it’s British invasion pop music, with a strong backbeat and lovely melody. If you’re a fan of garage rock, you’ll enjoy this.
LUNG / SKRT – Split LP (Romanus Records, www.romanusrecords.com)What a unique split, and one that’s a great listen! Lung, out of Cincinnati, Ohio, consists of classically trained opera singer Kate Wakefield and Daisy Caplan of Foxy Shazam. The resulting music is fascinating, with both heavenly and evil vocals and powerful grunge emanating from the cello. The tracks are amazing post-grunge mixed with a dose of the avant garde. “Wall” is probably my favorite of their tracks; it’s loaded with tension, and the vocals, partly sung, partly spoken, partly shouted, are intense – especially when that operatic training is put to good use. “What Are You Asking For” begins with breathy vocals and a drone on the cello, then gets weird, in the best way; it’s intense in a different way from “Wall.” Skrt is from Dayton, Ohio, and they sound much bigger than the trio they are. They take the basics of 90s post-punk and then add a heavy dose of art-punk to create exciting energetic songs. There’s some jazziness and some experimentalism that go into these tracks, too. “Snowsuit For The Apocalypse” is some amazing indie that sounds like taking the indie pop of Washington, D.C.’s Tsunami and making it harder and edgier, and it’s a great track. But it’s the breezy jazz mixed with intense punk that really kicks me in the ass. Like “Trailer Trapeze, with its easy melody and gorgeous jazzy vocals that are pumped up on steroids. “Black Adderall” has an easy lope and melodic line that’s at times angular, and other times light and lithe, like someone with attention deficit disorder (and the play on the Rowan Atkinson comedy “Black Adder” is fun). “Amigone” is the most artsy track out of all them, with a distorted melody playing on a loop, indistinct voices conversing. This is one of the best splits I’ve heard in awhile.
 THE
ARMOIRES – Incognito (Big Stir Records, www.bigstirrecords.com)
Well, April Fool’s Day came. And the cat’s out
of the bag. Big Stir bosses Christina and Rex have been releasing
a series of singles over the last several months by mysterious
“new” bands – but actually they’ve
all been recordings from The Armoires, Christina and Rex’s
own band. Part of the reason the ruse was able to work so
well is that the band has been experimenting with songs of
various styles and genres. And now, unmasked, The Armoires
present a new double-length LP that ranges widely, from pop
to folk, from rock to country, with a mix of covers and originals.
Let’s first talk about some of the covers. The opening
track takes John Cale’s very orchestral and theatrical
“Paris 1919” and turns it into a lovely Brit-pop
tune with a mod feel. There’s a cover of XTC’s
“Senses Working Overtime,” which eschews both
the more experimental aspects of the original and the Brit-pop
jangle to present a more Americanized pop version. An interesting
touch is the addition of violin and a very “rock”
guitar. The result is a more evenly textured song, less disjointed
than the original, though that’s one of the things that
makes the original so memorable. This one came out as a single
shortly before Christmas under the alias “Yes It Is!”
Andy Gibb’s ballad, “Words and Music,” is
here, but The Armoires (previously as “Tina and the
Tiny Potatoes,” on New Year’s Day), turn it into
a lusher, more upbeat tune, giving it a hint of a 70s disco
beat, perhaps as an homage to the prominence of Gibb and his
older brothers in the disco era. Notable originals include
“(Just Can't See) The Attraction,” an indie pop
tune with harmonized vocals and competing violins that really
add dimension to the song. This was released under the alias
“October Surprise” last fall, but, nope, it’s
The Armoires! “Bagfoot Run” is something that
could have come from the old NPR radio program “A Prairie
Home Companion,” because it’s just a good old
folksy song, with banjo, fiddle, guitar, piano and drums.
Though the music sounds like that, the lyrics would never
have gotten past the radio censors; it’s about a kid
trying to run away from a crappy little town where there was
nothing to do but drugs. He loses his shoes along the way
and puts bags on his feet because they get cold and start
to bleed. I love the gentle ballad, “Homebound,”
a song about being on the road with everything you own, moving
across country while everyone is stuck inside their homes
because of the pandemic. If it sounds eerily familiar, it
may be because it was released for Thanksgiving under the
alias “The Chessie System.” “Great Distances”
isn’t a cover of the Gospel Swamps song just released
in March, it was always The Armoires, and it may be my favorite
song of the LP, with a jazzy mod guitar tone and a gentle
indie pop feel. At over an hour long, it may be a little too
much, but variety is the spice of life, they say, and you
certainly get it here!
 DEVILS
TEETH – La Leggenda di Chong Li (Triple Eye Industries,
www.tripleeyeindustries.com)
Devils Teeth describe this album as a “spaghetti western
garage rock operetta inspired by the character Chong Li from
the martial arts film, “Bloodsport.” And I can
see that. The music is certainly cinematic, beginning with
the lounge-like overture, “She Speaks to Coyotes.”
With an easy listening bossa nova beat, saxophone, harp, vibraphone,
and calming backing vocals, the elevator music vibe is strong.
The recording site was a barn turned art-space, and you can
feel the size and emptiness of the room. It adds a sense of
uncertainty into the Muzak feel. This transitions into “Pt.
1 – Chong Li,” a great garage surf track that
introduces our main character. A lonely guitar solo starts
the track, and you can picture Chong Li, coming into town,
the streets empty. Eventually the song picks up with a classic
surf beat and the rest of the band comes in, with vocals singing
the praises of our hero. “Psychopath” is a quiet,
eerie track that seems to introduce the villain of this piece.
You can imagine someone slinking around in dark shadows, plotting
and scheming against our hero. You can hear the track rise
toward the end, as the plan comes together, and suddenly we’re
into “Ride of the Devils Teeth,” and we hear the
assembled gang as they rampage through the town, wreaking
havoc. A dark garage surf melody plays, the guitar strumming
madly and a saxophone wailing quietly. Their plan is apparently
a success, as the next track, “Pt. II – Death
of Chong Li,” has a funereal quality to it. You can
hear the sadness, a trumpet adding to the morose feeling.
Partway through the track, the saxophone gently weeps, and
we hear the sounds of a woman sobbing, perhaps Chong Li’s
wife. The last portion of the track builds the melody more
strongly, hinting at a sense of hope that not is all lost.
That hope is not wasted, as the next track is a raucous one
titled, “Pt. III – Son of Chong Li.” You
can hear the rage and need for vengeance and justice in this
one. “Pt. IV – Shadows of Chong Li” brings
back the lounge mix, but this time it’s stronger, less
hollow. Balance has been restored, as the end credits roll.
This isn’t necessarily the sort of record I would seek
out on my own, but it’s one of the perks of doing these
reviews that I get turned onto interesting and unique music
like this.
 THE
SUCK – Boris Sprinkler (Mom’s Basement Records,
momsbasementrecords.bigcartel.com)
The SUCK doesn’t suck. They’re not original or
unique, playing raucous Ramones-core songs, but they are a
helluva lot of fun and quite talented. The Suck are a mysterious
band from points unknown, but if you’re in the scene,
they apparently know you! 90s pop punk icons are skewered,
including Reverend Norb, of Boris The Sprinkler. Norb’s
band gives the album its title, and also its narration. The
opening track, “Theme,” starts with “Reverend
Knob,” declaring that “The SUCK are back an better
than ever, and yes! They’re gonna drink your beer and
kick your ass, and no! There’s not a goddamn thing you
can do about it!” At the other end of the album, J Prozac,
of The Prozacs, gets called out in “J Prozac on a BMX
Bike.” In between are odes to beer, sex, nerds playing
Dungeons and Dragons, and “Reverend Knob” letting
us know when side A ends, side B begins, and the record is
over. The SUCK won’t be creating anything genre defining,
but these tongue-in-cheek songs are a boisterous hoot.
 SUNDAY
STATE (Snappy Little Numbers Quality Audio Recordings, snappylittlenumbers.limitedrun.com)
Sunday State had a casual start, with two long-time Pacific
Northwest musicians getting together to write some songs.
Michael Carothers and Kurt Foster determined the songs were
worth exploring further and recruited some of their friends,
including Steve Turner (of Mudhoney and Green River), Jeremy
Dietz (Mission Spotlight), and Thom Sullivan (The Pynnacles)
to fill out the band. Given this pedigree, I expected something
heavy and distorted, in the vein of classic PNW grunge classics.
Instead, we get songs that are intensely melodic, with deep,
commanding, tuneful vocals. Sure, the guitars have plenty
of buzz, but no one is going to confuse this with grunge;
this is indie-rock. The LP opens with “Tinder Town Run,”
a track with a majestic feel. I love the bouncy pop of “Junior
Spacecraft Overheated, and the light touch of Americana in
“Faded Nashville” is unexpected and quietly charming.
The instrumentals in “All Sales Final” are played
as a leisurely waltz, but the vocals are emphatic and intense,
but always mellifluous. And I adore the intertwining vocal
lines in “Fields of Grass.” There’s even
a cover of the Gordon Lightfoot song, “Sundown,”
and it fits right in with the other songs, with a tougher
and more solid rendition than the original. The album closer
is a quiet acoustic number, “Picture Your Audience,”
that’s just lovely. Very unexpected; nice surprises
are always appreciated.
 JOSH
CATERER – The Hideout Sessions (Pravda Records, joshcaterer.bandcamp.com)
Man, I could listen to Josh Caterer sing all day. The Smoking
Popes’ front man has a silky smooth croon that is just
so soothing. Last October, Chicago’s aptly named venue
The Hideout, which has been closed since March, 2020 like
everything else, hosted a live stream event in which Caterer
teamed up with other Chicago area musicians (John San Juan
of Hushdrops and John Perrin of NRBQ) for an evening of live
music. The entire proceedings were recorded, not just for
posterity, but for the most unique live album; one in which
the audience was entirely virtual, watching from home. The
album contains a mix of classic standards and Smoking Popes
tunes, both like you’ve never heard then before. Caterer’s
voice is tailor-made to sing standards, like “My Funny
Valentine,” “Rags to Riches,” and “What
Kind of Fool Am I?” But in the hands of these talented
musicians, the first is reimagined like a romantic grunge
tune. The second, which was a big Tony Bennett hit, is changed
from an angst-filled plea to a joyful jumping song. And the
inimitable Flamingos classic becomes something dreamy and
contemplative. A couple of the songs don’t quite qualify
as standards yet. Show tunes are represented in this set by
“Goodnight My Someone,” from “The Music
Man,” and Caterer and company turn the song of longing
into something that sounds happy and hopeful, more up-tempo
and bouncier than the original, by far. Roberta Flack’s
hit “The First Time Ever I Saw Your Face” is here
too, and Caterer does a fine job, his voice full of emotion,
but I don’t see how anyone could ever top Flack’s
stirring original. The Smoking Popes songs that are featured
include “Megan,” from “Destination Failure,”
which is played somewhat more slowly here than the original,
more of a ballad. “Need You Around” from the album
“Born To Quit” is one of the Popes’ biggest
songs, and the original contrasts a peppy song with half-tempo
crooning vocals that glide over the instrumentals. In this
special live stream version, the band is slowed down to match
the vocals, which are sung more tentatively, indicating less
certainty of feeling. “Writing a Letter” reaches
way back to the earliest days of the Popes, appearing on their
self-released EP “2.” It’s a staple of their
live shows, and it’s one of their speedier, punkier
songs. This version, though, is much more relaxed and easy
going, with a mix of island breeze and funkiness. And Max
Crawford joins in toward the end of the song with some trumpet,
injecting a bit of jazz to the proceedings. The album ends
with “Someday I’ll Smile Again,” a song
that also closes The Popes’ most recent LP, “Into
the Agony.” The original version is the kind where you
sort of expect people to hold up their lighters and sway back
and forth. The Hideout version is slower, sadder, and almost
guaranteed to evoke a tear or two.
 DEPARTURE
LOUNGE – Transmeridian (Violette Records, www.violetterecords.com)
Talk about taking a long hiatus, Departure Lounge’s
last album was nearly two decades ago. But there’s no
rust or dust on this new LP, recorded in a massive 24-hour
session at a studio in rural Devon, England amidst the heady
rush of the band’s reunion shows prior to the pandemic.
The pastoral surroundings certainly must have influenced the
songs, because they’re quite lovely, relaxed, and even
folksy. After a calming intro track, “Antelope Winnebago
Club,” which features reverb-laden fluttering piano
lines, we get songs that are mildly psychedelic folk-rock
such as “Australia.” Then there are some straight-up
acoustic songs with breathy vocals, like “Timber,”
backed with a Casio synth adding a warming tone. I love the
wobbly magical ending of the song when the synths fade away
like ripples on the sea. There are other instrumental tracks,
too, such as the piano-dominant “Harvest Mood,”
a modestly jazz-like ballad, and “Al Aire Libre,”
which has a vaguely Mediterranean ethnic folk sound. The melodic
lead is alternately taken by whistling and by trumpet. Speaking
of jazz-like, the waltz-time “Mercury in Retrograde”
is somewhat jazzy, with brushed snare drum and bright keyboards.
But the acoustic guitar and ever-relaxed vocals are more folk-like,
so maybe we can call this jazz-folk-pop? Whatever it is, it
provides for a warm cozy feeling, the opposite of what Mercury
being in retrograde is supposed to signify. There’s
the soulful pop of “Mr. Friendly” and the experimental
pop of “Gurnard Pines.” Though the songs range
through various styles, the one thing they all have that ties
them together is the sense of peace, calm, and ease that they
emit. Pretty stuff.
 DEVON
KAY & THE SOLUTIONS – Parchment & Petroleum
(devonkayandthesolutions.bandcamp.com)
The March installment of DK&TS’ “album of
singles” is here, and though the horns and synths are
still here, this song sees somewhat of a return to the band’s
pop punk roots, in terms of melody and attitude. The song
has a martial rhythm and a pretty chorale of a chorus. Four
singles in and this one may be the best yet.
 FLÉAU
(Red Scare Industries, www.redscare.net)
Translated to English, the band’s name means “scourge,”
and this French band surely sounds the part. The band are
described as being a French Oi/street punk band, but that
doesn’t do them justice. They’re not cookie cutter
pub punk; this band is brutal. The four songs on this debut
EP pound relentlessly, with metallic power and punk attitude.
Vocals are growled and in-your-face, with a take no prisoners
character. Reportedly, the band describe themselves as a “band
of mercenaries,” their songs are all about battle, and
they wear medieval helms when they play. I believe it. This
is a ripper.
 FRANKIE
& HIS FINGERS – Universal Hurt (SubFamily Records,
subfamilyrecords.bandcamp.com)
Not to be confused with the LA garage rock band, Frankie And
Tthe Witch Fingers, this Frankie & His Fingers are a band
from New York’s Hudson Valley that broke up in 2010,
reunited briefly in 2013, and now are back again with a new
LP. The band mostly plays their own brand of indie rock, but
on occasion branch into power pop, glam, and even arena rock
styles on some songs. I strongly prefer the songs that lean
more toward the indie side, like “Sad to Let You Down
Like This,” a song that’s a little more delicate
and less in your face than some of the others. “The
Greatest Hometown Song Ever Written,” too, is a more
subdued song, and the glockenspiel echoing the guitars on
the bridge is a nice touch. The vocals have a slightly nerd-pop
feel to them, which is pleasing. “Just Because You Are,
Doesn't Mean You Have To” is a nice indie pop tune that’s
kind of breezy, except there’s a guitar solo layered
on top of the actual song that’s a little annoying;
it competes with the vocals. The opening track, “Celebrate!”
features some arena rock guitar licks that don’t do
much for me, violating the rule that you should put your best
song first on an LP. “Cake Heart” mixes glam and
arena rock with some power pop and is one of the weaker tracks,
and the closer, “There's a Dragon in that Cave,”
is an interesting way to close the album, leaving the listener
with a taste of cheesy arena and synth rock mixed together.
Overall, this is about 50/50 for me.
 GRACIOUS
LOSERS – Six Road Ends (Last Night From Glasgow, shop.lastnightfromglasgow.com)
As soon as the first track began, I knew I was going to like
this LP. Gracious Losers is a Glasgow, Scotland group consisting
of a core of nine people, all from various other bands from
the Scottish scene. For this sophomore album, though, the
band did the nearly impossible (and unthinkable): recording
as a fifteen-piece during a global pandemic. And though I
don’t condone such actions, I’m glad they did,
nonetheless, because there are moments of astounding beauty
within the eleven tracks and thirty-nine minutes of the album.
That first track, “Till I Go Home,” begins as
an a cappella spiritual with interjections from the full band,
and it’s glorious. The album spans multiple genres,
from folk to psychedelic, from indie rock to twangy “outlaw”
country-rock. Songs like “The Big Land” feature
thickly arranged music that’s heavily inspired by the
psychedelic folk-rock of the 1970s, with a distinct peace
and love sound. “Everything Begins, Everything Ends”
features psychedelic folk, with lush strings, violin and cello,
that are stunningly gorgeous. A jazz clarinet wails toward
the end of this quietly soulful song. Speaking of soulful,
“You Got The Reach On Me” has plenty of soul.”
And I really like the light touch of “Come When You’re
Ready,” which is very 70s-like. There’s intimate
stripped-down acoustic, too, such as on “Flood Came
Down The Hill,” featuring plucked guitar, hushed vocals,
and a lonely harmonica. “The Lead And The Light”
is another bare-bones song that’s jaw dropping in its
simplicity and beauty. Acoustic guitar and aching vocals join
together in a pleading song of desperation, and the simple
sustained notes from an unknown instrument (is it another
harmonica? A wind instrument? Synth?) are haunting. Like I
said, I knew from the very start that I was going to like
this.
 K7S
– Mondo Bizarro (Kool Kat Musik, www.koolkatmusik.com)
Released in super limited quantities a couple months ago by
Stardumb Records and Family Spree Records, Kool Kat Musik
is making this sold-out release available once again. And
with it, K7s, the Spanish pop punk band that features US ex-pat
Kurt Baker, join a long tradition of pop punk bands rerecording
Ramones LPs in their entirety. It’s a tradition started
by Selfless Records (now Clearview Records) with Screeching
Weasel's rendition of “The Ramones” in 1993, followed
by The Queers (“Rocket To Russia”) and The Vindictives
(“Leave Home”) in 1994. In 1996, Boris The Sprinkler
released “End of the Century” and in 1997, The
Parasites did “It’s Alive.” These were followed
by The Mr. T Experience (“Road To Ruin”) and Beatnik
Termites (“Pleasant Dreams”) in 1998, and finally
those eggsters The McRackins (“Too Tough to Die”)
in 2000. [There have also been four "unofficial"
Ramones cover albums outside the Selfless/Clearview series
from John Cougar Concentration Camp, Norway's Tip Toppers,
The Kobanes, and The Young Rochelles doing, respectively,
Too Tough To Die, Subterranean Jungle, Halfway To Sanity,
and Animal Boy.] Now, Kurt Baker's Spain-based trio K7s give
us their version of “Mondo Bizarro” from start
to finish. And don’t get me wrong, I love K7's, they’re
a cool band. They do a great job with these songs; they’re
faithful renditions and sound terrific. But I never understood
these releases. I understand covering a song here and there,
but re-recording and releasing an entire album? If I want
to hear these songs back to back, why wouldn’t I just
listen to the original LP? And “Mondo Bizarro”
isn’t even of the Ramones’ best; it’s well
down the rankings, actually. I guess all the “good”
ones were already taken? If you’re a fan of cover LP's,
by all means, get this – it’s very well executed.
But I think I’ll put on an album of K7's originals right
now.
 SPACE
CADET – Lion On A Leash (Wiretap Records, www.wiretaprecords.com)
If I didn’t know that “Lion On A Leash”
is Space Cadet’s debut LP, I’d think they’re
a band that’s been around since the 80s, because there’s
a definite 80s underground pop vibe going on through most
of the nine songs therein. Guitars both buzz and jangle, and
a heavy layer of reverb gives the proceedings a distant, lonely
sound that’s a counterpoint to the upbeat pop in the
melodies. This is definitely another sign that Wiretap Records
is branching out further from their pop punk and emo roots.
Space Cadet was formed by Matt Hock and David Walsh, who play
together in the punk band The Explosion. They never knew they
both had a love of post-punk and new wave, and once they discovered
this mutual passion, Space Cadet was born. For this record
they also enlisted some high-powered musical friends to help
fill out the band, including Brian Baker (yes, that Brian
Baker). I like the blend of darkness and poppiness, especially
on songs like “No Accident,” which is the closest
thing you’ll find to a new wave ballad in this modern
age. Synths provide for an atmospheric backdrop, as guitars
drone and vocals are chanted. It has a mystical quality, in
an 80s underground sort of way. “Bad Luck” is
pretty different from most of the songs, with more of a 60s
Brit-rock mod-pop sound, and it’s a real fun one. But
the bulk of the album reminds me of UK new wave pop band New
Musik, who had a bit of an indie hit with their song “Straight
Lines,” though Space Cadet is a bit more subtle with
the synths, and a bit thicker with the guitars. The album
closer is an instrumental called “Slo¨,” which
is less 80s pop and more cinematic in sound; this could be
from the soundtrack to some sort of 80s action adventure flick.
It’s intense yet chill at the same time. This album
shows how you can take inspiration from old sounds and make
them seem fresh.
 VARIOUS
– "Nice One" 4-way Split EP (Rad Girlfriend
Records, www.radgirlfriendrecords.com / Brassneck Records,
brassneckrecords.bandcamp.com)
This is one of the most appropriately titled EPs ever, because
it definitely is a nice one. This record is the third installment
of Rad Girlfriend’s 4-way split series (I never understood
calling anything with more than two bands a split. It’s
a comp!), and features new music from The Slow Death, Tiltwheel,
Spoilers, and Mackie (from UK's Blitz, recording his own version
of Blitz single that he didn't play on originally.) The record
is a split-label release with Brassneck Records, based in
the UK, so two of the artists are from the United States and
two are from Great Britain. The opening track is the sort
of cover: Mackie McLennan, one of the founding members of
the band Blitz, gives us a new rendition of the classic “New
Age.” I remember when I first heard this song when I
bought the 12” version of the single in 1983 or 84,
and the impact it had. This new “cover” version
is very true to the original and brings me back to my youth.
And all I gotta say, Mackie, is, "the kids definitely
do care." The Slow Death’s new song is “Young
Trees,” an anthem for the generation growing up living
with fatalism, knowing that nothing is ever going to get better.
“We are the young trees waiting for the axe to fall,”
declares the chorus. The song is perfect for fans of the band,
it’s got the same big feel the band is known for, and
Jesse Thorson’s deep gruff vocals have a sound of resignation.
Tiltwheel’s contribution is “Ballad of a Dry Brain,”
and it cements the San Diego band’s position as a favorite.
Davey Tilt’s ability with guitar tone is legendary,
and the rhythm section of Bob (drums) and Matty (bass) propel
the song with intensity – especially the manic bass
lines. The big surprise of the EP is Spoilers, a band from
Kent I had not previously heard. And I think I like their
song, “There, Well Thereabouts,” the most of all.
It’s got a bright open sound, poppy and bouncy, with
verses that are quieter and a little bit folk and choruses
that are big and thick. Yeah, this is a very nice one.
 AMERICAN
CULTURE – For My Animals (Happy Happy Birthday To
Me Records, www.hhbtm.com)
One word review: Trippy. American Culture is a band that
doesn’t shy away from not just lo-fi noise, not just
from deep reverb, but also from wobbly sounds that will
make you feel like you’re on an acid trip. The title
track, for example, starts out like any regular lo-fi pop
tune, nice and bouncy but with layers of distortion. As
the song progresses, it feels like the notes start to bend
and droop, like the tape is stretched or the motor is having
problems. Reality is what’s distorted, maybe? Or your
perception? It’s a cool effect. “No Peace”
comes right after and is even more mind-altering. Acoustic
guitar, electric guitar, bongos, drums, and flute jam together
in a psychedelic jazzy way, with vocals partly sung, partly
spoken, reminding me of Current 93’s David Tibet.
The very dry sounding, very present flute plays fluttering
lines, as the rest of the music is heavily reverbed, providing
a stark contrast. The lyrics are arcane and mysterious,
and, though it took me several listens of the LP, I’m
finally “getting” it and this song is one of
my favorites. I get freaked out every time “Pedals”
starts; it’s got the same wobbliness in the jangly
guitars and sounds like a soundtrack to some early 70s movie,
but the film projector isn’t working right, or the
world isn’t – or you aren’t. “I
Like American Music” mixes funk-rock and dub together
and smears the whole thing with the lo-fi technique to create
something that sounds…wrong, but right. The closest
thing I can think of to describe this is to mention a girlfriend
of someone I knew decades ago who was tripping, and 7 Seconds
cover of Nena’s “99 Red Balloons” came
on, and she was sure something was wrong because the song
didn’t sound quite “right.” It’s
like that; it’s a familiar sound, but different and
unexpected. I enjoy “1972,” a song that uses
pulsating Krautrock rhythms, an indie melody, and a prog-rock
synth all layered on top of each other to create something
quite unique. And just as the song starts to wind down,
the synths that were rock solid throughout start to waver,
unable to hold a note, reality is fading in and out again.
Whoa. The closing track, “Natural Violence,”
reminds me a bit of The Fall, but again, played through
some sort of reality distorting filter. Most of the songs
on the album are like this; I’ve never done any psychedelics,
but I can image this album is sort of what it would be like.
I could have done without the reggae dub pieces, of which
there are a few. “Lude Dub” (as in Interlude,
or maybe Quaalude?) is a short piece that will have you
reaching for the ganja. And “Dub For Eagles”
is a longer one, three and a half minutes of reggae dub,
and it does nothing for me. But overall this album is a
challenging yet rewarding listen.
 EN
GARDE - Debtors (Count Your Lucky Stars Records, www.cylsrecords.com)
En Garde was formed in 2011 by Ross Horvath (vocals/guitar)
and Andy Hendricks (drums), and if I hadn’t read that
in the press kit that they’re just a duo I wouldn’t
have guessed it, because they have a rich, full sound. They
went into the studio in the summer of 2012, and it’s
taken until now to get the resulting recordings out. But it
was worth the wait, because the five songs on this EP are
outstanding. En Garde play a mix of emo, math, and indie styles,
with Horvath displaying both wizardry on the guitar and intensity
in his melodic vocals. The rapid guitar work, with so many
notes coming at you in a short span, and the equally intricate
drumming from Hendricks, are contrasted against smoother melodies
that ride on top of the beat at a more leisurely pace. It’s
hard to keep up with everything going on at the start of “Self
Portraits,” the third track of the EP, and once the
intro ends we get a dark, pretty waltz time song that alternates
between soft and hard, between jazzy and gritty. I like, too,
the shifting time signatures of “Edetulism.” And
“Tightropes” may be my favorite track of the EP;
its constant swirling guitar and complex math-rock rhythms
act as a counterpoint to the more relaxed pace of the vocal
melody (which itself is delivered with fervor). I sure hope
En Garde are still active and planning to record more (and
maybe tour, once that’s a possibility) because this
is fantastic stuff.
 PHANTOM
WAVE – Wilds (phantomwaveband.bandcamp.com)
This is quite a nice, calming album, blending dream-pop, shoe-gaze,
and indie styles. Phantom Wave hail from Brooklyn and are
comprised of core members Ian Carpenter (guitar, vocals) and
Rachel Fischer (drums). The sound contains the jangle of pop,
the fuzz of shoegaze, and the reverb-laden sounds of dream
pop. I like how the lead guitar on “Antereograde,”
the opening track, has a clear lush sound, while underneath,
in the background, there are noisier guitars, although that
might just be the reverb effects. “Resin” has
the feel of a lazy hazy indie rock song, but with the layers
of distortion and reverb, the shoegaze and dream influences
are felt. The album’s lead single, “Billows,”
has an ethereal quality for most of it, but occasionally the
guitars get big. This is really dreamy stuff, and shows you
can do good dream pop without tons of electronics. “Recursive”
is the heaviest track of the LP, with sections of almost “hard”
rocking, but for the most part it’s still big and dreamy.
“Glower” is a nice breezy up-tempo track, with
an indie melody but produced with so much fuzz and reverb
it’s very hazy sounding, and it’s one of my favorites
of the album. “Across The Avenues” is another
favorite, with its stronger pop feel and wall of velutinous
guitar. I’m not so enamored with “Amarinthine,”
which to me sounds kind of like a dreamier version of early
U2. The other thing that I’m not so enamored with is
the length of the album. It’s twelve songs and 56 minutes.
I like most of these songs, but almost an hour of the sound
gets to be a bit much and the songs blend together too much.
This could be trimmed down to maybe 30 minutes (with songs
left over for a couple of EPs) and it would be perfect.
 SAFETY
– Greetings From The Sunshine State (Jetsam-Flotsam,
www.jetsam-flotsam.com)
East-coast band Safety may be no more, but they’ve left
behind this six-song EP to remember them by. And it’s
hard to know what to make of it, because it sounds like it’s
a split EP, with a few different bands. “Songs of The
Night Gator” is the edgiest track, with a smoothed out
post-hardcore sound, while “Sounds of The Coast”
has more of an indie/post-emo sound, with a chugging rhythm.
I like these two tracks, a lot, and was anticipating loving
the rest. “Everglader” sounds more like a chorale,
with deeply harmonized vocals. It almost sounds like a rock
holiday song. And it’s nice, but it just doesn’t
fit with the first two tracks at all. “Spanish Moss”
and “Civilized” also have harmonized vocals, but
the former sounds kind of like a 2000s emo ballad and the
latter is pretty indie pop. “Heat Lightning” brings
back the edgy post-hardcore, but only in the chorus, while
the verses are kind of jazzy. I really like the first two
and the last of the tracks, but the other three don’t
do much for me.
 STONER
CONTROL – Sparkle Endlessly (stonercontrol.bandcamp.com)
With a name like “Stoner Control,” I expected,
well, stoner music. But this is, mercifully, not that. Instead
it’s really nice indie pop and pop punk. The music induces
plenty of head bobbing and tow tapping, with lilting melodies
and relaxed nerd-pop vocals. I really love the bounce of the
title track, which is also one of the more thickly arranged
songs with bigger guitars than most, and it’s got trumpet
toward the end of the song that fits in perfectly! “Only”
has lovely jangling guitars that move at a faster pace with
the drums, as the bass and vocals glide on top with a more
relaxed feel. “Know I Slept” has a grunge-pop
feel, and it gets huge toward the end, like a perfect set-ending
song, though it’s not the last track of the LP. There
isn’t a bad track on this one – if you like poppy
guitar-fueled music with a bit of a nerd-pop sound, you’re
going to adore this as much as I do.
 TEARJERKER
– Deep End (www.tearjerker.bandcamp.com)
What a perfect name for this band. I recall a Washington DC
band from years ago called Tear Jerks, and they too, played
sorrow-filled songs that set quite a mood. So does Tearjerker,
though the songs are not as noisy as the DC band’s,
and some of them even have a sense of hope to them. Perhaps
the saddest of the five songs is “Poor Me,” not
just in title but also in sound. A lonely guitar accompanies
a piano, while a chorus a vocalists sing a lament, reverb
heightening the effect. It’s just so morose, so depressing,
and so good. The other tracks, while having a melancholy aura
about them, at least have hints of brightness, glimmers of
hope. Especially the title track, which closes the EP. The
piano and synths shimmer, there’s a bit of energy in
the beat, and the way the vocals soar on some of the melodic
lines makes on feel all is not lost. Some really nice touches
on this EP include the hushed unison vocals and the recordings
of babbling streams. The whole thing sets a wonderful mood,
which music is supposed to do. Tearjerker does it really well.
 SIM
WILLIAMS – Whites of the Eyes (simwilliams.bandcamp.com)
A British ex-pat now living in Southern California, Sim Williams
is a veteran of punk rock, having toured internationally with
multiple bands. But in 2015 he decided to strike out on his
own, and “Whites of the Eyes” represents Williams’
sophomore full-length LP since going solo. And it actually
sounds like there are two different LPs competing for attention
here, as some of the songs are full-band and others are either
fully acoustic or mostly acoustic with only modest accompaniment.
The thing that all the songs have in common is the earnest
feel of a singer-songwriter. The full-band sounds have a bit
of twang and a working class rock and roll aesthetic, similar
to Nato Coles and the Blue Diamond Band, a favorite of mine.
I do think I like the quieter songs a little better here,
the ones that are a little more Spartan; I think the emotion
comes through more clearly without the extra instrumentation.
“Bridges” is one such song, with just Williams’
guitar and slightly gruff vocals, heart on his sleeve with
lyrics that speak to the inevitable breakdown of relationships
and life: “It’s like when everything around you
/ Crumbles into earth / If hearts were made for breaking /
Are bridges built to burn?” I also really love “Hearts
Begin to Rust,” a song which mates Williams’ acoustic
guitar with some subtle slide guitar, and toward the end,
as the song rises in intensity, a gritty electric guitar adds
to the background. The song speaks to recognizing one’s
faults, particularly when it comes to a relationship, but
how the words of his significant other can heal him: “Still
every word she says to me / Sounds like a love song / When
I feel my heart begin to rust.” “Coming Down (With
White Line Fever)” is another one, with pretty plucked
acoustic guitar, electric guitar providing some background,
and Williams’ pleading vocals singing what I interpret
to be about his decision to move out of LA into more secluded
environs, referring to how much he loved the city, yet how
he recognized how damaging it was to him, at the same time.
The sincerity of the sentiment comes through so clearly. The
closing track is an acoustic version of “Cannonball,”
which appears as a full-band track earlier in the album, and
while the full-band version rocks out, the intimacy of the
acoustic version is so much more impactful; the pained emotions
come through more clearly and can’t be hidden behind
the arrangements. That’s not to say the songs with thicker
instrumentation are devoid of emotion. The opening track,
“Rattle My Soul,” is a hell of a lot of fun, a
big sing-along pub song kind of track. And the other full-band
tracks are good, too. “Hell Only Knows” is sort
of a hybrid, starting out as a quiet intimate song, then getting
bigger, more instruments joining in over time, and it’s
quite effective. I do like the quieter tracks best, but this
is a pretty solid LP, if you’re a fan of singer-songwriter
fare.
 COMA
TWINS (comatwinsrock.bandcamp.com)
The Coma Twins have been kicking around for years, starting
life as an acoustic duo, and evolving into a “full band”
along the way. But it’s still the product of the duo
of Jason Paul and Sean Coles, two members of San Pedro, California’s
close-knit community of DIY musicians. And while this album
features a “full band,” it’s still just
the two of them, playing all the guitars, bass, and drums,
and performing all the vocals. The music is…comfortable.
It leaves me feeling warm and satisfied, like a meal of comfort
food. The songs range through power pop, pop punk, Americana,
and indie rock styles, and you can’t help but feel the
pleasure in listening that it’s obvious the pair had
playing these songs. The opening track is some pretty pleasant
power pop, “Waiting To Be Late.” The guitars jangle
so easily and the song has a nice breezy feel. “Whiskey
Friends” is another jangler, but this time with an Americana
feel to it. The song seems to speak of remembering happy times
(likening them to carefree summer days), and looking forward
to gloomy solitude (using winter as a simile), with TV and
liquor as one’s only companions. Sort of like the pandemic.
“Need a Little Lie” is a fun one, done in the
style of a children’s song, with a simple, bouncy, repetitive
melody. But the lyrics sure aren’t child-like, speaking
to the lies we all tell each other and tell ourselves just
to get through life without breaking down into a crying heap.
Another one with an airy sound is “Whittier’s
Alright For Fighting,” a song that feels free and easy,
remembrances of childhood antics that “Should’ve
killed us, but it didn’t.” “Frozen Ludes”
blends indie and twangy Americana into a song that seems to
me to talk about mental illness. “There’s a creep
in me / (He won’t let me be) / Blessing and a curse
/ (He won’t let me be) / At least he gives me words
/ Whispers in my ear.” The darkest song of the album
has to be “Donor 9623,” with lines like “I
feel the evil like a still-born twin / Who’s jealous
of your foolish will to live.” The song goes on to allude
to self-destructive behaviors and suicide attempts, drug use,
and the inability to cope. The music uses gentle acoustic
guitars as a contrast to the harshness of the lyrics. The
Coma Twins’ relaxed DIY music is the perfect antidote
to over-produced slick “punk rock” bands that
are all too common. And the topics in these songs are real
life that we can all relate to.
 DEECRACKS
– Serious Issues (Pirates Press Records, www.piratespressrecords.com)
DeeCRACKS, everybody’s favorite Austrian punk rock band,
is back with their fifth full-length LP, and their second
for Pirates Press since 2018’s “Sonic Delusions.”
The band could easily be pigeonholed into a pop punk category,
but they’re more than that. Sure, they’ve obviously
taken a few pages from the playbooks of bands like Teenage
Bottlerocket, The Ramones, and Screeching Weasel. The songs
are predominantly at a moderate pace, the guitars are big,
and the arrangements will sound familiar to fans of these
sorts of bands. The gritty gravelly vocals complement the
music well. There’s even a “One Two Three Four!
Shout that’ll make TBR fans happy. I really like the
bright sound of “A Reason.” I think I hear keyboards
among the huge Ramonescore of this track. The guitar tone
during the solo at the bridge on “We Can’t Help
It” has gorgeous jangly power pop mixed in with the
punk rock, and it makes for a great combination. A couple
of tracks are pretty different from the others. They’re
instrumentals, for one, and for another, they’re surf
rock. “Desert Storm Surf” opens the LP, and it’s
actually one of my favorite tracks of the album. It’s
got a classic surf beat and melody, but the arrangement and
tone is pure punk. The combination is pretty heady. “The
Ambien Shake” is the other one, and it’s a little
different, with a lonelier sound and hints of Latin music,
and quite nice. “Not Today” is the angriest sounding
track on the LP, the closest to old school hardcore the band
gets, and there are hints of surf sound mixed in, too. Punk
rock, surf rock, hardcore, power pop…DeeCRACKS do it
all in this worthy album.
 HANALEI
– Black Snow (A-F Records, www.a-frecords.com)
Hanalei is the vehicle used by Brian Moss, best known from
the late, lamented The Great Apes, to write and record music
that’s more indie than punk-edged. It’s been an
on-again off-again project, and, in fact, it’s been
more than ten years since the last Hanalei full-length LP.
Listening to Moss’ solo effort, I am reminded a lot
of the gentler aspects of The Great Apes, the songs that were
more introspective and less angry sounding, especially on
the band’s last and best album, “California Heart.”
Like Moss’ work with Great Apes, this album is a collection
of fictional narratives, this time telling stories from first
person perspectives from a near future of environmental and
societal collapse. Musically, the ten songs mostly blend jangly
and noisy guitar sounds, and Moss’ gentle vocals complement
the instrumentals well. The opening track, “Screen Echoes,”
is a nice mix of indie rock with a surf guitar tone that I
really like. “Antibody” is bright and about as
raucous as things get in the album, but still in a gentle
way. It was written a year before the pandemic, but it’s
about a virus that’s unearthed by fracking. “A
Billion Ghosts” trades the thick guitars for a quieter,
lonelier sound. Just Moss’ sad guitar and pleading vocals
are on this one for half the track, and even when the bass
and drums join in, the whole thing is very subdued and solemn,
Moss’ singing reminding me a little bit of REM’s
Michael Stipe, with its slightly higher register, the barely
present quaver, and the understated emotion of it. “Common
Coqui,” too, has the same quieter sound, eschewing the
wall of guitar sound for more open space. It’s a moody
instrumental with a subdued tribal rhythm, and it brings to
mind images of unspoiled land, being in harmony with nature,
as we hear the almost birdlike chirrups of the coqui, a small
tropical frog, in the background. There’s a feeling
of floating down a river, sun filtering through trees overhead.
“Steep Ravine” is a pretty ballad, another quieter
song with a deep resonant bass tone that wraps itself around
your soul. The final track, “This Is Not the End”
closes things going back to the brighter indie sound, showing
that no matter how bleak things get, where there’s life
there’s hope.
 JUSTIN
COURTNEY PIERRE – An Anthropologist on Mars (Epitaph
Records, www.epitaph.com)
Mars may be a planet that NASA just sent a probe to, but it
also is a metaphor for Justin Courtney Pierre’s inner
self, and the five songs on this new EP are an excavation
of those aspects of himself that he’s kept hidden for
many years. Pierre’s background in pop punk (he is a
founding member of the pop punk band Motion City Soundtrack)
is clearly evident, because the songs have a definite pop
punk and power pop base, though they do tend toward a cleaner
indie sound. The first song, “Dyin’ To Know,”
is sort of an introduction to the concept, with its refrain,
“I’m just dyin’ to know who you are.”
It’s a bright song in 3/4 time, drums pounding out every
beat, guitars madly jangling, and Pierre’s vocals sounding
slightly desperate to uncover some answers. As the investigation
of the dig site progresses, Pierre realizes “I Hate
Myself,” a song that examines self-loathing and how
one might compare their own life to those of others. The big
open sound of the chorus contrasts with the more closed sound
of the verses, and the power pop influence is clearly evident.
The other three songs continue the themes, musically and lyrically,
with some great indie/power pop. “Illumination”
ends things with some findings. “Used to be cool / I
used to be very cool / Save for the acid wash,” the
song begins. As it goes on it explains how things have changed,
and “All of the things I thought that might have been
/ Have washed away like winter in the wind.” The piano
and backing vocals on this give it a stage musical finale
sort of quality. This is a great listen. I actually wish it
was longer.
 SHIP
THIEVES – Irruption (Chunksaah Records, www.chunksaah.com)
Fronted by Hot Water Music’s Chris Wollard, Ship Thieves
started life with the intent of being a solo project, but
over time it evolved to become a full band. Irruption is the
band’s fourth LP and the first in nearly five years,
since “Anchor” was released in 2016. True to form,
the LP is chock full of big punk rock anthems, big striding
guitars, pounding drums, and loads of energy. There’s
a metallic edge to the proceedings, and gruff vocals are accompanied
by shouted gang vocals. “Tangled Net” is a favorite,
its dark feel tempered by a somewhat poppy melody, the lead
vocals even more emphatic and urgent sounding than on any
of the other tracks. “Hercules Stomp” stands out
as somewhat different, with more of a pop punk sound, harmonized
vocals giving it a sweetness in a Masked Intruder sort of
way. Then there are tracks like “Virulent Man”
and “(Don’t Wanna) Face the Dog,” which
are hard rock and roll, with the former having power pop elements
that give it sort of a 70s rock and roll sound and the latter
sounding more hard driving and metallic. But for the most
part, the bulk of the tracks are solid big punk rock. A decent
listen.
 THE
STREETWALKIN’ CHEETAHS – One More Drink (Dead
Beat Records, www.dead-beat-records.com)
LA’s big rock’n’roll cats are back with
their first LP in what, fifteen years? And man, this record
is all over the place, musically. There’s good ol’
rock and roll, there’s new wave, indie, even punk rock,
all from one band. It’s like a musical tour through
various rock music sub-genres, with the opening track “Ain’t
It Summer,” being a 70s power pop anthem, “Fast,
Fucked, and Furious” being a pummeling Motorhead type
track blended with a hint of glam, and “Bad Vacation”
being an indie-rocker type track. “One More Drink”
is a favorite, mixing power pop and indie rock styles, and
the up-tempo harmonized vocals are well done. I enjoy the
80s rock song “We Are The Ones (We've Been Waiting For),”
sounding like something that could have come from the soundtrack
of a John Hughes teen angst flick. “The Rejected”
will surprise the hell out of you (it did me) because it’s
a skate punk song, and so different from anything else on
the LP. “Rumblin’ Train” is just good-time
rock and roll, as are “Warzone” and “Switchblade
Knights,” with a pub rock sort of vibe. Eclectic, for
sure, these cats have “something for everyone,”
as the saying goes.
 ADULT
MOM – Driver (Epitaph Records, www.epitaph.com)
Epitaph has really branched out lately… a lot. This
is maybe about the most un-Epitaph release I’ve ever
heard. There isn’t an iota of “punk” in
this record, but Driver is enjoyable nonetheless.
Adult Mom is the singer-songwriter project of Stevie Knipe,
along with sometime collaborators and friends Olivia Battell
and Allegra Eidinger. Songs range from Americana and folk
to indie-pop, and tell stories about navigating one’s
way through life. The opening track, “Passenger,”
is a distinct contrast from the album’s title, Driver.
Knipe, the driver, sings about another person who is a “passenger
” and how the two are opposites. “You’re
a lover / I am not / And that’s why I left you / That’s
why I left you.” Opposites may attract, as the saying
goes, but it doesn’t always make for great relationships,
and as the driver, Knipe declares control over their own life.
I love the pretty indie-pop tune “Wisconsin,”
a reminiscence of intimate moments with a partner. The jangly
guitars, breezy vocals, and harmonized backing vocals are
just lovely. “Sober” is another favorite, mixing
indie-pop jangle and bubbly synths. “You’ve been
sober now for a few days now, and I bet that it helps,”
the song begins. “You’ve not sent me a text that
says you love me still.” The song goes on to speak of
life without a relationship; “And the only thing that
I’ve done is drink beer and masturbate and ignore phone
calls from you. What else am I supposed to do?” The
song refers back to the dichotomy of driver vs. passenger
in the car, and how two people that are so opposite can’t
work together. I think my favorite of the record, though,
may be “Regret,” a song that sounds almost like
a hymn, acoustic guitar gently strumming while synths provide
a steady rhythm and an ethereal atmosphere. “I was amazed
you would treat me this way / Thought you were a grace, thought
you were a saint.” The pain of the hurt is clear, and
the solemn delivery of the music and the image of the fall
from grace of a loved one is incredibly touching. Adult Mom
may be a very different sort of Epitaph signing than those
of us who listen to a lot of punk may be used to, but I’m
glad they’ll get the sort of exposure a label of their
size can provide, because this is nice stuff.
 BURNING
NICKELS – Cobwebs (highenddenimrecords.bandcamp.com)
This latest incarnation of Canada’s Burning Nickels
has never practiced together in the same room due to the global
pandemic (the most recent addition to the band, bassist Robbie
Morön, lives in a different city than the original core
duo of Josh Hauta and Jason “Ozone” Ezeard), but
you would never be able to tell from the tight professional
sounds on this newest EP. It contains four songs, three that
include special guests performers, and as a result there are
distinctly different sounds in each. The title track comes
first and features Dan “Danny Boy” Garrison of
The Corps. It’s a huge pop punk song about being stuck
in a rut, feelings of depression keeping you from caring enough
to even get out of bed, and being turned off by friends who
express concern. But all is not hopeless, as depression passes,
outlooks brighten, and life begins again. The bright guitar,
bouncy pace, and harmonized vocals contrast with the darkness
of the sentiment. Speaking of sentiment, the next song is
titled “Sentiment,” and features guest Alex Goldfarb
of Trashed Ambulance, a band that Burning Nickels’ Hauta
is also in. Surprise! It’s a cover of the Trashed Ambulance
song from their sophomore LP, “Flashes of Competence.”
In this new version the music is played a little more smoothly,
though Goldfarb’s vocals are just as gritty as ever.
“Bootstraps” features Red Scare artist Sam Russo,
and the song blends Russo’s emotional solo style with
powerful skate punk. The tight harmonies are gorgeous and
the song feels epic. Closing things out is the one song without
a guest: “Summer Boner” is a fun poppy punky tune
that’s a nostalgic look back at the lost love of youth.
Though the title sounds crude, the sentiment is expressed
in the lyrics, the chorus declaring, “Your pretty face
was more than just a summer boner,” as our narrator
recalls his love moving away. If this is what Burning Nickels
can do during the pandemic without ever playing together in
the same room, I can’t wait to hear what they do once
the pandemic is over!
 BRIAN
DAMAGE – Yesterday’s Slime (www.permanentbriandamage.
bandcamp.com)
Eclectic and varied, this new album from Ohio’s Brian
Damage (not to be confused with the deceased drummer from
The Misfits) offers multiple variations on the indie rock
and indie pop genres, and there’s plenty of satire and
parody, a la Ween. It’s like taking a virtual tour of
the indie music scene in one thirty-minute listen. The album
opens with the grandiose sounds of “Too Far,”
a track that uses keyboards to give it a huge prog-rock feel
mixed with noisy indie-pop guitars. “Appease Your Finger,”
which comes next, sounds kind of like Stereolab mixed with
power pop, the former coming from the keyboard sound and the
latter from the guitars and vocals. I love the jangly sounds
of “Juicy Secret” and “Coolest Guy,”
the first using guitars and the second synths to create the
happy feel. “Coolest Guy” has a blend of new wave
and baroque, with the synths almost having the delicate sounds
of a harpsichord. “Psycho Horny” is some great
garage punk, with energetic noisy guitars that blend the simplicity
of Ramones-core with a hint of Jesus and Mary Chain fuzziness.
And “Jewel Encrusted Plane” blends quiet acoustic
with spacey synths to create something somewhat calming. The
album isn’t entirely without faults. “Goofing
Off In Hell” is a parody of schlocky metal, but it just
comes off as juvenile and a bit annoying. And the office lament
“Cubical Blues” seems a bit silly to me, synths
in the forefront and a dragging tempo. But overall, this is
a pretty fun record.
 DECENT
CRIMINAL – "DC" EP (Sell The Heart Records,
www.selltheheartrecords.com)
Members of Decent Criminal continue to migrate around the
state of California, yet still found the time during the pandemic
to record and release a new EP. The band continues to evolve
their sound, the three (or four – more on that in a
minute) songs are each unique examples of the bands progression
over time. “Drifter” represents the newest sound
from the quartet, a blend of hard-edged indie rock and dream-pop,
making use of interesting studio effects to create new textures
that are both tough and hazy. It’s some of the best
music from Decent Criminal I’ve heard in awhile (mainly
because it’s been over a year since I’ve heard
them, damn you COVID). “Reap” feels more like
early Decent Criminal, with loads of retro elements mixed
into the indie rock, in this case some late 70s Motown and
disco. “Bizarre” is more like mid-period Decent
Criminal, circa the “Bliss” LP, with a bigger,
harder sound. But wait! That’s only three songs! The
fourth song is an acoustic version of “Bizarre,”
and while the full band version rocks out, the acoustic version
sounds much more introspective. As much as I’ve loved
Decent Criminal’s songs over the past several years,
I have to say I’m very intrigued with the new sound
of “Drifter,” and am anxious to hear what it sounds
like live, when that becomes a thing again.
 HUMAN
TROPHY – Corpse Dream (Drunken Sailor Records, www.drunkensailorrecords.co.uk)
Human Trophy is the project of Reuben Sawyer, a man who
has worked in many genres. In his Human Trophy incarnation,
he’s playing driving post-punk with goth overtones.
The music is lo-fi, with gritty guitars, driving bass, and
deep deadpan vocals. This stuff is certainly wrapped in
darkness, and there’s a feeling of foreboding throughout
the ten tracks. Even when some of the tracks have a distinct
dance beat, like “Forming Horrors,” there’s
an ominousness that you can’t shake. Think Wax Trax
industrial music crossed with shoegaze crossed with goth.
Taken individually, these are great songs. Taken as a 30-minute
album, this sort of style does tend to get as little bit
monotonous to my ears, though.
 ITCHY
SELF – Here’s The Rub (Drunken Sailor Records,
www.drunkensailorrecords.co.uk)
This is the debut from the new group from Joe Chamandy of
Canadian art-scuzz proponents Protruder. Deeply rooted in
garage and power pop, Itchy Self has a loose feel, and the
five-song EP starts strongly, with jangly guitars, distinctly
70s power-pop garage-influenced melodies, and urgent distorted
vocals. But there’s a decline from there. The first
two tracks (“B What You B” and Here’s the
Rub”) are raucous good fun. But then we start getting
slower tracks that are more like an unrehearsed version of
the Rolling Stones, and the closing track is a blues-rock
jam, but distorted and thin sounding. I really like those
first two tracks, but the rest: meh.
SMIRK (Drunken Sailor Records, www.drunkensailorrecords.co.uk
/ Feel It Records, www.feelitrecords.bandcamp.com)
Smirk is the solo project of Public Eye’s Nick Vicario,
and this LP contains a mixed bag of 12 songs. Some of them
are brilliant, like “Eyes Conversing,” one of
the lead singles. It’s something right out of the early
art-punk playbook, guitar, bass, drums, and synths playing
music that blends punk snot, garage noise, and new wave angularity.
And “Construction,” which opens the LP, sounds
like early math-rock with its dropped beats, but it’s
definitely more early punk with a nice power pop jangle. “Lude”
and “Lude 2,” two short instrumental interludes
of between 30 seconds and a minute each, are amazing sonic
art, with “Lude 1” being primarily synth driven,
reminding me of the soundtrack for a low-budget sci-fi flick.
“Lude 2” uses a pretty acoustic classical guitar
track, then manipulates it, speeding it and slowing it, bending
the notes ‘til they almost break. I love the drive of
“Do You?” And the closing track, “Irrelevant
Man,” is jangly and in-your-face punk at the same time.
But then there are tracks like “Violent Game,”
which is just a pub band rock and roll tune. “New Way
Out” tries to be oddball, but sounds thin and I don’t
get it. There’s more goodness here than clunkers, and
the good is really good; but it’s a mixed bag.
THE STOOLS – Feelin’ Fine (Drunken Sailor
Records, www.drunkensailorrecords.co.uk)
Hot on the heels of the “Carport” EP, the Detroit
garage rockers are back with another EP, this time four tracks
of pure unadulterated scummy rock and roll, just the kind
your parents warned you about. And if you thought “Carport”
was intense, well, buckle your seatbelt, buddy. With “Can’t
Feel Good,” the manic convulsions begin. “Half
Track Mind” will speed you to your doom, careening over
the edge of a cliff. This is one fucking punk rock track like
you haven’t heard in decades. “Rockpile”
struts around like it knows it’s the king. And “Eyeball
Crush” brings it on home with a loosey goosey track
of growling bass and insane vocals. Listening to this even
once might turn you into a delinquent who hangs out in back
alleys wearing leather jackets, smoking cigarettes, and drinking
alcohol. What are you waiting for?
 TRIGGER
CUT – Rogo (triggercut1.bandcamp.com)
German band Trigger Cut are only a trio, but they make enough
noise for a five-piece. And what a noise they make! The trio
are certainly children of the 90's, because this album is
a celebration of the best of late 80's and 90's musical styles.
Imagine taking the post-hardcore of bands like Quicksand or
Refused, melding it with the intensity and artistry of a Steve
Albini band like Big Black, Shellac, or Rapeman, and then
mixing in the spastic melodic sense of 90's Dischord bands
like Fugazi or Circus Lupus, and you’ve got an inkling
of what you’re in for once you drop the needle into
the lead-in groove. The intensity begins immediately and doesn’t
let up for one second of the thirty-four minutes of this LP.
When “Solid State” begins, we get relentless mechanical
pounding of the percussion, then the guitar begins to scream
and the bass slaps you silly. Ralph Ralph’s vocals spit
out emphatically, shouting and singing as of his life depended
on it. On “Coffin Digger,” at one point the guitar
and bass drop away, leaving mostly drums, and Ralph’s
vocals begin to plead – then the band has halting periods
of silence, with just sneering, quiet statements from Ralph.
It’s such an Albini thing to do. The mechanical nature
of the bass and percussion at the end of this song is amazing,
and the bass tone is outstanding. I like how, amidst the noise
and chaos of “Oxcart,” there’s some DC post-revolution
summer melodic content. “Hooray Hooray” has the
controlled mania of Circus Lupus combined with the steady
rhythm of Shellac, which I find attractive. “Fireworks”
is the most DC post-hardcore/post-emo of the album, I think.
The closer, “Yesss Brother,” is perhaps the most
angular sounding track. This is a great record, every song
played with feverish intensity. I can imagine a live show
(remember those?) being a visceral experience. If there’s
one wish I could have, it might be that the songs were recorded
with a little bit higher fidelity. I know the lo-fi sound
is intentional, but I think a slightly cleaner sound would
make this even better. Oh, a second wish: that the pandemic
ends and Trigger Cut tour the Western USA.
TIGERS JAW – I Won’t Care How You Remember
Me (Hopeless Records, www.hopelessrecords.com)
The long-standing Pennsylvania band is back with their sixth
full-length LP. It contains a mix of musical styles ranging
from light emo to poppy indie rock. Having been born in the
2000's, the band’s brand of emo bears no resemblance
to the emo I “grew up” on, that being the mid
80's music of Revolution Summer, which slowly evolved over
the latter half of the decade and first half of the 90's into
both big melodic songs and intense “screamo.”
In the 2000's much of what was called “emo” was
little more than slickly produced guitar-fueled pop music
that went over the top. That said, even though Tigers Jaw
was part of that scene, they never went too far, their music
having a lighter touch. This latest musical missive is no
different, opening with the title track, which itself begins
as an intimate acoustic song, first with simple guitar and
pleading vocals. Then piano comes in quietly, along with harmonizing
vocals. Halfway through, the full band comes in, the piano
starts hitting some big striding chords, the vocals rocking
and begging. “Cat’s Cradle” is next, and
may be my favorite song of the album. Synths buzz along with
guitars, and lilting vocals sing a bubbly melody for what
may be the poppiest bounciest song on the LP. And “Hesitation”
is a pleasant indie rock tune with breezy guitars and a driving
rhythm. Even the songs that lean more toward the emo end of
the spectrum are light and listenable. Songs like “New
Detroit,” “Can’t Wait Forever,” and
“Body Language” have more melodic content and
more of a pop feel than typical songs of the genre. The tightly
harmonized vocals might get to be a little much; more sparing
use of that could end up sounding more sincere, though the
songs in which Brianna Collins takes the lead do sound more
heartfelt. There’s a buoyancy in her singing that lifts
up every track she’s on. While I don’t think this
album is going to be genre defining or anything, it’s
a pleasant listen.
 CRUZ
RADICAL – Death-Train EP (cruzradical.bandcamp.com)
These are the last two Cruz Radical songs to be recorded,
back in 2018. Shortly after these were recorded, for various
reasons the band ended. These songs sat, never having gone
through final mix or mastering, so they are raw – perfect
for capturing Cruz Radical’s live sound. The title track
is punk fuckin’ rock. Just a few chords, lots of speed,
and lots of power are the key ingredients. The death train,
or “tren de la muerte,” refers to the risks we
take in life to fulfill dreams and ambitions, especially those
of refugees fleeing violence and death in Central America
to make their way north to the USA. “System Reset”
is a little more moderately paced, but no less powerful. A
big wall of guitar and pounding bass and drums accompany the
vocals that sing about how we all need to do a “system
reset” to break away from the system that tries to indoctrinate
society with racist and classist beliefs. Man, I miss Cruz
Radical, but it’s nice to have these final tracks.
 DEVON
KAY AND THE SOLUTIONS – Frustrated People of the World,
Unite! (devonkayandthesolutions.bandcamp.com)
Back with a third single in three months, DK&TS are making
good on a promise to give us new music every month –
an album of all singles, as they call it. This latest one
sees the band comment on the shittiest year we’ve ever
gone through, the music moving further from their pop punk
roots and more toward a pure ska and even a rock steady mix
with rock (the song is too slow to be ska, but too fast to
be reggae). Synths and horns blare in a bouncy rhythm as Kay
sings and shouts about being bored and frustrated, sitting
on his couch, while receiving constant judgment and concern
from friends. If nothing else, 2020 created plenty of fodder
for songs.
 KITTYHAWK
– Mikey’s Favorite Songs (Count Your Lucky Stars
Records, countyourluckystars.limitedrun.com)
Kittyhawk, well. The Chicago band that included members of
Dowsing, Pet Symmetry, plus touring members of Into It Over
It, the group that released a single full-length LP, one EP,
and a few split EPs with other bands that broke up in 2016?
They announced they were getting back together mere months
before the pandemic hit. Their long out of print EP and splits
are now collected together into this full-length collection,
and just in time for things to pick up again as the public
gets vaccinated and a new crop of fans are ready to get excited.
And excited you will be, if you, like me, are a fan of the
indie-pop sound of the 90s championed by record labels like
Simple Machines and Teen Beat Records. The record starts out
with the band’s debut 5-song EP, and the opening track,
aptly titled “The First One,” jangles in a lovely
way, and dueling female and male vocals are perfect. After
a couple of verses the guitars get a little bit noisier and
there are competing melodic lines in the lead and backing
vocals. “Older/Wiser,” too, alternates between
twee verses and an edgier chorus with intertwining melodies.
“Science Fiction” is an outlier, an introspective
instrumental with lo-fi recording of a child in the background.
“He Travels in a Suit” may be my favorite of the
whole collection, featuring that classic indie-pop jangle
blended with lusher thicker guitar sections. And “Partial
Paradigm” is a quiet ballad with synths that feel a
little out of place. The band’s contribution to a holiday
release is here; their rendition of the classic “Silver
Bells” is pretty. Also present are the trio of songs
from their split with Cherry Cola Champions, the bookends
(“The Green” and “The Red”) follow
their earlier formula, the middle one (“The Rot”)
being very different, with lo-fi fuzzed organ and harmonized
vocals, sounding like a DIY indie hymn. “The Daily Dodger”
and “Food Fight” come from a four-way split (isn’t
that just a comp?) they did with Prawn, Droughts, and Framework,
while “Soft Serve” is from another with The World
Is A Beautiful Place and I Am No Longer Afraid To Die, Rozwell,
and Two Knights, and they’re all lovely. The collection
closes with the band’s contribution to a Motown tribute
compilation; “You Keep Me Hanging On)”isn’t
my taste, it’s a blend of AM pop and dreamy pop, instrumentals
coming just from a keyboard. But other than that track, this
retrospective has me anxious for that long-awaited return
to activity.
 THE
MARTHA’S VINEYARD FERRIES – Suns Out Guns Out
(Ernest Jenning Record Co., www.ernestjenning.com)
I could kick myself. Seriously, how did I not know this band
existed? To be fair, they’ve only released one EP (2010’s
“In The Pond”) and one LP (2013’s “Mass.
Grave:”), but come on! This band includes Bob Weston
(Shellac, Volcano Suns, Mission of Burma), Chris Brokaw (Codeine,
Come), and Elisha Wiesner (Kahoots). So, they’ve finally
gotten around to recording and releasing their sophomore LP,
and it’s wonderfully understated indie rock, of the
type I loved listening to in the 1990s. Nothing raucous or
brainless, nothing twee or trite, this is music to take in
and ponder. Even within the genre I described, there’s
variation in the songs, as each member makes their contributions.
The whole album is a great listen, but there are specific
songs that stand out to me. The deliberate “MC Modern”
opens the album with a slow, steady rhythm, the bass in unison
with the drums providing the beat, the guitar and vocals vying
with their distinct melodic lines. “After You”
is one of the more driving songs of the album, the rhythm
pounding out as the lyrics speak of all the things to be done
and created and named after someone. “I could write
a song / About everything I do wrong / I’d tell my point
of view / And I could name it after you / I could write a
book / About all the drugs I took / And every word would be
true / And I’d name it after you.” It doesn’t
seem that someone is part of a healthy relationship. I like
how the guitar sound evolves from indie jangle to a dark surf
sound through the song. And though I’m not a fan of
jams, the end of the song, the last third, really, is just
that, the instruments riffing, the guitar processed and modulated,
sounding like a spaceship launching. I like the combination
of lazy jangle and gritty fuzz of “The Daily Biscuit,”
the smooth vocals (including hushed harmonized backing vocals)
a beautiful counterpoint to the coarseness of the guitar.
“Laos” is a gorgeous waltz in 6/8 time, the bass
oompahing up and down, the guitar fluttering, and yet there’s
a solid sense of solemnity to it that reminds me of Slint
crossed with Rodan, two great bands from the era. Man, I’ve
been living under a rock. Don’t be like me; get on this.
 THE
RED STEP (Pravda Records, www.pravdamusic.com)
The Red Step reminds me of Pearl Jam, in some ways, blending
grunge and pop to create an alternative rock sound that’s
halfway between the two. The vocals kind of remind me of John
Reis of Rocket From The Crypt, having a gritty throatiness,
and the way sustained notes sort of glide and hang in mid-air.
And the band is from Belgrade, Serbia, which is an interesting
twist. They have a darkness to the sound of most of their
songs that comes from the keys they’re played in, the
slow to moderate tempo, and the eeriness of the organ. The
result is an alt-rock gothic mélange. Notes on a few
of the tracks: “Reset” and “We Live On High”
have the same moderate pace of most of the songs, but they’re
bouncier and peppier than most, but they’re just as
dark. Poppy and dark? It’s a compelling combination.
“The Harvest” uses bowed cello to great effect,
giving the song an orchestral sound, and the way the notes
slide and bend provides a sinister feel, evil dripping from
every note. “Temporary Loss” becomes a jam toward
the end, which is probably the weakest part of the album.
There really isn’t anything especially new or different
about this debut LP from The Red Step, but for some reason
it draws me in and holds my attention.
 CORVAIR
(Paper Walls, www.corvairband.com)
Corvair is the Portland-based husband and wife team of Brian
Naubert and Heather Larimer, both seasoned musicians. Though
they have a long history of playing in various other bands,
this self-titled album represents their debut together as
Corvair. The music is lightly dreamy indie pop, with hints
of 70s AM radio pop mixed in here and there. The guitar seems
to have a strong power pop vibe going on with big power chords
on some of the tracks, and there’s a nice warmth from
the electric organ and nicely harmonized vocals. Occasionally
the songs get big and glorious, like on “Paladin,”
the second track. It’s a standard enough pop tune, with
a nice melody and arrangement, but it changes at the halfway
mark, after a brief guitar solo and gets big and dreamy, with
soaring backing vocals. As the song fades, the instruments
disappear, leaving harmonized vocals echoing as if in a vast
cathedral. Some of the songs have gorgeous synthesized intros,
like “Sailor Down.” Somber buzzing synths play
a morose melody, as the music slowly rises, then suddenly
the intro is gone and the track transforms into a bouncy pop
tune. “Daily Double” does the same, with a fascinating,
mysterious intro before transforming, first into a dark instrumental.
When the vocals come in we get a rock and roll ballad in the
tradition of the 1950s and 60s songs that sang sad tales of
dead boyfriends. Though they’re just intros, some of
them are even more interesting than the songs, and I wish
Corvair would explore some of those ideas more deeply. Some
of the tracks are really effective at blending styles, like
“Green (Mean Time),” which has jangly indie pop,
dreamy pop, and AM bubblegum sounds all rolled into one. And
I love Larimer’s vocals on this and other songs; they’re
crystal clear and sung with a relaxed ease. I think I like
the songs where she takes the lead vocals the best. “Focus
Puller” is another one of these, this one mostly quiet
with sparse instrumentation and a lonely sound. I like the
unique blend of genres on this LP, creating something new
out of old styles, something that sounds different from a
lot of other music being made.
 CORMAC
RUSSELL – I Don’t Miss You (cormacrussell.bandcamp.com)
Cormac Russell is a Canadian-born Irish-raised singer-songwriter
with three full-length albums under his belt in just the past
year and half. He’s prepping a fourth, and “I
Don’t Miss You” is his latest single. Russell
plays all the instruments himself, with acoustic guitar, piano,
and drums delicately accompanying his hushed vocals in this
lovely waltz time song. The song is apparently addressed to
an ex, someone who left under less than amicable circumstances.
The harsh words contrast with the tender music and vocals.
But true feelings are laid bare at as the song comes to a
close; after repeating multiple times “I don’t
miss you at all,” the final lyrics are “You better
know, baby, that I miss you a lot.” It’s a lovely,
understated song.
 SEAN
TOBIN – St. Patrick’s Day Forever (www.seantobinmusic.com)
Just in time for St. Patrick’s Day, New Jersey’s
raucous troubadour, Sean Tobin, gives us the gift of a new
EP. And true to the form of Irish music, the songs tell stories.
The title track is a lively tune that references the increase
in drinking that accompanied the COVID lockdown over the past
year. It builds up to a frenzy, and exclaims, “Frankly
I don’t blame you if you if it’s what we gotta
do / To keep people from dying then I’ll stay home for
you / I just miss my friends and the bars!” The next
bit gets all sad and sentimental, with “It’s comin’
up on summer and I’m still drinkin’ stout / I
would be switching to Corona but I don’t think that’s
allowed.” I LOLed. “Ode to Anna Liffey’s”
is a sweet farewell to New Haven, Connecticut’s now
shuttered Irish bar, Anna Liffey’s. It’s starts
as a ballad that tells the tale of Tobin’s relationship
with the institution, starting with how he first wandered
into the place with friends and found they had “three
types of beer, blond, black or red,” and how these friends
drank all day at the place and tried to slip out without paying.
“But Liam, the barman, he caught us alright / He made
us pay up then banned us for life.” The song then becomes
a buoyant dance number and recounts how the friends returned
two years later, assuming their sentence was done, and how
Liam remembered them, but they all became fast friends. Acoustic
guitar and fiddle cavort together, as percussion and bass
propel the song along. The song returns to ballad form as
Tobin sings how he was in New Jersey when he heard the news
that Anna Liffey’s was closing, and how all the memories
made there were covered up by the new owners. He sings about
how “Me and the crew we went up that September / To
check it all out and maybe remember / How whiskey tastes when
you have nothing to lose / No weight on your shoulders and
nothing to prove.” The song ends with a big rendition
of the chorus that goes out to all the bars that are forced
to close and “go down swinging.” There is a pair
of covers on the EP, too. “Dirty Old Town,” written
by Ewan MacColl in 1949, covered by many, and popularized
by The Pogues. Tobin’s rendition opens with harmonica,
similar to the recording by the Pogues. But unlike most versions,
which are slower and wistful, Tobin’s is bright and
up-tempo, with mandolin and concertina in the arrangement.
The other cover is a traditional Scottish parting song, “The
Parting Glass.” Before the poet Robert Burns wrote “Auld
Lang Syne,” it was the most popular parting song in
Scotland. The title refers to the “stirrup cup”
that a host would offer a departing guest as he mounted upon
his horse, to fortify him for his journey home. The Clancey
Brothers and Tommy Makem reintroduced the song to the public
in the mid 20th century, and Tobin’s interpretation
is suitably somber, with acoustic guitar accompanying his
singing, a violin and bowed bass joining in on the second
verse. The violin soars during the instrumental bridge, the
acoustic guitar providing a martial rhythm. It’s breathtaking.
Bleedin’ massive.
 THE
CRAIG TORSO SHOW – Estonian Breakfast Strategies (thecraigtorsoshow.bandcamp.com)
Yes, the band is named for the Bonzo Dog Doo-Dah Band track
that appeared as a bonus track on the “Gorilla”
CD. The comedy track was a fictional variety show with guests
that performed in myriad genres. And so it is with this project,
a product of collaboration between Joe Merklee (Damfino) and
Oliver Ignatius (Holy Fang Studios). The pair wrote all but
three of the songs, provided all the vocals, and played all
the instruments except the drums. The result is a dozen songs
that are quite varied in tone and attitude. Some are humorous,
some serious, some rock (in a light pop sort of way), some
are more delicate. “Living In Deep Space” has
the feel of the soundtrack to a low-budget 1970s sci-fi movie
with pop culture elements of the day; it rocks out with some
light psych touches, and speaks to the maddening boredom of
isolation that comes with living in deep space (or in pandemic
isolation?). It may be that it’s a sci-fi porno, too,
because another track on the LP is “Zero-Gravity Sex,”
a bouncy pop tune about the joys of intimacy in an environment
free of the confines of the pull of the Earth. I really like
“Ellen Thompson’s Guide To Mortality,” a
track that has an emphatic rhythm mirrored in the guitars
and drums, plus a driving piano line that gets quite manic
on the bridge. I like the grandiosity of “The Irish
Chiropodist,” which uses chimes and mandolin in the
instrumentation, and what sounds like a hammered dulcimer,
perhaps, near the end giving it a mix of turn of the century
old-timey music with modern noise rock. “I Gave That
Kid Away” is a heartbreaking folk song that speaks to
the way our nation tosses away our young by sending them to
the military, to go to foreign lands as fodder for pointless
wars, and how some young people see no alternative but to
enlist, unable to find a job.
As I mentioned, there are a few songs the pair did not
write; three covers appear here. One is a faithful rendition
of the lovely Bevis Frond song, “The Wind Blew All
Around Me,” that uses some keyboards to fill out the
song and make it feel more sacred, in a way. Another is
The Magnetic Fields’ “I Have The Moon,”
a version that uses zither and strings to create something
that feels wholly different from the original, less quirky
and more spiritual, especially when the tabla comes in.
And I adore the touching, delicate version of The Go-Betweens’
“The Man Who Died In Rapture,” with its mournful
cello and jangling guitar accompanying the plaintive vocals.
This last one is well sequenced, paired with “Should
A Cassowary Kick You,” which immediately follows.
It’s another quiet, contemplative tune, this time
an instrumental with flutes and sitar setting quite a mood.
The Craig Torso Show may have started life as a comedy
bit with the Bonzo Dog Doo-Dah Band, but in the hands of
Merklee and Ignatius, it’s become something equally
as varied and quite wondrous.
 DEATH
BY UNGA BUNGA – Heavy Male Insecurity (Jansen Records,
www.jansenrecords.com)
Taking their name from an LP released by The Mummies in 2003,
Norway’s Death By Unga Bunga has been actively making
music for more than a decade. “Heavy Male Insecurity”
is their sixth full-length LP. They effortlessly blend garage
rock, pop punk, psych, and glam into an infectious whole.
The opening track is easily my favorite of the ten on offer.
“Modern Man” is a powerful garage-influenced power
pop/pop punk song with a veritable wall of guitars and anthemic
vocals. There’s a sense of fun and showmanship in the
presentation that’s all too often missing from many
bands. The guitar solo (something I normally detest) is perfect
here, injecting a sense of glam into the proceedings. The
band are obviously having a blast playing these songs, and
you can hear that clearly in the glorious power pop song “My
Buddy and Me,” a song that feels bright and bouncy.
“Not Like The Others” is another favorite, with
a strong power pop vibe and both glam and rock and roll guitar
licks. “Live Until I Die” is an interesting mash
up of glam and dark metallic punk styles, and the harmonized
vocals on the chorus are pure AM pop goodness. “Trouble”
pits deep growling bass against classic power pop melody and
vocals, the grittiness of the low end contrasting with the
smoother pop to create an awesome musical texture. The phrase
“has something for everyone” is tired and trite
and usually means blandness follows, but in this case there
really is something for everyone who is a fan of good rock
and roll music.
 HOTELS
ON MARS – Grief Museum (Styles Upon Styles, www.susrecords.com)
Mat Weitman began Hotels On Mars in Chicago, but after a time
abandoned the project. After spending time in quarantine,
like the rest of us, and experiencing grief resulting from
the sudden loss of a close friend, Weitman resurrected Hotels
on Mars and began writing and recording these songs. The opener
sums things up pretty well, titled “The Worst Year on
Record.” Acoustic guitar provides the base of the song,
with a twangy electric slide guitar giving the song a desperate
country blues feel mixed in with the folksy singer-songwriter
vibe from the acoustic guitar and the loose, easy vocals.
The pattern is carried throughout the album, with songs like
“Indiana” being a bit more upbeat and bouncy,
some more countrified like the pretty waltz “All I Want's
a Picture of Your Favorite Bar,” a song that speaks
about wanting to feel close to someone who’s caused
you pain. I really like the mysterious instrumental that gives
the album its title. “Grief Museum Rag” is hardly
a rag, sounding a little bit lounge-like, with strummed electric
guitar replacing the acoustic. The layering of guitars here
is lovely, and there’s a shimmer to the music. “Mimosas”
is another instrumental, this one light and meandering, a
little dreamy and soft around the edges. “Chernobyl”
has a nice psych-folk feel to it, sounding like something
out of place in time. The closer is “Untitled No. 4,”
the most folk-like of the album. It feels more introspective
than the other songs, and the lead guitar here imparts a very
lonely sound against the acoustic guitar, the vocals about
feeling lost after having wasted one’s life in a now
broken relationship.
There are some problems I have with this LP. The first
is the mix. The lead guitar overwhelms everything else,
and after awhile it gets to be a bit piercing. Even when
the lead guitar is absent, like in “For Dee,”
the mix is off, the vocals pulled so far back they sound
like they were recorded in a different room than the keyboards,
guitar, and drums. And because the instrumentation is so
limited, there’s a sameness to most of tracks –
but this is understandable given the limitations of recording
by one’s self during a pandemic. These things are
correctable errors. What’s less forgivable, though,
are the vocals on “(I Don’t Want to) Hurt Myself.”
Throughout the album the vocals are relaxed, though with
masked pain evident. On this song, though, they’re
out of tune; the song is a mess. Maybe it’s intentional,
with the sentiment of the song, about causing self-harm
by drinking one’s self to death. But it’s hard
to listen to. Like I said, most of these things are correctable
with some good studio time and a solid audio engineer. Maybe
after self-quarantining is over and Weitman is ready with
some more material, some new songs can get recorded a bit
more properly. I expect the result will be much stronger,
and these otherwise good songs deserve that.
 KILLER
KIN – “Sonic Love” b/w “Narrow Mind”
(Pig Baby Records, www.pigbabyrecords.com)
Take some soulful early rock and roll music, a la Little Richard,
speed it up, fuzz it up, and throw it in the garage. That’s
Killer Kin on “Sonic Love,” the A-side of a new
7” single. The opening bars feature super-fuzzed guitar
sounding like a garage version of Stereolab for just a moment,
then the song gets going and the early bluesy rock speeds
into your soul. The B-side seems like a different band, though.
Still old school hard rock and roll, but on “Narrow
Mind” the band seems to channel more of a Stooges sound,
a bit slower, sludgier, and powerful. The common elements
are the fuzzed guitars and bass and the intensity of the vocals.
Good stuff.
 REST
EASY – Sick Day (Mutant League Records, www.mutantleaguerecords.com)
This Vancouver band mix skate punk and pop punk styles to
produce something that’s speedy, crunchy, and melodic.
This four-song EP is the band’s debut, though these
are not novice punks, the band being made up of members of
Daggermouth and Shook Ones. The opening track, “Get
Busy Dyin’,” starts out as speedy skatecore, fast
and furious with snarly shouted vocals. But just past the
halfway mark, things slow down and the song starts to remind
me of the transitional period of DC hardcore, when bands were
slowing things down and injecting melody while still remaining
edgy and powerful (note: I love DC hardcore). “Headaches”
mixes the speed and power of skate punk with the bounce and
melodic content of pop punk, while “Bad Idea”
leaves the speed behind for a hard-edged pop punk tune with
some intense emotional content, plenty of gang vocals for
the crowds to sing along to (once we have live music again).
And the closer is the title track, a muscular yet tuneful
track. These are good songs; the playing is nice and tight.
The intensity of the vocals sometimes gets to be a bit much,
but this is a strong debut.
 SICK
THOUGHTS – “Poor Boys” b/w “Drug
Rock” (Goodbye Boozy Records, goodbyeboozydigital.bandcamp.com)
Take some early Devo, some early punk, some early metal,
mix it all up and you’ve an idea of the sick thoughts
that must have gone through the minds of these reprobates
when they came up with the idea to form this band. Raw rock
and roll, simple chords, pounding keyboards and drums, thumping
bass, and rapid strumming of guitars all meet together in
a frenzy of controlled chaos. It’s where the party
is.
 SPODEE
BOY – Rides Again (Goodbye Boozy Records, goodbyeboozydigital.bandcamp.com)
Spodee Boy is from Nashville, home of the Grand Ole Opry,
but Spodee Boy is about as far from country music as you can
get. This rock and roll is…different. The title A-side
on this 7” has the sound of a western theme song, if
the Old West had been won by punk rock surfers. The drums
and bass provide a rhythm mimicking the rapid gallop of a
horse, while the guitar strums maniacally with a reverb-laden
surf sound. Vocals are loudly spoken and partially sung in
a manner that makes one question the sobriety of the singer.
The B-side, “Dress The Part,” sounds sort of like
80s post-punk meets 60s garage, the surf guitar still front
and center. This pretty unique stuff, and I love unique.
 THE
STOOLS – Carport (Goodbye Boozy Records, goodbyeboozydigital.bandcamp.com)
The Stools are a young trio out of Detroit, keeping the Motor
City rock and roll flame brightly burning. This new EP features
a quartet of tracks, three of which feature old school punked
up rock. “Life’s Hard Lover” is a great
garage punk tune with simple chords and simple lyrics to shout
along to, as is “Hedge Witch.” “Multiple
Maniacs” is as close to the early 80s hardcore punk
sound as you’re likely to get from a current band, and
probably my favorite of the EP. And the outlier is “End
Up There,” a slower more straightforward garage rock
and roll tune. This is raw rock and roll, the best kind.
 TOLEDO
– Jockeys of Love (www.thebandtoledo.com)
Toledo is a duo, made up of Jordan Dunn-Pilz and Dan Alvarez.
And though they’re named after the city in Ohio, they’re
actually from Brooklyn. The duo have yet to release a full-length
LP, primarily releasing a series of singles and EPs up to
now, and “Jockeys of Love” is their latest, a
six-song affair. The music is luxuriant orchestral pop music
with understated, hushed vocals. Acoustic guitar blends with
lithe percussion and keyboards producing a blissful sound.
“Dog Has Its Day” is a little bit different, with
twangy guitars mixing with the light falsetto vocals. I like
the relaxed ease of “Sunday Funday;” the interplay
between the keyboards and guitar is just lovely. The music
on this EP isn’t groundbreaking, but it’s certainly
pretty.
 ANTAGONIZERS
ATL – Kings (Pirates Press Records, www.piratespressrecords.com)
Street punk isn’t complicated. It’s pretty simple,
basic rock and roll music, really. It’s most suitable
for dive bars where large groups of people sing along loudly
and drunkenly. It’s the perfect music for forgetting
about your problems and just thinking about the unity of the
moment. Everyone is in the same boat and knows what you’re
going through. They’re rousing anthems, and Antagonizers
ATL do it well, and no better example exists than “Black
Clouds,” a track they originally released last October.
It’s huge, with big gang vocals, bright melody and singing
guitars. If you’re familiar with the genre, I don’t
have to say too much more, because the music is somewhat formulaic.
There are some variations, though, like the hard rocking in
“No Rest For The Wicked,” “Believe,”
and especially “Us Against The World.” They still
stick to the standard game plan, but the music is a little
more metallic. And “Hold On Hold Strong” has a
reggae break halfway through, complete with fake Jamaican
accent. “Problems” is a track with problems, ironically.
It’s a lecture to someone who whines and bitches about
the pettiest things, with the chorus declaring, “If
I had your problems I’d have no problems at all.”
But the gang vocals on the chorus are only partially sung,
and it ends up sounding odd and a bit out of tune. Like I
said, this is simple formulaic music, but if you’re
a fan of the genre you can’t go wrong here. Antagonizers
ATL do a solid job.
 THE
CAVEMEN – "Am I a Monster" b/w "Schizophrenia"
(Pig Baby Records, www.pigbabyrecords.com)
New Zealand’s kings of the garage are back with a new
two-song 7” single. Noisy, raucous garage rock and roll,
primitive as can be, is the rule here – they’re
cave men, after all. But these Cavemen will pummel you with
their guitars, bass, and drums rather than a club. The music
is intense and punishing, raw and unrefined, like the best
garage rock and roll should be. “Am I a Monster”
is the better of the two, in my opinion, a little tighter
and more controlled, but then, you might expect a song called
“Schizophrenia” to be somewhat off the wall and
out of control, and it certainly is. I always have high expectations
when there’s a new Cavemen record, and I’ve never
been let down.
 COUNTERPUNCH
– "Handbook for the Recently Debriefed"
b/w "We, the Role" (Thousand Islands Records,
www.thousandislandsrecords.com)
Counterpunch are from Chicago, and have a different sound
from most Chicago punk bands. They play music that’s
speedy like skate punk, but harder and more metallic than
most, yet still loaded with melodic content. The two songs
on this new 7” are the first new songs from the band
since their 2014 LP, “Bruises.” Of the two songs,
I think I like “We, the Role” better; it’s
a little poppier while still remaining powerful and edgy.
Lyrically it references how life has become little more than
a TV “reality” show, with all of us playing a
role, social media and biased news sources controlling our
minds with “alternative facts.” The title track
is dark and politically charged, with stabbing contempt aimed
at the outgoing presidential administration and its cult-like
followers. There are big shouted gang vocals and tight harmonies
in the lead vocals; fans of old school Fat Wreck Chords metallic
punk are going to love this new record.
 JORDAN
KRIMSTON – Bushwhacking (www.jordankrimston.bandcamp.com)
Formerly a member of Big Bad Buffalo, and currently part of
Miss New Buddha and Band Argument, San Diego’s Jordan
Krimston steps out on his own with his solo debut. Krimston
is a talented songwriter and multi-instrumentalist, equally
comfortable with a variety of genres. This talent is on full
display on this LP, with songs ranging widely in styles. The
biggest unifying factor is the brightness of these songs,
and the arrangements are inventive. I love the abruptness
with which some of the tracks change, like on the opening
title track. It begins with a mysterious experimental sound,
odd electronics providing an eerie feel with the sound of
running water. The strange sounds fade, leaving us with some
plucked acoustic guitar strings, and those slow down as if
running out of steam, when suddenly, the full band comes in,
electric guitars, bass, drums, and sparkling synths. The track
speeds by, the drums a rapid locomotive of rhythm, while the
vocals run at one quarter the pace. There’s a cool sense
of chaos, but the whole thing holds together without going
off the rails. Those synths provide a variety of feels within
the track, from dreamy to radiant. As the track ends, the
ambience and running water return, and then yield to the opening
bits of the next track, “Betty.” This one’s
more straightforward pop, yet with an amazing arrangement
that makes it stand out from run of the mill tunes. “Kindling”
is a short transitional track, which features the sound of
a crackling fire and manipulated acoustic guitar str ums.
It provides a sense of being out in the woods at night in
the dark with the fire to keep you warm. “TwoBrains”
is a favorite with a plethora of brilliant synth sounds and
lyrics about feeling conflicted about things. I like, too,
the shifting rhythms of “Rooster,” keeping the
listener off kilter just enough, the synths buzzing about,
as Krimston’s vocals contrast with smoothness. The insertion
of an actual rooster crowing is a hilarious touch, too. As
the track bops toward the end with a glistening beat, it suddenly
changes to soft ethereal synths that just as suddenly fall
off like someone pulled the power cord on a turntable. The
guitar interplay on “Back Home” is a gas, and
I like how there seems to be a duel between acoustic and electric
guitars and the synths, with them passing off the melodic
line to each other. The closing track is “Dozing,”
and it has a vaguely retro pop feel with the haziness of a
dream. As the song comes toward the end, it fully enters slumber
land, the music getting fuzzy and increasingly distant and
distorted, unreal. What a way to start the year! This is highly
recommended!
 THE
TELESCOPES – Songs of Love and Revolution (Tapete
Records, www.tapeterecords.de)
The Telescopes are lifers. Founded in 1987 in the UK, The
Telescopes have been categorized as a noise band, a space
rock band, as dream pop, and as a psychedelic band. And yes,
that’s all accurate. This latest LP, their twelfth studio
outing, ranges through all of these sounds, starting with
the sludge-filled noise drone of “This Is Not A Dream.”
The track takes the minimalism of Krautrock and fuzzes it
up immensely, then throws in noisy guitars and loads of dissonance.
“Strange Waves,” too, has a Krautrock underpinning,
with a steady four-four beat and droning guitars and bass,
subdued vocals, and noisy lead guitars. I love the alternation
between the intense distortion and a cleaner mix. By contrast,
“Mesmerized” is a quiet folk-psych tune, in a
way, with drum and bass providing a sparse backdrop to the
vibrating intensity of the guitar strums. The understated
vocals are hypnotizing. As is the entire LP, perfect it may
be for inducing altered states. The title track is a startling
contrast, coming six tracks in, with its relative calm and
clean sound, a tribal beat driving the minimalist instrumentals.
“You’re Never Alone With Despair,” too,
has a quiet, cleaner sound, with the exception of a noisy
lead guitar, providing a counterpoint for the near silence
of the vocals. The ending track, “Haul Away The Anchor,”
features the sound of the sea, the calling of gulls heard,
and in the distance we hear the old sea shanty. This record
makes me want to pull out my old NEU! and Stereolab records.
It’s a nice change of pace.
 45
ADAPTERS – Now Or Never (Pirates Press Records, www.piratespressrecords.com)
New York’s 45 Adapters call themselves a NYC Oi band,
and some of their songs are somewhat street punk. But there’s
a lot of melodic content in these songs, and some jangly guitars,
so it’s more of a mash-up of Oi and power pop. The title
track, which also made an appearance on a recent Pirates Press
Records compilation LP, is the perfect example. The song could
be an instant power pop hit, and it’s only the big gang
vocals that give it a Oi sensibility. The lead vocals are
sung rather than gruffly shouted, and the result rocks so
well. Similarly, Friendship has more singing and melody than
typical Oi, but the faster pace, darker sound, and “Oi!
Oi! Oi!” backing vocals are, well, more Oi oriented.
This reminds me of when the California punk band Youth Brigade
started to move away from hardcore and more toward melodic
rock with their single “What Price Happiness?”
On “Ready Blood” the power pop finally gives way
to a more definite street punk vibe, less melodic bounce and
more of an edge. “Let’s Play” is the one
track of the half dozen that didn’t do much for me,
with a somewhat punked rock and roll feel. “Shabby”
is another great melodic rocker about how you can put someone
in flashy clothes, but if they’re a shit person they’re
still going to be “shabby on the inside. I could have
done without the “rock’n’roll” guitar
solo, though. It’s quite different from most of Pirates
Press’ output, and I like it.
 GORDON
WITHERS / THE 1984 DRAFT – "Honest" EP (Poptek
Records, www.poptek.com)
One song, two versions, all for a good cause. “Honest”
is a song from The 1984 Draft’s LP “Makes Good
Choices.” It’s a gorgeous lush song with a soaring,
dreamy quality to it. The song speaks to recognizing the aging
process, but staying active and involved in life because of
someone else who makes it worthwhile. Front man Joe Anderl’s
vocals range from delicate and pained to enormous and emotional,
mirroring the instrumentals. The guitar stars out quiet and
somber, and ascend to lofty heights. It’s one of the
standout songs from the LP. Gordon Withers is a renowned cellist
that most recently made a splash with his cello recordings
of Jawbreaker songs. He also plays with J Robbins, the legendary
musician from Washington, DC, in The J Robbins Band (and has
played with Robbins in Office of Future Plans). His recording
of “Honest” as a cello quartet started life as
a one-of-a-kind 7” Christmas gift to Anderl, but thinking
more people might like to hear it, he and Withers brought
the idea to Poptek to release the cello recording and original
together as a 7” to raise money for the NAACP Legal
Defense Fund. The cello version of the song is quite beautiful,
sounding more like a tone poem than an indie rock song. The
arranging is gorgeous, with melodic lines intertwining, and
with an emphatic, pleading, and ultimately hopeful sound.
It’s so good, it’s hard to choose which version
is better. Recommended, for the music and for the cause.
 COLE
ANYWAY – Sitting With Stillness (coleanyway.bandcamp.com)
Cole Emoff is a multi-instrumentalist, video editor, and sound
designer living in Los Angeles. And now he’s releasing
music under the name Cole Anyway. “Sitting With Stillness”
is his debut, a four-song EP of calming music, a cross between
ambient and dream pop. The guitar tone, particularly when
the chords bend, reminds me of the tone Angelo Badalamenti
has used in some of his works, particularly those performed
by Julee Cruise for the Twin Peaks soundtrack. These songs
are primarily instrumentals, though two of them do have lyrics.
Emoff says “the EP is inspired by the idea of sitting
with the feelings that arise...and just letting them be.”
They do have a sense of contemplation, I suppose. Emoff performs
vocals and all instruments except bass, for which he recruited
former Quicksilver Daydream band mate Brett Banks. Another
Cole, filmmaker and animator Cole Kush, was recruited to provide
visual to match the music, which Emoff is placing on a website.
The visuals are a scene of a clearing in a forest in which
there is a pair of empty chairs, a small table, and a clock
hanging on a nearby tree. The leaves and grass sway in the
wind, insects flutter about, and time passes, the hands of
the clock slowly rotating around the face. We see the sun
dim and brighten, but not much else happens. And so it is
with the music. It’s very much moody ambience with a
pop rhythm, but not much happens.
 DESPAIR
JORDAN – Before Your Wings Gave Out (Snappy Little
Numbers Recordings, www.snappylittlenumbers.com)
Oh, those vocals! So deep and melodious, reminding me of the
late Ian Curtis of Joy Division or The Cure’s Robert
Smith. And, apparently, the band’s name comes from a
joke: What kind of shoes would Robert Smith wear? Answer:
Despair Jordans (the band stylize their name as “despAIR
jordan”). There’s definitely a retro post-goth-wave
edge to the songs here. It’s as if you took the aforementioned
bands, mixed them together, then put them into a time machine
toward the present day, picking up bits of Interpol along
the way, and then adding some of the more modern dream pop
and emo, too. The six songs are thickly instrumented, with
dueling guitars playing meandering lines against each other.
The opening track, “The Architect,” definitely
has a deep retro groove going on; it evokes memories of music
videos at 80s bars. “Rhapsody in Black” has a
lighter feel, less dark and heavy, poppier, but still dreamy,
the big vocal dynamics reminding me somewhat of Spanish Love
Songs’ Dylan Slocum. I’m less enamored with the
slower, longer “Cathedral,” which seems to drag
on too long. There are long stretches of instrumentals and
a piercing guitar solo that I could do without. And, to be
honest, the lead guitar is a little too strong on several
of the tracks. If that could be dialed back a bit I think
it would improve the otherwise enjoyable songs. Also, maybe
cut some of the long instrumentals that appear in a couple
of the tracks; the songs would hold my attention a little
better if they weren’t quite as long. But I do like
the overall sound.
 HERZOGOVINA
– Emergency (Mandinga Records, mandingarecordsbandcamp.com)
This punkish Brazilian band is somewhat varied in their approach
to music, with tracks ranging from the surf-punk of “Ego
Arcade” to the darkly angular and experimental “Intoxicac¸a~o”
(“Intoxication”). I like the opening track, “Emergency,”
which has a post-punk meets math-rock feel. “In Danger”
is post-punk but with rhythm that blends the B-52s with ska-like
beats. We get the bouncy “Blue Eyes Dancer,” a
post-punk meets pop tune, and the retro Manchester dance style
song “Road of Joy.” “Fleeting Celebration”
is the most straightforward punk, reminding me of a cross
between The Dickies and the Dead Kennedys, if you can imagine
such a thing. And “Black Cat” and “Rubilitte”
have a funky undercurrent, with some strong bass slapping.
I like how the songs have a consistency in feel on one hand,
all having a strong post-punk aesthetic, but are varied in
how that’s implemented, yielding an album that keeps
me engaged and listening.
 CHRIS
GARNEAU – The Kind (chrisgarneau.bandcamp.com)
Quiet, solemn, heartbreaking music from Los Angeles resident
Chris Garneau. The arrangements are sparse, focusing primarily
on dirge-like piano, with some additional instruments at times,
sparingly used. Garneau’s vocals have tremendous range
and express the emotions of the songs clearly. Garneau cites
Jeff Buckley, Nina Simeone, Nico, and Chan Marshall as influences,
and I can hear this in the vocal style that displays a sense
of sadness and desperation. The last album that conveyed this
level of grief and anguish that I can recall was The Antlers’
2009 masterpiece, “Hospice.”
“I need a little time now / We can make it better
/ I need a little space to breath, oh,” begins “Old
Code,” a song about separation and isolation in which
the space can be heard in the music as well as the lyrics.
When Garneau reaches to the upper vocal range, the intense
agony comes through in spades. I enjoy the lovely waltz,
“Not the Child,” which uses the low register
of a harp in the arrangement. This song is about the pain
of a breakup and the restraint exerted to prevent acting
like a child, being the grownup in the situation. When the
cello comes in, it has the feeling of a chamber orchestra
playing pop music, and it’s just lovely. One of the
most stinging tracks of the album is “Now On,”
a pained self-examination of one’s responsibility
for the end of a relationship. “I couldn’t tell
you while I was bleedin’ / I only held you while I
was fleein’” the song begins, acknowledging
the too-late realization that the love was real. “No
you did not misread our love. / But the things that I buried
- / I buried under the shame,” says one verse, to
assure the fault does not lie with you, it lies with me.
The song, very spare in its instrumentation, concludes with
Garneau repeating “I won’t give my love so easy
from now on” and “I won’t give my body
so easy from now on,” compounding the self-torment
the song conveys. “Cradled” uses electronics
and overdubbed vocals to create a solemn ethereal atmosphere.
It’s a spine-chilling track. “For Celeste”
has the feel of a David Lynch version of a 60s pop ballad
of endings and leaving. This is a truly breathtaking, heartbreaking
album.
 NO
YEAR – So Long (Inferior Planet, inferiorplanet.bigcartel.com)
No Year is a quartet of Portland music veterans, and “So
Long” is the band’s debut release. The five songs
on this LP blend post-hardcore, grunge, psych, indie, and
even arena rock styles into some extended jams, where the
songs range from seven to almost eleven minutes. There’s
also an element of San Diego style post hardcore of the late
80s and 90s, as I hear influence from some of John Reis’
bands, like Pitchfork and Rocket From The Crypt. I really
like that aspect, and if they had stuck with it, I would love
this a lot more than I do, because the arena rock elements
spoil things. Like on the opening track, “Sundown,”
the last quarter of the track features a big guitar solo with
wah pedal, ruining the mood that had been established over
the previous five minutes. The same thing happens at the halfway
point of “What People Say,” an otherwise exciting
track of post hardcore. I’m less enthused with the meandering
dream-rock jam, “Minutes On The Hour,” a mostly
instrumental piece (vocals don’t come in until halfway
though the seven minute track) that goes nowhere, and seems
overly self-indulgent. Once the vocals come in, the piece
does pick up and improve somewhat, gaining a mathish edge.
“Welcome Home” has a pretty awesome melody and
intensity, but it does drag on too long and I think if the
tempo were a bit quicker it would sound less sludgy, and it
could do without the metal jammage toward the end. “So
Long” closes things following the same pattern, with
wankiness starting at the halfway point, this time in more
of an avant-garde jam that just goes off into noise. Another
aspect that the band needs to work on is shortening the songs.
The shortest is that opening track, at 6:45. Three of them
are ten minutes or longer. Five tracks at forty-six minutes?
Wow. The songs need some serious editing. Cut them down to
size, cut out the wanky solos and arena rock, and leave the
core and this would be an excellent debut EP. As it is, it
leaves me with mixed feelings. It’s got some good ideas
that need to be reworked.
 RATS
ON RAFTS – Excerpts From Chapter 3: The Mind Runs
A Net Of Rabbit Paths (Fire Records, www.firerecords.com)
Our fearless editor says this sounds like Wire covering The
Fall, and that’s a pretty succinct and apt description.
Dutch band Rats on Rafts very much has a post-punk sound,
and this album could have been released forty years ago. There
are musical themes that run through the record, and the band
does say that it was conceived as a concept album, though
it took a five-year journey to complete. I love the creativity
that’s gone into this, but it’s likely not going
to be for everyone – it’s not a pop record, that’s
for sure, and it’s not background music. This is music
that demands your attention. For example, “Second Born
Child” is a track with a martial beat, snare drums rat-a-tat-tatting,
a bass drum pounding the steady beat of war, thunder rumbling
ominously, vocals repeatedly intoning the name “Olivia”
as a voice comes over the loudspeaker shouting propaganda
and a piano plinks out some mournful notes. This is the sort
of music we used to relish playing at Chicago’s freeform
non-mainstream radio station, WZRD. “Tokyo Music Experience,”
has the feel of early ‘80s UK post-punk with a strong
bass line and high-pitched guitars picking out a repeating
line. “Another Year” is a piano that seems slightly
out of tune, playing chords in unison with a processed guitar
or synth of some kind, and multi-tracked spoken word. The
result is moody and effective, more sonic art than song. Speaking
of moody, “Where Is My Dream?” is more like “Get
Me Out of This Nightmare!” The song has jangly guitars,
emphatic vocals, and mysterious backing vocals, as we hear
what sound like screams buried in the background toward the
end of the track and all hell breaks loose. I love listening
to new music and modern sounds, but sometimes I do miss the
intense period of musical creativity and diversity that was
the late 70s though the mid 80s. If you do, too, you’re
going to want to get on this.
 WALTZER
– Time Traveler (Side Hustle Records, sidehustlerecords.bandcamp.com)
This is a fascinating debut LP from Chicago’s Waltzer.
For the most part, Waltzer blends retro 50s and 60s pop music
with an intense dreaminess and lo-fi garage aesthetic. The
short introductory instrumental, “Orbit #9,” is
bright and mysterious, setting the mood for what’s to
come. “I Don’t Wanna Die” sounds like one
of those tragedy songs from the 50s and 60s, but played through
a fuzzed out dreamy filter. “Lantern” gets a little
darker and bluesy, smoky rock and roll with a retro lounge
edge, still through the fuzzy filter. I love the short track,
“The Burning.” Intense reverb, simple guitar chords,
and soaring vocals give this track the feel of something unreal,
something between dreaming and wakefulness. “Ugly Misfits”
is a cool one, sounding like early Beatles mixed with modern
pop and sent through the same haze as the other tracks. The
closing track, “Destroyer,” makes interesting
use of phrasing from the song “Please Mr. Postman,”
but turning the whole thing into a much more soulful, pleading
ballad. Two of the tracks are completely different from the
others. The title track has a cleaner mix and is much more
of a lovely pop ballad, featuring piano as the primary instrument
accompanying the beautiful vocals. The song is a sad waltz
about the journeys we all take through life. And “Eugene”
is a modern acid-grunge rocker with a dreamy feel. This is
a very promising debut. And bonus! Waltzer isn’t just
a band, it’s an online TV show! It’s something
to check out while “regular” TV is still mostly
on hiatus.
 CAMP
TRASH – Downtiming (Count Your Lucky Stars,cylsrecords.com)
Camp Trash is a new band hailing from the Tampa-St. Pete suburb
of Bradenton. This four-song EP blends smooth pop melodies
with a guitar-fueled indie aesthetic. The lead vocals are
relaxed and casual, sounding more like someone singing for
himself, rather than for a recording. The instrumentals are
light and easy, while the melodies feel like they could have
written for alternative pop radio in the 90s. This is pleasant
enough music, though I wish there was a bit of variety. The
tempos are the same across all four songs, and there isn’t
a huge amount of dynamic range. Perhaps expanding their song-writing
horizons will come with age and experience.
 FOX
FACE – End of Man (DirtNapRecs.com)
Milwaukee’s Fox Face present’s their sophomore
LP, the follow-up to 2017’s “Spoil + Destroy.”
The Midwesterners play tough, noisy, punked up garage rock
and roll. They lean toward the heavier and more chaotic side
of the equation, too, with fuzzed bass, snarling guitars,
and lo-fi recording. The dissonance of the instrumentals contrasts
starkly with the strong clear vocals, and the whole thing
has a dark, brooding feel. And perhaps that’s a problem
I have with what could have been a pretty good record. The
whole thing has the same sound. I like noisy and I like garage
rock and roll, but this is maybe a little too dissonant for
my tastes, sometimes coming across as being slightly out of
tune. This one is maybe better in smaller doses.
 HEATHCLIFF
– Stay Posi (SBÄM, shop.sbam.rocks)
When I first started playing the opening track from this new
LP from the Munich band I thought, “ugh, this is going
to be a stinker.” The very start of this record, in
the track, “Me, Myself & I Are Two Sometimes,”
is a rock-reggae wank fest that made me want to stop listening
immediately. But I’m glad I didn’t. Forty-five
seconds in, the whole mood changes into impossibly speedy
melodic skate punk, sounding like someone played a Bad Religion
LP on 45rpm instead of 33 1/3. Harmonized vocals and super-tight
instrumentals are primary features, along with metallic tinged
guitar licks. The first few tracks are great like this, and
then songs begin to evolve. As we approach the midpoint, the
tempo slows a bit and the licks get more and more metal, with
the notable exception of the skate punk/hardcore blend of
“Captain’s Call,” which goes from speedy
and tight to slow and sludgy. Things take a sharp turn with
“The Trooper,” a reggae-rock and ska flavored
metal tune (I say flavored because it has ska rhythms, but
no horns). The devolvement continues with a slew of slower
tracks that sound more like 2000s “emo” alternative
rock and “pop punk” mixed with metallic punk.
The ending track is an acoustic one, “Who Told You,”
that seems a strange choice. It’s soft rock sounds to
close a hard rock album? Honestly, I wish the band stuck with
the well-executed formula of the front half of the album.
The back half left me cold.
 LUXURIOUS
FAUX FURS – Like a Real Shadow (mandingarecords.bandcamp.com)
Luxurious Faux Furs are a duo made up of drummer/vocalist
Jessica Melain and guitarist/vocalist Josh Lee Hooker. Originally
from New York City, the pair relocated to New Orleans, a more
fitting locale for their brand of bluesy roots rock and roll.
The music is raw and primitive, sounding like it just emerged
from the bayou, muddy water oozing downward along with the
notes. Some of the tracks are better than others, with some
coming off as a little too limited and repetitive, like “Sign
of Judgment,” which is primarily a guitar drone that
remains unchanged for the bulk of the track. But tracks like
“Joe Bird” Don’t Throw Your,” and
“Home Cookin” have a primal energy to them. “Seat
In The Kingdom” is a little different from most of the
tracks, with a quicker pace, the blues-rock supplanted by
a garage-like gospel sound, while “Send Me Your Pillow”
has a softer pop sound. Interesting effort, this is something
different.
 NASDAQ
– Young Professional (nasdaq89.bandcamp.com)
Dow Jones (guitar/vox), J.P. Morgan (organ), and Goldman Sacks
(drums) are the trio of elite professionals who gave up the
world of high finance to get in on the scam of rock and roll.
This four-song debut EP, though, reveals their hearts are
never far from power and self-enrichment. Their stripped-down
garage rock sound mixed with some early Devo-like manic melodies
is enough to drive one straight to the ATM to empty your account
and invest in the band. The title track opens with a news
analyst speaking, “It was rock and roll, you could see
money driving everything. A lot of cocaine around, a lot of
party hearty every night.” This, then, is the NASDAQ
anthem to excess. “Profit Margin” is a bit slower
and less manic, but no less melodic, and lets us know that
the band “do it all for the profit margin.” We
also get a “Bailout,” like every good Wall Street
firm wants, in the form of a driving instrumental. And we
close with “Puppet Regime,” an ode to the relationship
between money and government that reminds me of a more sparsely
instrumented Dead Kennedys song, both in feel and sentiment.
Invest in this music.
 STEVE
DRIZOS – Axiom (cavitysearchrecords.com)
Steve Drizos is mainly a guy in the background. He’s
a touring musician, most recently playing drums with Jerry
Joseph and the Jackmorons. He runs his own studio, which he
calls The Panther, where he’s engineered and produced
numerous recordings for other bands. Drizos originally built
the studio to record his own music, and now he’s finally
released some in the form of this LP. The title track opens
the LP, a lush instrumental with huge range. It starts out
quietly, with synths and plucked guitar notes, and slowly
builds. Philosophical spoken word recording clips are inserted
at various places, and the music is sweet and gorgeous, with
the melody moving between instruments, the bass even taking
it for a time. It’s nice, but at times reminds me a
bit of Coldplay. The other songs have vocals, Drizos’
voice reminding me a bit of a less gritty Bob Dylan. Musically,
the songs are mostly mild and melodic, slickly produced, maybe
over produced. The eight songs come off sounding very radio
friendly for those stations that specialize in adult contemporary
music for people who’ve aged out of alternative. Strings
mix with synths, acoustic and electric guitars play with each
other, with songs thickly arranged. “Covering Your Eyes”
mixes in some influence from progressive rock icons Genesis,
with snippets reminding me of their hit “Follow You
Follow Me,” even including organ notes to fill out the
background. I’ll say, the record is well made, and if
you’re a fan of this sort of softish rock music, you’ll
probably enjoy it. I’m planning to recommend it to a
couple of friends who are big fans of this sort of stuff,
but it doesn’t do much for me and I’m guessing
it won’t for most Jersey Beat readers.
 THE
STAN LAURELS – There Is No Light Without The Dark
(bigstirrecords.com)
The Stan Laurels are the sole proprietorship of Austin, Texas
based John Lathrop. He single-handedly writes the songs, plays
the instruments, sings, and records his music. Some songs
are big and dreamy, others are psych-tinged, some are smooth
and lounge-like, and others are a bit more raucous. Some songs
contain multiple feels, like “Tomorrow,” a song
that mostly glides serenely, but slowly builds, guitars filling
in with dreamy fuzz especially on the brilliant shiny bridge.
“Red-Handed Puppet” is an interesting blend of
indie pop and Beach Boys-like pop, in the vocal melody and
in the strong backbeat that gives it a 60s pop sound. The
closing track, “This Is Your Life,” has edgier
guitars than any of the others, by far, though the vocals
still glide placidly. It presents an interesting contrast.
There are two lovely contemplative instrumentals, “Emotions
I” and “Emotions II,” which have some vinyl
record static at the start and end. These two pieces use synths,
and set quite a mood. As does the LP as a whole.
 STILL
CORNERS – The Last Exit (wreckinglightrecords.com)
London pop duo Still Corners toured constantly before everything
was forced to stop due to the pandemic. Besides halting all
tours, video shoots and even the album release were placed
on hold. But with that extra time came an opportunity to take
new inspiration and write new songs, and the album went through
a transformation to what we now hear. I’ve seen them
described as a dream pop band, and though the songs have a
hazy feel to them, they don’t have the same thick electronic
fuzz of most modern dream pop. The instruments have a clear
tone, but there’s a lugubriousness to these songs, a
sense of sadness and loneliness. They’ve also been described
as having the sound of the desert, and though there are no
deserts within a thousand miles of London that I’m aware
of, this is a reasonably apt description. The songs do have
the sense of driving through dusty lonely towns and on open
roads through desolate landscapes. And there are touches of
Western sounds in the acoustic guitars and in the twang of
the electric guitars. The title track that opens the album
even refers to being far from home, driving toward no particular
destination, through the darkness, in the middle of the desert.
The music reminds me of a folk-like version of an Angelo Badalamente
tune written for a David Lynch project. It has a lightly retro
pop tone, with layer upon layer of sadness heaped on, even
as the tempo and beat suggest otherwise. “Crying”
is filled with reverb, and has an even more mournful sound,
with bass played by synths that sound so sad that they’re
wobbling, and the whistle that punctuates the melody is pure
melancholy. “Bad Town” uses a slide on an acoustic
guitar during the song’s intro to double down on the
dusty feeling, then takes it a step further by using a howling
coyote in the background of the song. That might be a little
over the top, but it’s effective in setting a mood.
These songs are hushed and yield a sense of isolation, and
this was an intentional part of the rewriting of the album.
The sense of solitude from the quarantine is something they
wanted to embody in the songs, and they succeeded.
 THE
STRUGGLE – "Tension Rising" b/w "It’s
Not Too Late" – (piratespressrecords.com)
UK Oi/street punk band The Struggle are calling it quits,
after several productive years that saw them tour all over
Europe and appear at some major festivals. As a parting shot,
though, they’re teaming up with longtime label Pirates
Press Records for this benefit 7” single, proceeds from
which will go to BOOM, a grassroots music venue in Leeds,
UK that has been hit hard by pandemic shutdowns and is on
the brink of permanent closure. BOOM has been host to many
new bands as well as established artists, primarily in the
punk and metal genres. The two songs of this final release
from the band are strong examples of modern working class
punk rock, with gruff, raspy lead vocals, big emphatic gang
vocals, and straightforward yet powerful instrumentals. Fans
of the genre will surely be sad to see The Struggle ending
their run, but this is a nice parting gift.
 TRIPLE
FAST ACTION – Cattlemen Don’t (forgeagainrecords.com)
Triple Fast Action was a Chicago indie/alternative band active
at the height of alternative music in the 1990s. It was formed
by Wes Kidd and Brian St. Clair, who had been band mates in
punk band Rights of the Accused. “Cattlemen Don’t”
was the band’s second and final full-length LP. Originally
released in 1997, the band is rereleasing what was originally
a CD only release as a double LP, and included are nine previously
unreleased tracks, a full album’s worth of newly released
material. And while the band was from Chicago, a lot of the
songs on this record sound more like they came from Seattle,
with that heavy and hard grunge sound. Hell, the record’s
cover even has an image of the Space Needle all lit up. The
album has a blend of grunge and pop that’s different
and refreshing, even after all these years.
The album opens strongly with “Pure,” a fast
and heavy grunge track that has some interesting Beatles-like
high-pitched vocal interjections and poppy harmonization.
“Heroes” blends grunge with Cheap Trick style
glam pop in a way that’s quite unique. And I like
the dissonance, jangle, feedback, and choral harmonies of
“Rescue.” It sounds like the dueling guitars
in some places are purposely slightly out of tune, and it’s
a cool, eerie effect, especially when paired with the interjections
of feedback. “I’m Ready” has some awesome
surf-garage guitar injections into the grunge mix. “No
Doubt” is another one that adds feedback and other
creative and odd touches that make it one of the better
grunge songs you’re liable to hear.
Some of the tracks are ballads, something to expect in
an album this long (the original 14 song CD clocked in at
50 minutes, and this new release expands that to an hour
and 22 minutes), but they mostly still fall into the grunge
genre, with sections that get loud and heavy. “Sent
Then Straight,” though, remaining pretty much in an
arena rock style until the end, at which time, what?? A
brass band comes in! It gives an otherwise dull track a
brilliant ending. “Yeah” follows as another
more sedate ballad, recorded with acoustic guitar to the
fore and lo-fi electric guitar in the back, giving it a
different sort of sound. The closing track of the original
LP, “Bearer of Bad News,” too, sounds more like
an arena anthem than anything alternative, and is one of
my least favorite of the album.
But what of the unreleased tracks? Do they stack up well
to the rest of the LP? Well, yes and no; it’s a mix.
None of the songs are quite as heavy and grungy as the rest,
nor do they have the same kind of unique arrangements or
genre mixing. But I do like “I Want to Know,”
which has a great sound that should be familiar to listeners
of some of the modern emotionally packed pop punk. “Wes’
Song” has wonderfully fuzzed out guitars kind of like
The Jesus and Mary Chain juxtaposed against a simply song
consisting of descending scales and ethnic sounding guitars.
“Summer Song” is engineered to sound like a
scratchy old record with a lo-fi repeating guitar sound
underneath, and the dry drum sound is great. Overall, the
new release is a nice package for a band that never quite
got the recognition they deserved back in the day.
 SHIP
THIEVES/RECONCILER – Split (a-frecords.com)
Two bands give us a new song each, of powerful, thick punk
music. Ship Thieves is a project featuring Hot Water Music’s
Chris Wollard, while Reconciler includes ex-Less Than Jake
member Derron Nuhfer. The Ship Thieves track, “Nothing
Now,” is burly stuff, the mighty bass line blending
with grinding buzzy guitars to drive the song. Reconciler’s
“Push To Break” is less beefy, but more wiry and
agile, moving swiftly between thinner and thicker arrangements
and more melodic pop punk content. Both tracks are great,
and even better is that a portion of the proceeds from sales
of the 7” will be donated to Save Our Stages, an organization
working to secure assistance for live music venues across
the country in the face of pandemic-related closures.
 DIVIDED
HEAVEN – Baby In The Band (Bearded Punk Records, www.beardedpunk.com)
Hot on the heels of last fall’s politically charged
single, “They Poisoned Our Fathers,” Divided Heaven
is back with a new one. Divided Heaven is the sometimes solo,
sometimes full-band project of singer-songwriter Jeff Berman,
and “Baby In The Band” eschews the full-band for
a more stripped down solo approach, primarily featuring acoustic
guitar and piano, with some flutes, ethereal backing vocals,
plus a delicate electric guitar solo. The song seems to be
about the loss of a close friend, and the whole thing is beautifully
understated. The song opens and closes with the lyric “He
was the kind of guy you needed when you needed a friend /
3000 miles from where I stand,” speaking to separation,
whether through distance or time. Other lyrics speak to going
separate ways and finding their own paths, but also of the
pain of loss. Pensive and touching, Divided Heaven shows a
true range of emotions in this most recent release.
 SLOW
DRAW – "Pessimist" b/w "Glorious"
(Paper Street Cuts, www.paperstreetcuts.com / GTG Records,
www.gtgrecords.com)
Guitarist/vocalist Todd Allen says of this band, “The
idea of Slow Draw formed over the last couple of years with
songs that didn’t seem to fit what Squarecrow (Todd’s
other band) was or is.” And the assessment is spot on
– the two songs on this formal debut single sound nothing
like Squarecrow. Todd pulled Squarecrow band mate Dan in to
help him tidy up some songs he had written, and the resulting
recordings were placed onto a four-way split EP that came
out last summer. The band was then filled out with Manny and
Dylan, and this single contains the first full-band songs
where all the members were involved in the writing and arranging.
The title track is a bright, briskly paced Americana tune
that, despite the title, speaks of hope. The chugga-chugga
rhythms feel like a train rolling through, and the guitar
tone provides a startlingly lonesome sound. It reminds me
of a countrified Western Settings. “Glorious”
is, counterintuitively, a darker sounding track with a striding
mid-tempo rhythm. The sound is bigger, still with an Americana
edge. This is a promising beginning.
 HANGTIME
– Destroy / Invasion (Say-10 Records, www.say-10.com)
Say-10 joins together the Toronto band’s 2019 and 2020
EP\s for one full-length release. The front half is “Destroy!,”
the EP that came out this past fall via Cats Paw Records,
while “Invasion” was released nearly two years
ago by Punk & Disorderly Records. If you’re a fan
of bouncy, crunchy melodic pop punk with sweet melodies and
harmonies but with strong punk edge, you’ll enjoy this.
They’re sort of like Masked Intruder, but without the
criminal shtick. The band is tight, the vocals and melodies
tuneful, and the guitars crunchy. Sugary harmonies are juxtaposed
against lyrics of love and loss, like all the best pop punk.
If I have one complaint is that all the songs tend to be played
at the same moderate tempo, with little dynamic range. This
tends to cause songs to blend into each other. But they’re
so well done, that hardly matters.
 MODERN
HUT – I Don't Want To Get Adjusted To This World (Don
Giovanni Records, www.dongiovannirecords.com)
Don Giovanni boss Joe Steinhardt once again gets up from behind
his executive desk and goes into the studio for his sophomore
LP as Modern Hut. This time out, while there are still the
acoustic songs, there’s more. And joining Steinhardt
again is Marissa Paternoster of The Screaming Females, contributing
vocals, guitars, and co-producing the album. The LP is very
understated, mostly acoustic, singer-songwriter fare. Steinhardt’s
deadpan vocals are complemented by Paternoster’s more
colorful singing. I say “mostly acoustic,” because
it’s not entirely. There’s an electric organ,
too, which adds tremendously. Acoustic isn’t for everyone,
I know. But I like the relaxed feeling of this album, like
it’s a couple of friends sitting in a living room singing
together, rather than a band making an album. Some favorite
parts of the album? I like how the opening track, “In
Amongst The Millions,” transforms from a free-flowing
folk tune to a gospel feel with a martial rhythm. I love the
darkness and pain of “Ask The Dust,” with Steinhardt’s
plain singing deeply contrasted with Paternoster’s intensity
pulled into the background. “Out of Touch” is
a quirky little nerd-pop tune about ennui to the extreme.
“Silly and Destructive” is a proper pop tune with
full band for sections, alternating with dark and loose acoustic
guitar and drums. The title track is actually a cover. It’s
a gospel song written by Sanford J. Massengale and recorded
by both The Looper Trio and Iris Dement. Steinhardt says,
“The sentiment of the song informed a lot of the album,”
and it fits with some of the darker themes. My interpretation
of the lyrics is of someone who has grown weary of the world
and wants release. “Lord, I’m growing old and
weary / And there’s no place that feels like home /
Savior come, my soul to ferry / To where I never more may
roam.” The version on the album has the feeling of a
song that would be played over the closing credits of a depressing
film with a downer of an ending, and I say that as a compliment.
If you’re looking for calm understated music that will
make your own neuroses seem tame, this is the album for you.
It’s somehow comforting.
 STIFF
RICHARDS – State of Mind (Drunken Sailor Records,
www.drunkensailorrecords.co.uk)
YEAH! This LP goes from 0 to 60 in 0.1 seconds flat and doesn’t
let up for a second. Stiff Richards fuses rock and roll, punk,
and garage into a raucous manic frenzy of music. The closest
thing I can think of is the “hot rock” of The
Whips, from Washington DC. But where that band tended more
toward the rock and roll side, Stiff Richards is leans more
into the punk side. Maybe another apt comparison would be
the short-lived Denton, Texas band, Distresser. Fast, intense,
hard and edgy, this is a record that demands that you get
up and jump around like a mad person. The attitude drips from
the vocals, and the guitars wail and scream. Even the slower
songs rock out big time. It’s hard to pick a favorite
track or two because every damn one of them is great. 2021
is just getting started and we already have a contender for
the top releases of the year list!
 TASAJO
– EP1 (tasajx.bandcamp.com)
Tasajo is a cut of beef, typically from the Central Valley
of Oaxaca in Oaxaca state in Mexico. It is similar to pork
jerky and is often made with organ meat including that of
the head and back, but also can be made with flank steak.
Tasajo is also a new band from Tijuana, featuring Mr. Cap
from DFMK, Matt Camaleon (who has played drums in various
TJ punk bands,) plus Guaseadowsky on guitar and Dan Reveles
on bass. This band sounds nothing like TJ punk bands, eschewing
the harder edged rock and roll and hardcore elements for more
of an 80s emo post-punk vibe mixed with modern alternative
rock. There are some guitar solos pulling in a bit of arena
rock vibe, too, that I could have done without, but I do like
the melodious edgy music the quartet provide, with Cap’s
vocals emphatically belted out, loudly spoken (in Spanish)
rather than sung, just like many of the DC emo bands of the
80s. Lyrically the songs are emo in content, as well. The
track, “Fvga,” or “Escape,” speaks
our inability to escape bad memories, how they leave a permanent
stain on us and leave a bad taste. “TNT” is about
shutting off our feelings to avoid the pain of the world,
likened to dynamite. “Harto” (“Fed Up”)
is a bass-heavy, almost grunge-like version of post punk with
Cap demanding to be left alone, he’s sick of you, sick
of your talking all the time. “Cínico”
(“Cynical”) is also dominated by bass, but in
more of a hard rock way and speaks to the fakeness and untrustworthiness
of everyone. “Maclovio” closes the EP with a cooler
sound, organ chords providing a backdrop to dark acoustic
guitar. The song has a completely different feel from the
rest of the record, with loads of reverb and subtle backing
vocals. It has a pleading sort of feel to it. To my ears it’s
less successful than the other tracks, which I think carry
a pretty good punch, speaking as a fan of the mid to late
80s Dischord Records sound.
 VARIOUS
– Get Stoked! Vol. 1 (Say-10 Records, www.say-10.com)
To combat the high prices of limited lathe cut records, Say-10
has decided to try doing these in bundles and showcasing new
songs by some of their artists. The first bundle comes with
three records, from Decide By Friday, Pedals On Our Pirate
Ships, and The Eradicator. Decide By Friday gives us two tracks,
“Moving On” and “Light in August,”
the latter being a cover of a song by Dirty Tactics. The band
play fairly standard alternative rock with an emo-ish aesthetic,
alternating jangly guitars and big broad epic sounds. It’s
fine, but the cover does lack the power and strength of the
original. Decide By Friday play the song at a slower tempo
than Dirty Tactics, the vocals are smooth instead of gritty,
and the guitars don’t have the same sense of urgency.
Pedals On Our Pirate Ships also give two tracks, an original
(“Employer/Employee”) and a cover (Slutever’s
“White Flag”). The A-side is a raucous pop punk
track about the master/slave relationship involved in working.
It’s a simple song, but its rowdy feel is infectious.
Slutever’s original version of “White Flag”
blends bright garage punk guitars with smooth, understated
poppy vocals, while POOP’s cover trades the garage
punk for more of a hard rock edge, and the vocals are edgier,
too. It’s still an effective fun version, but I think
I prefer the original.
The Eradicator’s portion of this bundle includes
four tracks, one original and three covers, sort of. This
entry is the most boisterous and hilarious of the three.
The original is “Tennis World,” and it’s
a crazy, noisy, driving track that I love. The mysterious
solo artist known as The Grandfather of Squash recorded
a COVID-era acoustic ballad called “Don’t Forget
About Us” and in the hands of The Eradicator, it becomes
“Don’t Forget About ‘Em,” the ‘em
referring to grandpas, and admonishing everyone to be careful
so as not to send them into hospitals in the midst of the
pandemic. The song is touching and hilarious, and this version
rocks. A little background: The Eradicator is a mysterious
masked man from Chicago based on the old “Kids in
the Hall” TV show sketch “The Eradicator,”
about a masked squash player. So, Grandfather of Squash
is an Eradicator-related artist, so is it really a “cover?”
It’s still funny, and explains “Tennis World.”
“Saully” is a cover of the song by Shehehe about
a wonderful dog that passed away. The cover here is looser
than the original, but retains the energy. “Don’t
Touch Me” is next, and is hilarious. Brak’s
original song about respecting personal space was simply
a mouthed “beat box” imitation accompanying
someone shouting “Hey, don’t touch me”
over and over. The Eradicator’s version trades the
beat box for sparkly 80s synths, but the hilarious vocal
inflections are retained.
Overall the bundle is worthwhile, but if the three lathe
cut records were available separately, I might skip Decide
By Friday’s offering.
--------------------------------------2021-----------------------------------------
 THE
DIRTY NIL – Fuck Art (Dine Alone Records, www.dinealonerecords.com)
The boys are back! After taking nearly a decade as a band
to release their first full-length LP, the boys from Dundas,
Ontario are firing on all cylinders and give us their third
album. The sentiment of the title refers to just having a
good time and partying, the primary rule of rock and roll.
And The Dirty Nil deliver on this with the 11 new songs here.
It’s been interesting to see the progression, as I’ve
been following the band for the past several years. They’ve
slowly been maturing their sound, moving away from their more
raucous punk-like roots toward a more refined and powerful
alternative rock and roll sound. Luke Bentham continues to
demonstrate vocal mastery, his voice strong and soaring, with
a smoothness that’s gotten better with each LP. Ross
Miller’s bass lines provide a rock solid foundation,
lifting the band up to new heights. And Kyle Fisher’s
drumming is more than mere time keeping; it provides the perfect
dynamic range, from quiet and delicate to furious pounding.
Even the production quality is smoother and more mature sounding,
more controlled than on past efforts.
The album opens with the song that was the lead single,
“Doom Boy,” a love song for rock and rollers
that invites you to hold hands and listen to Slayer in the
back seat of a Dodge Caravan. The marketing of the song
was hilarious, as the band had various celebrities create
Cameo videos reacting to the song, including Sugar Ray’s
Mark McGrath, David “The Hoff” Hasselhoff, Rick
Nielsen from Cheap Trick, and the ultimate: Slayer’s
Paul Bostaph! While the song references the metal lifestyle
and includes some metallic licks, the song isn’t really
metal. It does rock, but in a smoother alternative rock
way. It’s a fun, tongue-in-cheek tune. And lest you
think the band has left real rocking, “Ride Or Die”
is a powerful old school hard rock track, metallic licks
abounding.
Some of the tracks channel the grunge sound of the 90s
to differing degrees. “Blunt Force Concussion”
starts out as a gorgeous indie rock tune, and quickly builds.
The dynamic range on display is impressive, going from smooth
and calm to epic and raucous, with gigantic gang vocals.
And “Hang Your Moon” starts out kind of grunge-like,
but gets pretty metallic at points, and turns to big dream-pop
toward the end. Talk about dynamic range!
“Done With Drugs” is the band’s message
of social responsibility, appearing to be an autobiographical
story about growing up and taking responsibility for your
own life, realizing the damage drugs can do, even in the
absence of a problem with addiction. There’s one line
in particular that references an observation that “no
one at the after party seems to be happy.” Musically
the song is another great alternative rock song, but it’s
got some big jangly guitars. In a way, this song is a companion
piece to one from the previous LP, “Master Volume.”
“I Don’t Want the Phone Call” was a pleading
number about wanting a friend with a problem to clean up,
rather than die, where “Done With Drugs” is
about self-actualization.
The Nil leave the best for last though, as the final two
tracks are my favorites. “The Guy Who Stole My Bike”
is more than a rock and roll ballad about a simple theft;
it’s a warning to everyone who does wrong to our narrator/singer.
It starts out tongue-in-cheek, it seems, with a wish to
the bike thief that “I hope the brakes don’t
seize / when you’re riding down the hill to hell.”
But it goes on to speak about “the ones who left my
trust / out in the rain to accumulate rust,” and the
anger this causes. Some of the pain is self-inflicted, though,
as Bentham sings during a gorgeous acoustic break, “To
the ones I loved and left / With an axe to grind with me
in the present tense / It wasn’t you baby, you were
swell / But I’ve got a history of pissing in the wishing
well.” I love the melodic lines, and the guitar solo
in the back half is epic. The closer, “One More and
the Bill” is a natural for closing a set or LP. It’s
huge. I’ve seen the band perform this one on some
live streams, and I love the way Bentham bends the chords
by swinging the guitar back and forth. The title refers,
I think, to getting one more drink and then closing out
your tab, then going on to deal with life. “I’ve
got a lot of things to drink about dream about and run away
from,” says the chorus. One verse says, “Gonna
smash my TV, smash my phone / Leave politics alone / Go
outside for awhile / One more and the bill.” Yes,
we all have our lives to lead, but sometimes it’s
good to take a break from that and breathe.
I have to say, every time The Dirty Nil have come out with
a new LP I’ve been a little apprehensive. I loved
the punkish raucousness of the early EPs. But even as the
band has evolved, they’ve maintained and upped the
quality of their output. But fuck art. Let’s just
have fun.
 GRIM
DEEDS – Infernal Satanic Pop Punk Blasphemy From Hell
(grimdeeds.bandcamp.com)
Grim Deeds surprised us all just before Christmas with the
gift of a new full-length LP. The 23 songs were all recorded
between August and November of 2020, and for the first time
Dustin played all the instruments (including drums), and he
acquits himself well. Though multi-tracked (by necessity,
of course), the arrangements are tight. Ramones-core is, of
course, the primary genre on display here, with its simple
and predictable yet fun sound and chord progressions. “Just
Be Kind” is one such tune. “Just Google It”
is another, a song with the chords of “Blitzkrieg Bop”
and lyrics that celebrate the ability to find everything you
desire though the internet’s most popular search engine.
“Contrary” is pretty straightforward Ramones-core,
too, with just a few chords, big buzzy guitars, and a steady
beat.
While Ramones-core is great, some of the songs eschew that
style for a more jangly pop sound. Such is the case with
the love song, “Can’t Get Enough,” a song
about separation anxiety. “Your Love” is another,
with a clean clear guitar tone and harmonized multi-tracked
vocals. And “Short Story Long” is a further
example, this time with a mix of pop punk and a tinge of
Americana feel to it. So, too, is “Let It Ride,”
with an Americana sound mixed with its pop punk. And I really
like “Worst Case Scenario,” a tune with a 60s
pop vibe. “When You’re Not Home” reminds
me of Mr. T Experience, somewhat. It’s got a Ramones-core
guitar riff, but the melody is very Dr. Frank-like, and
it’s one of my favorites of the album. An additional
favorite is the penultimate “You Are The One,”
a lighter tune with some great harmonized vocals. It’s,
of course, another love song.
A couple of the songs are more classic punk than pop. “Toxic
Positivity” is less Ramones-core and more melodic
hardcore punk, speedy, bass heavy, and with dark chord changes.
“Time” falls into this category, too, speedy
and harder edged. And one is a funny cow-punk song, “Don’t
Make Me Think.” It’s got plenty of twang from
the “git-tar” and lyrics about wanting to remain
mindless.
Great tongue-in-cheek humor fills many of the songs. 90s
nostalgia is satirized in the acoustic “Neo Geo,”
a song about pining for the 90s video game system. “JNCO
Jeans,” too, remembers the past, this time everyone’s
favorite ridiculously large legged jeans. Best line of the
song: “All the Korn fans will know what I mean.”
“Costco” is a song we can all identify with,
an acoustic ode to the warehouse store we all hate to have
to go to, with its filled parking lots, crowded aisles,
and giant shopping carts. “Joe Don’t Listen
to Judas Priest” is a punker of a tune about the titular
character’s music-listening habits, favoring punk
bands over metal. The closer, “At My Funeral,”
is a hilarious song about the wild party said funeral will
turn into, including fun for everyone, food and drink galore,
everyone getting high and laughing and crying. Also, the
open casket will be repurposed as a urinal. Sounds like
a true punker’s last stand.
These songs won’t change the world. But they make
it more fun.
 JASON
PAUL AND THE KNOW IT ALLS – Alien or Martian (jasonpaulmusic.bandcamp.com)
Jason Paul is part of the tight knit music community in San
Pedro, California, and it shows. Many of the songs on this
latest full-length LP from the band have that relaxed psychedelic
tinged pop punk sound that Pedro bands are known for. But
it’s interesting that this LP sounds like more like
a compilation LP mixing EPs and singles from different bands
together, as there are songs that don’t fit this mold,
and indeed, don’t sound anything like the rest of the
songs. I like the looseness of the tracks, and they mostly
feel like they’re from another era, mixing 60s psych
and protest music with mid 80s post hardcore. Listen to the
first song of the LP, “Tongues in Knots,” to hear
what I mean. It sounds a little like mid 80s music coming
from Washington, D.C., but also vaguely retro. The lyrics
are sung in multi-tracked unison, Paul belting out lyrics
that seem to speak to the difficulty of clear communication
and getting across meanings to others. Given the sound clip
at the start (“Looks like it might be the year of the
ballot or the bullet”), it could also reference the
communication gap that’s part of the great divide in
our society. I like the expansive feel of “Go For Broke,”
the big open sound seeming to echo the sentiment in the poetic
lyrics about breaking away from the cages of our daily existence
and living as explorers (“I’ve searched the country
/ I slept where I fell / Oh, I live on the far edge”).
I like the contrast, too, between the verses and chorus, the
latter of which is huge sounding, like the open possibilities
we all have before us. “All In All” has a nice
retro rock and roll twang in the guitars that also jangle
with that retro psych pop sound. It’s a favorite, and
my interpretation of the lyrics is that the song is about
staying focused on your goals and working slowly and steadily
toward their fulfillment. Trying too much too fast risks burning
out and failing. “Slow and steady wins the race / Looking
behind will lose your place,” Paul sings, and then as
the song picks up, he warns “Most stars fade out / Before
they crash / Most tears get wiped / Before they fall.”
One of the songs that’s part of this “separate
EP from a separate band” is “Giving Up Our Names,
a simple song with acoustic guitar that also includes a
heavily reverbed piano and string synth that come in toward
the end. It’s got a quietly sad sound to it that’s
appealing. “We Took The Risk” trades in the
retro psych for more of a modern indie pop-rock sound, and
there are hints of twang in the guitars. And the closing
track, “Trust,” has sparkling keyboards and
acoustic guitar, with heavily reverb on the vocals. It’s
a more pure 60s psych pop song that eschews the post-punkness
of some of the other tracks. I like the sound the Know It
Alls have, and those these outliers are nice songs, having
them appear on the album makes it feel a little disjointed
and less cohesive than it otherwise would be.
 ROBERTO
BETTEGA (www.robertob.bandcamp.com)
Roberto Bettega is a former member of The Harmonica Lewinskies,
a band Jersey Beat readers should be somewhat familiar with.
This solo effort from Bettega features an eclectic collection
of songs ranging from Beatles-esque power pop to bossa nova
styling a la Antonio Carlos Jobim. The six-song EP opens with
“My Name Is Dan,” an ode to former HL band mate
Dan McLane, who sadly died a few years ago under tragic circumstances.
It’s a wistful, sparkly power pop tune, and the lyrics
speak to how they wrote songs together, and how Rob “found
somebody just like me who grabs you by the teeth and won’t
let go.” Even through the cheesy jokes remembered, like
in the chorus, where Bettega sings, “I try to be frank
/ But my name is Dan,” you can feel the closeness of
the relationship in the song. I really like the mathish rhythms
of “Punk Song,” a track that isn’t really
punk. It features saxophones, has a solid impenetrable wall
of music, and uses a 5/4 beat that’s ever off-kilter.
“Take It Easy” has an airy breezy feel that appeals
me. “Do It Together” takes Beatles-like pop and
doses it with some psychedelics, yielding a colorfully twisted
tune that even quotes the Fab Four’s “With a Little
Help From My Friends” when it uses the lyrics, “Do
you need anybody…” and “Could it be anybody…”
in one verse. The other two tracks take cues from very far
south of the border, featuring the sounds of the samba and
bossa nova. “Tangled Up” is a lovely light Latin
pop tune, with a lonely trumpet intro to the song before the
guitar takes over. Think 90s indie pop crossed with Brazilian
pop singer João Gilberto. And the closer, “Baby
You’re a Friend of Mine,” reminds me of the Soundtrack
to the film “Brazil” crossed with 50s Latin pop;
it’s just adorable. Solid, enjoyable effort here.
 DOLLARS
FOR DEADBEATS – Was It a Good Night? (Say-10 Records
and Skateboards, www.say-10.com)
This is big sounding music from Germany that borders between
alternative and punk rock. The songs are big and tuneful,
well played with full sounding arrangements. Every song sounds
like an epic. But the problem is it’s every song, for
the most part. Same tempo, same feel. The one outlier, the
one track different from the others, is the acoustic “White
Roses,” a song with a Latin flair to it. But even then,
though the instrumentals are very different, the vocals are
very much the same as on every track, though laid bare here
without a full band. As a result, there are imperfections
in intonation that stand out and mar an otherwise pretty song.
That said, the poppy “Gondola Rules” is a fun
track, a little bit faster than the others, and the rapid-fire
vocals remind me a bit of City Mouse’s Miski Dee. But
even here, there’s no dynamic range to it. “Denver
to Boston” has undertones of Americana in the rhythm
and melody, though the guitars end up sounding big and epic
like all the other tracks, and the vocal intonation problems
appear here again. “Bathroom Tiles” is a weird
name for a song, but it’s one of the better ones. Like
the other tracks, it has a medium tempo and a big full sound,
and the chorus is huge and impressive. The band gets political,
too, with the song, “Eric Garner,” which tells
the tale of the murder of an unarmed black man in New York
City by police for the crime of selling loose cigarettes,
and for which no one was ever held accountable. This record
has its moments, both good and not so good. I think taken
one at a time, some of these songs will be listened to again,
but taken as an LP it has problems.
 GOOD
FRIEND – The Erin Rose EP (Red Scare Industries, www.redscare.net)
Three songs from across the pond, Newcastle-Upon-Tyne, to
be exact, fill this new EP. The trio that is Good Friend originally
hail from Northern Ireland, but moved to Newcastle to get
shitty jobs and play in a band, as they claim. This is the
band’s first release since the excellent “Ride
the Storm” LP that came out way back in 2016. They had
planned a tour with label mates Red City Radio, but we all
know what happened to 2020 tour plans. This record was planned
for that tour, and is now seeing the light of day. The track
from which the EP takes its title, “Erin Rose Drinks
On Shift,” is classic Good Friend, with a great jangling
melody, plenty of whoa-ohs, and a bigger sound than you might
expect from a trio. “We’ll Burn That Bridge When
We Get To It” is a change of pace, a big rocking ballad
with grunge influences. “Rusted Friends” is a
stripped down track with just guitar and harmonized vocals,
with a wistful folk-punk feel. Someday soon we’ll have
live music again, and that tour needs to happen.
 GLENN
MORROW’S CRY FOR HELP – 2 (Rhyme & Reason
Records, www.rhyme-reason.com)
Glenn Morrow is not only the owner/operator of the storied
Bar/None Records record label, he’s also a musician.
In the 1970's, he performed with the rock band The Individuals.
He was in the band ‘a,’ which was the first band
to play Maxwell’s, and kicked off the Hoboken indie
music scene. Of course, ‘a’ evolved into The Bongos
after Morrow left, and Maxwell’s became the epicenter
of New Jersey music. Now, along with Ron Metz, Mike Rosenberg,
and Ric Sherman, Morrow performs as Glenn Morrow’s Cry
For Help. The songs range from power pop with psychedelic
tinges to breezy pop rock.
I really like the opening track, “Yellowed Pages,”
which uses garage rock guitar feel and a 70's psych pop
vibe, and has lyrics referencing space and time and the
astral plane. It’s kind of a throwback to underground
music of a type that doesn’t get made much anymore,
and it’s lovely. My favorite track is the power pop
“G B & Co.” Every time Morrow sings “Yeah”
at the start of a line, it’s just so….cool.
The song lyrics speak to a memory of good times and great
music, dancing and having fun, while the guitars jangle
and rock. The song just bounces with joy. “The Ride”
is an understated tune with an old time blues-influenced
rock’n’roll feel and lyrics speaking to race
relations, referencing, for instance, that Martin Luther
King Blvd and JFK Blvd. in Jersey City don’t intersect,
on how “it was sunny on your side and shady on my
side,” referencing the economic divide that exists
along racial lines. I also like the gliding feel of “What
Happens Next,” a song about the end of a relationship
and the start of, well, whatever happens next.
One of the clever things Morrow does with some of these
songs is work in advertising slogans of the past into song
lyrics. On “Yellowed Pages,” it’s “let
your fingers do the walking,” the slogan used for
many years to get people to use the Yellow Pages. And “Watch
It Burn” has lyrics that include “Oh my god,
you’re soaking in it,” which harkens back to
the old Palmolive dish soap TV ads featuring Madge, the
manicurist, who had her customers soak their nails in the
mysterious green liquid, therefore proving how mild it was.
These sorts of touches are fun and appealing, providing
little Easter eggs for old guys like me, even if younger
listeners don’t get the joke.
Not every track is a winner. I’m not a fan of the
easy listening lounge track “Forever and a Day,”
which reminds me more of a Burt Bacharach AM radio song
from the 1970's than anything an indie innovator would do.
But that’s really the only song I couldn’t get
into – other than that, this album is pretty darn
fine.
 OH!
GUNQUIT – Why Haven’t You Watered The Plants?
(Decapitator Records, ohgunquit.bandcamp.com)
Oh! Gunquit (who may or may not be named after the Maine town
of Ogunquit) are back with their third full-length LP. The
band’s brand of rock’n’roll is a helluva
lot of fun, blending garage and soul together. Tina Swasey’s
vocals bring in a new wave element to the mix, too, and the
result is a little trashy, a little funky, lively and boisterous.
One of my favorite tracks is “Whiplash,” which
seems to combine 60s girl-group rock and roll, garage rock,
and B-52s new wave. Some of the songs have a “science
fiction” theme, like the retro rock “Attack of
the Killer Cranes” and the hard-driving anthem “Last
Day On Earth.” “Dance Like Fuck” is another
great one, seriously sounding like the B-52s might have had
they formed a couple decades earlier. “Commander Salamander”
is beat poetry set to throbbing music, Swasey speaking the
lyrics like she’s telling a story at the Moth. This
record makes me happy, and it will you, too.
 OLD
CALIFORNIO – Songs from the Sea of Cortez (oldcalifornio.bandcamp.com)
Emerging from a long slumber (their last LP, “Sundrunk
Angels,” came out nine years ago), Americana group Old
Californio returns with a dozen songs ranging from lightly
twangy to folksy, from down home to rocking. “Saint
Cecelia” is a lovely track to open with, with acoustic
guitars that jangle along with harmonized vocals. The rhythm
section chugs along like a leisurely train rolling down the
tracks, and the fiddle solo is wonderful. “Lyre of Orpheus”
is a pleasant Americana tune, with subtle twang of a steel
guitar, and country blues vibe to it. As it fades we get a
short bonus instrumental that has a rocking rhythm, wailing
guitar, and jazzy sounding keyboards. It’s just a fragment,
but I love it and wish it were turned into a song in its own
right. I like the delicate acoustic “Trestles- San Luis
Rey,” too, with its hints of flamenco inspiration and
the backdrop of a rainstorm. It’s the kind of song to
listen to curled up in front of the fireplace on a cold rainy
day. “Too Tired” blends retro rock and 70s pop
to create something pretty unique, and the closer, “Giving
In” is a soulful number. This record, while rooted in
Americana, is reasonably varied in its sounds, utilizing instruments
such as piano, mandolin, and electric and acoustic guitars,
and even if country isn’t your thing, this record is
nice and cozy.
 RLND
– Zealand (Sell The Heart Records, www.selltheheartrecords.com)
Instrumental LPs can be hit or miss. Too many times they’re
boring, just playing melodies without lyrics and sounding
like incomplete songs. Sometimes, though, they can be fascinating.
This latter situation is the case with Bay Area band RLND
(pronounced like Roland). Part math rock, part metal, part
prog-rock, part indie, RLND recorded this LP last year. It
was to be not only the band’s sophomore full-length
release, but also their swan song, as the half the band decided
to leave before it could be released. The remaining members
were left wondering how to tour and promote the album, and
quickly found replacements – and then 2020 and the global
pandemic put the kibosh on the whole thing. There’s
about fifty minutes of music here, ranging from lush and beautiful
to raging and intense, from delicate and light to heavy head
banging and thrash. Rhythms and time signatures change at
the drop of a hat, as these musicians demonstrate their mastery
over their instruments and the material. Some of the song
titles are tongue in cheek, too, like “Kurt Loader”
(apparently referencing film critic Kurt Loder), “Keith
Sells,” “Basilica Gel,” and an homage to
NPR radio personality “Terry Gross.” I’ve
only liked a small handful of instrumental LPs in the past,
and I usually don’t go in for the heavier stuff, so
one would think that’s two strikes against RLND from
me right there. But I find this record to be compelling and
creative.
 THE
MR. EDS / INJECT THE LIGHT – Split Xmas Cassingle
(the-mr-eds.bandcamp.com)
Two new songs for the holidays from hardcore solo heroes Inject
The Light and The Mr. Eds. Of course, Inject The Light is
the basement recording alter ego of Chris Mason, Dirt Cult
Records’ boss and member of bands such as Low Culture
and Shang-a-Lang, while The Mr. Eds is Razorcake’s Daryl
Gussin, veteran of several Los Angeles punk bands. Inject
The Light’s song is “Merry Xmas Grandma,”
a warm wish for a happy holiday season that warns grandma
that he’ll be coming on an airplane and taking a Lyft
to visit, and expresses the desire that this not be the last
one for her. The music is simple, dark and lo-fi, with one-note
bass lines, distorted guitar, and backbeat snare drumming.
“It’s Xmas (I’m Drunk and Screaming)”
is the holiday offering from The Mr. Eds, and it’s similarly
dark and lo-fi, but with more complex arrangements including
lead and rhythm guitars, bass, and full drum kit. This one
is less garage hardcore and more punk, and it’s looser,
too. The lyrics refer to all the shit that’s gone down
during 2020, the darkness of the words matching that of the
music. I’m always a sucker for punk rock Christmas music,
and this split single is a worthy addition to my collection
(and yours).
 THE
RAGING NATHANS / THE REAGANOMICS – Midwest Duress
EP (Red Scare Industries, www.redscare.net / Rad Girlfriend
Records. www.radgirlfriendrecords.bandcamp.com)
Rad Girlfriend Records and Red Scare Industries, The Raging
Nathans and The Reaganomics, Dayton, Ohio and Joliet, Illinois
– this EP is a split release any way you look at it.
And it’s all solid DIY punk rock. Each band contributes
three songs, and all of them rage. With a name like The Raging
Nathans you expect their songs to do so, and they don’t
disappoint. Coming hot on the heels of the Oppositional Defiance”
LP they released earlier this year, we get three excellent
pop punk tracks, fast and loud, loaded with jangly noisy guitars
and some simple yet effective arrangements. I especially like
the call and response vocals of “Worry About Yourself”
and the terse, primal “Fuck You.” The Reaganomics
give us some interesting variety, with the first song, “OK
Day” sounding like a Screeching Weasel style Ramonescore
tune, with lyrics about having a bad day due to the realization
of being dead, then coming to the understanding that it’s
cool being dead and so it’s an OK day. And “Song
in A” sounds very much like something the Fur Coats
might have done, speedy and poppy. “Tear Off Your Face”
slows things down, and is not a love song. Or maybe it is.
Anyway you cut it, this is a great split.
 SPARTA
PHILHARMONIC – Nature of the Cure (www.spartaphilharmonic.com)
This is the long-awaited follow-up to Sparta Philharmonic’s
triumphant LP, “(trans)migratory birds.” When
I say long awaited, I mean it’s been ten years since
that album came out, and five years since the band played
their most recent live shows, with a handful of dates in the
Pacific Northwest (which I actually got on a plane and flew
to Olympia, Washington for – read about it here.)
After a number of years on different continents, the Bortnichak
brothers are back together (sort of – on opposite sides
of the country), and have finally given us this five-song
mini-LP.
This record is certainly noisier than the last one, for
the most part, except for the tracks that bookend the record.
The opening track is a short piece called, “Aha What,”
and features ominous cello overdubs. It’s a dark piece
that seems a lament for these dark times, as we hear the
cellos weep and sigh. And the closing track, “The
Actual Fuck,” is also an instrumental featuring Greg
Bortnichak’s cello. It begins tentatively, but slowly
builds, and despite the title it has a feeling of hope,
the multi-tracked cellos rising toward the prospect of a
better tomorrow. It has a gorgeous, lush, orchestral sound
that’s stunning.
The three tracks in between are thick arrangements that
belie the compact efficiency of Sparta Philharmonic. As
with (trans)migratory birds, the duo use a number of tricks
to create a much larger sound than two people should be
allowed to make. “Jonah” and “Dignity,”
the latter of which was the lead single, are pop tunes,
but with different feels. “Jonah” reminds me
of The Jesus and Mary Chain, for the overall morose vibe
and the heavy use of reverb and distortion – but the
Bortnichaks push these techniques to the limit, fuzzing
things up to the extreme, cranking up the reverb, and injecting
a grunge aesthetic to it.
“Dignity,” despite sharing the level of reverb
and distortion of “Jonah,” has a brighter pop
feel, with the guitars sometimes sounding almost like keyboards.
The subject matter couldn’t be darker, though, with
lyrics referencing the police violence and murders of black
people. Speaking to this summer’s mass protests that
occurred the song declares, “What yr seeing on the
streets ain’t about one tragedy / Nor a few bad apples
among our police.” This is about the sustained systemic
racist attack on black Americans, as the song continues,
“It’s the breaking point after centuries / Of
denying Black Americans their dignity.” Donald Trump
gets called out for sending troops to suppress the protests,
causing more division, rather than to calm and ensure justice
as a true leader would do: “A ruler lacking empathy’s
an oppressor.” The music is strident, almost anthemic.
“Dignity was first released as a split single with
the band Canid, and proceeds from the sale of the track
were donated, first to the family of Walter Wallace, Jr.,
a black man murdered by Philadelphia police just in October,
and then to the ACLU.
“Wahn, Wahn, Wahn” is the noisiest of all the
tracks. Wahn, according to the dictionary, comes from Old
High German and means “illusion, delusion, vain hope,
false idea, false perception of reality.” The lyrics
refer to Wahn as a person, one who lives for deception and
self-aggrandizement. The chaos sown by Wahn is echoed in
the ataxia and bedlam of the music. The piece is divided
into sections, with the first having a martial feel, a clanging
clarion call accompanied by lyrics intoned, as if by monks
of a religious order, as if Wahn is the object of misplaced
worship by some. Who can this Wahn be? It may be that I’m
reading too much into it, but the description seems to fit
the 45th president. Between this song and “Dignity,”
this is the most political I can recall Sparta Philharmonic
getting.
Ten years between releases is a long time. It was worth
the wait. But I certainly hope we don’t need to wait
as long for more.
 BEFORE
STORIES – The Next Reason To Breathe (Ripcord Records,
www.ripcordreords.com)
Scots duo Before Stories consists of Jamie Reed and Colin
Brennan. Aberdeen seems to be an odd corner of the world to
find a band blending post punk, emo, and hip hop/rap, but
this is real. Guitar, bass, and drums provide the musical
backdrop for the spoken word beat poetry of the lyrics. The
arrangements are sparse with a distinct dark post punk feel.
For example, the rumbling one-note bass lines of “Born
Below the Tide” reminds me of Joy Division and that
era of music. “Toe The Line” features jazzy percussion
focused on the ride cymbal, buzzing guitars, and angry shouted
vocals. “Hutl” is a dreamy track, featuring a
meandering bass and what feels like stream of consciousness
poetry for the lyrics. “1 Like = 1 Prayer” is
the most tuneful track of the EP, with an almost poppy melody
backing the spoken word lyrics, vocals rising in fury as the
track progresses. There’s a grunge fuzz feel to the
guitars and bass, and it’s probably the most “accessible”
of the songs to the average indie music fan. “X99”
has an almost industrial dance feel, with a strong beat and
ominous grinding feel. The closer, “Come to Pass,”
is another introspective dreamy one, similar to “Hutl,”
with meandering guitar replacing the bass. Part way through,
the guitar gains some fuzz and the vocals get gritty, bass
and drums joining in for some emotional pop for a brief while,
before returning to the poetic sound that the track began
with. It’s a fascinating EP, definitely unique.
 DAYDREAM
– Mystic Operative (Dirt Cult Records, www.dirtcultrecords.com)
Dirt Cult goes through interesting cycles of the kind of music
they put out. They’ve gone through the pop punk phase,
a garage pop phase, a hardcore phase, and now a chaotic garage
noise phase. Daydream, hailing from Portland, Oregon, combine
distortion, driving bass lines, pounding garage rock rhythms,
and manic guitar licks to create a cacophony like no other.
Eleven songs in 28 minutes might be a little much in one go,
but taken in smaller doses it can be mesmerizing. “Prophet
of Peace” is hypnotic, with repeating and throbbing
lines amidst the mayhem. There are angular melodic lines,
too, on “Rendered Ghosts,” stabbing at the brain.
“Conscious Raising” somehow resolves into a tune
with a twang (down home noise rock?). There’s the disorganized
pandemonium of “Spies for Personal Peace,” and
there’s the industrial sounds of factory machinery in
“Baptized & Blessed.” Each track has something
to offer, something out of the norm, something to break through
the dullness of extended isolation. Take in small doses, though.
If swallowed whole, this can cause sensory overload.
 DEVON
KAY & THE SOLUTIONS – A Little Bit (devonkayandthesolutions.bandcamp.com)
Following the summer release of their latest LP, “Limited
Joy,” with A-F Records, marking a departure from their
pop punk roots, Devon Kay & The Solutions continues the
journey deeper into pop music territory with this new self-released
single. Present here are the thicker and more intricate arrangements
that we started seeing with the LP; horns, synths, organ,
piano, layered melodic lines, and deep harmonies fill the
song. “A Little Bit “is my dumb punk love letter
to bands like The Counting Crows & Motion City Soundtrack,”
says Kay. “It’s a feel good love song about love
not feeling good and the many steps it takes obtaining a solid
relationship.” I hear pop punk and ska influence, as
well as jazz and lounge, all blended together into a pretty
pop number that lopes along at a leisurely pace.
 THE
HECK – Hate It Here (Sour Bomb Records, theheckgaragerock.bandcamp.com)
A brand new single from Netherlands garage rockers The Heck,
we get two recordings of the same song with different lyrics.
Distorted bass starts things out, then the whole band comes
in, vocals crying and screaming about how much “I hate
it here / I hate it everywhere / I hate it over there / But
most of all / I hate it here / So fuck you all / Go fuck yourself
/ I hate it here.” The music has a simple chord progression,
melodic bounce, and great garage power. The short B-side declares,
“I like it here / I like it everywhere / I like it over
there / But most of all I like it here / I love you all /
I love myself / I like it here.” A much happier sentiment
to match the joyous music. Fun stuff.
 SWINGIN’
UTTERS – Boots 'N' Booze (Pirates Press Records, www.piratespressrecords.com)
“Boots 'N' Booze” is a new graphic novel set in
a small beach town (Santa Cruz, California) in the 1980\s,
recounting the adventures of a merry band of teenage ne'er-do-wells
as they navigate their way through life, emulating 1960's
UK skinhead culture, including an adoration of ska, reggae,
and soul music. They share the town and have encounters with
surfers, punks, mods, and of course, Nazi skins. Included
with the comic is this two-song 7-inch single from Johnny
Peebucks & the Swingin’ Utters (as the band was
originally known,) recorded live at one of the parties documented
in this autobiographical comic book anthology, named for the
long-running zine that covered skinhead culture, from music
and bands to the booze they liked to drink. Boots 'N' Booze
features artwork and stories from Lucas Musgrave, Joel Loya,
James Reitano, Dannyboy Smith, John Bush, Courtney Schamach,
Misty Hecht, Glen McHenry, Jessica Louise, and Rob Sporleder.
But we’re here for these early Utters songs, aren’t
we? Though the recording quality is tinny, the 80's style
of California punk rock is unmistakable. The two songs are
“Tell Us The Truth” and “Sorry,” and
you can hear and feel the raw fun and party atmosphere. These
tracks are a snapshot from history that will cause feelings
of nostalgia amongst punks who remember the era.
 WRONG
WAR – Fixed Against Forever (Council Records, www.councilrecords.com)
Wrong War is a fairly new band, only having formed in 2019.
However, the band is made up of Chicago music veterans, and
so Wrong War is a tight powerful band right out of the gate.
Lead vocalist Matt Weeks was in the bands Current, Calvary,
and Ottawa (and runs Council Records), while drummer Dan Smith
was in Salvo Beta, and guitarist and bassist Pat Keanan and
Dave Pawlowski played together in The Phenoms. For the most
part, Wrong War play blistering Midwest hardcore that harkens
back to the glory days of the 1980s, with fast’n’loud
songs that are politically charged. Right from the first track,
“Words Were Mere Words,” you can feel the hardcore
punk power pour out of the speakers, and I’m transported
back to the small dirty clubs in seedy neighborhoods in Chicago
I used to frequent back in the day. After a bit of free-form
guitar with cool effects, Pawlowski’s rapid-fire base
comes in, laying the foundation for the song. Keanan’s
angular guitar jabs and Smith’s pounding drums complementing
Weeks’ angry shouted vocals. Some songs are more hard
rock than hardcore punk, like “First Shot Misses,”
another fast one that speeds by like a Motörhead fueled
train from hell. The end of the track features a recording
looping a man saying, “There’s no doubt that this
is America’s moment of reckoning.” This flows
immediately into some sound effects that sound like a short
wave radio coded broadcast, and then launches into “Minimum
Safe Distance.” Time is fleeting / What’s it for?”
Weeks shouts in the chorus. “Time is wasted / On what
you say. / Vented nothing / Outrage of day / Played your hand
/ And it’s utter exhaustion.” My take away from
this is that Wrong War is talking about the conspiracy theories
that keep getting repeated, wasting everyone’s time,
displaying fake outrage over nothing.
Wrong War also takes some influence from the east, Washington,
D.C. to be precise. “All You Ever Knew” is slower
and more melodic, yet just as powerful, as it channels the
Dischord post-hardcore sound. The track just rocks out,
Weeks’ vocals spitting out the lyrics with an emotional
intensity. It’s my favorite track of the LP. And as
I listen to the other, more hardcore tracks, I can even
hear influence from earlier DC bands, as well. “Escape
Clause” is another favorite that sounds like something
from a late 80s or early 90s Dischord band. It’s also
the song the band takes its name from, with a chorus that,
to me, speaks of selling out. “And what did you sell
yours for? / You should have asked for a little bit more.
/ I think we all see, it’s the wrong war.” It
might be the wrong war, but it’s the right band, because
this record is highly recommended.
 Democratic
For The People (democraticforthepeople.bandcamp.com)
“I've always taken it personally when people say ‘blame
the South’,” says Todd Farrell Jr. of the Nashville
band, Benchmarks, when referring to national election results
and the long history of electors going to the GOP candidate.
“What they don't see are a lot of smaller battles being
fought by progressive Southerners being undermined by voter
suppression and gerrymandering.” But after the 2020
election, for the first time in decades, Georgia has been
turned blue, thanks in part to Stacy Abrams’ tireless
grassroots work in Atlanta with Fair Fight, and this inspired
Farrell to assemble this unique compilation, featuring 23
artists (mostly) covering Georgia performers, all to benefit
the Fair Fight organization. With two runoff elections for
US Senate seats in Georgia determining control, groups like
Fair Fight continue to be important in ensuring free and fair
elections and enfranchisement for all eligible voters. Bands
from across the spectrum, from Americana to indie rock to
pop punk contributed tracks, and the result is an eclectic
collection, ranging from quietly desperate acoustic anthems
like Austin Lucas’ rendition of REM’s “Welcome
to the Occupation” to the big full band country pop
of Georgia Satellites’ “Battleship Chains,”
performed by Dirt Reynolds.
Every track is well done and heart-felt, but there are
some highlights. “Lance Howell does a gently soulful
rendition of Otis Redding’s “These Arms of Mine”
that blends some country twang and gospel undertones. Neutral
Milk Hotel’s “King of Carrot Flowers”
gets an amazing treatment from Achilleus, turning the quiet
acoustic part into a glorious new wave pop tune, and the
noisy grungy part into a quiet gospel tune with plenty of
down home twang. Halloween Year magically transforms Drive
By Truckers’ “The Company I Keep” from
a slow country rock song into a raucous one that ranges
from speedy pop punk to reggae punk. Little Richard’s
R&B tune “Rip It Up” is done up as a classic
rock’n’roll number by Nato Coles & the Blue
Diamond Band. The stately “Finest Worksong”
from REM becomes a faster, harder driving song at the hands
of Benchhmarks. I really enjoy the garage rocker “Keys
To Me,” originally released by “Drivin’
N’ Cryin’ but here done at a speedier pace and
with a punk aesthetic by Orphan Riot. And one track that
isn’t a cover, Micah Schhnabel’s “Attention
Shoppers,” is an amazing track for the holiday shopping
season. Schnabel is our generation’s beat poet laureate,
and though the pop punk he does with Two Cow Garage is great,
I especially love his moving solo music.
Tons of other bands contributed tracks to this comp, and
I don’t want to shortchange them, because they’re
all excellent. The comp is a very worthy listen, and it’s
for a very worthy cause.
 THE
QUEERS – Save The World (All Star Records, allastarrecords.limitedrun.com)
Joe Queer has long been a polarizing personality in the world
of pop punk. Hailed by some as one of the early “stars”
of pop punk, decried as a conservative apologist by others,
at best one thing is certain: Despite fronting The Queers
for nearly 40 years, Joe can still write catchy songs when
he wants to. And, though Ramonescore pop punk is The Queers’
bread and butter, they aren’t afraid to try new things.
“If I Had a Girl Like You” is a lovely jangly
indie pop song with really nice retro guitar tone and layered
harmonized vocals. It’s actually one of my favorite
songs of the LP. I like the power pop rock and roll of “Shit
for Brains,” a track with self-deprecating, not accusatory,
lyrics. “Hong Fucking Kong” has a fun melody with
great backing vocals that give the song an almost Alpine folk
tune vibe.
The Queers aren’t afraid to slow things down, either.
“My Heart’s in the Right Place” is almost
a ballad by The Queers’ standards, and it’s
got a simple yet pretty melody. And “Let the Rain
Wash Away My Tears” is another slower one, a pop punk
tune with an indie rock feel mixed with retro 50's doo wop.
Nor do they shy away from the controversy that’s surrounded
them. Joe answers the online trolls who have called him
a racist with “White Power Feud in Atlanta,”
a hard rock tune that shows how he has always felt about
Nazis.
Joe is sometimes still stuck in the 1980s era of punk rock
shock, though, as is evident by the misogynistic tracks
“Attack of the 5 Foot Bitch” and “Shirley
Needs a Dildo,” which open the album. The former is
a simplistic punk song that’s the weakest of the album,
while the latter is classic tuneful 90s pop punk, some glorious
Beach Boys like backing vocals included. But both songs
have lyrics best left in the past, in my opinion. If you’re
a fan of the Queers’ long history of silly punk songs,
you have nothing to fear. “Cheeto In a Speedo Eating
a Burrito” is here for you. So is the slightly sludgier
“Fanculo A Tutti,” which is Italian and translates
to “Fuck Everyone.” I think this is Joe’s
commentary that everyone is fair game to be made fun of;
there are no sacred cows.
So, think what you want about Joe Queer. Yeah, he’s
an overgrown adolescent. Yeah, he’s got some questionable
political beliefs about the police and certain leftist organizations.
He does still make good music, and he loves his fans. I
mean, the closing track says so right in the title, “We
Love Our Fans.”
 AMY
ANGEL AND THE HELLRAISERS – Do It Again (Die Laughing
Records, www.dielaughingrecords.com)
This East Bay band sounds too nice to raise any real hell.
The ten songs on this LP are actually nice and light, and
though some of them try to rock out, they aren’t going
to be conjuring any demons any time soon. Instead, these are
pleasant pop rock tunes, the equivalent of easy listening
for heavy metal head bangers who have aged out of the pit.
There are pleasing indie pop numbers, such as the opening
track, “Walking In The City,” and there are varying
levels of rockabilly ranging from slight to heavy in “Who’s
That Girl” and “Yesterday’s High.”
The track from which the LP takes its title, “I’d
Do It Again” is a wannabe Motorhead or AC/DC hard rock
song that never gets hard enough. Amy Angel’s vocals,
for one thing, are just too pretty for the genre, I think.
There’s the power pop of “Party Night Across The
USA” and garage-lite of “White Witch.” “Never
Too Late” sounds like a cross between retro rock and
roll and something The Kinks might have recorded. I mean,
these aren’t bad songs at all; the record is a pleasant
listen. With a name like “Hellraisers,” though,
I don’t know that pleasant is what they were going for.
 GENTLEMEN
ROGUES – Do The Resurrection 7” (Snappy Little
Numbers Quality Audio Recordings, www.snappylittlenumbers.com)
Gentlemen Rogues is an Austin, Texas based outfit that blends
indie rock and power pop to create solid guitar-fueled songs.
The A-side of this new single, “Do the Resurrection,”
is loaded with fuzzy guitar jangle and, as the band says,
“tackles love and loss, life and death, dying and undying
devotion, rinsing and repeating.” The B-side is a unique
mash-up called “Bloody Rudderless (in Ursa Major).”
It’s part “Rudderless” by The Lemonheads,
part Destination Ursa Major” by Superdrag, and part
“When you Sleep” by My Bloody Valentine. It’s
the ultimate homage to 90s indie rock and the band pull it
off well.
 HALF
JAPANESE – Crazy Hearts (Fire Records, www.firerecords.com)
Except for a lengthy gap from around 2001 to 2014, Half Japanese
have been releasing a steady stream of LPs, EPs, and singles
since the two Fair brothers, Jad and David, began making music
together in around 1974. Nowadays, though, it’s just
Jad. Often pigeon-hold into the “art punk” genre,
there’s more to the band than that. I hear a definite
psych vibe in the music, which makes sense, given their genesis
during an era of psych pop. But I can certainly see where
the “art punk” label came from. Fair’s vocals
and lyrics are unique, covering odd topics and delivered more
like a reading during a poetry slam than a song. The album
opens with “Beastmaster,” a track about the master
of all beasts, who was raised by monkeys. Like I said, unique.
The music is driving garage with psych elements, and a definite
60s “go-go” aesthetic. I like the bombastic “Dark
World,” which sounds like the theme song to some science-fiction
action adventure film made in the 1970s. “And It Is”
has a fun bounce and bright feel from the cheesy organ, interrupted
periodically by darker instrumental passages. The lyrics are
about how everything is perfect and wonderful (“It’s
a chocolate covered rainbow, it’s coming up roses, it’s
more than alright…” but every time the topic comes
around to “you and me” or “us, the dark
passage begins. Half Japanese’s penchant for the supernatural
and horror is on display in the song “Late at Night,”
a slow eerie song about zombies walking the earth. It has
a cinematic quality to it, too, but feeling like something
from a low budget monster flick made during the “mod”
era, perhaps. The title track sparkles, overflowing with goodness.
“The love bug bit me on my nose / And my love, it grows
and grows / And you are the one I chose / The one and only,”
Fair intones. The whole song is a sappy declaration of the
power of love, and you can’t help but smile. For readers
more familiar with the pop punk world, think of Half Japanese
as being sort of like Micah Schnabel with a full band playing
garage-like retro psych pop. Half Japanese are staying true
to their unique selves.
 JOAN
OF ARC – Tim Melina Theo Bobby (Joyful Noise Recordings,
www.joyfulnoiserecordings)
This is it, folks. After 25 years as a band, Joan of Arc have
called it quits, with this LP being their parting gift to
all of us. And the band that has constantly reinvented themselves
with every LP are closing with an album that sees themselves
seemingly reinventing the band with each track. The LP, named
for the members of the band (Tim Kinsella, Melina Ausikaitis,
Theo Katsaounis, and Bobby Burg), begins with the pastoral
“Destiny Revision.” Guitars roll gently, as percussion
steps lightly as if strolling down a meandering path. The
whole feel of the song is one of a carefree sunny day spent
alone, just wandering. “Something Kind” features
Melina on lead vocals to a song of dark foreboding that alternates
between smooth and harsh sections. Listening to the attention
to detail in the arrangement is a joy, with intricate flourishes
totaling more than the sum of their parts. And that’s
not just on this song, it’s every track. “Karma
Repair Kit” sparkles and shines, guitars and synths
dancing around each other, while “Land Surveyor”
is a bombastic synth-heavy instrumental. “The Dawn of
Something” is another instrumental and has a wonderful
drone and percussion that gives it a South Asian feel, like
a trance-inducing Indian raga. “Cover Letter Song”
is a depressing dirge that articulates a series of crappy
jobs that make up a life experience. And I love the odd expansive
waltz, “Rising Horizon,” punctuated as it is with
samples of gasps and storytelling. Front man Tim Kinsella
has a new project taking his focus now, Good Fuck, a duo with
his wife, Jenny Pulse. So, farewell, Joan of Arc. We’re
sad to see you go, because this album shows you still had
so much to say. But we’ll hold these songs in our hearts.
 SLOW
BUILDINGS – Dereliction EP (www.facebook.com/slowbuildings)
Slow Buildings is the power pop/indie rock outlet for New
Jersey resident Jason Legacy. The opening track, “Fruit,”
reminds me a lot of a favorite band from the 1980s, The Vertebrats.
They were a local garage/power pop band from Champaign-Urbana,
Illinois and one of my introductions into the world of indie
music back in the day. “Too Monkey” is a cool
jazzy jumpy tune with garage undertones. “Your Muse
Is Problematic” eschews the garage and pop for more
of a 90s indie-nerd aesthetic, with quiet jangle from a guitar
with a clean tone. “Dead From a Distance” gets
a bit 80s goth, “Rest and Recovery” is quiet and
solemn, and “So Long” closes the EP out with a
head bobber of a song that bounces with whimsy. Though the
move from genre to genre is a little disjointed, the songs
themselves are nice enough.
 THE
CAVEMEN – Euthanise Me (Slovenly Recordings, www.slovenly.com)
After being separated for a long period of time, with some
band members stuck in Spain for an extended period of time
due to the pandemic (and releasing some fun records along
the way under the name “Sin City”), The Cavemen
are all back together and back at Slovenly Recordings with
a new four-song EP that will melt your face! Three of the
four songs are in-your-face hardcore garage punk, fast and
loud, even more so than usual Cavemen releases, as if the
quartet had a lot of pent-up energy to release. The title
track is a reference to New Zealand’s vote this year
on whether to enact the End of Life Choice Act of 2019, which
would allow terminally ill patients with less than six months
to live to choose to end their own life. Preliminary results
show it passed with 65% of the vote, and will go into effect
twelve months after the date of the vote. The song is manic
and desperate, pleading vocals begging for release. I love
the paean to cannibalism, “Eat Your Heart Out &
Wear Your Face,” maybe one of the most hardcore and
garage punk of all Cavemen songs ever, speedy punk rock, primitive
and raw, the best sort. “Nightmare” is an anti-love
song, with the song declaring “It’s a nightmare
every time I see you.” Another fast one, you can feel
them losing control, just as they sing, “Every time
I see you I lose control.” The last song of the quartet
is “Over You,” and it’s a slower one, a
little cleaner sounding than the others, and it’s bouncy
and melodic, almost a power pop tune! It’s so good to
have them back!
 HEART
& LUNG – You Wanna Know The Truth? (Red Scare
Industries, www.redscare.net)
Heart & Lung are prepping a new LP for Red Scare for 2021,
so label boss Toby Jeg decided, what the hell, why not re-release
this, the band’s very limited and long out of print
debut LP? Why not, indeed? The Cleveland pop punk outfit are
certainly worthy, featuring tight performances, harmonized
vocals, and snappy riffs. Apparently Heart & Lung are
baseball fans, because the album’s first track, “Telecaster,”
starts with Tom Hamilton, the voice of the Cleveland Indians,
telling us, “we’re under way at the corner of
Carnegie and Ontario,” where the Indians’ ballpark
is situated. What follows is 27 minutes of bright, fun, poppy
punky music. “Hit Song No. 4” is aptly titled,
because it’s written to sound like a radio-friendly
bubblegum pop song, and it’s done brilliantly, with
big harmonies in the vocals. “1954” uses hints
of retro rock and roll to set the stage, and the song speaks
about attitudes that are stuck in the past, and decries the
idea of “separate but equal,” the legal doctrine
enshrined by the 1896 Supreme Court case of Plessy v. Ferguson,
but finally overturned by the landmark Brown v. Board of Education
– in 1954. Yeah, Heart & Lung can get political
while still kicking out the pop jams. The song flows without
pause into the title track, a shining anthem to loving touring,
your scene, and all your friends. “Don’t Need
You Anyway” is another one with a retro pop melody,
the harmonized vocals reminiscent of the girl groups of the
60s. And so is the topic, with the song about a break-up.
Every one of the eleven tracks on the LP is high energy, tight
pop punk, and I can’t wait for the new LP. Toby sure
has a knack for picking out the pop punk gems.
 JIFFY
MARX – She’s My Witch b/w Warning Sign (Snappy
Little Numbers Quality Audio Recordings, www.snappylittlenumbers.com)
Autogramm’s Jiffy Marx, while on hiatus from touring
during the pandemic and working on Autogramm’s next
LP, decided to visit Seattle friends from Bread & Butter.
There, they recorded what we have here, Marx’s debut
solo single. The A-side, “She’s My Witch,”
is part power pop, part garage, and part classic rock and
roll. The song has a swaggering feel, reminiscent of Mick
Jagger, and the bouncy hooks are a hoot. “Warning Sign,”
on the other hand, has a little more of a somber aura, but
still solidly a mix of garage and power pop, with some 80s
post punk mixed in, too. I hope this wasn’t just a one-off,
because these are good songs.
 LARS
FINEBRG – Tinnitus Tonight (Mt. St. Mtn., www.mtstmtn.com)
You might recognize the name Lars Finberg from Thee Oh Sees,
or maybe from The A-Frames. Or perhaps, even, The Intelligence.
But here Finberg is releasing this LP under his own name.
And, as you might expect, there are plenty of garage influences
here. But if you think that’s all there is you would
be wrong. There’s folk-punk, synth-wave, and more on
this well-executed and eclectic album. The opening track,
“Lord of the Flies,” is a gorgeous melodic track
that blends both acoustic and electric guitars in some clever
arranging, along with subdued drums and bass. It has both
the blasé feel of post-punk no-wave and the melodic
sensibilities of power pop; it’s a wondrous dichotomy.
“Satanic Exit” keeps the same feel, but trades
the acoustic for buzzy synths. The song has minimalist repetition
in the line, but plenty of bounce. Right at the end of the
track, it briefly explodes with garage rock guitars for a
big finish. “The Doors” is a cool one, with some
tribal drumming, a driving beat in the chorus, wicked guitars,
and an off-kilter feel in the verses. “Public Admirer”
is a chaotic noise-fest, with feedback aplenty in the guitars,
yet melodic vocals holding the center. One thing I really
love about these tracks is the jazzy element injected into
several of them – they aren’t jazz, but there’s
a sort of relaxed jazz sensibility here. Listen to the strong
backbeat in “Boy Division,” an otherwise full-on
garage track. “TV / True Love” is a favorite,
starting out as a very bouncy melodic garage track, then turning
jazzy with guitars reminiscent of the smooth stylings of Thomas
Dolby’s “The Keys To Her Ferrari.” Even
more in the jazzy vein is “Wild Pilgrims,” with
super clean guitar tone and a relaxed beat. The studio conversation
retained at the end of the track is interesting, with someone
saying, “so, one more time,” as if it wasn’t
good enough, but you hear another voice saying, “yeah,
dude, he was stoked on that.” So am I.
 MUCK
AND THE MIRES – Welcome to Muckingham Palace (Dirty
Water Records, www.dirtywaterrecords.co.uk)
Last winter I reviewed a single from Muck and the Mires, “Cupid’s
Not a Friend of Mine.” It was to be a harbinger for
a new LP due out in the spring. And then COVID-19 did what
it’s done to so much of 2020, and the LP was delayed.
Later we got an EP from them, “Welcome Back to Planet
Earth,” half a dozen songs recorded during the lockdown.
But now we finally get the long-delayed LP, and man, this
was worth the wait! They’ve been described as “1964
Beatles meets the Ramones,” and it ain’t wrong.
This Boston garage band play a mix of power pop, retro garage,
power pop, and a hint of punk. The fourteen songs are melodic
and bouncy, loaded with fun. “This Time I Know I’m
Right” opens things with an amazingly great song, possibly
the best I’ve heard from the Mires yet. It’s so
tight, poppy and ebullient. “I’m Your Man”
is the lead single, and it’s a deeper garage cut, more
rock and roll than pop. “Too Soon to Fall In Love”
solidifies that Beatles simile, with some great 60s bubblegum
rock mixed with power pop and undercurrents of garage, just
enough to keep it real. “Don’t Start Running Away”
pumps up the even earlier Beatles era, with a strong R&B
influence, and “The Way It Was Before” eschews
most of the garage sound for a great jangly pop aesthetic.
“Good Enough” blends power pop and a working class
rock and roll feel, a la Bruce Springsteen.” All these
tunes are just so damn good! When the album ends with “Break
It All,” all mayhem breaks loose, Beatles and garage
and R&B influences all rolled up in one. Very worth the
wait.
 NOi!SE
– Base Rage On The Front Page (Pirate’s Press
Records, www.piratespressrecords.com)
NOi!SE have been on a tear lately, releasing a slew of singles
and EPs. This latest one, musically, is a banger, faster,
louder, and angrier than other recent songs. The production
quality muddies it, though; it sounds like it was recorded
in a high school gymnasium or something. And that’s
a shame, because the song is a good one.
 RECORD
THIEVES – Wasting Time (Thousand Island Records, www.thousandislandrecords.com)
The music on this debut LP from Denver’s Record Thieves
is solidly in the 90s punk camp, blending together skate punk
and pop punk styles and ending up about halfway between the
two genres. They have a sound that recalls 90s bands like
Millencolin and especially Face To Face, with melodic punk
that’s not quite so hardcore. The lead vocals are strong
and emphatic and the band is super tight. Harmonized backing
vocals fill a lot of the spaces, and the guitars are huge.
If you’re a fan of 90s punk, you’re going to love
Record Thieves, because they do a solid job on the eleven
songs on the LP. Sometimes the skate punk influence comes
a bit to the fore, like on “Actors For Hire,”
where the speedier harder edged style is predominant, or the
opening track, “Sacrifice,” which while not so
speedy, has a distinct skate punk guitar sound. “Who’s
Driving” is a little more on the pop side, smoother
and less edgy and high strung than many of the tracks. “Daily
Revolver” reminds me a little bit of Midwest melodic
hardcore punk from an earlier age. But my favorite track of
the LP is it’s final one, “Slumber Party.”
It’s got a big striding sound and a hopeful feel in
the chorus, as the lyrics are belted out; “It’s
cold outside tonight / I hope you’re sleeping well.”
Though the songs are well executed and energetic, and there
are some high points, there’s a little too much sameness
from song to song to really hold my interest too long. More
dynamic variance and more variance in tempo from song to song
would go a long way toward a change for the better.
 SUNDAE
CRUSH – A Real Sensation (Donut Sounds Record Co.,
www.donutsounds.com)
Originally from Denton, Texas and now making their home in
Seattle, Washington, “whether you're swooning over a
new crush or avoiding the anxiety of a breakup, Sundae Crush
are your friends, and their cosmic world is your escape,”
according to the band’s Facebook “about”
page. Their debut LP is pretty stripped down indie pop, with
a couple of guitars, bass, and drums. The music is light and
airy, much sparer than many bands. There are no fancy effects
with pedals, no distortion, just pretty music with lots of
space. The LP opens with “Kiss 2 Death,” an eerie
intro track featuring guitar, whistling, and organ. “Long
Way Back” is the first “proper” song, and
it’s got jangle in ample supply, harmonized and dueling
vocals, and a slightly garage feel, but this is definitely
not a garage rock record; this is indie pop, with spunk! The
song structures on this LP are somewhat unconventional, stopping
and starting, shifting tempos and time signatures, bouncing
vocals around, adding random shouts, and including interesting
instrumentation, such as vibraphone, saxophone, or trumpet.
There are lounge-like pop songs like “Lick It Up,”
with smooth jazz guitars, syncopated vocals, trumpets, and
backing vocals that are almost Motown-like, while “Green
Lake” features fluttery flutes and ethereal synths;
the track has a 70s psychedelic pop feel to it. And it’s
got a dog barking in it? Interesting arrangement! “La
La” is an odd one, closing side one; its lyrics are
simply “La la la” repeated over and over, and
it speeds up at the end, as if someone was turning up the
pitch control. I like “Good Boy,” especially the
back half, when the arrangement gets thicker, with synths,
saxophones, and flutes. The song is fairly simple, but the
Latin-esque beat and the instrumentation makes it interesting.
Not everything works as well as most of the tracks. “What
Do I Need” is a little too minimalist and feels somewhat
empty, and the second half of that track is an unnamed instrumental
that drags. It’s slow and repetitive. The closer, “Dudes
Being Guys,” starts out as a fascinating hymn, turns
into a garage pop tune for a bit, then becomes a weird synth-pop
thing, all the while the only lyrics are “dudes being
guys” repeated over and over. Despite a few lapses here
and there, this debut is fairly lovely.
 WET
TROPICS – Everybody Get In (Friend Club Records, www.friendclubrecords.com)
Part surf, part garage, part punk, Chicago’s Wet Tropics
have been slowly releasing single track demos over the past
two years, and now we’ve finally got their debut full-length
LP. And man, I haven’t been this excited about an album
in a long time. The three-piece outfit has a big yet stripped
down sound, with prominent bass, loads of fuzz, and some great
indie melodies. The opening track, “Cool California,”
shows off those surf guitar chops in a big way, and the retro
post punk vocals, emphatically partially sung, partially spoken
with lots of “body English,” are spot on, remind
me in a way of the B52s. Though the arrangement is pretty
spartan, there’s so much going on it gives it a full
sound. It’s the perfect introduction to the sound of
this LP, with its lo-fi production aesthetic, but not so lo-fi
that it sounds muddy; it’s perfect. “Le Fakery”
is a little more up-tempo and has a stronger garage sound
than most of the tracks, the bass taking a lead role. With
“Green Dreams” the vocals get more melodic, the
guitars start adding some cool flourishes, and you start to
see the whole package for the intense creativity behind it.
One thing that’s striking, too, is the effortlessness
with which the trio seem to play; it doesn’t sound like
they’re working hard. There’s a casualness that
just adds to the sense that this is something special. The
song “Tragic Accidents” is nothing short of brilliant.
It’s spare and simple, but so incredibly effective,
particularly the way the guitar punctuates the end of melodic
lines. It’s my favorite of the album. “Subway”
is another great one. You can hear the commuter train zooming
through the tunnel in the guitar and drums. And the point
where you hear guitar harmonics tossed in there? Spine-tingling.
I am obsessed with this album, and you will be, too.
 THE
1984 DRAFT – "Destination Breakdown" EP
(Poptek Records, www.poptek.com)
Ohio indie rockers The 1984 Draft are following up their 2018
debut LP, “Makes Good Choices,” with a new two-song
single. There’s a slight Americana feel to both of these
songs, though they’re quite different from each other,
and they’re more introspective than the songs on the
LP. The A-side is “Shame About Grace,” and it’s
got a big sound, expansive and open. The very first line of
the lyrics is something I can relate to, too: “I don’t
think I act my age.” The song, overall, is about how
people we thought we shared something in common with grow
apart, developing different beliefs, some of them harmful.
It’s a reference to the divide in our communities over
the response to the pandemic, with some believing in the science
designed to slow the spread of infectious disease, and others
politicizing it for selfish reasons. “You know our scientific
facts will never match,” says one of the lines of the
song, while the chorus and song title reference how so-called
“grown-ups” can act like spoiled children, “It’s
a shame at this age / You’re forgetting simple grace.”
The B-side, “Counting Up,” has a more delicate
sound to open, and when it gets going it’s a more emotional
striding sound. And where “Shame About Grace”
has a hint of anger to the lyrics, “Counting Up”
is more wistful. It’s also a pandemic-era song, and
references the feelings of loss we all have about missing
shows, gatherings, and friends. It speaks to the toll on children
who can’t spend time with their friends, too. But now,
it’s as if time is standing still. We fill our time
with work around the house (“I’ve painted and
worked on my home I have six rooms done”) and enjoying
family time (“I laugh and I play with my kids”
and “I cherish the time with my wife”). But everything
else in our lives is on hold (“But then the plague set
in, the timer seemed to stop. I’m no longer counting
up.”). I anxiously await the time when we no longer
have to dwell on the effects of the coronavirus, but while
it’s here, it’s providing fodder for some passionate
and poignant songs like these.
 THE
JASONS / BLACK RUSSIANS - The Jasons/Black Russians Split
(Mom’s Basement Records, momsbasementrecords.bigcartel.com)
You get your choice of a four-song 7” or a six-song
CD with this new split. The Jasons - hailing from Camp Crystal
Lake, New Jersey - favor hockey masks and pop punk. Black
Russians are a new band dedicated to teaching children to
worship Stalin through pop punk, and they throw a helluva
party: a Communist party. The two bands start their respective
sides of the record with an overt threat toward the other.
“Kill a Commie for Mommy” opens The Jasons’
side, while Black Russians’ opening salvo is “Kill
The Jasons.” To be perfectly frank, it’s a mixed
bag for me. Some of the songs are good, while some are more
mediocre. “Kill a Commie for Mommy” feels a little
too raw, a little too metallic, and a little bit sloppy. The
other two songs from The Jasons are much better. “Red
Dawnna” opens with a distant scratchy recording of the
opening measures of the classic Richie Valens song, “Oh
Donna,” and then launches into a speedy fun ‘90s
Ramonescore pop punk song. “A Blaze in the Soviet Sky,”
the bonus song from the CD, covers Black Russians with a darker
pop punk song reminiscent of the Chicago school of punk rock,
though it does throw in some metal guitar solo type stuff
the song could have done without. On the B-side, Black Russians’
start things with that song about all the ways they’re
going to destroy The Jasons, giving it a nice poppy bounce
amidst the gritty guitars. “Invasion USA” continues
the wall of guitar sound, and the melody gets darker. The
CD bonus track is “Red Blooded Soviet Punk Rock,”
and is more rock and roll than punk rock. It’s well
executed, but not my thing. So not counting the first and
last CD version tracks, it’s a good record.
 V/A
– Big Stir Singles: The Yuletide Wave (Big Stir Records,
www.bigstirrecords.com)
Most musical artists who decide to release music for the holidays
stick to providing their own take on the time-worn carols
of the season. Big Stir’s roster of acts, though, have,
for the most part, provided their own seasonal songs for starting
new traditions. The styles here range from power pop to indie,
from bubblegum to near show-tune styles. Nick Frater’s
“Wash Your Hands of Christmas” is a bubbly British
Invasion ditty that’s perfect for this pandemic season,
and The Brothers Steve give us the great power pop holiday
tune, “I Love The Christmastime.” I really like
The Stan Laurels’ tune, “Noche Buena,” a
lovely Beatles style pop tune given a more modern indie sound
by fuzzing up the guitars considerably, and the ending with
the synthesized flutes is absolutely beautiful. “Revels
Without a Claus” is not only a hilarious title, it’s
a bubbly funny song from the UK band Spygenius. It’s
cheeky, like something Monty Python’s Eric Idle might
write. Anton Barbeau’s “Xmas Song” is a
cool retro psych-folk-rock tune, with jangle aplenty to go
with the jingle (bells). The Decibels do something different,
taking the song “Gloria” and singing the lyrics
to “Angels We Have Heard On High.” Christmas has
come to the garage! Michael Simmons contributes his lounge
pop “Christmas Waltz,” sounding like something
out of a late night side stage in Vegas. And speaking of hilarious,
Dolph Chaney presents a song called “Jingle Bells,”
but it’s not the one you’re thinking of. It has
original lyrics, but sung to the tune of Van Halen’s
“Panama.” Even Chanukah gets in on the act, with
Alison Faith Levy’s light indie-pop “All I Want
For Chanukah Is A Ukulele,” so she can learn a new chord
each of the eight days. All in all there are twenty-five tracks
and an hour and twenty minutes of holiday cheer. Grab this
one for those upcoming nights watching the Yule log burn and
enjoying some eggnog with your immediate household only, please.
 V/A
– For Family and Flag Volume 1 (Pirates Press Records,
www.piratespressrecords.com)
Based on the success of their “One Family One Flag”
triple LP compilation which celebrated the label’s 200th
release, Pirates Press has decided to embark on a series of
compilations that celebrate the bands on the label. This first
outing sees new and unreleased tracks, as well as favorites
from past releases. The fourteen tracks provide a look at
the breadth and depth of the Pirates Press roster with long-established
bands and newer ones sharing the stage, all contributing to
this strong comp. A dozen songs of street punk, punk rock,
and power pop are bookended by a pair of unique tracks. Caribbean
jazz outfit Shuffle and Bang open with a swingin’ rendition
of BB King’s “Let the Good Times Roll,”
from their LP “Island Bop.” Closing the comp is
Lenny Lashley's Gang of One, performing a gorgeous, solemn
rendition of “Need.” Lashley’s plaintive
vocals are backed by simple acoustic guitar, handclapping,
and tambourine, with a bit of piano. Quiet and simple, it’s
a nice way to end the otherwise raucous LP. In between are
some fantastic tracks. Highlights include Cock Sparrer’s
glorious “Marching Onwards,” a mix of power pop
and rock steady from The Slackers in the form of “Nobody’s
Listening,” and “Battery Street,” from The
Drowns’ great LP “Under Tension.” “Watch
Your Back” is the title track off the forthcoming LP
from Charger, and it’s, well, a hard charging track.
“Working Poor” from Bishop’s Green is a
great street punk track, full of jangly guitars and politically
charged lyrics. “Taking Back the Neighborhood,”
from Seized Up, is powerful hardcore. And Subhumans prove
they’re still making speedy, powerful, vital music with
“Thought Is Free,” from their “Crisis Point”
EP. I like the power pop of 45 Adaptors’ “Now
or Never.” And I really enjoy the raucous “Black
Clouds,” from The Antagonizers. Every track on this
comp is a highlight, really, including “When This World
Ends,” from The Barstool Preachers, “Lost,”
from NOi!SE, and Lions’ Law’s “Damaged Heart.”
Pirates Press is putting out some great music these days.
 HEXADIODE
– Controlled Burn (hexadiode.bandcamp.com)
One year on from the release of their LP, “Metaxy,”
the Dayton, Ohio industrial innovators decided to try an experiment.
The tracks from that LP were provided to a diverse roster
of sonic scientists from all over the globe for their manipulation.
The results were assembled, all during the global pandemic,
and released as a celebration of the one-year milestone of
the record. Of that album I said it contained, “pounding
dance beats, gritty growling vocals, tons of synths and drum
machines, distortion aplenty, and an unyielding power…”
and that it is “well-executed menacing music.”
These remixes hardly change that assessment, for the most
part. The very first track breaks the rules, though –
it’s the band’s own remix of “Parasitic
Static.” The new version, though still with a strong
beat, is less dance and more sinister sounding, more mechanical.
I like the 11grams extended remix of “Invariant,”
the original being harsher and more grating, the remix sounding
more militaristic. Many of the remixes are cleaner sounding,
sometimes more evil, deeper. I love the deep bass resonance
punctuating “Impulse Matrix” as remixed by Damn
the Witch Siren. “Metaxy,” remixed by Skeleton
Hands,” thrums with the rhythms of urban life in a gritty
city. “Brain In 3” comes across as more of an
epic theme for a dystopian science fiction film as reconstructed
by Soft Riot, but when given the treatment by Slighter, it’s
eerie as hell, and I fear for my soul. It’s simply one
of the best tracks of the LP. Less successful, in my opinion,
is the remixed version of the title track from last year’s
LP. Red Pyramid took “Metaxy” and thinned it out,
making it lighter and less grating in some parts, harsher
and noisier in others, and it feels somewhat disjointed to
me. And Freeze Etch’s remix of “Extreme Unction”
just isn’t quite as extreme as the original. But overall,
the experiment is a success.
 THE
KINSEY SICKS – Quarantunes (www.kinseysicks.com)
The world’s first “beauty shop quartet,”
The Kinsey Sicks, the self-styled “girl-group made of
boys” sing what they call “Dragapella,”
drag queen a cappella. What we get is sixteen songs of social
and political commentary, sung in glorious four-part harmony
and with a wicked sense of humor. The topics are all current
and relevant, touching on topics such as the global pandemic
(“Social Distance”), political corruption at the
highest levels of government (“Grifters”), presidential
sex scandals (“Stormy Daniels”) and the politicization
of the US Department of Justice (“Mad Attorney General”).
In the best parody song tradition, many of the songs have
familiar melodies, such as “Scalia,” a song about
the awful legacy of the late Supreme Court justice sung to
the tune of “Maria,” from “West Side Story.”
The singing is gorgeous, and the satire bites hard. I love
lines like “Lady Justice is found giving you the bird”
that comes at the end of the track. “Stormy Daniels”
is sung to the tune of the old standard, “Stormy Weather,”
and views the situation from the point of view of the titular
porn star. We get a lush Christmas carol sung to the tune
of “Noel,” but here it’s called “Nobel,”
and sings the story of Donald Trump’s jealousy of Barack
Obama’s Nobel Peace Prize, and how he doesn’t
deserve the one for which he was controversially nominated.
“No Nobel unless it’s delivered to your prison
cell,” the song ends, on a bright note. Another holiday
tune, “Santa Baby,” becomes the backdrop for a
commentary on racist immigration policy called “Anchor
Baby.” Even Gilbert and Sullivan are pressed into service,
with their melody from “I Am the Very Model of a Modern
Major-General “ stolen and recycled into “Mad
Attorney General,” which rips Bill Barr to shreds. And,
after singing the song at a more moderate pace than G&S
would have it, we hear the shout, “Wow! Those lyrics
were terrible! Can you sing them so fast no one can possibly
understand them?” This is followed by the brisker pace
of the original, showing off the group’s musical chops.
Other topics include the various types of privilege that allow
some to stay blind to discrimination in our society, such
as weight privilege, white privilege, male privilege, and
straight privilege. The sharp wit can be heard on this track
after the first verse about “weight privilege,”
when we hear a speaker interrupt, saying, “Um, I think
you mean white privilege, not weight privilege.” “White
privilege?” comes the reply, “I never heard of
that!” “The Sound of Sirens” is a beautiful
hymn to the authoritarian use of police violence to suppress
the voice of the people, of course to the melody of the Simon
and Garfunkel classic, “The Sound of Silence.”
“Tomorrow,” the song from “Annie,”
keeps its title but gains lyrics about the joys that tomorrow
will bring as we emerge from the shadowy Trump administration
years. Great singing, sizzling lyrics, timely topics, and
drag queens; The Kinsey Sicks have it all on this fun LP!
 MYLES
MANLEY – Cometh The Softies (Witter On, www.witteron.ie)
Irish musician Myles Manley is a perfect example of why, sometimes,
less is more. The sparse arrangements on the ten songs on
this LP are absolutely perfect the way they are. When you
write and play excellent songs, there’s no need to muddy
them up with thick arrangements or overproduction. A couple
guitars and minimalist percussion are all you need, sometimes.
The best comparison to Manley’s vocals I think I can
make would be David Byrne. The tentative nature of the vocals,
mated to the minimalist arrangements, the repeated melodic
lines, and enigmatic lyrics speaks to me. “Were We Under
Attack From England” opens the album with bluesy electric
guitars right out of the bayou combined with a flamenco style
acoustic guitar, machine gun staccato percussion, and a deep
BRAAAP” from the electric guitar punctuating some of
the lines. “Relax; Enjoy Your Night Upon the Town”
comes next, with a breezy melody from the electric guitar,
an even more staccato percussion underneath, and lyrics that
I think could be quite political, talking about use of entertainment
to distract how we’re all losing ground daily against
the “1%,” those with all the money and power who
keep eroding our freedoms and our economic means to survive.
“They're coming after me and then they're coming after
you! / And then -- I'm going to tell you just exactly what
we'll do -- / We're gonna have a party, yeah, we're gonna
have a ball, / They're going to forget that there is a problem
at all,” says one version of the chorus. “Cinema
/ Mild Manners” is one of my favorites. What I can only
assume is heavily processed guitar makes a different sort
of “braaaaap!!” sound, while the minimalist melody
has the energy of a spy thriller soundtrack. You would think
the lyrics would be equally mysterious and thrilling –
but they’re about wanting to go see a movie at the cinema,
but encountering someone who’s pissed on the seats and
refused to wipe it up. The intensity of the guitars is a joy
and the use of just a few notes to create a phrase that’s
repeated over an over to crank of the tension is extremely
well done. Those lyrics could well be about people who contribute
to polluting the earth and causing climate change, but refusing
to change their ways, despite the obvious mess they’re
making. But I could be over-thinking this. “Will Anyone…?”
is a lovely jazz-pop tune, and I surmise it’s about
hypocrites who decry injustice while visiting injustice on
others themselves. “The injustice of it all / Sent you
whirring out of control… How can someone cut so clean
/ Be so unbelievably mean? / Working out your false dichotomies.”
Less certainly can be more. Fewer notes, minimalist melodies
and minimalist instrumentation, fewer words, even, arcane
lyrics. These things can add up to something so much more
than the sum of the parts. And in the case of Myles Manley,
they certainly do. This is one of the most unique, fascinating,
and fun records I’ve heard this year.
 THE
MYRRHDERERS – The Myrrhderers Sleigh Christmas (themyrrhderers.bandcamp.com)
Many many years ago, when I DJ’ed a weekly shift at
a fully DIY student run college radio station in Chicago,
I looked forward every year to the holiday season. I made
a practice of collecting punk rock, indie, and off-the-wall
holiday music and once a year I would go crazy playing those
songs over the air. It started out as just the first couple
of 15 to 20 minute sets in my shift, but as my collection
grew it slowly took over the entire four-hours. I miss those
days, but The Myrrhderers (pronounced like murderers, of course),
a super group from the North Pole, are here to give us a punk
blast just in time for jolly old Saint Nicholas to slide down
your chimney and give your whole household the ‘rona.
These little elves give us five familiar songs of the season,
ready for shredding your skateboard over the blanket of fresh
snow. “Deck The Halls” is a bright, shiny Fat
Wreck style version of the classic carol, while the band’s
rendition of “God Rest Ye Merry Gentlemen” is
some speedy, dark metallic punk, the perfect sound for saving
us all from Satan’s power and giving us tidings of comfort
and joy. I really like the slower grunge version of “Do
You Hear What I Hear,” with its great 90s indie sound,
and “Have Yourself a Merry Little Christmas” is
a lovely jangly pop tune here. Closing out the EP is “Carol
of the Bells” as you’ve never heard it before.
Dark, powerful, metallic, and sinister are some adjectives
that come to mind. Some people get sick of Christmas music
fast when the holidays come around, but when you have non-traditional
versions like these from The Myrrhderers, they’re a
lot of fun.
 KATY
J. PEARSON – Return (Heavenly Recordings, www.heavenlyrecordings.com)
After trying the major label pathway to making music, in a
project with her brother that “went to shit,”
as she says, Katy J. Pearson is striking out on her own with
this debut solo LP from the UK native. In some of the interviews
and write-ups I’ve seen there are references to an Americana
influence in the music, and I guess I can hear that, if only
slightly. What I hear is sweet indie music with hints of UK
folk influence. Sure, maybe there are some similarities to
American artists like Lydia Loveless, but there’s more
alternative here than country twang, especially in the bright
sunny opening, “Tonight,” even though it begins
with a chorus of weeping fiddles. The sparkling acoustic guitar
and up-tempo beat says “pop” way more than country.
And when the trumpets come in, there’s not a cowboy
in earshot. The music on the ten tracks is light and airy,
pleasant to listen to. I like the drive of “Beautiful
Soul;” the arrangement evolves from simple to complex,
and the cello that comes in later in the song is simply gorgeous.
As nice as the music is, there’s something about Pearson’s
vocals on some of the tracks that bothers me. On the title
track, there’s a little too much vibrato, her voice
rapidly wavering on some of the longer notes. There’s
also a quality to her vocals that bothers me a bit –
I can’t put my finger on it. The register is higher
than I like, I guess? That combined with the quaver that appears
on various songs is a bit off-putting. “Fix Me Up”
is a perfect example of this dichotomy; I love the bouncy
melody and the arrangement is fun and pleasing, but the vocals
grate on me. It’s like that on a lot of these tracks.
 UNITED
DEFIANCE – Empty Advice (www.facebook.com/uniteddefiance)
Oakland’s United Defiance play melodic punk in the 90s
skate-punk vein, and they’re one of the better DIY bands
in the genre. Their latest release is a new single, “Empty
Advice,” which is a harbinger of a new LP coming sometime
next year. It’s typical United Defiance fare, up-tempo
melodic punk rock, crunchy guitars, gang vocals, and loaded
with energy. One of the things that make United Defiance such
a fun band to watch and listen to is the joy that comes though
in their music; it’s obvious they’re having a
lot of fun playing. The song, at least how I interpret it,
seems to be about how people tend to look to others for what
to think and how to live, not standing up for themselves and
what they believe. But being your own person can lead to better
things, as the chorus says, “Come out swinging if your
backs against the wall / There's so many people that want
to watch you fall / Sometimes you're right sometimes you're
wrong / Just stand your ground and write your own song.”
Be yourself – it’s a simple message, but hard
to do sometimes. Now I am eagerly anticipating the LP.
 RICKY
– Palm Trees (rickysmusic.bandcamp.com)
Ricky is Ricky Schmidt. You may know him from Western Settings
or Hey, Chels, the two bands in which he’s currently
active. This is his debut solo LP, and he’s joined by
Shane Hendry on drums and Hey Chels band mate Jax on backing
vocals. The music on “Palm Trees” teeters between
the styles represented by Ricky’s other bands, Western
Settings being the more emotional and epic sounding band,
Hey Chels representing the poppier side. Here we get songs
that are big and expansive, yet poppy, bouncy, and darkly
bright (the overall feel is bright, but some of the guitar
sounds are sad and lonely). The production has an interesting
quality, with vocals done lo-fi and with loads of reverb,
but the instrumentals somewhat cleaner. This is courtesy of
Tyson “Chicken” Annicharico, bassist/vocalist
of the band Dead To Me, who has been making a name for himself
as a producer, as well. Ricky developed a relationship with
Annicharico when he produced two Western Settings records
over a five-year period. “Having Tyson in the studio
is a pleasure,” says Schmidt. “Tyson knows exactly
what I’m trying to accomplish musically and he always
has the best ideas on how to achieve it.” Besides the
selective use of lo-fi recording and reverb, there’s
an interesting layering of sound that creates an amazing texture
in the eleven songs here. In this way, the album reminds me
a bit of Canadian artist Pat Jordache, who has released records
under his own name and collaborated with tUnE-yArDs’
Merrill Garbus in their band, Sister Suvi. Credit for the
sound also belongs to engineer Brandon Mericle and mixer Scott
Goodrich.
The record opens with “Bored,” a jumpy up-tempo
track celebrating the collapse of civilization. “I
think Ishmael might be right, I think we might be dying
out / The earth is caving right in, our pres is celebrating
/ The kids are calling it quits, there ain't no future in
this at all,” Schmidt sings. Crazy conspiracy theories
plaguing our nation are referenced, too: “Sayonara
my friend, I see those toes dangling off the edge / Of the
western flat earth, I'll take a big plate of dirt / Then
wash it down with some oil, and make a helmet of foil.”
The song is anything but boring, with its big bold sound.
The guitar tone is amazing, almost growling, the bass line
is running up and down like mad, and the high-pitched backing
vocals are amazing.
One really nice touch that adds to the texturing of these
songs is the miscellaneous percussion. There’s more
than just a standard drum kit in action. That’s all
Shane Hendry’s doing. Hendry’s played in a number
of bands, including Eskara, From Scars, and Reunions, and
Schmidt, after initially planning to do the drums himself,
decided to turn to Hendry, who readily agreed. “I
sent Shane the demos without drums and he sent them back
with his better versions,” says Schmidt. “When
he sent back ‘Hot Summer’ it had crazy bongo
drums and other auxiliary percussion on it. I remember just
hearing it and texting Shane telling him, ‘more of
that please.’ Shane put auxiliary percussion all over
all the songs and it completely changed the whole record
in the best way possible.”
Even more than the other songs, “New Day” reminds
me of Pat Jordache, particularly the layering of sound and
the way the melodic line is constructed. The acoustic guitars,
the various percussion instruments bouncing around, and
the overdubbed vocals add together to create sensory overload
in the best way. Its message is one of fatalism, with lyrics
talking about how “There's no point in fighting if
it's something you cannot win / The night falls, the wind
blows, the sun brings a total new day.” It’s
one of my favorites of the record. The lead single, “Escape
Artist,” underneath the layered production, is at
its heart a great power pop song, with loads of hooks. “This
song is about needing to step away from the world and allow
yourself time away from everything,” says Schmidt.
“We all need breaks and especially during a time like
the one we are currently all in." “Like A Cult”
has an interesting Latin sound to it, while “Vietnam”
is a quiet song with acoustic guitar and big vocals that
are pulled back in the mix, sounding far away. The lyrics
reference the idea of just quitting everything, packing
up, and moving far away (to Vietnam). “Social Me”
is a scathing indictment of social media and the trolls
that inhabit it, I really love the chorus on this song,
in particular, with the rapid strumming guitar technique
that’s used, and the thick layering of sound.
This may be one of those “unpopular opinions”
that people like to post on social media, but I honestly
think Ricky’s solo LP is better than either his work
with Western Settings or Hey, Chels. I really like these
songs; they’re pretty different from a lot of the
sameness happening out there.
 SWANS
– Children of God / Feel Good Now (Young God Records,
www.younggodrecords.com / Mute Records, www.mute.com)
Swans are rereleasing a newly remastered edition of their
fifth studio LP “Children of God.” Originally
released in 1987, “Children of God” saw its last
reissue in 1997, packaged together on CD with “World
of Skin,” an LP released in 1988 under the band name
“Skin,” a collaboration of Swans’ Michael
Gira and Jarboe. “Feel Good Now” compiles live
recordings from Swans’ 1987 European tour, and was originally
released in that year, seeing its only reissue back in 2002.
By 1987, Swans had already transitioned away from their earlier
era of intense grinding noise and pounding beats into something
no less experimental, but much more accessible, with droning
melodies, vague ethnic sounds, tribal rhythms, and ethereal
choirs, plus Gira’s ever-present basso profundo vocals.
You can hear this transition in the opening track, “New
Mind.” It has an intense, crashing beat and a noisy
two-chord drone, but this is less noise and more music than
earlier releases. And rather than shouting, Gira’s booming
vocals are intoning the lyrics. Lyrics on this album revolve
around the contradictions of human existence, sin and forgiveness,
redemption and hell, sex and damnation vs. love and salvation.
After the bombastic opening track, “In My Garden”
is quiet and ethereal, piano and flute playing over a throbbing
guitar, while soprano vocals ring out breathy words that feel
almost like a magical incantation for immortality. “Our
Love Lies” is a dirge in waltz time, a plea to God to
have mercy and a declaration of belief in love. Much medieval
liturgical music was in three-four time, because it represented
the Holy Trinity, the Father, the Son, and the Holy Spirit,
so important in the Catholic church, and the vocal chorale
of this song represents the divine, while the wailing guitars
and crashing percussion seems to represent the sinning nature
of humanity. I’m fascinated by “Sex, God, Sex,”
which encapsulates these contradictions. “I will pray.
I will pray. I will go down low, and I will pray to you,”
and then “I will beg you Lord. I will deny myself, I
will deny you Lord. Though I’ve done nothing wrong never
in my life, no no no no no. I will beg you Lord, and I will
pray for you to forgive me now.” At once believing in
the need for forgiveness while also believing that what some
call our “sins” are not that, it’s the conundrum
of human existence. “Blood and Honey” drips with
sensuality and foreign mystery. “Like a Drug (Sha La
La La)” has the droning vocals of mid period Current
93 mixed with the martial rhythms of Der Blutharsch. It’s
one of the noisier tracks of the LP, too, representing that
transitional period I mentioned, bleats and blats interjecting
throughout the track. I love the military bombast of “Beautiful
Child,” sounding dark and fascistic, an incessant drumbeat
accompanied by a twisted fanfare. The lyrics are equally twisted,
with Gira first shouting about the titular beautiful child,
declaring his love for this child and how he will hold him
in his arms, but then declaring with equal assurance, “Listen
to him cry. I can kill the child, the beauti¬ful child.
I will kill the child, the beautiful child.” I liken
this to so-called populist/nationalist leaders who declare
their love of country, but who, upon attaining power, systematically
destroy the thing they claim to love. Sound familiar? It’s,
unfortunately, a recurring theme of our species. There’s
the pair of tracks, “Real Love” and “Blind
Love,” with the former being a warmer song about the
worshipfulness of love, and the latter a very mechanical sounding
track, the lyrics of which refer to the neediness that can
lead to “fake love.” The closing track is the
title track, and is a bright chorale, “We are special,
we are perfect. We were born in the sight of God,” the
vocals intone; “Our suffering bodies will suffer no
more. We are children, children of God.”
The live LP, “Feel Good Now,” which accompanies
this reissue, contains live recordings of most of the tracks
from “Children of God.” But being Swans, the
live recordings bear little resemblance to the studio recordings.
For example, “Blind Love,” which opens the performance
(after a brief “Intro”), is a lengthy improvisation
over the mechanical beats, the lyrics not present or buried
beneath the power of the instrumentals. This is Swans reverting
to the industrial noise of their past. “Like a Drug
(Sha La La La)” is powerful and noisy, more like an
enormous factory floor than a martial rhythm, all sorts
of grating and crashing noises going on, and the vocals
sound darker and more evil than the chanting of the studio
recording. The track builds and builds, getting noisier
and more intense; it’s breathtaking. I’ve never
had the opportunity to see Swans live, but it’s clear
that they use the written songs as just a starting point,
a suggestion, and the live performances are freer and more
improvised than a lot of music. It must make for an intense
show-going experience. Plus, I’ve been told they’re
one of the loudest live bands ever. The performances on
the live recording are much more intense than those on the
studio album. “Beautiful Child” opens as noisily
as any of the early Swans cuts in this live performance,
before settling into the martial beat, but here there’s
more clanging and shouting, a loud declaration as if the
convince others when one doesn’t believe oneself.
Here, too, the beats sound more mechanical, like the music
of the neo-futurists, industry moving incessantly. I think
the studio versions of these songs are more nuanced, and
have more varied textures. I can see the allure of a live
Swans performance, though. The sheer intensity can bring
about an altered state of being.
 ANXIETY
SPIRAL – Demo (Knife Hits Records, www.knifehitsrecords.com)
Brutal, thrashy hardcore attacks you right from your speakers,
showing no mercy, as this self-recorded four-song demo explodes
with rage. Three of the tracks are the expected sort of hardcore
sound, fast and loud, dark angular chord changes, and angry
shouted lyrics. And as good as those are, one track stands
out above the others, “The Lobbyist.” It’s
a quickstep waltz with awesomely dissonant guitars, pounding
drums and rumbling bass, and the back half gets all eerie
and mysterious sounding, an evil noise backing an ominous
lecture about the dangerous mind control capabilities of the
Internet. I wish this release wasn’t quite as lo-fi
as it is, because this deserves to be herd more clearly.
 THE
CRIBS – Night Network (Sonic Blew Records, www.thecribs.com)
In 2017 The UK band The Cribs released their LP, “24-7
Rock Star Shit,” recorded by Steve Albini. It became
their fourth consecutive UK Top Ten album. The band, who had
earned multiple Q and NME awards, quickly parted ways with
their longtime management company, but soon found that the
legal implications meant they were unable to record or tour.
It almost ended the band. But a year later, the band was asked
to open for Foo Fighters at Eithad Stadium in Manchester.
They were discussing their woes with their new friend, Dave
Grohl who simply told them to come to L.A. and record in his
studio. Now, three years later, even with the band scattered
across great distances (Portland, Oregon, New York City, and
the UK), they’re back with “Night Network,”
their eight full-length LP. And even though they’re
a modern rock band playing music in 2020, you can hear the
Beatles’ influence in some of these songs. They sound
like someone took power pop and tried to engineer it into
sounding more like indie rock. Listen “Running Into
You,” the second song of the LP, and you’ll see
what I mean. The hooks are very 60s, but the engineering gives
the guitars a very buzzy fuzzy Jesus and Mary Chain sort of
sound. And “Screaming In Suburbia,” even though
it’s a slower number with a ballad-ish feel (though
it’s mid-tempo, not slow), feels like it’s got
mid-period Beatles sounds underneath the production. I like
“Goodbye,” the track that opens the LP. It opens
with a vocal chorale, oddly distorted music underneath, and
once the song gets going it’s got a retro 60s pop feel,
full of reverb and sadness, Beach Boys style melody and harmonies.
The distorted guitar line slays me. I also like “I Don’t
Know Who You Are,” a track that starts cleanly and gets
more and more distortion as it evolves toward the end. There’s
a heavily distorted guitar lick that’s repeated over
and over that sends chills through my body, too. Besides these
few songs, I just can’t get into this, despite repeated
listening. There’s too much sameness, too little variety
in the sound. The tempos of every song are pretty close to
each other, there’s little dynamic change. It’s
OK, I guess. I guess?
 THE
FLAT FIVE – Another World (Pravda Records, www.pravdamusic.com)
Well, isn’t this just a little ray of sunshine to light
up the bleakness of 2020? The Flat Five are a group of Chicago
musicians, including Kelly Hogan and Nora O'Connor (Neko Case,
The Decemberists), Scott Ligon and Casey McDonough (NRBQ)
and Alex Hall (J.D. McPherson). These in-demand musicians
stole time away from their other endeavors over a more than
one-year period to put together this eclectic collection of
pop, jazz, and country tunes. And while they aren’t
going to set the world on fire, they’re light and pleasant,
just the antidote for these dark times. “Drip a Drop”
is a blend of pop, rock, and a touch of R&B, with a retro
AM radio flair. I adore the breezy jazz tune, “Look
at the Birdy, sounding like something right out of a smoky
club from the 1950s. “I Don’t Even Care”
is another pop tune, with a cute bounce and rays of 70s sunshine
and rainbows. We even get a heartbreaking country folk tune
in “The Great State of Texas,” a pretty waltz
played on piano, bass, and brushed drums with harmonica accompaniment.
It’s a song of farewell, recounting all of the things
the narrator will miss, particularly their dearest love, as
the day of execution at the prison arrives in the “great”
state of Texas. Another waltz is the pretty, jazzy “Girl
of Virginia;” the bass harmonica that’s used to
punctuate some of the phrases is quite effective, and the
piano and brushed drums are lovely. “Butterflies Don’t
Bite” sounds like something right out of the Herb Alpert
catalog, with its Latin jazz aesthetic, with marimba underneath
the trumpet. “Over and Out,” which closes the
LP has a bit of Latin jazz, too, but seems more to be the
sort of easy listening pop that was popular in the 1960s.
Overall, like I said, there’s nothing striking or groundbreaking
here, but it’s a nice breath of pleasant fresh air to
take one’s mind off all the ills swirling around us,
an escape.
 GOINGS
– It’s For You (Know Hope Records, www.knowhoperecords.com)
After last year’s three-song EP, this is the debut full-length
LP for this Philadelphia band. And the band is a conundrum.
Some of these tracks are brilliant, sparkling mathish pop
music, while some of them are very slick-sounding commercial
pop music. And some tracks are both. For example, the opening
track, “Phone Numbers,” has some great math-like
rhythms and the bright keyboards add a shimmer to the song.
But the gliding harmonized vocals are a little too slick for
my tastes. “Blue Sky,” on the other hand, is one
of the best tracks of the LP, with sections of nice indie
pop and sections of intense instrumental gymnastics. The vocals
in the more animated sections are quite enthusiastic. “Trying-Dying”
sounds like a modern indie updating of an 80s new wave song,
which is kind of odd. I’m not sure the synth tone selected
for the song quite goes with the melody, sounding more like
cheap sci-fi than pop. And “Haircut” stands out
from the rest of the tracks, but not in a good way. This track
sounds too much like commercial pop music; with a slightly
funky melodic line, it sounds like something a boy band might
perform. I do enjoy “It’s For You,” with
its flittering guitars and breezy melody. “Elevator”
is an interesting track that has parts that sound like dull
adult contemporary rock and parts that are rhythmically challenging
and brilliant. So, overall it’s a mixed bag –
the musicianship is amazing and some of the arrangements are
exciting and demanding of the listener’s attention,
while other parts are uninspiring and characterless.
 HOMECAMP
– Did We Return As Something Else (Wiretap Records,
www.wiretaprecords.com)
I’ve commented before on the consistency and care with
which Wiretap boss Rob Castellon curates the bands for his
label. But Homecamp is completely different from anything
Wiretap has put out, and unlike anything you’ve likely
listened to on a regular basis. Big emotional melodies ebb
and swell, with synths, faux strings, and sometimes piano
providing the primary instrumentals. Boy-band style harmonization
is featured in the vocals. The result bears no relationship
to punk, pop punk, post punk, indie rock, or any of the related
genres we’ve come to expect from Wiretap’s growing
stable of bands. Instead, this is big ballad-like pop rock,
the kind of stuff you might see someone perform on a darkened
stage with just a spotlight on them, maybe with superimposed
video of waterfalls and other natural surroundings. Kind of
the new age of emo-pop? And it’s not just a couple of
slow songs and a few faster ones – it’s all the
same sort of ambient emo-pop ballad stuff. I really could
not get into this.
 THE
JUNIOR LEAGUE – Fall Back + Summer of Lies (Kool Kat
Musik, www.koolkatmusik.com)
“Summer of Lies” is a 4-song EP released digitally
earlier this year and “Fall Back” was originally
released a decade ago under the name of the force behind The
Junior League, “ Joe Adragna. What we get here are the
EP plus a bonus song (a cover of The Beach Boys’ “’Til
I Die”) and the LP, remixed, remastered, resequenced,
and in some cases rerecorded, and there are a couple of bonus
songs here, too. The sounds are actually quite varied, ranging
from jangly retro pop rock to more modern indie sounds and
singer-songwriter fare. My favorites are those more retro
jangly songs, like the opening track, “You’re
Gonna Die Alone.” The guitar jangle reminds me a bit
of The Beatles’ “Here Comes the Sun,” but
this song has hints of twang, too, and the deep growling bass
is cool. “Leave Me Resigned” is another with that
British Invasion sound, but tempered with some more modern
indie and a clear singer-songwriter vision. The title track
from the “Fall Back” LP has a gorgeous lush sound,
and the guitar sound is spot on. This one actually makes me
think about the fall, with cooling temperatures, leaves changing
colors, and cloudy skies. “Depot Park” reminds
me of a pared back remix of something J. Robbins (Jawbox,
burning Airlines) might have written but as the song evolves
it gets thicker and richer, adding more instrumentation, including
piano and violin. “Like Nothing Else” has a 70s
folk-rock sound, and a jazzy feel added by the gorgeous Fender
Rhodes sounding keyboards and flute-tuned synths. Those are
the songs that stand out the most to me, with the rest being
solid indie songs, if a little on the softer side.
The “Summer of Lies” EP, recorded a decade
later, has more twang in the songs, yet still has a retro
pop flair, as can be heard on the opening track, “Summer
of Flies.” It’s got more than a hint of 60s
pop and a bit of country in the mix, but there’s a
high-pitched guitar buzzing around, I guess supposed to
represent the flies? It’s annoying, but then, so are
flies. “Make Up Your Mind” has a 70s protest
song vibe that’s been softened. “Out On The
Side” creates a quiet gospel atmosphere, and “Didn’t
Want to Have to Do It” is lounge-jazz-pop. As far
as that Beach Boys cover, I could have done without it.
It’s the weakest track of the bunch, in my opinion,
with multi-tracked harmonized vocals and keyboards/synths.
It sounds like it was recorded as an afterthought, and the
vocal mixing doesn’t sound right. But overall, The
Junior League is a pleasant listen: pop sounds with a soft
edge.
 MORAL
MAZES – Gold Beach Fortress (Rad Girlfriend Records,
www.radgirlfriendrecords.com, Little Rocket Records, www.littlerocket.co.uk)
Moral Mazes is the new band featuring members of Jawbox, Office
of Future Plans, and Airstream Futures, with Jeff Dean on
guitar, J. Robbins on bass, and Darren Zentek on drums. The
band uses a rotating roster of guests for vocals, with Jonah
Matranga featured on their previous release and Michael Feerick
on this one (their Facebook page also lists Bob Nanna, so
perhaps there’s another couple of songs awaiting a future
release?). The two songs here are lush indie rock, with full
guitars, tough drums, and smooth, dreamy vocals. The A-side
is the title track, a mid-tempo rocker with dense, luxuriant
guitars and ethereal vocals. The B-side track, “Illinoise
by Numbers,” is slower, dreamier, yet with a more deliberate
beat, and I think the better of two excellent tracks. We need
more than singles, though…
 SPENCER
CULLUM’S COIN COLLECTION (yk Records, www.ykrecords.com)
That this debut LP sounds like the psychedelic folk-pop music
of 1960s and 1970s Great Britain is not a surprise, because
Nashville resident Spencer Cullum relocated there from London
(by way of Detroit). He spends much of his time as an in-demand
studio musician for the likes of Kesha, Caitlin Rose, Deer
Tick, Miranda Lambert, and Little Big Town. But now, Cullum
is emerging from studio anonymity to focus on music of his
own. “I wanted to write a very quintessential English
folk record, but with really good Nashville players."
Cullum says. And if you’ve ever watched English neo-pagan
films of the 1970s, such as The Wicker Man, you’ll realize
that Cullum has succeeded. Blending both acoustic guitar and
electric steel guitar, Cullum creates that psychedelic neo-pagan
folk atmosphere, and you feel transported. The waltz time
opening track, “Jack of Fools” is a perfect example
of this, Cullum’s vocals singing softly and casually.
And the obsession with nature that was contained in the British
neo-pagan movement, mirroring the island’s religious
beliefs of the pre-Roman Celtic tribes, comes through in the
opening of “To Be Blinkered.” The track opens
with the sounds of birdsong, before the quiet acoustic guitar,
piano, tapping percussion, and smooth subtle vocals begin.
It’s quietly gorgeous. “Imminent Shadow”
crosses psychedelic folks with quiet acoustic sounds a la
Nick Drake, and is one of the prettiest songs on the LP, with
flute and bass clarinet swelling and ebbing in the background
as the acoustic guitar plays a winding melodic line. There
are some sounds that are somewhat different, lest you think
this is a one-note album. “Tombre Enmorsheux”
is less psychedelic folk than it is straight up 70s light
pop music, while “Dieterich Buxtehude” is an ambient
instrumental track with some 70s prog rock aspects, and “The
Dusty Floor” transforms from psychedelic folk to a Pink
Floyd inspired rock song at the halfway mark. If you’re
looking for something calming to listen to this winter while
curled up in front of the fireplace, this would be a good
record to include in your playlist.
 THE
CASKET LOTTERY – Short Songs for End Times (Wiretap
Records, www.wiretaprecords.com / Second Nature Recordings,
www.secondnaturerecordings.com)
This is the first new LP from The Casket Lottery since 2012’s
“Real Fear.” And that LP was released in their
short-lived 2012 reunion, their previous release coming in
2003. The first few songs of this newest LP are nothing short
of outstanding. They’re a throwback to 90s post-hardcore
and post-emo, with a huge sound, lots of angular yet smooth
chord changes, and plenty of meter shifts. I love the opening
track, “You Are a Knife.” It’s powerful
post-hardcore, with angular guitar stabs, a throbbing bass
line, and jutting meter changes. Vocals are sung/shouted with
intensity. The whole package reminds me of some of the bands
I used to love back in the 90s. Even better is “Big
Heart Closed Mind,” which is no less powerful, but is
smoother and more melodic and has more meter changes, and
the guitar lines are gorgeous. “More Blood” goes
a step further in making things smoother and less acute. It
still packs an emotional wallop, though. Some of the songs
are less my taste, however, sounding more like the overblown,
slick “emo” of the 2000s. “Sisyphus Blues”
falls into this category, a quieter, smoother angst-filled
song. “Unalone” is even quieter and smoother,
and even less my taste. A number of the songs lie somewhere
between these extremes, though, such as “Trust As a
Weapon.” It has some of the angularity and meter changes,
but it’s also got a silkier, more polished sound. Same
thing with the closer, “Sad Dream,” which has
a bit of jangle in it, smoothness, yet some angularity. I
really wish there were more songs like those few I really
liked, because those were excellent. I do feel that fans of
2000s post-emo are going to eat this up, because it definitely
is better than the run of the mill 2000s emo band.
 DEENA
– Some Days (www.deenashoshkes.com)
New Jersey singer/songwriter/rocker Deena Shoshkes of The
Cucumbers has released a couple of LPs now under her own name,
and now we get this new single, featuring two new songs, “Dance
The Night Away” and “Thursday.” The A-side
is a classic retro rocker with a bluesy country edge, while
the B-side is more of a classic rock song, but still with
a bit of blues mixed in, kind of like a Rolling Stones song.
Both are smooth and light, maybe a little too light, but they’re
pleasant and bouncy enough.
 DIVIDED
HEAVEN FEATURING LYDIA LOVELESS – They Poisoned Our
Fathers (Smartpunk Records, www.smartpunk.com)
Two of great singer-songwriters team up on this new single
from Divided Heaven. Jeff Berman, the driving force behind
Divided Heaven, and Lydia Loveless, who recently released
an amazing album of her own (see further down in this column
for that review) bring us a powerful song that’s not
only an anti-Trump protest song, but it’s also a heart-wrenching
song about the generational divide that’s alienating
parents and children from one another. There are lyrics referencing
the use of fear to motivate voters, and how fear turns to
hatred, about how religion and patriotism have been turned
into nothing more than tools to control a population. The
numbness that society now has to mass shootings, lives worth
less than in death, and a driving profit motive for everything
are all decried. But even more distressing are the lyrics
about how the fear and hatred have infected our older family
members, negative emotions motivating their decisions, and
the chorus that declares, “There ain’t enough
love / There ain’t enough to change your mind / There
ain’t enough love to change your mind / Have I failed
you like the way that you failed me? / There ain’t enough
love.” Berman and Loveless’ vocals complement
each other perfectly, and the music is what we’ve come
to expect from Divided Heaven, loaded with emotion. It’s
been a couple years since Divided Heaven’s last LP came
out, and this timely single makes me yearn for a new one.
 THE
GOALIE’S ANXIETY AT THE PENALTY KICK – Ways
of Hearing (Count Your Lucky Stars Records, countyourluckystars.limitedrun.com)
The Philadelphia band with an impossibly long name and impossibly
large roster (six to seven members!) are releasing their debut
LP, and it features ten quietly lush songs. The first track,
“An Olive Coat,” reminds me of Slint, but with
dueling male and female vocals winding around each other,
and with violin weeping a counter-melody. The song starts
with quiet breathy vocals over subtly jangly guitar. The violin
comes in, as do keyboards, drums, and another guitar, yet
despite the number of instruments playing, the song still
feels hushed. “We Love You So Much” follows, with
the same sense of stillness, but it slowly builds, the violin
soaring. I really like the mostly acoustic “The Best
of all Possible Worlds,” which is an understated pop
song, delicate plinks from a keyboard punctuating the melody.
I adore the contrasting vocals on this song, with the male
lead almost whispering and the female lead more emphatic.
“The Cat Stands On My Arm” is gorgeous and fairly
even until we get two thirds through, when it suddenly builds,
and the distorted guitar harmonics fill the space, the violin
getting more intense, and the whole thing creating a huge
dreamy soundscape. The whole album is like this, very understated,
very pretty, with those wonderfully contrasting vocals. I
like this.
 HOUSEGHOST
(Rad Girlfriend Records, www.radgirlfriendrecords.com /
Cat’s Claw Records, catsclawrecords.bigcartel.com)
While one would think from the band name and the cover art
that this Dayton, Ohio band are a seasonal one-trick spooky
punk band, nothing could be further from the truth. Sure,
there are some songs that reference some eerie things, but
take a closer look at the cover. Those jack-o-lanterns are
smiling and cuddling. And the songs are more about typical
pop punk themes of loneliness, depression, isolation, and
self-loathing, which can be scary enough when you’re
trying to make your way through life. Musically, the songs
range from driving punk rock to bouncy pop punk, from pop
to near hardcore. That said, that opening track, “Book
of Shadows,” sure opens on a dark theme, and then turns
into a killer of a driving punk track, dark and briskly brooding.
I really like “Darling,” which reminds me of a
brighter, poppier Marked Men. “Hollow Hallway”
is an excellent retro pop song with a rocking edge. I like
the mix of goth punk and hardcore on “Marceline,”
giving it a cool retro 80s sound, while “Zozo”
is a great hardcore track with just the right amount of melody
and pop bounce. “In a Box” is even harder edged,
but then we also get the slower, poppier “Deep Inside
Your Heart,” which is almost the pop punk equivalent
of a romantic crooning song. If Houseghost ever decide to
rearrange and rerecord some of their songs, this would perfect
to slow down considerably and smooth out; it would be so sad,
with lyrics about a person with a heart of stone living life
alone. “Yellow Wallpaper” is the least punk track
of the LP, starting with a thinner quieter sound, then midpoint
turning into a big dreamy shoegaze track. The closing track
is a cover of The Cure song “Boys Don’t Cry,”
and it will make you wonder why it wasn’t recorded this
way to begin with! It’s more thickly arranged than the
original, with a great wall of sound from the guitars, and
the tempo is just a tick quicker, giving the song a bouncier
feel. One of the things that make this record such a good
listen is the variety. Not only are there differences in the
basic sound of the various tracks, the trading off of lead
vocals between the brother and sister duo of Nick and Kayla
Hamby, the founders of Houseghost, keeps things varied and
interesting. Varied and interesting are always good.
 LOVE
TRACTOR (Happy Happy Birthday To Me Records, www.hhbtm.com)
In the early 1980s, as the first wave of punk rock died out
and gave way to hardcore, there was also the rise of college
radio and indie rock. Nowhere was this scene more focused
than in Athens, Georgia, where the B-52’s had already
made a name for themselves, and R.E.M. was beginning to make
waves. One band that also came to the fore was Love Tractor,
formed in 1980 by fellow art students Mark Cline, Michael
Richmond, and Armistead Wellford. Their debut self-titled
LP was released two years later on Georgia indie label DB
records, which had also released early records from the B-52’s,
Pylon, Chris Stamey and others. Heading into the studio to
record what was supposed to be their first single, they worked
so fast that they just kept on laying down more tracks, essentially
playing them “live” just as they would at a show.
When they reached eleven songs, they stopped, and their debut
album was ready. Though the band would eventually grow to
include vocals, their early material was fully instrumental.
You can hear hints of the new wave sounds of the day in the
melodies, and you can hear the first beginnings of the guitar
jangle that would morph into indie rock and indie pop. Though
Love Tractor were a distinctly different band than contemporaries
The B-52’s, who played new wave party pop, I can hear
some of the same bass and guitar sounds in some of these songs.
Listen to “Buy Me A Million Dollars,” the first
track, and tell me you don’t hear it. Being an instrumental
band, the tracks aren’t “songs,” but can
be thought of as sonic art. The result is that the album is
more “cerebral” than an album of songs. The lyrics
of a song often tell you what to think about the song, but
when it’s instrumental, you have to think about it more,
immerse yourself in the music, and let it set a mood. I find
it fascinating that “Sixty Degrees Below,” which
one would think would sound frigid, instead sounds sunny and
warm. “Motorcade” has an air of mystery mixed
with the sounds of pomp and self-importance. I love the segments
when the bass and guitar play in unison, the bass playing
a rising line. And the funky pomposity of the other segments
is fun. The synths play an X-Files sounding theme, too, adding
to the mysteriousness. And the album sequencing is done well,
too. As “Festival” fades out, then “Cowboy
Songs” begins, I’m stricken by how well they go
together, the rock solid tempo of both being the same, and
the bass lines being complementary. The bright jangle of the
guitar in the latter song and the angular bass make it a favorite.
“Wheel of Pleasure” definitely gives the sense
of spinning and whirling, and I really like “Chilly
Damn Willy,” a song named for the famous cartoon character.
The guitar lines are hard to describe, but the jangle is great,
and the tune is full of different hooks. The music on this
LP may not be the party music of The B-52’s, and may
not have had the indie-rock impact of R.E.M.’s songs,
but Love Tractor had enormous influence in the early days
of the Athens scene, making this an essential LP.
 PUP
– This Place Sucks Ass (Rise Records, www.riserecords.com)
I was supposed to see PUP last spring at their appearance
at The Casbah, a small dive of a venue in San Diego with a
storied history. PUP never play clubs that small anymore,
and it promised to be a sweaty time full of bruises and fun.
Then the pandemic hit and shows started getting cancelled
or postponed. PUP’s tour was rescheduled to the fall,
and I was to see them on a Tuesday night in October. OK, still
at the Casbah, it will still be crazy, right? The coronavirus
had other ideas, and the tour is now rescheduled for October
– of 2021. But all is not lost! PUP came to the rescue
of fans with a new six-song EP! I’ve heard some people
comment that maybe these are “leftover” tracks
from the “Morbid Stuff” LP recording sessions.
Whether they are or not, I think this EP is tremendously good.
Besides the usual PUP sort of raucous pop punk songs about
deep anxiety and personality disorders, we get songs that
are constructed a little differently, with more dissonance,
more funkiness, even bits of European ethnic folk music! If
these are leftovers from “Morbid Stuff,” it’s
not because they’re lesser songs, it’s because
they didn’t fit, stylistically. I love the differences
in these songs, too. The chorus on “Rot,” which
opens the EP, is standard enough PUP material, but the verses
and bridge are more dissonant, less melodic, harder and darker.
And isn’t it great? “Anaphylaxis” opens
with shrieking dissonant guitars, and then becomes a crazy
off-kilter waltz, with a twisting time signature and skipped
beats, sounding like a rock and roll folk song from deep in
central Europe, but played by angry musicians. It’s
all a frenzy, and you can feel the disorientation of someone
suffering from anaphylactic shock. “I never knew I was
anaphylactic,” the song begins, “I took the medicine,
it wasn’t working.” You can feel everything spinning
out of control, as the song recounts every bad thing that
results, including a trip to the hospital to get pumped full
of chemicals. “A.M. 180” is an uncharacteristically
“pretty” song for PUP, with smooth vocals in the
verses, guitars jangling. But the instrumental chorus is big
and fuzzed out, even as it has a poppy bounce. And it’s
a sappy love song, to boot, about doing everything and nothing,
as long as it’s together. “Whatever, together,”
the outro repeats. The closing track is the shortest, the
most intense, and the best, in my opinion. It’s called
“Edmonton,” and I wanted it to be a little longer.
NOMEANSNO style angularity and funky bass join with dissonant
guitars and manic vocals, twisted lyrics about singing songs
about killing your friends, getting up on stage and performing,
feeling guilty later, getting drunk and leaning on the urinal
thinking about missing birthdays and funerals. Are you guys
OK? Well, hopefully OK enough to keep pumping out more great
records like this one.
 REAL(S)
– D.L.S.B. (Music As Insurgent Art Records, www.facebook.com/Musicasinsurgentart)
London’s REAL(s) has been dropping singles for a year
and half, and now present their debut LP. D.L.S.B. is “Deep
Love Song Bomb,” is not just the name of the LP, it’s
the art collective the group founded, as the band’s
bio says, “to use all forms of art & creativity,
combined with a collection of philosophies including Lorca’s
Duende & DaDaist surrealism, seeking to highlight the
inconsistencies and cracks in the facade of reality, conjuring
a breaking in the chains of our past so we might step into
a future that has long been unclaimed.” OK. Music As
Insurgent Art are releasing this LP in conjunction with Dirty
Water Records, which is know for putting out the best garage
and sleaze rock on their side of the Atlantic. So I expected
something gritty and primitive. And the opening track, the
appropriately titled “Sleazer,” met and exceeded
my expectations. Noisy, lo-fi, rocking garage music came out
of my speakers…but with a difference. Amidst the distortion
was a bouncy pop song, and layered in with the feedback and
sonic muck were interesting electronic effects, like a garage
band on an acid trip making art. “Stop Freaking Out”
continues the journey, still rooted in garage rock and pop,
but the spacey feel gets amped up even more, and this song
reminds me of Ohio’s great psych-punk garage rock band,
Vacation. I like, too, the retro inspired “Wilhelm Scream,”
with hints of 50s doo-wop in the melodic line, but with garage
rock sensibility and an acid-trip psychedelic veneer over
the whole thing. Things take a major turn with “Up The
Slopes,” which has a much more retro 80s art rock sound,
with cool spaced out meanderings and sparkling synths. Two-thirds
through the track it resolves into a dreamy pop song, with
overloaded reverb and distortion, epic horns blaring a fanfare-like
sound. “From The Seed” blends 80s Joy Division/New
Order with modern indie and dream pop sounds to create an
original sound, while “Dark Web Messiah” takes
the dreaminess to new levels. The B-side songs continue the
themes of combining retro art rock, post-punk, psych, garage
rock, and dream pop, with different amounts making up each
track. “M.I.C. Blasters” brings back some of the
raucousness of those first couple of garage rock tracks while
maintaining a strong dose of post punk, while the closer,
“For Al Eternity,” has some very eerie background
jingly music and whispered voices in the introduction, while
the song itself is pretty retro pop, with an ordered chaos
to the chorus. REAL(s) provide an LP that’s both familiar
sounding and fresh, varied yet consistent. I can’t wait
for more.
 SCIENCE
MAN – Science Man II (Big Neck Records, www.bigneckrecords.com)
Science Man is the alter-ego solo project of John Toohill,
utilizing drum machine, guitar, and vocals. Wait, that came
out sounding too sterile. Science Man is noisy, messy punk
fucking rawk! From the greasy garage of “Top of the
Crown” and “Brazilian Napkins,” to the manic
punk noise of “Hit the Switch” and “Into
the Rift,” this is intense stuff. The drum machine pounds
with precision, while the distorted guitar noises cut like
a jagged knife, one that’s not so sharp, so it shreds
rather than slices. Toohill’s vocals match the ferocity
of the music, belted out with the fervor and fanaticism of
an unholy preacher. This is the kind of music that’s
going to mow down everything in its path, you included. The
exceptions to this rule include the penultimate track, ”Keeper
of the Wyrm,” which features steel drum rhythms and
mysterious electronics providing the image of a clockwork
in my mind. It’s oddly relaxing and hypnotic. And the
closing track, “The Gift,” which is a slow, pounding
song with evil intent. The drum machine pounds at a dirge’s
pace, with the bass giving a single note melodic line, the
guitar snarling and laughing as Toohil’s shouts a lyrical
incantation. When you come out the other side of this record,
you’re going to be changed. You will never be the same
again. You can’t go back. Not ever.
 THELONIOUS
MONSTER – Oh That Monster (www.theloniousmonster.com)
The on-again off-again Thelonious Monster is back on again,
for the third time. Originally active from 1984 to 1994, then
again from 2004 to 2011, the band is back with their first
LP since 2004’s “California Clam Chowder.”
I can’t claim to be well versed in the band’s
back catalog or history. Though I’ve often heard the
name and thought it a clever play on influential jazz pianist
and composer Thelonious Monk’s name, I never really
listened to the band’s output. So I come with no expectations
or preconceived notions. And I find that I enjoy the ten songs
on the album, and their blend of pop, jazz, and funk. I really
enjoy the variety of sounds exhibited, mixing things up and
not getting stuck in any one musical rut.
“Disappear” opens the LP with some strong post-punk
power, including awesome angular guitar jabs that make it
a favorite. The layering of found sounds and electronics
toward the end give it an interesting texture. I like the
power pop of “Trouble,” and the Beatles-like
line in parts of it. “Elijah” mixes surf and
western sounds in a cool way “Sixteen Angels”
is an awesome jazz-inspired track. I love the smooth guitars
and the soaring saxophone. The song has that feel of a smoky
club, late night, and cheap whiskey. The track slowly builds
in intensity, getting louder and more emphatic, and around
the midpoint there’s a dueling saxophone solo, and
the guitar joins in with some deep psych licks. The whole
thing gets pretty chaotic and free jazz-fusion, and it’s
glorious. “La Divorce” has just the sort of
L.A. R&B sound you would think it should, sounding like
something from a movie soundtrack. I love the bright folk
of “Day After Day,” something made possible
by the mandolin and acoustic guitars, and toward the end
of the song the tenor sax reminds me of Saturday Night Live’s
band with a nice bluesy riff. The closing track, “The
Faraway,” is epic. It starts out as a quiet folk tune
on banjo, goes through an acid trip phase, with weird found
sounds, tape looks, reverb and twisted psychedelic melody.
The last thirty seconds get big and profound sounding for
a huge finish. Love it.
I’m not sure if Thelonious Monster has always had
this wonderful variety, but this record sure is fascinating
to listen to. It’s a journey through different magical
lands, in a sense. I may check out some of the earlier releases
now.
 ISAAC
ROTHER AND THE PHANTOMS – "Witches Brew"
(www.isaacrother.com)
Blending together R&B, surf, and horror-garage genres
of rock and roll, Isaac Rother and the Phantoms have a spooky
new single just in time for the Halloween season. With vocals
influenced by Screaming Jay Hawkins, Rother sings of the titular
potion, how to make it, and what it’s good for –
of course to cure what ails you. The guitar is loaded with
reverb, bass and drums pulled back in the mix, with sultry
backing vocals, providing an eerie sound. Put this on repeat
to scare away the trick or treating kids trying to spread
their virus to you!
 ARRICA
ROSE & THE …’S – Once in a Lullaby
(pOprOck records, www.arricarose.com)
I last reviewed music from Arrica Rose a couple of years ago,
and most of that record was OK, but forgettable. Except for
the last song of the LP, which was a quiet, dreamy mash-up
of “Video Killed The Radio Star” and “What
a Wonderful World” that floored me. Thankfully, this
new single is in a similar vein. Acoustic and electric guitars,
piano, and ethereal electronics blend with Rose’s breathy
vocals to create a dreamlike mash-up of “Somewhere Over
the Rainbow” and the protest songs “For What It’s
Worth” by Buffalo Springfield and “Ohio,”
the Crosby, Stills, Nash, and Young song about the Kent State
massacre by the Ohio National Guard. The result is a hazy
introspective track that examines the ills plaguing our nation
and imagining a time or place where the strife and hatred
are gone. It’s a timely song, and executed beautifully.
The song choices for this mash-up were perfect, with lyrics
from “Ohio” pointing the finger at the use of
police and federal troops to quell protests against police
brutality and murder this year (So we gotta get down to it
/ Soldiers are cutting us down / Should have been done long
ago / What if you knew her / And found her dead on the ground
/ How can you run when you know). Arrica Rose & the …’s
are apparently working on a new EP due early next year, and
I hope those songs follow this trend. Simply beautiful.
 BIKE
THIEFS – Leaking (Stomp Records, www.stomprecords.com)
This punk rock trio from Toronto who don’t know how
to spell the plural of “thief” present their debut
full-length LP. It gives me a lot of interesting B-52’s
vibes, Talking Heads too, and especially the obscure Washington,
D.C. 80s art punk band 9353. With just guitar, bass, and drums
(Marko Woloshyn, Kris Pandierada, and Andrew Fasken, respectively),
the sound is a little thin in places, but the band do extremely
well with what they’ve got. A lot of the tracks have
interesting angular stop-start instrumentals with hints of
new wave mixed with the punk. Woloshyn’s vocals are
spoken or shouted (really spoken loudly more than shouted)
rather than sung. The lyrics are often repeated and contain
wry humor. There’s a song called “Connie’s
Got a New Phone,” for example. It opens with some guitar
dissonance, then smooths out, with lovely guitar harmonics
on the chorus. The lyrics are emphatically spoken, with lines
like “No functioning adult should own a pet lizard”
and other non-sequiturs. I love “You’re Allowed
Your Feelings;” it’s got a great driving bass
line and a drum beat that’ll get you moving. Lyrics
at times sound like a lecture, sometimes like a huckster salesman,
and other times are sung. The instrumentals alternate between
sparse punctuation and lush sounds. The stabs from the guitar
will pierce your heart and soul. “Financial Cancer”
is a chaotic noisy punk track with show tune aspirations,
so grandiose it is. “Flyover State” is an outlier,
with a dreamy sound and lyrics that are sung. As the song
evolves, the instrumentals get bigger and Woloshyn’s
vocals get more intense to the point of actual shouting. The
result is a fairly emotional song, much more so than the rest
of the LP. “Ideas Guy” is another of the more
melodic songs, with a leisurely pace and relaxed singing –
for the most part; at times the heat gets cranked up nicely,
and the use of guitar dissonance is quite effective at developing
tension in an otherwise placid track. With their fresh unique
sound, Bike Thiefs may not have stolen my bike, but they’ve
stolen my heart. <insert rim shot here>
 HiGH
– Out My Scope (Strange Daisy Records, www.strangedaisyrecords.com
/ Ashtray Monument, ashtraymonumentcol.wixsite.com/mysite)
NOLA’s HiGH – that could be a complete sentence
right there – are back with their third full-length
LP, the first since 2017’s “Evil Gene,”
which made its way onto my year-end “best of”
list. So “Out My Scope” has a lot to live up to.
This new LP is certainly more varied than the last one, spanning
more genres and sounds. On this outing the band veers somewhat
away from the power pop and punk influenced songs and more
toward indie rock and indie pop. There’s more variety
in tempo and texture of these songs, too. And longtime readers
of my Jersey Beat reviews column will know that I love variety.
“Oldest Things” opens the LP, and is one of the
songs that still do have a punk edge to it, but it’s
got cool touches like the guitar solos that sound like they
have a sense of humor. “Coupon Neptune” is the
most pop punk/street punk track of the LP, and it’s
a real blast.
Now to that variety. The songs seem to alternate between
faster, harder rocking tracks and slower, quieter ones.
I really love “Smartest Things,” a quieter indie
track that reminds me of some of the best of 90s indie.
“Ten At Zero” is also a slower track, this one
reminding me of grunge, but not quite as heavy and thickly
arranged. “Bon’s Breath” is an awesome
bass-driven track with simple yet cool angular lines in
minimalist repetition. “Milkweed” is some lovely
indie pop, another ballad-ish track with a quiet intensity.
And “Overdrawn” has an amazing jazzy edge to
its rock. The closing track, “Crooked,” has
a nice poppy bounce to it, and a gorgeous smoothness. And
that smoothness is something most of these tracks have in
common – they’re smoother and more relaxed than
those on “Evil Gene.” They exude more confidence,
in that respect. Is “Out Of My Scope” a “better”
album than “Evil Gene?” They’re different,
and they’re both really good. This is recommended.
 KNEELING
IN PISS – Music For Peasants (Anyway Records, www.anyway-records.com)
With a name like Kneeling In Piss, you would have certain
expectations for what the band would sound like. And you would
be very, very wrong. They’re not punk or grindcore;
they’re jangly indie pop! Last year, the band had released
“Tour De Force,” their debut full-length. And
just before the pandemic lockdown, they released a single
and announced a four-song EP, both of which were to be harbingers
of another LP to be released later in the year. Well, here
we are, and the LP has not come to fruition, perhaps another
victim of COVID-19. But we do get another four-song EP, so
that’s something. Fronted by Alex Mussawir (formerly
of Future Nuns), the Columbus, Ohio quartet (guitar, bass,
drums, and keyboards) play light indie pop songs that are
a reflections of the banality of everyday weirdoes. On the
synth-heavy “Music For Peasants,” which opens
the EP, the song seems to be about how people (peasants) seem
to be isolated, alienated and alone, and we do things to feel
less alone. I like “Pervert Today,” which has
a driving booming bass and thick dark guitars with a clean,
clear sound. Vocals are delivered in a deadpan style, even
as the music gets very emphatic. I think the song may be about
the incompleteness of people, as one verse references “Sophisticated
but cheap / A piano with no keys / A gun with no trigger /
A gun with no trigger.” But we don’t realize it,
as another verse says, “I feel right when I’m
wrong.” “Sofia Coppola” is another synth-fueled
track, with drum machine and keyboards driving the song about
wanting to leave Ohio after the recession is over, to work
in movies with the actress, as if it’s the most normal
thing in the world. The closer is an ode to the odd, in “I
Love the Avant Garde,” Piano and twangy guitar plunk
out a toy-like melody. Yep, Kneeling In Piss was quite a surprise
– a good surprise.
 MYLITTLEBROTHER
– Howl (Big Stir Records, www.bigstirrecords.com)
Recorded in 2019, before anyone had heard of the coronavirus,
Cumbrian band mylittlebrother has finally released their sophomore
LP. Located in the far northwest of England, just at the border
with Scotland, Cumbria is mostly made up of the Lake District
National Park, lots of little villages, and the County Town
of Carlisle. It seems an unlikely place for an indie-pop band
to spring forth, but then, the small towns in the north of
England have produced several excellent bands. mylittlebrother
trend toward the lighter side of the musical spectrum, playing
songs that have tinges of psych and folk rock. The songs glide
smoothly and there are few rough edges, musically; it’s
all light and airy. Lyrically, the songs get a bit darker
than the melodies might imply. “It was largely written
during a pretty rough period for me, and it reflects that”
says vocalist and primary songwriter Will Harris. “’Howl’
takes you through hope, joy, anger, fear, loss, and ultimately,
back to hope again, but all with catchy tunes.” Harris’
vocals remind me of the neo-pagan folk that was coming out
of England in the 1970s, for some reason. They have an informal
but intentioned sound, and Harris’ northern accent is
clearly intact. Songs like the opener, “Play Hard,”
have a definite retro 70s psychedelic folk-rock bent and a
pleasantly casual tone. Even stronger in that retro 70s sound
is “Janey,” one of the album’s lead singles.
The other lead single, the album’s title track, “Howl,”
blends a bit of bubblegum ballad and Beatles-esque pop into
a song of pining for lost love. “ After the first verses
explain everything that was wrong with the relationship, a
subsequent verse declares, “But if you wanted, I could
fall for you again / Just Howl.” The song that really
grabbed my attention, though, was “Chicago.” Of
course, since that’s where I’m originally from.
Its melody cries it for it to be played louder, grittier,
and heavier than it is here, at least portions of the song.
It’s like a suite in three movements, with the first
movement being wannabe metal that should be played with an
early Black Sabbath ferocity, the second a gorgeous chorale,
and the third is some rock and fucking roll. “Time of
Our Lives” reminds me of a more modern version of a
Burt Bacharach song with an indie flavor. So bottom line,
is this a good record? Well, it isn’t a bad record.
I do wish there was more intensity to some of the tracks,
though.
 POPULATION
II – À La Ô Terre (Castle Face Records,
www.castlefacerecords.com)
Psychedelic jams fill the ten tracks on this new LP from Montreal’s
Population II. The trio give us 45 minutes of mostly instrumental
music, punctuated with occasional lyrics in French, but added
more as another instrument than actual “songs.”
Hypnotic and mesmerizing, some of the tracks are long-form
jams while others are short fragments or introductions. Take
the spacey trance jams of bands like Amon Duul II or Can,
make them harder edged with garage rock sensibilities, and
you’ve got an idea of what Population II sounds like
on this, their debut LP. “Introspection” opens
the LP with a cacophonous scream of instruments, then resolves
to a bluesy jam, and evolves into a buzzy, searing guitar
fueled rockfest with interjections from a jazzy saxophone.
The mysterious sounding “Les Vents” starts smoothly,
with beautiful harp creating a very science-fiction-like atmosphere,
with the bass walking through the stars, the organ shining
brightly. Like other tracks, it evolves, the organ giving
way to electric guitar, but not giving up any of the mystery.
Halfway through, the guitar takes complete control, plunging
into the closest star, the hellish flames burning everything
around. Suddenly, the fire is out and we’re again in
the coldness of space, near silence broken only by the return
of the organ. “Il eut un Silence dans le Ciel”
is a frantic caterwauling at the start, that gets a little
funky, while “Attraction” is a sultry slow burner.
Yes, these tracks are jams, yes, this is “out there,”
but it’s damn cool and unlike many jams, it morphs with
much variety. If you live in a state where weed is legal,
I’m guessing this will be even better under the influence.
 RALPHIE’S
RED RYDERS – You’ll Shoot Your Eye Out (Radiant
Radish Records, radiantradish.storenvy.com)
In one of the most anticipated reunions in a long time, Ralphie,
Schwartz, and Flick entered Carbine Action Studios in downtown
Hohman, Indiana this past summer to lay down the dozen tracks
contained in this first release from the Red Ryders in many
years. And it comes just as the holiday season starts to crank
up, so the timing couldn’t be more perfect. Guest appearances
at this session include Mike, Mark, Reese, Christopher, Donna,
Beth, Manny, Randy, Grover, and Scut. Of course, if you’re
paying attention, nearly none of the above is true. Mike Patton
and friends are giving us another wonderful themed record,
just as they do with their Vista Blue records. But this time,
we don’t only get a season or holiday to celebrate,
we get one of the most beloved holiday movies, based on the
stories of American national treasure, the late Jean Shepherd.
If you’re familiar with the sounds of Vista Blue (and
you should be, really), you’ll know what to expect here:
buzzy guitars, bright gleaming keyboards, and harmonized vocals,
all done in a Ramonescore meets Beach Boys style. And if you’re
familiar with the movie (or better yet, the stories upon which
it’s based) you’ll recognize the vignettes that
inspired each of these songs. “My Decoder Ring”
of course refers to the time Ralphie mailed away to get Little
Orphan Annie’s decoder ring and his dismay when he decoded
his first secret message. “I Can’t Put My Arms
Down” recalls the time Ralphie’s mom got little
brother Randy ready to walk to school in the Indiana winter,
with so many layers and so much bulk that he literally couldn’t
put his arms down. Who can forget the “Bumpus Hounds”
that ruined Christmas dinner? There’s a promotional
spot for Higbee’s, the department store in Hohman where
Ralphie and Randy have a momentous encounter with Santa Claus
and his elves. There’s even a song about the anticipation
of getting an A+ on one’s assigned homework, the theme
about the perfect Christmas gift. The closing track, “Electric
Sex,” recalls what’s arguably the most famous
scene in the film, the major award won by Ralphie’s
old man and displayed proudly in the front window, at least
temporarily, to mom’s dismay. The doo-wop captures the
confusing longings Ralphie felt as he eyed the Nehi leg lamp.
If you’re a fan of Vista Blue, Ramonescore, or A Christmas
Story, this is something you gotta hear.
 LOVE
EQUALS DEATH / THE STATIC AGE – Split EP (Say-10 Records,
www.say-10.com)
Say-10, purveyor of records and skateboards, is releasing
one of the oddest pairings I’ve ever heard on a split
EP. The two tracks from “Love Equals Death”
are big, muscular punk rock with loads of whoa-ohs and lots
of skate punk energy. The two songs from The Static Age
are synth and guitar driven, with a more expansive pop sound,
including dark vocals and bright electronics. Taken separately
both a good on their own merits. But back-to-back listening
to both is jarring.
 KURT
BAKER – After Party (Wicked Cool Records, www.wickedcoolrecords.com)
Ex-pat Kurt Baker is one of the bright lights keeping the
flames of power pop lit. The former Leftovers member has been
living in Spain, and the records he puts out there with the
Kurt Baker Combo have tended to lie a little more toward the
pop punk end of the spectrum. But with this, his US-based
band, it’s unabashed power pop, and I hear Elvis Costello
and Beatles influences in some of the dozen new songs here.
These are sparkling and poppy, with tons of hooks. I really
love “New Direction,” the song that opens the
LP. It’s a mid-tempo loper, and Baker sounds so much
like Elvis Costello here it’s eerie. The song is about
the realization that, after a breakup, life goes on and can
be even better. The chorus has big vocals and the song has
a bright sound, like the new outlook on life reflected in
the lyrics. “I Like Her A Lot” is another great
one, with a fast moving melodic line, lyrics filling every
space, and “Waiting For You” has bits of mid period
Beatles sounds. The harmonies are spot on and the piano playing
the melody is pretty. “Good” is an interesting
track, with a reggae feel, crossed with power pop, and lots
of Elvis Costello mixed in. “She Don’t Really
Love You, Dude” is one of the edgier tracks on the album,
with rough and ready guitar tone and a driving beat. The keyboard
solo is simple, but works, especially as the baton as handed
off to the guitars. And the spoken word in the middle of the
track, after the bridge is hilarious: “Hey man, I hate
to break it to you, but the fact is, she doesn’t love
anybody.” The tongue in cheek bossa nova lounge song,
“A Song and a Drink” is nice, too, but more fluff
than substance. “Over You” sounds like it could
have been written and recorded in the 1980s, and it could
have come from the Journey song catalog. The harmonized vocals
on the chorus, the melodic line, it’s all there. And
“Keep Dreaming” is a lighter song, the chimes
giving it a little bit of a holiday feel. These two are the
songs I didn’t like quite as much as the others, sounding
more commercial and AM pop radio oriented. But this is another
solid effort from Baker, and another reason power pop is still
a vital genre.
 THE
LINE – Sour to Punker (ImageArt Records, thelinemusic.bandcamp.com/album/sour-to-punker)
Originally formed back in the 1990s, The Line hail from Orange
County, California. And yes, the four-piece are true to their
roots, with a strong Orange County 1990s punk sound, though
they lean more to the metallic/progressive rock end of the
OC punk spectrum than the skate punk end. The songs are mid
tempo, with big guitars and dark melodies. Five of the six
tracks on this EP were recorded late last year, but one song,
“Harmony Do You Miss We,” was written and recorded
during the pandemic, the “we” meant to be a reference
to the scene unity we’re all missing without shows,
hugs, and high fives. That song has a sad yet hopeful sound.
“Strange Modesty II” may be the most “punk”
sounding track of the bunch, a little poppier and with a faster,
brighter feel, while “Modem 2K” is the most outright
metal song on the EP. Overall, the songs really don’t
do much for me. Modern OC punk isn’t one of my favorite
genres, and the gang vocals on these tracks could use a little
work – they sound a bit out of tune and a little unenthused.
 SKELETON
ARMY – GovernMental Disorder (skeletonarmypunk.bandcamp.com)
Skeleton Army is a four piece DIY punk band from the Phoenix,
Arizona area, and this is their debut full-length LP. They
call themselves “good old punk rock,” and that’s
an accurate description. The Southern California/OC old school
punk sound is strong with these guys, with speedy songs, simple
melodies, and crunchy guitars. The lyrics, too, reflect a
mix of the early Orange County punk tradition, ranging from
political topics to funny punk. Back before “skate punk”
became a different sound in the 1990s and 2000s, it was hardcore
made by bands like JFA (also from Arizona), Code of Honor,
and others, and Skeleton Army exhibits a lot of that sound.
“Fuck the DEA” is probably one of my favorite
tracks of the album, blending political and party lyrics with
bouncy fun punk rock that reminds me of Chicago’s Slammin’
Watusis. Some of the songs express an old school punk attitude,
such as “Go Uck Yourself” (that’s not a
typo, thought the lyrics do include the “F”),
the chorus of which has the simple lyrics, “Why don’t
you just go fuck yourself” repeated. The music is dark,
speedy, and hard as nails. And “Motherfucker”
is a slower one with a bounce, lots of whoa ohs. The chorus
of “You motherfucker” repeated multiple times
is sung pretty casually, without bile. Familial dissension
is on display in “Ultimate Disappointment,” in
which we hear “I’m not sorry, mom / That I don’t
believe in your god / I hope you can forgive me / For losing
my religion.” This one’s slower and sludgier.
As a burrito fan, another favorite is “Killibertos,”
a punk rock ode to the corner taco shops all over the southwest
(but the best ones are in San Diego). The song is dark, loud,
and angry, as it sings about the foods that will “give
me a fuckin’ heart attack.” And “Eat Your
Vegetables” reminds me of the old satirical straight-edge
band, Crucial Youth, who sang songs about practicing good
dental hygiene, among others. Skeleton Army isn’t blazing
any new trails, of course, but they’re just like your
dependable local punk band that you can see open the show
when an old 80s punk band comes touring through.
 PROFESOR
GALACTICO/THE PARANOIAS - Nightmare / Hope To See You Next
Year Split EP (My Grito, mygrito.limitedrun.com)
My Grito is a new imprint of Wiretap Records, the LA label
that has made a big splash in its mere five years of existence.
Co-founded by Wiretap boss Rob Castellon and longtime friend
Oscar Toledo, My Grito’s mission is to support Latin/Latinx
artists in various mediums, including music, visual arts,
comedy, and more. One of their early releases is this split
EP from Profesor Galactico and The Paranoias. The “A
side” includes five songs from Profesor Galactico, a
self-taught musician who blends ska, punk, alternative, and
hip hop styles into a unique fusion. His songs range from
melodic and bouncy to dark and edgy. I really like “Alien,”
his opening song. It uses a Theremin to create an eerie otherworldly
effect, and the song alternates between skankin’ and
hard-edged post-hardcore mixed with hip-hop. I’m not
the biggest ska fan, but the horns on “Move It Or Lose
It” are done really well. The track itself is kind of
jazzy post-hardcore in places and ska in others, and the harmonized
backing vocals are nice and smooth. The “B side”
contains four tracks from The Paranoias, self-styled as “your
ladies favorite band.” They’ve been playing around
the west coast for several years, with a mix of smooth ska
fusion, R&B, reggae, soul, jazz, and punk. I really like
the smooth mix of ska, Latin jazz and alternative pop in “Next
Year,” and “Global Warming” is a hard-hitting
song blending metallic rock with surf and horror. Their closing
track, “Papeles,” (“Papers”) starts
as a pretty acoustic power-pop song that sound like something
that could have come from The Beatles. Halfway through it
changes into a more modern bouncy indie pop song that recapitulates
“Next Year,” but with a very different feel. I’ve
always been impressed at the job Wiretap has done with curating
the artists on their label, so I’m looking forward to
what they do with My Grito. They’re off to a good start.
 THE
PURPLE WITCH OF CULVER – Eulogy for a Sunbeam (Loantaka
Records, www.loantaka-records.com)
Saxophonist Sarah Safaie and producer/ multi-instrumentalist
Evan Taylor are back with another new single to be released
on Taylor’s Loantaka Records imprint. As with their
previous single, “Trig,” which I reviewed a few
weeks back, the duo blend jazz, funk, hip-hop, chill-out EDM,
and spoken word beat poetry to create something cool and unique.
I think I like this new single even more than the previous
one. A tribal drumbeat lasts throughout, and the bulk of the
song has a sparkly 70s funk mixed with electronics and rock
and roll guitar. Safaie’s deadpan reading of the lyrics
comes across as stream of consciousness and I love the jazzy
horn punctuations that appear throughout the song. This is
great stuff.
 THE
FIRMLY CROOKED - Daren Gratton And The Firmly Crooked
(thefirmlycrooked.bandcamp.com)
Daren Gratton previously fronted the long gone St. Louis band
The Haddonfields. After that ended, he played solo for a time,
but in the last couple of years he’s been playing with
Grave Neighbors and The Firmly Crooked, the latter of which
is now releasing its debut full-length LP. The songs are,
for the most part, solid Midwestern melodic punk rock. The
Chicago influence of bands like Pegboy and Naked Raygun is
evident, with muscular guitars and a strong melody, but the
melodic lines in some of the songs are more modern sounding
pop punk. The opening track, “Until You’re Gone,”
could have come from Pegboy ca. 1990. There’s loads
of power and a slightly dark sounding melody. Gratton belts
out the lyrics with an emphatic intensity. And while “Laughing
Prophet of Doom” starts out slower and more quietly,
it gets bigger and stronger at the halfway mark. “All
I Can Remember” has a thick Midwest melodic punk sound,
too, mixed with more of a modern pop punk feel. As the album
evolves, the punk sound does, too, “Northface”
and subsequent songs have a more modern pop feel mixed in
with the punk.
There are other sounds on this LP, making it sometimes
sound disjoined. “Laughing Prophet of Doom”
has hints of Americana tinges to its punk rock. “Always
Say Never” is a chill pop punk tune with buzzy guitars,
reminding me a bit of Vista Blue. “She’s Groundhog’s
Day” has an indie dreaminess to it, with open guitar
sounds and bits of jangle underneath.
The least successful song of the album is the solo acoustic
“Star Fall Down.” The guitar sounds unfortunately
out of tune and Gratton’s vocals sound lethargic and
raspy. Likewise, the full-band “So Many Miles”
feels thin and tired, needing a boost of energy to get going.
The closing track is the most surprising and most fun.
“You Were Never Here” is a pop punk song, played
on acoustic guitar, but there are drums here, too. The guitar
is played in an almost flamenco style, rapid strumming burning
up the speakers. It’s the most different from the
rest of the tracks, and is an unexpected burst of brightness.
My favorites, other than that final song, are mostly in
the first half of the album, those broad shouldered songs
with the more powerful punk sound. Half of the album is
solid and strong, but the other half is inconsistent, with
a couple of tracks falling short.
 HIROKI
TANAKA – Kaigo Kioku Kyoku (hirokikyoku.bandcamp.com)
Before I go into detail, just know that this debut solo LP
from Hiroki Tanaka is jaw dropping. It’s beautiful and
it’s touching. The album’s title translates to
“Caregiving Memory Songs,” and the eight amazing
tracks document Tanaka’s experience as a caregiver to
his grandmother, suffering from Alzheimer’s disease,
and his uncle with terminal cancer. The music includes sounds
made by meaningful objects, voice recordings of his relatives,
and has the structure of hymns and Japanese folk songs. Tanaka
has been making music in the Toronto area since his teenage
years, and after his experiences caring for his relatives
in the same house in which he grew up, he felt compelled to
strike out on his own and create these songs as sort of a
sonic archive, preserving his own memories and those of his
relatives. An interesting touch on the album is that many
of the percussion sounds on the record were made by recording
objects in the house, including everything from the sound
of a cupboard closing to the clinking together of two glasses.
The album opens with “Bare Hallways,” which
includes recordings of his grandmother singing something,
and then the music begins. It’s delicate, with acoustic
guitar, steel guitar, piano, percussion, and some synths.
The song is quiet, wispy, and dreamlike, speaking about
seeing his grandmother living in her past memories. “Eternal
Host” features synths up front, and after an eerie
opening, it continues with distorted guitars playing what
sounds like a hymn, and falsetto vocals speaking directly
to the disorientation of illness. The music resolves into
something jazzy and sparkly, bluesy vocals singing about
the feelings Tanaka experienced as a caregiver. “Exile
from home eternal host / Can’t leave you alone eternal
host / Bathe and feed each day eternal host / Dazzle you
with shame eternal host / I can’t go on I must go
on I’m rolling stones.” The pain is clear in
Tanaka’s voice, torn between love for his family and
his desire to live his own life.
“Inori Intro” is an astounding short track,
mixing field recordings of a traditional Japanese gong with
a beautiful vocal choir singing an excerpt from the hymn
"Inori" by Genzo Miwa. Just close your eyes when
you listen to this one, feel the hairs stand up on the back
of your neck, and be transported to another place. Then
listen to the pretty waltz, “Inori,” a song
in which Tanaka explains the torn feelings, but this time
afraid that if he lets people know his grandmother is reaching
the end of her life they’ll take her away from him,
“And you’ll forget, you’ll forget me too.”
As the music swirls, electric guitar playing and an electrified
violin playing a distorted soaring melody, it’s hard
not to shed a tear.
“Snowdrop” opens with vocal ambience and a
spine-chilling rendition of the Japanese folk song, “Sakura,”
punctuated with various sounds, including a cuckoo clock.
The bulk of this lengthy track, though, gorgeous ambient
music played beneath a recorded conversation someone had
with Tanaka’s grandmother, asking her questions about
where she grew up, her favorite holiday, and her garden.
The snowdrops of the title are the small flowers in the
garden, flowers that push their way up through the frozen
earth early in the spring. The next track opens with a recording
of a Japanese choir woman from the eldercare facility Tanaka’s
grandmother stayed in. The song the choir is singing is
“Aoi Me No Ningyo,” which translates to “Blue
Eyed Doll,” the title of this track. The song seems
to be a catharsis, his feelings upon the death of his grandmother,
Some of the lyrics reference her coming to North America
as a child: “Frightened like a child that sailed to
a foreign shore,” and he thanks her for helping him
grow as a man, singing, “You gave me the courage to
care, and to show / I want to thank you for this blue eyed
doll.”
Following this is a short, lovely interlude performed on
harp, “Let All Mortal Flesh Keep Silence,” performed
by Jacqueline Goring. It’s an ancient liturgical chant,
likely dating back to around AD 275, but was collected in
the Divine Liturgy of St. James. Performed on the harp it
sounds less like liturgical music and more like an ancient
folk song. And the ending track is ”Utopia,”
a sad song of remembrance when the end has come. The soaring
trumpet echoes a life gloriously lived, as Tanaka sings
the closing lines, “Thinking there has been no better
time / It’s time / It’s time / It’s time
/ It’s time / It’s time.”
This is a very emotional record, very personal, very devastating,
and very beautiful.
 DARREN
JESSEE – Remover (Bar/None Records, www.bar-none.com)
Easy listening music for the indie generation? Ben Folds Five
alum Darren Jessee presents his sophomore LP, following up
2018’s “The Jane, Room 217,” with ten songs
of soft, easy, quiet songs. Acoustic guitar and violin choir
synthesizer feature prominently in the arrangements, occasionally
punctuated by French horns (or more synths) yielding the same
aesthetic for today’s graduates from the indie scene
to adulthood that our parents and grandparents had from 1001
Strings and Percy Faith. The arrangements range from sparse
to full and lush, but the tempos are uniformly relaxed and
lazy. Some of the songs might be reasonably successful as
singer-songwriter material, but the arrangements and production
here give them a sound that’s too close to the modern
equivalent of what we used to call “elevator music”
or “Muzak.” There’s a feeling of ennui that
runs through all these tracks, the vocals sung at such an
even keel, seemingly bereft of any emotion. Put this on when
you’re having trouble falling asleep.
 ANGORA
DEBS (Secret Center Records, www.facebook.com/secretcenterrecords)
Angora Debs’ bio calls them “Oakland’s answer
to Pete Shelley and Dan Treacy, attempting to write pop songs
and smile between meltdowns.” And that’s probably
pretty spot-on for this group that play songs that teeter
on the edge of punk and power pop. With members located an
hour and a half apart in Oakland and Sacramento, California,
practicing may be tricky, but hell, the performances on this
five song EP show they’re doing just fine. With lo-fi
production giving it a garage edge, tons of hooks and loads
of jangle, this is brilliant music in the vein of The Buzzcocks.
Songs like “B-side” and “Camel Lights”
have a mid-tempo lope and a good time rock and roll feel.
I really love the manic “Cross Your Fingers,”
with a speedier, crazier sound, more punk and more garage,
but no less melodic and poppy. Even better is “Photograph,”
another banger that reminds me of Radioactivity blended with
The Bananas, not surprising since one of the Angora Debs is
also in The Bananas. The closing track, “Your Shitty
Diary,” is a great pop punk sing-along, and I can imagine
being in a little club or DIY space with a bunch of friends,
all jumping around and singing this with big smiles on our
faces. Angora Debs may be best known as the club that Laverne
and Shirley belonged to in the sit-com, but from now on, I’ll
know it as a band I want to listen to more and more.
 ANTAGONIZERS
ATL – Black Clouds (Pirates Press Records, www.piratespressrecords.com)
The ATL in their name refers to their hometown of Atlanta,
yet Antagonizers ATL harken back more to the days of British
working class Oi than any music that ever came out of the
southern USA. Big sing along punk is the order of the day
on this new single, and it’s got a classic sound.
Put this on and you’ll feel just like you’re
in a pub in 1984 London. The band is tight and play with
equal measures of fun and anger, resulting in a great listen.
 DFMK
(La Escalera Records, www.laescaleradistro.com)
The long awaited, oft delayed debut full length LP from Tijuana’s
DFMK has finally arrived! Produced by Tyson “Chicken”
AnniCharico, better known as the bassist and vocalist of Dead
To Me, DFMK’s LP finally came into being with the cooperation
of many labels, including La Escalera Records (which is handling
distribution), A-F Records, Rad Girlfriend Records, Tiny Dragon
Music, Puercords, and Constructivismo Distro. If you’ve
been living under a rock, DFMK is simply one of the most dynamic
rock and roll bands making music today. Taking cues from punk
rock and hardcore, from proto punks like The Stooges and MC5,
from garage punk and even The Ramones, DFMK sing songs in
Spanish about living life on the edge and in the margins,
about nihilism and drug abuse, about hangovers from long nights
in shitty dive bars, about broken hearts and good times. Their
past EPs were good, but Chicken’s production on this
LP has really done the band justice, because it sounds great,
and it does an amazing job of capturing the sound and the
feeling of the band on vinyl. This is no bullshit, take no
prisoners, balls out guerilla rock and roll. Cap’s vocals
are shouted and sung with attitude rivaling that of Mick Jagger
and with more enthusiasm and élan than the Rolling
Stone could ever muster. Songs rang from the powerful and
speedy punk fueled songs like “Mal Presentimiento”
and “Miedo y Aversion,” to the more mid-tempo
good-time rockers like “Donde Apunta la Aguja”
and “Year of the Snake,” which closes the LP on
an old school metallic note.
That opening track, “Mal Presentimiento,” or
“Bad Feeling,” speaks to the nihilism of just
living for the moment. “I’ve got a bad feeling,
I don’t trust the future, I bet it all for today,”
is the refrain in the chorus, and one of the verses includes,
“I don’t have any reasons, I only do it for
fun / I still have my life, death hasn’t taken it
away / I play with my life, ‘cause there is nothing
better to do / I play with my life, ‘cause there is
nothing to lose.” I mean, how punk is that? Echoes
on a theme from Minor Threat are in the song, “Fuera
de Lugar,” which means “Out of Step.”
The short one minute blast of a song celebrates not being
normal, and even references the image on the cover of Minor
Threat’s famous record with the line, “I am
a black sheep on the outskirts of society / Out of step,
It’s where I want to be.”
“Ya No Quiero Ser Punk” is a rager that translates
to “I Don’t Wanna Be Punk Anymore,” and
it points a damning finger at the punk scene today, driven
more by a desire to conform than to be an individual. “I
don’t care about today’s fashion trends / Because
I am busy being me / I don’t want to be “punk”
anymore,” Cap sings, and the last line of the song,
“I want to be me, I don’t care about you, I
just want to be PUNK.” Make punk gritty and individualistic
again! It’s not all doom and gloom with DFMK. They
celebrate their hometown of Tijuana with the rocker, “Ciudad
de Nadie” (City of No one). It sings the praises of
the all night parties, up ‘til dawn, drinking “caguamas”
(40 oz beers) and snorting a little blow. And “Frida
no es Sofia” (Frida isn’t Sofia) isn’t
about a misidentified woman, it’s an attack on “fake
news,” the propaganda that spews from the government
and the media.
If you’ve never had the chance to see a live DFMK
show, you damn well better hope this pandemic goes away
soon and they get back to touring, because it’s something
not to be missed. If they harnessed the energy emitted by
DFMK they could eliminate fossil fuels and solve the climate
crisis overnight.
 JACO
– DOSE (Cornelius Chapel Records, www.corneliuschapelrecords.com)
Jake Waltzman, recording under the Jaco moniker, is collaborating
with Cornelius Chapel Records on a trilogy of releases, and
this represents the second installment. Though he’s
primarily a drummer, Waltzman is a multi-instrumentalist,
and steps out of his role in other local bands to front his
solo effort, working with friend and band mate Lester Nuby
III to forge this forty-some minutes of pop music. Guitar,
bass, drums, and keyboards blend together to create smooth,
easy pop-rock songs worthy of your local adult contemporary
radio station. These are not charged with power, and aren’t
going to get you jumping around the room. Instead, these are
the sorts of songs to have on in the background when you have
your grown-up former indie-kid friends over for a wine and
cheese party. Especially the opener, “Bluebird,”
which has a loungy, jazzy feel, courtesy of the vibraphone
and breezy island beat. “Faberge” and “In
the Sea” have pretentions of being power pop tracks,
but lack the power to pull it off, and instead are just even
keeled pop tunes with nice jangly guitars and smooth synths.
Some of the songs have tinges of mild psychedelic influence,
like “Outer Space,” with the synths tuned to sound
like an organ, so it sounds like a 70s jam. These songs are
just too lethargic for my tastes, and really never get me
going.
 LENNY
LASHLEY’S GANG OF ONE – Lenny Lashley’s
Gang of One Live (Pirate’s Press Records, www.piratespressrecords.com)
Not terribly long ago I reviewed a full band album from Lenny,
and noted that he was New England’s answer to Bruce
Springsteen, playing strong working class rock and roll. Now
here he is, as the “gang of one,” performing solo
acoustic, live. The ten songs here were recorded in front
of a real audience (remember them?) pre-pandemic, at the Button
Factory Stage in Portsmouth, New Hampshire. And I know some
people cringe at the thought of solo acoustic, especially
now, after six months of live streams of people sitting on
their couches playing acoustic guitar for us. But I’ve
long been a sucker for good singer-songwriter fare, and, if
anything, Lashley presents something I like even more than
his full band music. There’s a more intimate feel, more
heartfelt. Especially in songs like “Judy,” a
pleading for a straying love to come home. I don’t know
if it’s based on personal experience or not, but it
feels like it could be. “Lonesome” drips with
devastating sadness and regret. And “Hooligans”
is a fun reminiscence of youthful energy and hijinks in the
old days of the Boston punk scene. It uses the famous international
“olé olé olé” soccer chant
to open and close the song (soccer hooligans!), and has lyrics
that reference famous Boston venues like the long gone Rat
and references hanging out in Central Square (in Cambridge),
a punk hangout where The Middle East music venue is. Beyond
those references, it’s just about hanging out with your
friends and getting into trouble, having the best time of
your life. I really love the ballad “Two Robbers,”
a song that tells the story of traveling on the road and being
accosted by two robbers. It has the feeling of an old song
out of the mists of time, perhaps from the Highlands of Scotland.
The song’s protagonist defends himself, but the feelings
of guilt over having killed someone are there. I do like solo
acoustic, and I like this record.
 LESLIE
PEREIRA & THE LAZY HEROES – Good Karma (Big Stir
Records, www.bigstirrecords.com)
After last year’s debut LP, Leslie Pereira and the Lazy
Heroes return with their sophomore effort. The dozen songs
on offer range from melodic indie rock to bouncy pop, some
songs with a near punk edge, others smoother and more relaxed.
The album opens with the title track, and it has a great retro
sound, feeling like those guitar fueled songs on the edge
between punk and power pop that populated the left end of
the radio dial in the early days of the new wave. These kinds
of songs were a great antidote to the fizzy synth pop that
was found everywhere else on the radio. I like the jangle
of “If I Could,” a song with a retro 60s pop sound
blended with 80s power pop. Another good one is the Latin-flavored
“Hot Tamale,” alternating between the smooth bouncy
verses and harder edgier chorus and bridge. The big vocals
and darker feel of “Slip” remind me of the great
band Heart. “Time To Rock” ranges from garage
rock to post punk; I especially like the angular guitar breaks
that come after the chorus that remind me a lot of some of
the post punk sounds of the 80s, and the guitar tone is spot
on. “So Hard” is another one with different feels
in different parts of the song. It’s got big grungy
parts, some sassy seductive parts, and some parts that just
rock out. One thing all the songs on this record have in common
is a sense of fun. You can tell that the band are having a
blast; there’s a sense of snarky sarcasm in the music,
loads of attitude, and lots of good times.
 SEIZED
UP – Brace Yourself (Pirates Press Records, www.piratespressrecords.com)
There’s been a lot more angry music coming out the last
few years, and understandably so. The country and, indeed,
the world, have gotten a lot more fucked up, with the rise
of far-right fascism and corruption in government, police
brutality more out of control than ever, and now a global
pandemic. Enter Seized Up, a quartet of seasoned hardcore
veterans. Seized Up was formed in Santa Cruz, California in
early 2019 with Bl’ast singer Clifford Dinsmore, Fast
Asleep guitarist Danny B., Good Riddance bassist Chuck Platt
and The Distillers drummer Andy Granelli. And they are pissed
off as hell. The eleven tracks on this debut LP are a mix
of hardcore and post-hardcore, loud and bitter, angry and
dissonant. With songs like “Tent City Exodus,”
“Taking Back the Neighborhood,” and “Terminal
Disarray,” the band covers topics such as the rising
tide of homelessness, growing gentrification causing displacement
of entire communities, and the increasing lawlessness of our
corrupt politicians and business leaders. The anger is palpable,
the songs played loudly and at breakneck speed, chord changes
coming with acute angularity, guitars screaming, drums hammering
the point. This record is a call to action, a demand to end
complacency, and an entreaty to take to the streets and take
back what has been taken from us. As the album cover says,
“In the age of information, ignorance is a choice.”
Seized Up is sounding the clarion call. It’s time for
everyone to respond.
 THE
SLACKERS – Blue (Pirates Press Records, www.piratespressrecords.com)
New York reggae and rock steady legends The Slackers, who
recently signed with Pirates Press to rerelease some of their
LPs, have been giving us a few new singles, as well. The latest
of these is “Blue,” a classic reggae song, complete
with a dub version on the B-side. All the hallmarks of reggae
are here, horns, a strong backbeat, and a hazy lazy tempo
and feel. The instrumentation feels thin to me, especially
compared to the excellent rock steady single they released
a few months back. The dub version seems to merely add more
reverb and a few tape loops, and doesn’t really change
the sound or feel much. I like reggae, but this single didn’t
do it for me.
 JON
SNODGRASS – Tace (A-F Records, www.a-frecords.com)
Jon Snodgrass should need no introduction, but in case you’re
new to music, Snodgrass is a founding member of Drag The River,
Scorpios, and Armchair Martian. He’s been doing a lot
of solo records as well as releasing records with various
friends, though, and “Tace” is but the latest.
Though this one is not credited as an “and Friends”
LP, there are several guest appearances of note, including
Stephen Eggerton and Karl Alvarez (Descendents, ALL), Zach
Blair (Rise Against, GWAR, The Drakulas) Neil Hennessy (The
Lawrence Arms, The Falcon), Joey Cape (Lagwagon, Bad Astronaut),
Stacey Dee (Bad Cop/Bad Cop), Mikey Erg (The Ergs, Worriers),
and more.
There are some great moments of levity on the LP, such
as the opening track, a short conversation about whether
someone needs to take a shower before going into the swimming
pool, and the closing title track, featuring some cheesy
organ and a bit of conversation from the studio. In between
there are plenty of punkish Americana songs and good ol’
rock and roll. I like “Bad New Lands,” a pretty
powerful, raucous song. It’s got a country rock flavor,
but it’s definitely a punk rock descendant. “Footage”
is even more strongly alt-country influenced, yet it also
reminds me of some mid-period Hüsker Dü songs,
and Snodgrass’ raspy vocals sometimes sound kind of
like Bob Mould’s. Even more overtly countrified is
“Don’t Break Her Heart,” from the twangy
sound to the subject matter. This one I can clearly hear
as a solo acoustic song, as well.
The album is loaded with contrasts, showing off Snodgrass’
wonderful range, both in writing and performing. For example,
“BoyzIIMen” is a lovely delicate track, with
acoustic guitar, piano, and vocals, but right after it is
“1-2-3-4,” a huge bluesy song with noisy buzzy
guitars. “The Sequal” is another raucous track
that has that slight Americana sound, but plenty of punk
power. And while I’m normally not one for guitar solos,
this song has one that’s simple and strong, and the
way it soars is beautiful.
The most heartwarming part of the record, though, has to
be the pair of tracks, “Indoor-Outdoor Type”
and “Go Baseball…,” the former being a
field recording of Snodgrass at a baseball game with one
of his kids, and the latter being Snodgrass talking to his
kid about a song the kid wrote, then he plays it. His kid
even interrupts and corrects him on the lyrics! This is
sure to bring a smile to your face and cause a bit of a
chuckle to scape your lips. And the whole record will be
something you’re sure to enjoy.
 THE
URETHRAS – Patronized (Pirates Press Records, www.piratespressrecords.com)
The Urethras are a band of teenagers who were voted “most
likely to start a circle pit at a Bay Area punk rock show,”
according to their press bio. This is the debut single for
the California kids, and though the recording quality could
use some work, this is the pissed off hardcore I remember
from the early 80s. The music is super simple, fast and loud,
with angry lyrics shouted with lots of piss and vinegar. The
instrumentals sound like were recorded inside a glass jar
or something, but it can’t dilute the ire. That it’s
teenagers making this retro punk music is pretty unreal. This
is sure to get you moshing in da pit!
 ZERO
ZEROES (Drunken Sailor Records, www.drunkensailorrecords.co.uk)
My first impression when I first started listening to this
was that I liked the dark menacing punk sound. “Mouth
Full of Snakes” is a punch-in-the-gut track with garage
undertones and a bleak sense of gloom looming. As I listened
further, though, I felt like I was listening to the same song
on repeat. Taken individually, each song is solid, vigorous,
muscular sounding punk with a sense of despair. When taken
as an album, there’s too little variation from track
to track. I kind of do have a favorite track, though, and
it’s “Face Up to the Mist.” Though the band
is from Germany and writing their music in 2020, this song
reminds me of 1980s Naked Raygun a bit in some ways, and it
adds in some surf guitar sounds. These touches make it stand
out from the rest of the album – which is great dark
punk, but the sort of songs that will be enjoyed when they
pop up in shuffle mode, rather than listened to straight through.
 ATTIC
SALT – Get Wise (Jump Start Records, www.jumpstartrecords.com)
Coming out of America’s heartland, Springfield, Illinois,
Attic Salt are back with their sophomore LP. The record contains
ten songs of great, melodic poppy music, right on the edge
between pop punk and indie pop. In comparison to 2017’s
self-titled debut, the sound here is somewhat cleaner and
more mature, but no less exciting. Guitarists Alyssa Currie
and Andy Harmon are still there, taking turns on lead vocals,
providing a welcome variety in sound texture. The melodies
are bouncy, the guitar sound jangly and big, creating a wall
of sound that surrounds you and hugs you. Favorite song is
“Mud,” which opens with acoustic guitar and Currie
singing depressing lyrics about being in a rut. “We
still hang out at the same bars / Still talking about weather
/ Driving in all our shit cars / Pray for something better
/ Sometimes you call it a night / So I close out and head
home / Sometimes we wake up together / It makes us feel more
alone.” I mean, how depressing is that? After the initial
verses, the full band comes in, Currie’s vocals still
sounding glum amidst the brightness of the instrumentals.
It’s one of the things pop punk does best: putting a
happy face on the shittiest of life experiences, and this
song is a prime example of how it’s done. I also really
like the opener, the incongruously titled, “Last Song.”
Currie’s vocals really shine here, and the tough guitars
manage to sound sweet and sparkly. And “Fool 4 U”
has a nice grunge feel mixed in with this song about longing
for a connection with someone else. The guitars play a simple
repeating line consisting of just a couple of chords, deep
and loud, while Currie sings about being alone and wanting
to take a chance on love, even knowing it might end up leaving
her heartbroken. Great stuff.
 CHRISTIAN
SINGLES – Maybe Another Time (Mt. St. Mtn., wwwmtstmtn.com)
Rob I. Miller, the Oakland-based musician who is known for
Mall Walk and Blues Lawyer, is releasing his debut solo LP
under the Christian Singles moniker. The songs were written
in the early days of the pandemic stay-at-home orders, but
the songs are not a reflection of that, or even of the mass
protests for racial justice and police reform that has held
the nation in its grips since the late spring. It was the
return of his father’s cancer that caused Miller to
take stock, dredging up unresolved issues and bringing a sense
of urgency to try to bring about a resolution, or at least
articulate them. The nine songs that resulted speak about
the difficult questions we all face when it comes to family
and forgiveness. The music makes generous use of acoustic
guitar and electronics, and many of the songs are attractively
moody. Some get noisy or dissonant. These sorts of songs are
my favorites on this record. Such is the case with the opening
track, “Bury.” Starting out quietly with just
acoustic guitar and vocals, drums, reverb, and glimmering
electronics are added. As the song continues to build we get
a wall of noise from the synths, distortion overloading, even
as the glimmery mood of the electronics and the smooth vocals
continue underneath. The lyrics are a direct reference to
questions of familial relationships and buried feelings. It’s
an extremely effective way to open the LP. “My memory
of you is in the junk drawer of my mind,” begins the
next track, “Junk Drawer.” “’Cause
all that stuff that we went through is the stuff I don’t
want to find.” It’s a reference to how we all
try to bury bad feelings, things we don’t care to revisit.
As another song about difficulties of relating to one’s
family members, “Junk Drawer” has a cool, laid
back feel, with reverb on the drums, acoustic and electric
guitar and keyboards, with the synths interjecting some interesting
bleeps. It’s pretty and sad sounding at the same time,
like being depressed while sitting on the beach of a tropical
island. I like the lope of “Keep Your Head Down,”
and its lonely hollow sound. Toward the end of the track after
the lyrics are done, we hear an answering machine message,
presumably from Miller’s father, apologizing multiple
times for missing an earlier call, and perhaps for other things,
asking to get together. “A Dream Ends Without Starting”
has a deep gospel folk sound focused on acoustic guitar, and
a Bob Dylan twang in the vocals. It has a great driving feel,
like a train song, moving ever forward with huge momentum.
“Nothing is new, I know I shouldn’t worry / But
when you leave it’s always in a hurry,” sings
Miller, possibly referencing the difficulty of making a connection
with his father. And I really like the penultimate song, “By
Design.” It starts out quietly, with keyboards and vocals,
but there are unsettled electronics making noise in the background,
sounding like thousands of frogs at night, growing more insistent
as the song progresses. But it’s when we get to the
middle that things explode and get really good. The drums
and keyboards get loud, overloaded and distorted, with the
vocals and acoustic guitar underneath. There’s a sense
of chaos, but with an order at the center of it, just as even
within the chaos of broken trust in a family, there are still
those bonds that hold us together lurking underneath. The
closer is “Back The Way I Came,” and it’s
got some unsettled twang to it, a country folk tune that’s
gotten turned around. The odd effects are pretty cool. It
took me a few listens for this record to sink in, and I’m
really glad I stuck with it, because it’s worth it.
 DEATH
VALLEY GIRLS – Under the Spell of Joy (Suicide Squeeze
Records, www.suicidesqueeze.net)
They aren’t from Death Valley (they’re from LA)
and they’re not all girls (there’s one man in
this band of mostly women). Nonetheless, Death Valley Girls
provide something unique. Imagine mixing dark goth, dream
pop, light power pop, and garage rock and roll. The opening
track, “Hypnagogia,” is a great example of the
darker side of Death Valley Girls. Everything about it says,
“mysterious,” from the reverb to the swirling
atmospheric keyboards, the wailing saxophone pulled to the
background, and the arcane unison vocals slowly rising in
volume and anger. Hypnagogia is that space between sleep and
wakefulness, and is an apt name for the feelings evoked by
this track. Most of the other tracks are quite different from
that opener, featuring a cross between pop and garage. Like
“Hold My Hand,” a song that bounces and has pop
hooks like a good power pop song, but it also has the feel
of a classic garage rock song, courtesy of the keyboards.
When we get to the close of the song, things get big and dreamy,
too. The title track blends garage rock with some of that
dark mysteriousness, the keyboards, reverb, and sax vying
for dominance. “Bliss Out” is a favorite, with
sweet pop melding with edgy garage, making it a favorite.
As the track comes to a close it slows, and sounds almost
like an Angelo Badalamente song from Twin Peaks, getting retro
and dreamy. The aptly named “Universe” has a huge,
expansive sound, full of dreamy wonderment. Occasionally the
songs turn into a bit of a jam, like on “10 Day Miracle
Challenge,” which is also the hardest garage rock song
of the LP. And “I’d Rather Be Dreaming”
has a retro feel, a pleading quality like some of the 1950s
early rock and roll songs. There’s enough variety in
these songs, yet enough cohesiveness, to make this a pretty
good listen.
 JOE
GIDDINGS – Better From Here (Kool Kat Records, www.koolkatmusik.com)
Kool Kat’s giving a physical release to this 2016 digital
only release, and the first since Giddings’ 2014 collection
of covers. The dozen songs here mix power pop, a show tune
sensibility, hints of mid period Beatles-esque aesthetic,
some good ol’ rock and roll, and a heavy dose to 1970s
AM radio. There are harmonized vocals aplenty, reminding me
heavily of the bygone era of bubblegum pop. The title track
is one that brings show tunes to mind, as it’s got a
very theatrical sort of sound. It’s a classic introductory
kind of track, and it even references The Beatles in its lyrics.
“Amity Horror” has plenty of bounce, and the synth
gives it a sparkly sound. The deeply multi-tracked harmonized
vocals give it that bubblegum pop sound, but it’s got
a glam-power-pop edge to it, too. Favorite songs include “Tin
Foil Crush,” a rockin’ tune with crunchy guitars
and some nice pop hooks. The harmonized vocals, too, give
it that retro AM radio sound. “Rock and Roll”
is even harder-edged in places, but still definitely pop.
I like the odd key signatures the guitars go through, trying
to make the song sound tougher, even as the melody and vocals
are lighter and poppier. It’s an interesting contrast.
And the contrast between the smooth vocals and jangly chorus
with the edgy guitars in the verses is nice. I’m not
quite as thrilled with “Always Raining Somewhere,”
which has a country flair to it, with slide guitar and organ.
It’s one kind of rock and roll I could never get into.
And “Brand New Day” has a down-home beat against
jangly 60s pop guitars that’s a little jarring. Overall,
the songs here aren’t going to set the world on fire,
but they are solid pop rock.
 LOST
IN SOCIETY – Love and War (Wiretap Records, www.wiretaprecords.com)
Asbury Park, NJ punk stalwarts Lost In Society aren’t
letting a little thing like a pandemic slow them down. After
releasing a Clash tribute EP earlier this summer, they’re
back with a five-song EP. These songs are raucous, great stuff,
really strong edgy pop punk. I absolutely love the opening
track. “All Is Fair,” which has big, bright, striding
guitars, and gives the EP it’s name. “All is fair
in love and war / So I don’t wanna be so fair no more,”
sings Zach Moyle, with a pleading, gravelly voice. Politics
and current events play a part in the lead single, “We
Want Change.” “We Want Change basically encapsulates
our current frustration and outrage at what is going on in
our country right now,” says Moyle. “We’re
seeing a system that supports violence against marginalized
groups and doesn’t hold their peers accountable for
their actions.” And the powerfully dark punk song opens
with the question to police, “How does it feel, living
with impunity? / So quick to shoot, never time to take the
blame?” The song points the damning finger at cops for
their ties to white supremacist organizations, and the huge
gang vocals throughout the song demand “We want change!
We want change! We want fucking change!” The instrumentals
are fairly simple, but provide a strong base (and the bass
is strong here, too) for the important lyrics. I like the
way “Prescribed Paranoia” blends punk and grunge,
sort of in the way The Dirty Nil does, but in a way that sounds
more raw. Likewise, the slower closing track, “Stubborn,”
is a slower, grungier one that rocks, and I could easily hear
this as a Dirty Nil tune. I had not heard this band before,
even though they’ve been around since 2004. But I definitely
will be watching for them now, because this is a great record.
 WORKING
MEN’S CLUB (Heavenly Recordings, www.heavenlyrecordings.com)
Announced on the eve of the pandemic lockdown and originally
due to come out last June, Working Men’s Club’s
self-titled debut LP is finally seeing release, some four
months after its originally intended date. And it’s
obvious upon listening to these ten songs that the Yorkshire
teenagers that make up the band have old souls, because the
music contained herein is a throwback to 1980s new-wave dance
pop and post punk. The mechanical sounds of drum beats and
electronic keyboards echo the industrial beat of the factories
and steel mills that employed so many in the north of England
and are largely shut now. Vocals are mostly spoken in a deadpan,
as much of the bands of the genre did it, with only occasional
singing. Guitars punctuate the synthesizers with a funky sound
to help you get down. I’m reminded of early post-punk
bands, like The Pop Group or Dalek I Love You, that experimented
with mixing dance beats, synths, and a punk aesthetic. “A.A.A.A.”
has a huge synth sound, with deep rumbling bass, buzzy melodic
line, and a strong mechanized backbeat. Vocals also sound
synthetic, distorted and robotic. It’s like taking that
early post punk and mashing it up with more modern industrial
dance music, giving it a heavier darker feel. “John
Cooper Clarke” is an homage to the English performance
poet of the punk era, and features some great funky guitars
reminding me of the sound of Tackhead, the industrial hip-hop
group featuring Keith LeBlanc, Doug Wimbish, Skip McDonald,
and producer Adrian Sherwood. “White Rooms and People,”
with its disco beat and guitars, with spacey synths and spoken
vocals hammers home the post punk sound. I really like the
uncompromising “Be My Guest; its pounding rhythms and
raging guitar are relentless, and the synths provide the sound
of a thousand lost souls. “Cook A Coffee” is different
from a lot of the tracks because it makes more sparing use
of synths and more use of angry angular guitars. I do like
this blast from the past of an LP, but I could have done without
the twelve and a half minute jam at the end of the album.
The idea started out well enough, but it just extended needlessly.
But if you like early 80s post punk mashed up with hip-hop
and industrial, give this a spin.
 BOB
MOULD – Blue Hearts (Merge Records, www.mergerecords.com)
I’m going to start this with full disclosure. Hüsker
Dü is one of my all-time favorite bands. Some of their
songs are among my all-time favorite songs. The way they bridged
hardcore punk and melodic indie rock was groundbreaking. I
even bought and enjoyed Mould’s early solo stuff. But
most of his later output didn’t really do that much
for me. I know, heresy, but it just lacked the aggressiveness
I needed from Mould’s music. I drifted away. Until 2020,
with the current multiple crises facing our country, it seems
Mould has found his anger again, and when he released the
single “American Crisis” and announced this LP,
I got excited to hear his music for the first time in a couple
of decades. And here we are now, and “Blue Hearts”
is Mould’s best work since the late 1980s.
The opening acoustic track, “Heart on My Sleeve,”
is a perfect way to open this LP, with an emotional plea,
listing off the ills that are doing nothing but growing
more intense with time. The deep sadness and frustration
come through in the vocals, as Mould’s voice cracks
a couple of times. And then the album explodes with “Next
Generation.” The song is exciting and powerful, Mould’s
voice raging the way it used to, his guitar creating a wall
of sound that impossibly jangles. The real rage gets turned
on for the lead single, the aforementioned “American
Crisis.” Mould literally screams as the song opens,
and cries out, “I never thought I’d see this
bullshit again / To come of age in the ‘80s was bad
enough / We were marginalized and demonized / I watched
a lot of my generation die.” Those who do not learn
from history are doomed to repeat it, and so we are here,
but it’s even worse now, as we’ve become a nation
of armchair activists. “We wake up every day to see
a nation in flames / We click and we tweet / And we spread
these tales of blame,” Mould says, with a damning
tone. The fact that the generation that fought so hard for
change 40 years ago has now been made complacent is an intolerable
thought, but something that gets turned on us in the glaring
light of truth. The strongest lines come at the close of
the song: “Silence was death / Never forget / Silence
was death / Silence.” It’s a call to action
like no other.
“Fireball” comes next, and it’s one of
my favorites of the LP. It’s another rager, cacophonous
guitars pummeling us with noisy melody, Mould’s vocals
spitting venom more effectively than ever. The backing vocals
in the chorus glide smoothly in contrast to the leads, and
as the track comes to a conclusion, and the bedlam of the
instruments is rapidly faded out, save for a bit of guitar
feedback, those backing vocals are cranked up to reveal
the sound of a chorale in cathedral, with voices echoing
off the walls. It sends chills up my spine. “Forecast
of Rain” is a slower song, less noisy, musically,
but just as damning, lyrically. It lays bare the hypocrisy
of the “religious right,” asking a question
of the Almighty: “This love thy neighbor thing, does
it apply to all mankind? / Or only those who fit neatly
inside your narrow lines?” Turning to those who call
themselves the true believers, Mould exposes them for the
charlatans they are: “My truth is different than your
distortions and disguised interpretations twisting the words
of ancient times.” These so-called Christians reinterpret
passages from the Bible that they can twist to suit their
political ends while ignoring other parts that do not meet
their needs. The “forecast of rain” the title
alludes to is the forty days of rain needed to cleanse the
earth anew.
Other tracks I really like include “Siberian Butterfly,”
“Racing to the End,” and “Little Pieces.”
These are tracks that mix bouncy pop and hard-edged guitar
noise, the combination that made the Hüskers such a
great band. And that’s one of the things that make
Blue Hearts such a great record, too. That, and the words,
the explosive fury. These make this album one of the best
and one of the most important of 2020.
 LYDIA
LOVELESS – Daughter (Honey, You're Gonna Be Late Records,
lydialoveless.bandcamp.com)
Alt-country artist Lydia Loveless has ended her four-year
hiatus with “Daughter,” her first studio LP since
2016’s “Real.” The album documents a period
of intense change in Loveless’ life, including divorce
and moving away from her lifelong home of Columbus, Ohio.
The album title refers to a growing movement of feminism in
the country that includes billboards along roadsides “imploring
people not to hurt women because they were somebody’s
daughter or sister or mother,” says Loveless. After
her divorce she was living as an individual for the first
time, having jumped from her teen years right to marriage.
That, with her family turmoil and lack of maternal impulses,
defining herself as a daughter or sister did not give her
comfort.
“Alt-country” isn’t really an adequate
genre description for the music Loveless makes; there’s
definitely an indie pop element to it, as well. Think indie
music with a twang. The songs are uniformly heartfelt and
emotional. There’s nothing light and bouncy; it’s
all pretty deep introspective stuff. Take “Love Is
Not Enough,” one of the lead singles. I think it may
be my favorite of the album; with its jangly guitars it
has a retro power pop feel blended with the country twang
of Loveless’ vocals. The lyrics are pretty devastating,
about being in significantly different places in a relationship.
“Tell me how it feels to always see everything in
a major key,” the song asks, “When I’m
drowning in ennui.” “Love is not enough / I
wonder if it ever was / I shouldn’t have to break
you down to build me up” is the refrain. It’s
a recognition that relationships have to be on equal footing
to be successful, that just being in love isn’t enough.
The other lead single, “Wringer,” seems to be
an acceptance by Loveless of her role in her breakup. “How
did it come to this / Dividing of possessions? / Only reason
it got this far is your / Childish obsession / With everything
you thought I’d be / But could not deliver / All that
loving me ever did was run you through the wringer.”
But when that last line comes around again, it’s turned
around, to signify that a relationship is two people, and
its success or failure relies on both: “You give the
sweetest kisses dear / But you leave the stinger / All that
loving you ever did was run me through the wringer.”
The music on this one has an almost disco dance beat to
it, smoothly strummed guitars with a hint of funkiness.
“Never” is another track with a dance beat to
it after its otherworldly intro with piano and synth. It’s
a song of apology and acceptance. “And I know that
I’m not ever gonna get you back / Let me tell you
that I’m sorry ‘cause I owe you that,”
explains the chorus. Piano sadly plinks out some chords,
as the guitars jangle, the drums keeping a steady dance
beat, and through it all, Loveless gives her emotional confession.
“When You’re Gone” is another of the jangly
guitar tracks, and combing that with the deep bass notes
give the song an epic pop feel. In this case, being gone
refers to death, something that comes for all of us eventually.
“When you’re gone there will be no healing,
no moment of clarity / You will be dead, there will be no
reeling out into the street / ‘Cause there was never
anything I could do,” sings Loveless, declaring the
finality of death. And I adore the penultimate track “September,”
a quiet ballad with piano and strings. The backing vocals
on the chorus will send chills down your spine.
No, alt-country doesn’t do Loveless justice. Her
music is richer and more complex than that simple moniker
would imply.
 FULLER
– Crush Me (www.listentofuller.com)
It’s alt pop. No, it’s dance pop. As the little
girl says in the TV commercial and now famous meme, “Why
not both?” On his debut EP, J.P. Welsh is the man behind
Fuller. Relocated from Austin, Texas to Los Angeles at the
start of 2019, Welsh set to work with producer Eric Palmquist
to lay down the tracks that form this record. The tracks blend
a strong dance club beat with indie rock instrumentation and
indie pop hooks to create a fun sounding upbeat record. The
lyrics are not so bubbly, though, with themes of bad romance,
and anxiety. My favorite track is the opener, “Favorite
Poison.” It’s so sparkly and fizzy and fun, and
the lyrics liken one’s romantic partner to the titular
substance. “I stay out too late with you / Get too drunk
in front of you / I can’t tell my friend the truth /
You’re a bad habit and I’m a bad boyfriend”
says one verse. The title track has the strongest dance beat,
with a hard pounding bass, but the melody is smooth and poppy.
The lyrics are full of anxiety about lack of self-worth. “Take
a shot at my soul, take a shot at my soul / it’s not
worth much anymore / and I’m not one to deny it, so
/ If you steal my heart, if you steal my heart / You should
tear it apart / But let me down easy.” And “Sink
or Swim” continues the blend of dance and pop, this
time adding an element of dreaminess in the production. “Yr
So Retro” tries to add a harder rock and roll edge to
the mix, and I don’t think this recipe works quite as
well; the dark rock, dance beats, and dream pop guitar seem
to clash too much. “Change My Mind” feels pop
radio ready, and normally that would be as turn-off for me.
But there’s just something about Fuller that I really
like. The production might be slick and big-time ready, but
the melodies and hooks are solidly indie, and Fuller has hooked
me.
 MUCK
AND THE MIRES – Take Me Back to Planet Earth (Rum
Bar Records, www.rumbarrecords.com)
Just before the pandemic stay at home orders were issued,
Boston garage rockers Muck and the Mires released a single
from what was to be a forthcoming LP, due out this summer.
Perhaps COVID-19 had other ideas. But instead, in this autumnal
age, we get six new songs in one EP, all recoded during the
lockdown. The title track is pure retro early 60s fun, with
lyrics seemingly inspired by grade B sci-fi flicks of the
era. I love the jangle of “6 O’clock,” a
song with more pop than garage, but still 60s retro style.
It’s a self-assured song about not needing to make plans
on a Friday night, because he’s already got his “6
o’clock baby” to stay in with. As we get to “Hey
Sunshine,” the music continues to get poppier and lighter,
yet still with that solid 60s sound in the vein of the Beatles,
but somewhat rougher and gruffer. “She Blocked My Number”
blends garage and pop for a fun one, and the lyrics speak
to modern problems of telecommunications features introduced
much more recently than what the music style would imply.
The most timely is the closer, “Zoom Breakup,”
a bouncy garage pop tune about how much better it is to break
up over a zoom meeting than by writing a letter. I wonder
how many Zoom breakups there have been since the lockdown
started. We may not have gotten the LP (yet) but this EP is
great fun.
 RYAN
AND PONY – Moshi Moshi (Pravda Records, www.pravdamusic.com)
Here comes the debut LP from Ryan and Pony, a new project
featuring Ryan Smith and Pony Hixon-Smith, both of The Melismatics
(Ryan is also a member of another well-known Minneapolis band,
Soul Asylum), and Peter Anderson (Run Westy Run, The Ocean
Blue) on drums. On this debut LP, the trio mix dream-pop,
indie, EDM and post-punk, in different ratios on each song,
to create a unique sound that varies considerably from track
to track. After the dancey dreamy bubblegum opener, “Starry
Eyes,” “Start Making Sense” has a hard-edged
guitar sound, giving this track a grittier rock and roll feel,
though the contrasting vocals are smooth. “Fast As I
Can” is, for the most part, a relaxed easy pop track
that’s somewhat forgettable, except that just past the
halfway mark there’s an awesome bridge with some great
jazzy improvisation on different types of horns, and I wish
there was more of that. I do like the retro pop of “Be
Still My Baby,” the closely harmonized vocals reminiscent
of 60s pop, and “Cinematic” is aptly titled. It’s
got a big sound like something from a movie soundtrack, crossed
with Human League (who remembers 80s synth pop?). First Night
can’t decide if it wants to be dream pop or indie rock,
and I love that about it. It’s got a driving beat and
raucous guitars, but it also has plenty of reverb, cool synths,
and that wall of sound. Like some of the other songs, this
one has a bridge past the halfway mark that’s completely
different from the rest of the track, in this case it’s
almost metallic guitars and a head banging beat. “Take
It Or Leave It” sounds like it’s from a totally
different band, being a real rocker without any dream, pop,
or EDN pretense. It’s indie rock mixed with power pop
and glam, and it’s definitely a favorite. And the intro
to “Come Find Me” is gorgeous classical music
played on rock and roll instruments, leading into an incongruously
energetic pop ballad. The variety is breathtaking, but you
can (for the most part) still tell this is all from the same
band. This makes for a good listen.
 SHY
BOYS – Talk Loud (Polyvinyl Records, www.polyvinylrecords.com)
Shy Boys play smooth, sweet, bubblegum pop, influenced by
pop music of the 80s, but making use of synthesizers rather
than traditional guitar and bass. The harmonized vocals are
silken and the music is airy and light. The synths play repetitive
melodic lines in a mechanical manner, as the fragile sounding
vocals glide along. After a number of songs all in the moderate
tempo category with the same feel, we get “The Pool,”
which starts out with a gorgeous lounge piano until the synths
and drums come in, and I’m disappointed and long for
that piano, as the track becomes more of the same, albeit
with softer and less robotic keyboard sounds. “Trash,”
one of the lead singles, begins with a different sound, with
deep dark bass synth and unison vocals that sound menacing
– until it turns into synth-pop again. I like synths,
and I like bubblegum pop sometimes. But I just can’t
get into the overly insubstantial songs on this LP.
 SURFER
BLOOD – Carefree Theater (Kanine Records, www.kaninerecords.com)
A band plagued with tragedy and controversy, Surfer Blood
are back with their first LP of new original material since
2017’s “Snowdonia.” After front man John
Paul Pitts’ arrested for domestic assault, their brief
career on major label Warner Brothers’ Sire Records
imprint was over. But the band continued on indie label Joyful
Noise. Pitts initially pled not guilty, then did a “plea
and pass” deal in which he attended a program designed
to prevent a recurrence, and after completion the following
spring, charges were dropped. Pitts has maintained his innocence
throughout, and has not apologized for his actions. Today,
that would be the end of a band, but a mere seven years ago
it was business as usual for a band. Later, tragedy struck
again with the death of original guitarist Thomas Fakete’s
death from a rare form of cancer. This occurred shortly before
the release of “Snowdonia.” Now, more than three
years later, the band has returned to Kanine Records, the
band that released their first records more than a decade
ago. And it’s… OK. It’s smooth, even-keeled
alternative rock. Oh, sure, some of the songs are better than
average. I do like the dark wave “Karen,” with
its dance beat and 80s Manchester sound, dominated by the
prominent bass. “Unconditional” has a retro post-punk
pop sound, kind of reminding me of The Smiths, and the organ
warms things up nicely. And the gently plucked acoustic guitar
in the closing track, “Rose Bowl,” is lovely,
especially at the very end of the track. But other than these
moments, the songs are fine, but just too relaxed and don’t
grab my attention. There’s just out of the ordinary.
Just smooth, steady, uneventful songs.
 NICK
FRATER – Fast and Loose (Big Stir Records, www.bigstirrecords.com)
Growing up in the 1970s, I was exposed to a ton of top 40
AM radio, the music of Burt Bacharach, and all the bubblegum
music you can imagine. If Nick Frater was writing and recording
these songs 50 years ago, he’d be ruling the airwaves
along side Mr. B, whose easy pop rock hits “Raindrops
Keep Fallin’ On My Head,” “Say a Little
Prayer,” “I’ll Never Fall In Love Again,”
and more defined a decade. Frater’s music is a little
edgier than Bacharach’s hits, but not too much. “Let’s
Hear It For Love” is the first real “song,”
after the short instrumental intro title track. No, it’s
not a cover of the Smoking Popes’ great pop punk crooner,
though it does seem to use the idea behind that song’s
lyrics and even a little bit of the melody in the chorus.
Songs like “Luna,” with its organ and lightly
driving rhythm, have subtle hints of garage rock influence,
but the smoothness of the harmonized vocals are pure light
pop. “Cocaine Gurls” is a song about trying to
give up all the “bad things” that come from the
fast and loose rock and roll world, but getting pulled back
in by the titular characters. It’s a typically bouncy
pop with a little bit of power, but not quite enough to push
it over the top. “California Waits” is the epitome
of the 70s sugary pop sound, even including some glockenspiel,
and the guitar tone is spot on for the style. “Would
You Like To Go” sounds like it could have come from
the Sesame Street kids’ TV show, with a simple melody
and its sweet message of friendship. I do like “Buy
You Time,” which has a bit of retro doo-wop sound to
it, and features piano, synths, jangly guitar, bass and drums
in the mix. It’s got a strong back beat and an epic
quality to it. But most of this LP just doesn’t have
enough oomph. I was never a fan of 70s bubblegum pop.
 MERCY
MUSIC – Nothing In The Dark (Wiretap Records, www.wiretaprecords.com)
This is a simple review to write. This record is, in a word,
outstanding! The music is melodic, poppy, and edgy, all rolled
up into one. The hooks are prodigious, and the sound is bigger
than the three-piece they are. This band deserves to be much
bigger than they are right now. “Tuesday” is one
helluva song. The hooks are awesome, the melody pretty, the
playing and singing powerful – all the best put together
into one song. It’s pop punk, it’s power pop,
and it’s got some nice grunge touches, too. It’s
one of the best songs of the year so far, to my ears. And
the title track is another favorite. It’s just guitarist-vocalist
Brendan Scholz playing acoustic guitar and singing, but the
song is just so nice. Scholz can really write some great melodies.
And those lyrics are so…sad, a song about aloneness.
“When I go out I’ll be sure that I go out alone
/ We can be two lonely people the way it was before.”
Make me cry, Brendan. “Tell Me I’m Wrong”
blends the angst of emo, the melodic sensibilities of pop,
and the heaviness of grunge. The result is a strong rock and
roll song that you can’t decide if you want to dance
to it, cry to it, or head-bang to it. The closing track, “Even
If I’ve Lost,” is a real banger, too. You’re
going to want to get up and jump around when this one comes
on. It’s fast and bouncy and a ton of fun. This is a
strong contender for the 2020 Best of list.
PURPLE
WITCH OF CULVER – Trig (Loantaka Records, www.loantaka-records.com)
This is a new single from a new group, featuring saxophonist
Sarah Safaie and producer/ multi-instrumentalist Evan Taylor.
The track blends jazz, funk, hip-hop, chill-out EDM, and spoken
word beat poetry. A continuous pounding drumbeat interlocks
with the funky bass, and tenor sax interjects with some smooth
lines. Safaie’s deadpan vocals give us the words, and
a chill keyboard throws out some descending chords from time
to time. This isn’t typical Jersey Beat indie music,
but it’s certainly worthy of your attention.
 TEENAGE
HALLOWEEN (Don Giovanni Records, www.dongiovannirecords.com)
Fall is upon us, and it’s pumpkin spice season again.
Thankfully, Teenage Halloween, though named for the season’s
favorite holiday, doesn’t have any of the blandness
of the ubiquitous flavoring. They call themselves a power
pop band, but they aren’t. As much as I love good power
pop, Teenage Halloween sell themselves short with that description,
because the band’s sound is richer, more complex, and
more varied than would be implied by that simple genre label.
That makes their debut LP a winner. And yes, it’s their
debut. Even though the band has been kicking around since
2014, this is their first LP. But it was worth the wait. Vocalist
Luke Hendericks belts out the words with a folk punk power
and angst – but there’s no folk punk on the record!
It’s got that gravelly but higher pitched quality I
most associate with folk punk. Some of the songs have a great
epic quality, such as the opener, “Stationary.”
The song is expansive, yet raucous. It’s a great introduction
to the band and leaves me wanting to listen to more. I really
love the fast and loud “Holes,” which has punk
undertones, but has more of the sound of an indie pop song,
with great melodic hooks. And “SMH City, too, has great
power and great melody. Hendericks’ vocals really set
the tone for this song, giving it a scratchy edge and an urgency.
But that also comes from the pounding drums, thrumming bass,
and the screaming keyboards. “Summer Money” has
bright sound from Brandon Hakim’s saxophone that gives
the song a nice jangle, even as it has a retro rock and roll
beat. And I like the jazzy sound with bass, drums, and piano
in the closing track, “Turn Right, Goes Straight,”
as well as the clanging guitars,
The label’s write-up about the band on their website
says that Teenage Halloween’s sound is “rooted
in abundance,” and that’s an apt description.
The band has a big sound, and, as their bio states, “”lyrics
that grapple with vulnerability, community, extreme existentialism,
mental illness, and gender euphoria.” I especially
love that last term, as it juxtaposes with the condition
of “gender dysphoria.” Dysphoria is a defined
as a state of unease or dissatisfaction with life, while
euphoria is joy and celebration. This record was originally
slated to come out during the summer, and Teenage Halloween
were scheduled to play The Fest 19 in October. 2020 hasn’t
been kind to any bands. Hopefully 2021 will bring an end
to the pandemic, a return of live music, and a reinvigorated
Teenage Halloween, ready to tour, will be coming to a club
near you.
 TOBIN
SPROUT – Empty Horses (Fire Records, www.firerecords.com)
Tobin Sprout should be well known to most Jersey Beat readers.
He was a longtime member of Guided By Voices, penning some
of that band’s songs. With GBV’s Robert Pollard
he founded Airport 5, releasing a couple of LPs and numerous
singles. And “Empty Horses” is his seventh solo
LP. The ten songs here, for the most part, feel dusty and
lonesome, yielding the feeling of Sprout as troubadour, wandering
from place to place, singing his songs and telling his tales.
Part of this comes from his mastery of lo-fi recording. It’s
not so lo-fi as to be distracting, and not so slick as to
feel overproduced. It ends up with a nice DIY feel, as someone
doing the best he can with the tools he has. I particularly
love the piano sound he gets; it sounds like a home recording,
slightly distant, sad and lonesome. Part of it, too, comes
from Sprout’s vocal style; it has the weary and worn
sound of someone who’s seen and done way too much, and
needs to talk about it. There’s a decent variety in
the songs, though they’re all distinctly singer-songwriter
fare. There are some simple acoustic guitar and vocal songs,
the best of which is the simple “Every Sweet Soul.”
It’s a pure, gorgeous song, just acoustic guitar and
some overdubbed vocals and a pretty melody. Another great
one is “Antietam,” with acoustic guitar and wood
block percussion. It’s a song living a simple life growing
up amidst a sea of troubles, then joining the fight for freedom
and making the ultimate sacrifice. There are songs with electric
guitar, and some with slide guitar too, giving an Americana
alt-country feel. “Breaking Down” is a pretty
ballad in this category about the call of the road, the need
to go places, both literally and metaphorically. I really
like “The Man I Used to Know,” one of the two
“rock” songs of the LP. The heavy reverb and guitar
tone give it that lonely dusty sound. The other is “All
In My Sleep,” which has more of an indie rock sound
than the others, with buzzy guitar effects. As the song evolves
it adds piano and slide guitar, becoming a bit of an instrumental
jam. That piano features prominently in songs such as “On
Golden Rivers,” which also includes acoustic guitar
and strings (or string synth). The overdubbed backing vocals
are slightly out of sync with each other, giving it a “realistic”
sound of a group of singers gathered together, singing for
themselves. And the beautiful closing track is just piano
and vocals, “No Shame.” It’s a short one,
with a song that warns, “crawl away, you’re in
danger boy,” and then declares, “there’s
no shame on you, no shame.” There is no shame in self-preservation.
Though all the songs could qualify as ballads, and some of
the songs veer uncomfortably close to spiritual topics, there’s
still an honesty in these songs that make them appealing.
 BRIAN
CULLMAN – Winter Clothes (Sunnyside Records, www.sunnysiderecords.com)
Brian Cullman, formerly of OK Savant, is releasing a solo
LP, but it’s one that includes collaboration with a
number of other musicians, including Jimi Zhivago, who passed
away in late 2018 during work on this project. It took Cullman
a year to come back to these songs and complete the album.
The result is definitely singer-songwriter fare, but there’s
a lot of diversity from song to song, with some having a Bob
Dylan sort of vibe, others being more power pop, some adult
contemporary, and others country-folk. The variety is something
I personally praise every time I encounter it, and it keeps
the listener engaged. Favorites include “Down Down Down,”
a bluesy folk-rock jam that reminds me of Little Feat. “Wrong
Birthday” is the one that brings Dylan to mind pretty
quickly, or maybe a tamed Mick Jagger, with a song about being
at the wrong place in life for things to work out the way
you want. Speaking of the wrong place in life, “As A
Man Gets Older” is a sad, lovely folk tune about how
our lives change as we age. Delicately plucked acoustic guitars
provide the primary instruments, along with electric bass,
and the subtle backing vocals and organ are gorgeous. The
previously released “New Year’s Eve” is
here, also with a strong Dylan influence, about looking for
love at the holidays. But my favorite track of the LP has
to be “Wrong Girl.” Despite opening with mandolin,
this is an unabashed power pop track, something that could
have come from the pen of Paul Collins (of The Nerves and
The Beat). If you take out the organ, mandolin, and slide
guitar, this would be at home in any rock and roll club in
the country. This is coming out at just the right time, because
this is going to be a great listen on those cold rainy fall
days.
 IN
PARALLEL – Fashioner (Wiretap Records, www.wiretaprecords.com)
This is a very different record than anything Wiretap has
put out to date. This isn’t punk; it’s not pop
punk. It’s big expansive music, synth heavy, dripping
with dreaminess. It’s bass heavy, and has a strong beat,
so in that sense it reminds me, in some superficial ways,
of early New Order, but like a less emphatic, more ethereal
version. There’s definitely an ‘80s vibe in the
melodies and synths, but the arrangements are more modern.
“Six Over Eight” has moments that are swirly,
though most of it features deep growling bass and darkness,
but with a gauzy silkiness floating above it. The title track,
which bears the subtitle, “No Exit,” has a distinct
dance beat to it, bringing up memories of those 80s bands
even more strongly, but tempered with a modern rock sensibility.
“Deep Dark” is an interesting one in that it blends
the synth-dream-pop style with a 2000s melodic emo style.
The music and vocals are big and the production feels slick.
Maybe a bit too slick. “Leave it With The Ghost”
has a very deliberate beat, but it’s not really a dancey
song. It starts out on the quiet side and builds, the grumbling
bass and drums working in unison to create an air of tension,
while the heavily reverbed guitar and vocals try to give a
sense of ease. ”Threat of Heaven” closes things
out, starting as a quiet dreamy anthem. Halfway through, it
explodes into cacophony, with the bass and drums still holding
the center, keeping things aligned amidst what is otherwise
a soundtrack to chaos. Noise and buzzing come from the synths
and the guitars, the level rising, the feedback growing. These
last two tracks are my favorite of the EP, probably because
they have the richest texture of the quintet of songs. Overall,
Fashioner is not the sort of record I would seek out, but
it has its moments.
 BLAKE
JONES – The Homebound Tapes (Big Stir Records, www.bigstirrecords.com)
Music has gotten quieter and more intimate during the pandemic
shutdown, as people turn to home recording without full band
arrangements. And that’s the case with the aptly titled
“The Homebound Tapes,” from Big Stir Records’
founding father, Blake Jones. The half dozen tracks here are
quite varied, even as they’re mostly acoustically based,
as are most new home recorded releases. The opening song,
“The Last Song of Summer,” comes at a perfect
time, as we reach September and Labor Day weekend. It’s
delicate acoustic guitar, bass, and Jones’ vocals singing
a Neil Young-like song celebrating the ending of summer and
farewells in general. “Do the Lockdown Bossa Nova”
is an awesome track that features guitar, various percussion
instruments, and a theremin playing the Latin inspired melody.
It’s quirky and eerie; you can imagine ghostly apparitions
dancing to the Brazilian beat. “Three Jerks in a Jeep”
is my favorite of the record. It’s an understated garage
rock and roll song that rocks out quietly, while providing
a biting satirical commentary on conservative complaints about
this summer’s protests. I like the folksy waltz, “Homebound,”
performed on acoustic guitar and mandolin. It’s a ballad
about pulling up roots and moving during the global pandemic
lockdown, and it’s a pretty song, but sad, as it speaks
of leaving everything you’ve known for years and driving
along empty roads and shuttered restaurants. It’s also
apparently the true story of Big Stir’s Rex Broome’s
parents, who did just that at the outset of the stay at home
orders. The bookend of “The Last Song of Summer”
is called, well, “The First Song of Summer,” and
it’s a lighthearted song that feels like it could come
from a stage show, all happy and a bit silly. “Make
Peace” ends the EP, and it’s an anthem to the
sentiment, as Blake pleads that we do just that. Electric
guitar, piano, and drums give the song the feel of a quiet
march. And marching for justice and peace has been a central
part of 2020. Six songs, six sounds, six sentiments, all around
current themes. What could be better?
 NOi!SE
– Welcome to Tacoma (Pirates Press Records, www.piratespressrecords.com)
Tacoma, Washington’s street punks dropped a surprise
EP! Not only is it a surprise in that it was unannounced,
it’s a surprise that this is an all acoustic record,
sounding nothing like their usual raucous selves. There are
four tracks here, acoustic versions of fan favorites. “Dull
The Pain,” from “The Real Enemy” LP, instead
of being the relentless pounding song it was on the album,
it’s a pretty Latin-influenced number that I could see
a punk mariachi band playing. The vocals come through like
never before, too, and are deep and rich. “So I Drift
Away,” which comes from the album “The Scars We
Hide,” isn’t as drastic of a transformation, as
it changes from a gritty street punk song into a gritty folk-punk
song. And those sumptuous vocals just make this work so well.
On the same LP, “Rank and File” is noisy and a
bit chaotic, but here it’s luscious jangly dark folk
punk. “Rising Tide” may be my favorite song of
theirs, from the album of the same name. It’s a great
punk anthem with challenging intervals for singing. Here it
transforms to a fast paced crooner of a song, with wondrous
Morrissey-like vocals (but without the controversy). And it’s
still my favorite. Yes, this EP is a surprise in more than
one way, and it’s a welcome surprise.
 SILENT
ERA – Rotate the Mirror (Nervous Intent Records, nervousintent.bigcartel.com)
From Oakland, CA, Silent Era plays melodic hardcore –
but not the kind of modern melodic hardcore you’re thinking
of, not the kind that borders on metal. This is the kind of
post hardcore that was being made in the 80s, and that guitar
tone! It’s a very 80s punk sound, reminding me a lot
of Boston’s The Proletariat. It’s also got a dose
of California surf punk guitar thrown in, too. The music is
speedy, melodic, hard-edged, and even bouncy! Vocals are powerful
and clear. Some of the tracks are more melodic, some are super
fast and crunchy. I like both. “Say It Again”
is incredibly intense, the proverbial fast and loud punk music,
and it’s a standout. “Unserving Lie” is
one of the poppiest songs you’ll hear all year, but
it’s also one of the fastest and most cracking. It makes
it one of my favorites of the LP. The same can be said about
“The Hook.” The band is super tight and these
tunes are really punchy. Strongly recommended!
 SOULSIDE
– This Ship (Dischord Records, www.dischord.com)
You have no idea how excited I was when Soulside announced
this new record. I loved Soulside back in the day, and during
their very short tenure they put out some excellent records
that are still among my favorites. When they announced their
reunion for a few special shows in conjunction with the release
of the DC punk documentary, “Salad Days,” I actually
bought a plane ticket to fly to DC to catch their two shows
at The Black Cat. I thought that was that, but they continued
to play, making their way across the USA where I caught them
again at The Casbah in San Diego, and they toured Europe.
It was while they were overseas that they found time to get
into the studio and record their first new music since 1989,
and the result is “This Ship,” a two-song 7”
single whose download comes with a third bonus song. And,
while you can still recognize these new songs as Soulside,
they don’t sound identical to the songs they last released
over thirty years ago. And that’s good, because bands
should continue to evolve and grow. The songs are melodic
and powerful, with post-hardcore touches. The title track
makes great use of guitar feedback and noise, yielding an
urgent feel, while the guitar, bass, and drums provide a retro
surf garage pop feel mixed with, of course, a DC post-hardcore
sound. Of course, the lyrics are a political and social commentary,
in this case likening society to a ship that we all need to
work together to right, lest it capsize. The B-side of the
vinyl release, “Madeleine Said,” has a bit of
a Jawbox/J Robbins feel to it, with jangly dissonance in the
guitars, but a slower, more melodic, gliding vocal line above
that. The bonus track is “Survival,” and the same
jangly noisy guitars are there, but the song has a bit more
of a pop melody. It seemed impossible at first, then just
unlikely. But now, Soulside are back. I hope this is a harbinger
of a new full length LP to come.
 BEAUTIFUL
DUDES – Nite Songs (Dowd Records, www.dowdrecords.com)
Following up from their 7” release earlier this year,
Beautiful Dudes return with a six-song EP of dark, yet varied
indie rock. The songs all have a melancholy running through
them, yet each sounds distinctly different from the others.
“Nothing But the Black” opens the EP with the
most raucous of the tracks and a very 80s post punk feel.
“Beverly Hills” is a little poppier with lovely
guitar distortion, in the same way that The Jesus and Mary
Chain used noise and pop melody. “Nite Nite” brings
metal and grunge to the table, and “I Don’t Ever
Want To Get Out Of Bed” is a morose ballad, the depression
and gloom palpable. “The Champion” closes the
EP with an epic cacophony. But my favorite is the penultimate
track, “Today Is Just Today.” It has an 80s retro
sound like the opener, but it’s quieter, poppier, and
with a gritty blend of surf and western. The guitar sound
reminds me a lot of the The Plugz’ “Reel 10,”
the music from the climax of the film “Repo Man.”
The EP is nicely cohesive while maintaining a good variety.
 CHASER
– Look Alive (www.chaserpunkrock.com)
Two new songs from SoCal skate punks Chaser. The songs are
speedy and melodic, with plenty of harmonized whoa-oh vocals.
The Orange County melodic punk sound is strong in this pair
of songs. Of the two, I think the B-side, “Found Myself
Again,” gets the edge. It’s bouncier and poppier,
and I like the crunchiness of the bass and guitars. And best
of all, 100% of the proceeds from the sale of this record
will be donated to four worthy organizations, Equal Justice
Initiative, Educational First Steps, Crisis Aid International,
and Surfrider Foundation. You get good music and you get to
help the cause.
 COLD
YEARS – Paradise (eOne Music, www.entertainmentone.com)
Paradise is the debut LP from Scottish band Cold Years. Hailing
from Aberdeen, on Scotland’s east coast, the band joke’s
that the album’s title is a sarcastic reference to their
hometown, which is decidedly not a paradise. Musically, the
band play big, melodic, emotion-filled music that lies somewhere
between pop punk and alterative rock. It’s odd, because
the slick production and alternative rock sort of stuff is
a sound I don’t normally go for, but Cold Years have
enough of an edge to their music, enough of an urgent sound,
that I’m digging this record. Ross Gordon’s vocals
are heartfelt, something you can hear clearly from the opening
track of the LP, “31.” It starts with just acoustic
guitar and vocals, and the vocals are raspy and pleading.
Songs that stand out for me include those that have more of
the pop punk edge to them. “Life With A View”
is one such song, with great striding guitars and pleading
vocals. “Breathe” has a post-hardcore feel mixed
into the smoother pop punk and alternative rock sounds that
gives this track a bit of an edge. “Burn The House Down”
is one of the most intense tracks, too, and it’s my
favorite of the bunch. It’s intense, but very melodic.
One thing I notice about many of the tracks is that they start
off with a harder, edgier sound, and as the song evolves the
often smooth out, moving more toward the alternative pop punk
sounds. I wish they would maintain that edgier sound throughout
the songs. “Too Far Gone” is the opposite, though,
starting more quietly and getting bigger, moving through a
slick alternative rock phase and moving to a jumpy, boisterous,
poppy section. And the closer, “Hunter,” is just
beautiful, an acoustic song with guitar and Gordon’s
earnest singing. Yeah, I kinda unexpectedly dig this record.
 GODCASTER
– Long Haired Locusts (Ramp Local, www.ramplocal.com)
Mix together 70s funk and pop and a large dose of experimentalism
and you get Godcaster! “Rising from the underground
river of primordial goo that runs between New York City and
Philadelphia,” as the band say, this is the band’s
debut LP.” And it’s explosive, right from the
get-go. The opening track, humorously titled, “Even
Your Blood Is Electric,” has the funky sounds of a 70’s
TV cop show theme song. One thing this song has that’s
a common thread throughout the album is the use of flute and
keyboards playing melodic lines in unison. It gives these
songs a bright tone, and emphasizes the 70s influence, whether
the tracks are funky or poppy. I love not just these songs,
but their titles, too. “Don’t Make Stevie Wonder,”
“Christ in Capsule Form,” “All the Feral
Girls in the Universe,” and “Rapturous Climax”
are just a few examples. I really enjoy the way “Apparition
of Mother Mary In My Neighborhood” oscillates between
odd, off-kilter pop, funk, and chaotic avant-garde. “Sassy
Stick Boy,” with its flute and what sounds like glockenspiel,
opens with the sweet sound of a Sesame Street vignette. The
bits of guitar wah-pedal in the background emphasize the 70s
nature of the track, and even the pretty harmonized vocals
have hints of a condescending tone that we get in kids’
music. Besides having a pun for a title, “Don’t
Make Stevie Wonder” has some great funk and cacophonous
experimentalism that’s a blast to listen to. “Christ
In Capsule Form” is way too short, but it’s a
glorious hymn, sung in choral form – or as close to
that as you get from this collection of oddball musicians.
“Escape From the Challenger Deep” is a gorgeous
quiet ballad that also sounds like something that could have
come from a twisted version of Sesame Street until the halfway
mark when it undergoes a transformation into something out
of a manic psychedelic science fiction soundtrack. “Sexy
Heffer” is a fun one that starts off as a simple off-kilter
funk track, but gets wilder and more chaotic as it goes. There’s
one song that’s borderline punk, and that’s the
manic “The Skull!!!” The music is as emphatic
as those three exclamation marks imply, with a speedy tempo,
edgy guitars, and urgent sounding synths. Man, this is crazy,
refreshingly different stuff. Recommended.
 NEW
WAY VENDETTA – Cough Cool b/w 1984 (On The Floor)
(www.facebook.com/newwayvendetta)
New Way Vendetta is a collective of pro-mask radicals with
links to Christian Death, The Jackalopes, Electric Frankenstein,
Cricketbows, Shadow Project, C.O.H., Kathedral, Rozz Williams,
The Empire Hideous and more. On this debut release they offer
up one cover and one original. The cover is, of course, that
of the famous Misfits tune. New Way Vendetta slow the song
a bit, add tons of atmospheric synths, making it sound more
like something from a dystopian science fiction film. Some
other interesting touches: the emphasis on the lyric “cover
your face” and the introductory bit with a synthesized
voice ordering people to wear a face covering and maintain
social distancing. The original track on the “virtual
B-side” focuses on dark synth driven pop and gang vocals.
The lyrics provide a warning: “Big Brother is watching
you / Keeping track of your every move.” It’s
obvious these mysterious figures are having a laugh. Laugh
along.
 PROTON
PACKS – Paradox (Mom’s Basement Records, momsbasementrecords.bigcartel.com)
Italian punks Proton Packs are back with their fourth full-length
LP, and their second coming out of Mom’s Basement. Proton
Packs are Ramones-core, and they also claim The Misfits, Lillingtons,
Head, and Iron Maiden as influences. I guess I can see most
of that. The music is big and chunky, with loads of chukka-chukka
guitars. The songs are dark, too, with most of them being
modal or in minor keys. Individually, the songs are decent
enough, with a skate punk vibe. But there’s too much
sameness throughout the 14 tracks. There’s no variation
in tempo, no variation in the sound. With maybe the exception
of “Business As Unusual,” which includes a synth,
providing at least a little something different with an 80s
new wave vibe underneath the punk rock. “The Mystery
Zone” also uses synth, but only in the opening seconds,
and here and there through the track. Other than that, there’s
no difference in the sound of this track and any of the others.
It’s hard to tell when one track starts and the next
one ends, other than the moment of silence between them. Now,
don’t get me wrong, Proton Packs are a good band. The
songs are powerful and energetic. But there’s just too
much sameness here to keep my attention over a 33-minute span.
 SATURDAY’S
HEROES – Turn Up The Music! (Lövely Records,
www.llyrecords.com)
Swedish punk-fucking-rock! This is melodic punk, with plenty
of power and pop, lots of big gang vocals, and a party atmosphere.
I love the way the lead vocals are belted out. “We’re
All Done” opens the album with a great street punk
vibe and an anthemic quality. This is the kind of song that
gets everyone in the club singing along and jumping around.
Several of the songs are big street punk anthems, too, and
I hear a warm organ in the background – something
that’s becoming more common with bands of this genre.
“Dead of Night” starts with a great classic
melodic punk sound reminding me of Youth Brigade from back
in the 80s, then speeds up to become skate punk track, going
back and forth between slower and faster paces, giving it
a nice varied texture. “Seven Seas” has a great
loping rock and roll feel, and I love the great big “This
Is The End,” a track that sounds as if it closes out
their live sets (or did before the pandemic). “Turn
Up The Music” closes the mini LP, and is a favorite,
with a bluesy rock and roll sound for the first half, then
turning into a raucous street punk anthem. This is fun stuff.
 THE
HAPPY FITS – What Could Be Better (www.thehappyfits.com)
Well, damn! Nothing beats a record where you can just tell
the band had a blast making it, and I can hear the joy throughout
the ten songs on The Happy Fits’ sophomore LP. The three-piece
is made up of guitar (Ross Montieth), drums (Luke Davis) and….cello?
(Calvin Langman). Although Langman takes on most of the lead
vocals, all three sing, and harmonize, providing a thick,
rich vocal sound. The opening track (and lead single) is oddly
not representative of the rest of the LP, sounding completely
different from any other song. But it’s still a ton
of fun. It’s “Go Dumb,” and it’s pretty
rocking garage. The only change I would make to it might a
slight increase in the tempo, but it’s got a huge sound,
and man, that cello rocks! The balance of the LP is uniformly
upbeat joyous indie rock and pop, with the exception of the
penultimate “Get a Job,” which is a harder rocking
song, almost like grunge – but more like a grunge song
from a rock opera. The arrangement and writing are very theatrical
– and superb! In this dramatic aspect it reminds me
a little bit of Queen. The guitar and cello work as percussion
with the drums, pummeling away incessantly, propelling the
vocals. I love the exuberant “No Instructions,”
with its moments of Beatles-esque pop. The 50s doo-wop retro
pop of “Moving” is a ton of fun and I hear hints
of 60s cinema soundtrack and Latin influence, as well. Speaking
of Latin influence, “Two of Many” has it aplenty,
mixed with Afro-Caribbean beats, and it’s my favorite
track of the LP. Its energetic rhythm, breezy melody, and
huge vocals (including gloriously huge harmonies) are infectious,
and I dare you to listen to this song without getting up and
dancing. Another favorite is the delicate “The Garden.”
Plucked cello and guitar punctuate the beautiful soaring vocals.
Every single song on this record is gorgeous, beautiful, fun.
At the risk of sounding effusive, I will declare that this
record will end up on my list of the year’s best. Plus,
you can check out our fearless editor’s recent interview
with the band here.
 BLOODY
YOUR HANDS – Sunday Scaries (bloodyyourhands.bandcamp.com)
New York’s Bloody Your Hands brings us their third full-length
LP, the first since 2017’s “Monsters Never Die.”
And though it was written over a two-year period, its themes
of anxiety, isolation, hope, loss, exhaustion, death, and
struggling with adulthood are more relevant than ever. And
the ten songs here are nothing short of remarkably gorgeous.
My number one favorite of the album has to be the glorious
“Insincere Apologies,” a song of communications
breakdowns in relationships, the inability to be vulnerable
when confronted with threatening situations, and the feelings
of hopelessness that induces. The music oscillates between
a pretty delicate guitar line with an ominous bass and a loud
grunge rock and roll sound. It’s like when you try to
start a discussion about a bad situation, first apologetically,
then becoming defensive when confronted The chorus opens up,
like a person shouting, huge and expansive; “Wasted
and dysfunctional / Wasted and dysfunctional / Waste my breath,
like yelling at a wall.” I really like the opener, “Insomnia,”
too. The quick tempo in the instrumentals contrasts with the
slower glide of the vocals, the song seeming to be in 12/8
time, the vocals on the 4/4 rhythm and the instruments doing
a quick 3/4. There’s some cool 90s indie sounds in the
guitars on this one, with some pretty chord progressions.
“Checked Out” is, perhaps, the most punk-like
of the songs, with a strong pop punk edge, though the melody
and arrangement are of a more mature indie-rock nature. The
song deals with hating your job, but not being able to find
anything that pays well enough (“More money makes a
dent, but I’m not happy just paying rent,” declares
the chorus) and doing what you love just doesn’t pay.
The grunge-like hit of the LP is “Weird Winter,”
a song of self-loathing that has a big gang-vocal chorus of
“I am not your hero, I’ll never be.” The
verses deal with the paralysis one can feel, the struggle
between wanting to be with people and to just be alone, and
ending up lying in bed, letting yourself rot away. Themes
of isolation continue on the spoken word piece, “Isolation
By Design.” As an acoustic guitar plays quietly, a narrator
talks about the loneliness we all feel as we isolate ourselves,
even in a city as dense as New York, “It’s isolation
by design, to be surrounded by water, but dying of thirst,”
we’re told. “There Are Heroes In You” seems
to speak about being overly dependent on another person. “You’re
my home, you’re the only reason I am here,” the
song says. “We’re waiting for heroes, there are
heroes in you.” I love how the song starts out more
quietly in waltz time, then a about two thirds through, it
changes completely into a very dark, driving song in a 4/4
rhythm, the urgency palpable. I could continue talking about
each track and how good they are – because every track
is really that good. Every time I think I’ve picked
one favorite, another plays and I have to reevaluate. The
songs are inventive, original, very engaging, and varied.
This record is very recommended!
 CATHOLIC
GUILT – This Is What Honesty Sounds Like (Wiretap
Records, www.wiretaprecords.com)
Melbourne, Australia band Catholic Guilt are seeing American
release of their new EP via Southern California’s Wiretap
Records. The five-piece play big, expansive pop punk and emo
inspired music, similar in ways to what was being made in
the 2000s. There’s an epic quality these songs, and
the songs pack an emotional wallop. The opening track, “A
Boutique Affair,” is the lead single, and it ranges
from poppy indie rock to emo pop. The harmonized vocals are
very slick, with a commercial radio appeal. “Song of
the Renter” has a dusty western folk-punk feel to it,
with lyrics that seem to be about the greed of redevelopers
and land speculators, and the damage they do to the ability
of too many people to have an affordable place to live. “Life
In Three Part Harmony” lives its name. It also starts
quietly, and builds steadily. Just as life does. And “The
Awful Truth” has a jazzy swing and swagger to it, but
is just as big and emotional as the other tracks. “Nothing”
is the closer, and it has an anthemic quality to it, for a
big and strong finish. Catholic Guilt certainly are good at
what they do. If you enjoy this big emo style, you’re
going to love this EP.
 KID
DAD – In a Box (Long Branch Records, longbranchrecords.bigcartel.com)
On this debut LP from German band Kid Dad, are echoes of 1990s
Seattle mixed with modern dreaminess. This is slickly produced
alternative rock, with big dynamics and big production values.
The opening track, “A Prison Unseen,” is epic
in scale, with loud heavy guitars and shimmering keyboards.
Marius Vieth’s vocals are belted out powerfully, and
when the band pulls back we get quiet confidence. “Happy”
is straight up grunge, and the heaviest, hardest-hitting song
of the LP. The licks on the chorus sound oh so familiar, as
if Kurt Cobain himself could have written them. The heavy
reverb in the guitar on the quieter parts is cool, giving
those parts of the song a darker eerie feel. There are plenty
of songs in the vein of “(I Wish I Was) On Fire,”
a track that feels like it came from the 2000s. Melodic and
rocking, yet dreamy, and loaded with emotion, it’s the
kind of thing the alternative radio was full of back in the
day. Vieth’s vocals range from angst-filled to breathy,
echoing the big dynamic range of the instrumentals. If you
like this genre, Kid Dad acquit themselves quite well.
 LASSE
PASSAGE – Sunwards (Sofa Music, www.sofamusic.no)
Lasse Passage plays light, jazzy folk-pop. If you think you
hear a slight accent to his rich vocals, you’re right;
Passage hails from Norway. The opening track, “Miles
Away,” is my favorite of the LP. It starts out with
gorgeously dark, fluttery acoustic guitar and vocals. It’s
really beautiful singer-songwriter fare. The song starts to
get a little thicker with flute and synths, and then drums
join in and the folk turns to pop for a bit, before returning
to the fluttery guitar. I like the breeziness of “Heartbeat.”
It’s got an interesting blend of feelings; I get a sunny
beach day mixed with some rural Americana, with slide guitar
and horns in the arrangement. “Homecoming” is
a perfect exemplar of the majority of the songs on this LP.
It’s folksy pop music with a jazzy beat and horns in
the arrangement. “Sunwards” is another one on
the jazzier side of things, a nice bouncy beat, trumpet, a
light touch, and even whistling at the end. And I also love
“300.000 Francs,” a pretty song of memories, romantic
and otherwise. It’s a wistful tune, quiet and sad, full
of loss. The mix of acoustic guitar, piano, and brushed drums
is beautiful, and Passage’s vocals have a delicate touch.
The overall feel of the album is quite airy and weightless,
and listening to this record can help ease your burdens.
 ODD
ROBOT – A Late Night Quarantiniac (youtube.com/channel/
UCi3ifreFPcx9hgbAYCTOvJQ)
Odd Robot has decided to self-release acoustic versions of
some of their songs from their first two LPs, and their split
with Tiny Stills, plus a new one, as a digital only release,
available on Spotify and YouTube. And wow, the songs sound
completely different this way! Part of it is the acoustic
treatment, but more of it is a conscious decision on the part
of the robots to slow things down, take it easy, and not be
in such a manic rush. One of the best examples of this is
“Amnesiatic.” The original is raucous and loud,
if not speedy. The acoustic version is soft and solemn, just
the acoustic guitar and Andy Burris’ vocals, as pleading
and melodic as ever, though the emotive quality of his vocals
comes through even more clearly here. “Take Me Away”
transforms from an edgy pop punk anthem, with driving bass
and pounding drums, into an impassioned waltz time ballad.
On the “Amnesiatic” LP, the opening track, “Sell
Your Soul” is pounding pop punk song, but here it’s
delicate, with acoustic guitar and distant “percussion”
from what I think are hand claps. “I Am a Cortisol Factory”
is no longer the high-strung indie rocker of the track on
the split EP; instead it has some exquisite flamenco guitar
sounds and a much easier feel. “Boil Through”
undergoes a big change from poppy grunge rock and roll to
dusty western folk. My favorite Odd Robot song, “Green
and Yellow Wires” (which they never play live) is my
favorite of this acoustic LP, too. The part that hits me hardest
is the dueling guitars in the opening, something that is used
sparingly in the electric version. Here in the acoustic version
those guitars keep at each other throughout most of the song.
They’re lighter, too, and the song is slowed down and
becomes the romantic ballad it was always meant to be. The
new one is the country-like “Bartender’s Blues”
and it reminds me of some of the Chicago singer-songwriter
music I group up with, like Steve Goodman. The closer is “Knife
and a Cigarette,” from the debut LP “A Late Night
Panic.” Here, along with the acoustic guitar we get
bowed bass and violin, and it is achingly beautiful. Though
all but one of these tracks are previously released on other
records, this is a fresh, brand new LP that sounds like no
other Odd Robot record, and like their others, it’s
wonderful.
 SHEENJEK
– Unclever (Seventh Rule Recordings, www.seventhrule.com)
I’m not a big metal fan, and I usually don’t go
in for the really heavy stuff. But every once in awhile, a
heavy metallic band comes along that breaks all the “rules”
and makes music that I can really get into. Portland’s
Sheenjek is one such band. The music is definitely heavy,
hard-hitting stuff, but it’s also melodic, with strong
post-punk leanings. The band claims to have started as a book
club in their humorous press release, and that quickly disintegrated
into a demonstration of self-defense knife techniques and
joint rolling techniques. Too much booze, too much weed, and
too many books led to an extended drum solo that became the
band’s first live performance. Ha! “Monkey Brains”
is a bombastic track with some cool angular guitar lines that
remind me of some of the great post-hardcore post-emo stuff
from the 90s, and the track may be my favorite of the bunch.
It’s a little slower, but it’s loaded with tension
and sludgy bass. Magazine’s 1978 post-punk classic “The
Light Pours Out of Me” was famously covered by Ministry
in 2003, with a reasonably faithful and un-Ministry-like rendition.
Now Sheenjek is covering it, slowing it ever so slightly,
and sludging it up a lot. The angularity of the next song
title, “If Not Why Not If So How” reflects the
bit of angularity in the melody. It’s another that harkens
back to 90s post-hardcore and early emo, before emo turned
to screamo. I love the organized chaos in this one toward
the end, with the instruments all seeming to be playing different
dissonant lines, yet they all gel together into a coherent
whole. “Lazy Boy” changes character three quarters
of the way through. It starts out as just another heavy metallic
grungy sludgy song, with metallic guitar jammage. But with
just over two minutes remaining on the clock it complete changes
to an urgent melodic punk edged rocker with hints of DC emo
buried beneath the layers of noise. You can hear it in the
way the vocals are shouted out and the soaring sound of the
guitars. “Damocles” definitely shows its metal
roots, but it’s got some definite jangle going on here
and there. The closing track is “Bootlikker,”
and it’s where the band really shines. There’s
so much going on in this track, from the quiet opening notes
to the slow slushy intro, and then the gritty post-hardcore,
with an intense wall of sound. When the rhythms start getting
all mathish, it may leave your head spinning. The song keeps
shifting all over the place, and it’s a fascinating
listen. There are precious few heavy bands I’ll go out
of my way to see, Now I have one more, whenever live music
starts again, and should Sheenjek decide to come down the
coast.
 SLIGHT
OF – Other People (Dadstache Records, www.dadstacherecords.com)
Slight Of is an ever evolving collective of musicians centered
on the songs of New Yorker Jim Hill. The songs are unabashed
glam and power pop. Guitar, bass, drums, and keyboards make
up the instrumentation, and it’s interesting how the
different keyboard sounds dramatically change the feel of
the songs; sometimes they’re new wave bubblegum pop,
sometimes they’re more rock and roll, and sometimes
they have a dreamy sound. For example, the opening track,
“The Sims,” has buzzy poppy synths that dominate
the sugary sweet pop sound. The lyrics are less bubbly than
the music, referencing spending all night playing the titular
video game, wasting time “on a world that doesn’t
even exist. It may be an allegory for chasing unachievable
dreams, which would be pretty depressing. “Other People”
goes dark 80s rock and roll, with jangle reverb-laden guitars
and a warm organ tone, and lyrics about a relationship stuck
in a rut and gone cold, with thoughts drifting to the other
people in our lives. “Americana” has a vaguely,
well, Americana feel, and the vocals on the verses remind
me ever so slightly of Current 93’s David Tibet, half
sung, half spoken, with dismal lyrics. The song is about the
desperation of so many in America, how our lives never turn
out to be what we want or what the American Dream is supposed
to have promised. I like “Townie 490,” which sounds
like something Elvis Costello might have written, with a nice
power pop sound.
I’m not normally a big fan of the slower ballads,
but ironically my favorite tracks on this LP are such songs.
“Winter’s Maze” is a chilling song of
becoming inured to and feeling stuck in a toxic relationship.
“Oh what you do to me / You know it hurts so gracefully
/ These aching bones have come to know / The bruise that
makes them feel at home,” says one verse. The music
is spare and lonely sounding, with ethereal synths and bluesy
guitar. “Oh what you give to me / You take it so easily,”
another verse declares, as the music builds. “And
it feels like new when you walk in the room / If it were
warmer / Maybe I’d have the sense to leave.”
The song sends shivers through my soul. And “Hall
of Songs,” the penultimate track of the album, has
a sort of unearthly version of a 50s doo-wop ballad, a heavenly
choir providing backing vocals.
This sophomore release from Slight Of has some real downer
lyrics, man, but some of these songs are pretty cathartic.
This is the real emo, buddy.
 BENCHMARKS
– Summer, Slowly (benchmarks.bandcamp.com)
You would think that Benchmarks, hailing from Nashville, would
focus on country-tinged music, or at least “Americana”
influenced alternative rock. But they remind me more of a
cross between Austin, Texas band Big Loser (formerly known
as Free Kittens and Bread) and Divided Heaven (formerly of
Los Angeles, now calling the East Coast home). The music has
the emotional content of Divided Heaven, and the indie-nerd
song writing of Big Loser. The production is pretty slickly
done, the band is super tight, and the musicianship is stellar.
The overall feel is indie rock, but several of the songs are
definitely punk influenced. I like “Cicada Year, Pt.
1,” with its big rhythm guitars and strutting bass line,
and the lyrics that refer to how we enjoy the summer, never
giving a thought to the coming of winter, a reference to youthful
exuberance without a care of what will happen as we age. And
“Our Finest Hour” is a very timely song, about
how those of us born into privilege but committed to real
change for the better need to move back from trying to lead
and allow those most impacted by injustice to do so. We need
to listen, learn, and support the change that will bring about
a better society. It has big punk influenced guitars and some
great whoa-oh backing vocals. “The Price of Postcards”
is a pretty raucous one that I like, and the lyrics are one
of the inevitable tour songs – being away from home,
traveling from place to place, how everything is the same
but different everywhere – and missing the one you love.
When the song calms, there’s an organ that comes in
and gives a nice warm feel that’s not out of place,
as the lyrics referencing dreams of what will be when you
get home. The guitar solo, though, could be dropped as superfluous,
and the guitar wizardry thrown in at the end feels extraneous
and boastful. Another tour song makes an appearance, “Leave
the Light On.” This one is about growing weary of the
rut of touring, and planning to leave it all and go home.
It’s got one of the punkier feels, too, but also another
unnecessary guitar solo. And the arrangement of “Technicolor”
reminds me a lot of Big Loser, with the opening just being
guitar and vocals, before the whole band comes in, and then
revisiting that contrast throughout the song. “The Good
Fight reminds me a lot of Divided Heaven – the vocals
have some of that band’s vocalist Jeff Berman’s
sound. Sometimes the production goes a bit overboard, like
the use of “atmospheric” synths and guitar solos
on “Six One Way” and other songs. It ends up feeling
too slick and less honest. I think that’s what bums
me about all the guitar solos. They sound inauthentic and
don’t add to otherwise good songs. The closer is “Cicada
Year, Pt. 2,” and it picks up the theme from part one,
but this time it’s a song of acceptance instead of denial.
“Summer into autumn slips / let me embrace this transformation,
and embrace the life I own / and cherish all these songs upon
my lips.” Not just accepting aging and change, but embracing
it. Good advice for us all.
 DEVON
KAY AND THE SOLUTIONS – Limited Joy (A-F Records,
www.a-frecords.com)
You may be most familiar with Devon Kay from his role in the
band Direct Hit! but Devon has, for years, fronted his own
band, too. On this latest LP the band eschews the pop punk
of its past and has evolved to a bigger sound grounded in
ska punk. Yes, ska punk. The band is bigger, adding a trumpet
and trombone, plus synths. The songwriting is bigger, too,
to take advantage of all these new instruments. You’ve
possibly heard some of the singles they’ve been rolling
out in advance of the LP release, so you know what I mean.
The opening track was the most recent single, “Oh Glorious
Nothing,” and it’s a pretty glorious track, actually.
The glorious nothing referred to is oblivion, as in death,
and the song seems to be about the search for something, anything,
that can make you feel alive, but never finding it, and finding
solace in the end. The music is big, with horns and synths
providing a full sound, at one point with the horns and synths
sounding almost like a baroque ensemble. The other single
that was released ahead of the LP comes next, “Anything
At All,” and it has the same ska punk sound and a wonderfully
elaborate arrangement. There is a short time when the music
and the vocals get aggro, but it’s way too short. “252
Brighton Ave.” was previously released, as well, and
it has a vaguely Celtic rock feel that I like, as if The Pogues
decided to add a ska element to their songs. The horns in
this one are just gorgeous.
The first song of the LP not released ahead of the album,
“One Horse,” is a straight up pop song, with
processed vocals and heavy synths. The horns are still there,
seeming oddly out of place, but the lyrics are in line with
other songs. I hear references to time slipping away, and
Kay’s declaration “I don’t wanna be here,
I don’t wanna be alone.” This is one I could
almost hear breaking through to commercial success, if given
the opportunity. I like “In a Prairie State,”
which has the feel of a rock and roll song mixed with ska
– ska-rock instead of ska-punk? “Evermore”
takes the band in more of an indie direction, with a smooth
sound. The arrangement is complex with synths, guitars,
and horns playing interweaving lines. “His & Hearse”
is a big, fun sing-along, and the sound gets beautifully
thick. The closer is “Less Talk, Less Rock,”
and it reminds me of what PUP might sound like if they slowed
down a bit and added horns. The band are creating some wonderfully
involved arrangements that really make these songs stand
out. People who are expecting this band to stay stagnant
and keep playing the same old pop punk may be disappointed,
but if you like good music and are open to more than just
guitar, bass, and drums arrangements, prepare for a good
time.
 EXPERT
TIMING – Whichever, Whatever (Count Your Lucky Stars
Records, countyourluckystars.limitedrun.com)
Expert Timing are seem like two bands in one, which unite
on the final track of this new five-song EP. Two of the songs
that are sung mainly by bassist Katrina Snyder are lovely
indie pop. Two of the songs that are sung mainly by guitarist
Jeff Snyder are a bit grungier, definitely more indie rock
and outside the pop realm. I do tend to like the indie-pop
songs better. “Gravity” is a song of anxiety in
trying to plan life, but its unpredictability gets in the
way of that. Katrina’s vocals are pretty, and I like
the off-kilter rhythms that reflect the odd turns life can
take. I also like her song “Constant Melody,”
another pretty indie popper, this time with a smoother feel.
Of Jeff’s two songs, “Good Things” is a
downer of a song about how “Good things just don’t
just happen to me.” The mood of the music does feel
a little lighter than the lyrics would imply, especially when
the full band is playing – it’s a bit darker in
the intro, when it’s mainly the bass playing a very
Seattle line. And “Luckin’ Out” is even
more a descendant of the Pacific Northwest music scene. The
closing song, “My Body,” unites these two disparate
styles, melding Katrina’s pop side and Jeff’s
grunge. We get the dark grungy guitars and bass, but the lightness
of Katrina’s vocals and the start-stop melodic lines
of her songs. The song is also probably the most lyrically
important, on the topic of a woman’s right to control
her own body. An interesting dichotomy comes together.
 L.A.
WITCH – Play With Fire (Suicide Squeeze Records, www.suicidesqueeze.net)
It’s cool that I just watched the Go Go’s documentary
on Showtime last night, and today I’m listening to L.A.
Witch. Not that this trio sound like the quintet that was
popular back in the 80s and helped drive MTV success. But
it’s that the Go Go’s were groundbreaking in that
they were all women who played their own instruments and wrote
their own songs, something unheard of back then. So many bands
have followed their lead and they are some great bands out
there now that wouldn’t have had a chance at success
without the Go Go’s. And, though we know L.A. Witch
are all women, what do they sound like if they aren’t
the pop music of their progenitors? This is dark garage power
pop, emphasis on the dark. There is heavy use of reverb, and
the vocals are relaxed to the point of sounding “under
the influence.” I hear psych and surf in the guitars,
and the keyboards provide a strong retro psych feel. “Dark
Horse” is a favorite, with its 6/8 meter, acoustic guitar,
and lighter touch. The organ gives it a strong warm retro
psych feel, like this is something out of the 60s peace and
love era. The vocals are dreamy and the whole song has a hazy
drugged feel. Past the halfway mark it changes to a 4/4 beat
for a bit and we get some guitar jamming going on. The opening
track, too, “Fire Starter,” has a mix of garage
psych, and surf, the soundtrack you might hear after taking
a downer and washing it down with a few shots of whiskey,
a smoky haze hanging overhead. I know it’s odd to keep
harping on this, but the songs on this LP would be the perfect
soundtrack for a movie with drug use scenes from the 60s and
70s. That’s a compliment – this is cool stuff.
 LEWIS
– Son On The Floor (Sona Baby Records, www.sonababyrecords.com)
Lewis is Christopher Lewis, formerly of the punk band Kinison.
This guy does it all – he writes the songs, he sings,
and he plays all the instruments. The music ranges from the
straight-ahead power pop of “She’s Fine”
to the grunge-lite of “Bathe Clean” and “Nervous
Too,” from the smooth indie rock of “What We Give”
to the sparkling psych pop of “Pargana.” “Settle
Down” is a driving rock and roll tune in a classic 70s
vein. The opening track, “TOBI,” has dark sound
to it, alternating between jangly pop on the verses and grunge-lite
during the chorus. It’s got an epic theatrical quality
to it that makes it one of my favorites of the album. That
glam-like power pop song, “She’s Fine,”
is another favorite. It brings up images of late 70s rock
and roll classics “blasting” through the little
transistor radio I had as a kid. “Pargana” is
not only sparkling psych pop, it’s big and sprawling,
especially that huge chorus. The acoustic guitar adds a nice
element to the song, giving it a bit of intimacy amidst the
massiveness of the song. The songs on this record are varied
enough to keep from getting stale, yet cohesive enough to
recognize they’re all from the same band.
 THE
SEWER RATS – Magic Summer (ProRawk Records, www.prorawkrecords.com)
The Sewer Rats are a German pop punk band seeing a US record
release, and a case of a European band that sounds very much
like a US pop punk band. The songs range from skate punk top
Ramones-core, with a strong Fat Wreck influence. The songs
are silly fun-punk, too, in the vein of bands like Teenage
Bottlerocket. There are songs like “I’m Quitting
My Job,” which has lyrics mostly repeating that title
phrase, then talks about going on tour. The band likes to
sing about what they don’t want to do, too. “Don’t
Wanna Go to the Dentist” is a skate punk track with
plenty of whoa-ohs and lyrics about the fear of dentists,
while “I Don’t Wanna Go to the Shrink No More”
is pure Ramones-core about the downside of seeing a therapist.
The aversion to going places gets especially desperate on
“Don’t Wanna Leave My Room No More,” a Green
Day influenced track with a mid-tempo lope and sad depressing
lyrics. I like the opening track, too, “Rejuvenate,”
about staying young in mind and deed – “It’s
time to rejuvenate! / Grab your board, let’s go skate!”
the song commands, after a found sound bite that states “Yes,
growing up is a problem.” The music is speedy, poppy,
bouncy and fun. There’s the requisite “love”
songs, “My Sweet Chun-Li” and “My Baby Is
at Groezrock (and I Am Not),” the latter a reference
to one of Europe’s major punk festivals. Look, The Sewer
Rats aren’t breaking any new ground here, and they aren’t
making any political statements. But the music is bouncy and
fun and they do a great job of it. You don’t go see
TBR or Masked Intruder for profundities, either, do you? A
nice release for the hot, magic summer (though this summer
seems to be cursed by black magic).
 SINGING
LUNGS – Phone From Car (Count Your Lucky Stars Records,
countyourluckystars.limitedrun.com)
Utilizing recordings techniques developed for the pandemic
lockdown, this EP was recorded entirely on band members’
iPhones, the resulting files passed around and mixed together.
The negative is that the result doesn’t sound nearly
as clean as something recorded in a studio. The positive is
that it allows Singing Lungs to get new music released. We
get four new songs of 90s style indie-punk, guitars jangling
furiously as the vocals are belted out with angsty emotion.
The songs are poppy without coming across as sappy or bubblegum.
My favorite is probably the simplest of the record, “Present
Tense.” It’s also the poppiest, and completely
lacking any pretension – it’s just a bouncy fun
one. “Come Down Hard” is a little more indie crossed
with power pop, and it’s got a bit of a hard edge to
it. The least successful song, in my opinion, is the closer,
“Walking and Crawling.” It’s the most different
from the others, trying to be sort of an indie ballad. I think
Singing Lungs works better when they’re rocking out
with a good edgy pop tune.
 SWALLOW’S
ROSE – Live, Love, Hate, and Hope (ProRawk Records,
www.prorawkrecords.com)
ProRawk is bringing European pop punk to America! Swallow’s
Rose is a German band, singing in English, and sounding like
they could have come from the West Coast of the United States.
The songs are uniformly uplifting, reminding me of Seattle’s
Success. There’s a thread of positivity throughout the
ten songs on this LP, and a big, glorious sound. The title
track opens the LP, and is a perfect introduction to the band
and their sound. Harmonized vocals, rapid tempo, big guitars,
and plenty of opportunities for the crowd to sing along are
here. I also really like “When We Were Kings.”
It’s got more than a bit of street punk sound and huge
gang vocals, bringing another Seattle band to mind, The Drowns
(which makes sense, since that band shares members with Success).
And “Our Song” is another favorite, with a strong
West Cost pop punk sound. Some of the songs stray from pop
punk into skate punk sounds, like “We Are Not Dead,”
a track that focuses on power and speed, taking more queues
from the Epitaph sound of bands like Bad Religion than from
pop punk. This song has a darker edge, too, like a lot of
skate punk. “Guns & Pain” blends skate punk
and hints of street punk and even a bit of a ska beat, big
vocals on the chorus and a dark edge. And the closer, “Promises,”
is a mix of dark skate punk and big whoa-oh pop punk vocals.
It always gets me when I hear European bands play a style
that I thought was so unique to a particular region in the
US. The world is, indeed, getting smaller, and we’re
all part of one community. Swallow’s Rose are showing
they are model citizens of our community.
 BELLHEAD
– Unicorn Bones (bellhead.bandcamp.com)
Bellhead is a unique duo, consisting of two basses and a drum
machine. Karen Righeimer plays the “low bass”
and sings, while Ivan Russia plays the “high bass,”
sings, and operates the drum machine. The music is post punk
melded with classic Chicago industrial dance “Wax Trax”
sounds. The opening track even channels a bit of Jello Biafra.
That song, “Snuff Film 1974,” is easily the darkest
of the quintet of tracks, about a snuff film in which a leather-clad
man murders a little girl, and the narrator is horrified,
declaring he doesn’t want to watch, but he never stops.
The basses growl viciously, and the drum machine pounds mercilessly,
some eerie electronic effects adding to the atmosphere. “Always
(Running After the Sun)” has a real retro 80s pop sound,
too, quieter, with the high bass and piano playing the melodic
lines with a far-away sound. I like the line in the lyrics
that says “Who says love is a victimless crime?”
in this love song about chasing after the one you want. Another
super dark one is the industrial “Knife.” “You
look so pretty. Under the dead lights / You won’t look
so pretty, when you feel my knife.” The bass grinds
and pounds with the drum machine, and noise effects swirl
through reverb during this sinister song of evil intent. Though
there are definite echoes of past genres in this EP, in today’s
musical environment it sounds fresh and unique, so different
from anything else being made today.
 ERA
BLEAK (Dirt Cult Records, www.dirtcultrecords.com)
The band’s name is perfect for our times, as this era
certainly is bleak. As band member Zach Brooks put it, "The
year is 2020 and we are living in a 1980s punk dystopian sci-fi
novel. A pandemic is raging. When we are not donning masks
to go out in public, we have nothing to do besides smoke legal
weed out of electronic cigarettes and lose ourselves in disinformation.
The president of the United States is Jello Biafra's worst
nightmare... a buffoon so grotesque we would have had a hard
time believing the character was realistic had our current
reality actually been a 1980s punk dystopian sci-fi novel.”
And as the opening track, from which the band takes their
name, states, “Things get shittier every week / No hope
for the future in this era bleak.” The music matches
the sentiment, too, with a spare, austere sound. The instrumentation
is thin, the vocals belted out in a way that’s part
spoken word, part singing, and the whole thing feels like
the soundtrack to a desolate post apocalyptic punk rock world.
Sometimes the guitars have an interesting surf sound, like
on “MRI,” one of my favorites of the LP. It’s
a twisted sort of surf sound, though, like trying to surf
a wave of dirt and trash in the ruins of a major city. “Option”
has an urgent feel to it, with the bass driving things hard
and the tempo picked up somewhat. It’s about the “panic
stricken overload” we can get when faced with too many
options in our modern consumer society. “Robot”
has a cool mechanical rhythm and guitar line, with lyrics
that are a call out to people who have no originality and
obey the dictates of society like robots. Even with the minimalist
instrumentation, Era Bleak manages to have the energy of an
80s hardcore band, and the combination of hardcore and sparseness
make for an interesting sound. Era Bleak is the soundtrack
of today.
 DRUG
COUPLE – Choose Your Own Apocalypse (PaperCup Music,
www.papercupmusic.com)
Drug Couple, the real-life couple of Becca and Miles Robinson,
began writing the songs for this, their sophomore EP, back
in 2016, when Donald Trump was campaigning and elected to
be president. The decided to focus on songs about what they
felt would be the coming apocalypse, though they did not now
how prescient they would be, with a global pandemic, protests
for equal rights and justice for racial minorities, and the
growing divide in this country, politically and socially,
leading 2020 to be a violent disaster of a year. The six songs
on the EP generally deal with falling in love during an apocalypse,
and holding onto that love tightly in the worst of times.
The opening track, “2027,” tells the story of
ghosts hanging out in New York City, seven years after the
apocalypse. I love how the song “No Legged Dog”
is a blend of bouncy melodic pop and noisy gritty rock. The
contrast between the fuzzed guitars and the bright keyboards,
between the pounding percussion and the boisterous melodies,
the urgent rhythms and relaxed vocals, is pretty marvelous.
A favorite track is “Bottomless,” and it’s
one of the most different from the others, with less noise,
a slower tempo, clear, sad vocals, and guitars that wobble
like they’re underwater. The title refers to love as
a bottomless pit, yet “I’ll love you more.”
“The Ghost” trades the guitar focus for percussion,
keyboards, and front and center vocals. This pretty one shimmers
and glimmers. This is pretty good stuff.
 FAIR
VISIONS – A Way Out (fairvisions.bandcamp.com)
Channeling bits of OMD, David Bowie and New Order, synth pop
purveyor Fair Visions offer up six songs of synth-driven new
wave/post punk pop on their debut EP. The creation of Ryan
Work, Fair Visions evokes the 80s with their darkly jangling
pop songs. “Feels Right” reflects on Work’s
move to New York City, with lyrics about feeling at home in
a new place, like it was not just meant to be, it was always
this way. The bass heavy song nevertheless has a distinct
pop feel and danceable rhythm. I like the contrasts in the
song, “Lay Out In the Sun.” Especially in the
first verse, the heavy synths and breezy vocals and acoustic
guitar play off nicely against each other, as the lyrics contrast
the idea of doing nothing but laying out in the sun with the
daily grind of eating, working, commuting, and repeating.
In the closing verse, lying out in the sun is used as a simile
for doing the things you want in life, rather than acting
out of obligation. “Oh don’t you want to lay out
in the sun? / And forget the things you left undone / You
see, you think, don’t act, regret, and repeat / Is it
too late too late to lay out in the sun?” The mechanical
rhythms, too, are a nice contrast to the freer guitars that
seem to swirl around. These songs are nice, but if I had one
suggestion it would be to vary the tone a bit. Using the same
synth tones on every song gets a bit overbearing.
 KICKED
IN THE TEETH – Death Adventure (Rare Vitamin Records,
rarevitaminrecords.bandcamp.com)
I hear a strong post-hardcore vibe here. Think bands like
Quicksand or Refused. This new 7” is being released
in conjunction with the first vinyl release of their debut
self-titled LP that came out late last year. “Dead Air”
is the A-side, and it’s very much heavy edgy post-hardcore,
yet there’s a strong melodic vein running through it.
The B-side is the title track, and it’s poppier, yet
still powerful and hard-hitting. Some of the melodic lines
even remind me of early Dischord hardcore. For that reason,
it’s my favorite of the two. But this band from Northwich,
a smallish town in the north of the UK, is now on my radar.
Good stuff.
 KILL
LINCOLN – Can’t Complain (Bad Time Records,
www.badtimerecords.com)
Do you like ska-punk? I’m talking all out pop-filled
punked out music with the joy and energy of ska, including
the horns. Then you’re going to love this DC band’s
latest LP. The music is uniformly bright and jumpy, and takes
the best aspects of sing-along pop punk and ska and mixes
them together. “Used Up” is a good one, with a
speedier tempo and some crunchy guitars. I like how many of
the songs could be easily rearranged to be straight-on pop
punk, and they would work just as well. It’s a sign
of solid songwriting how well these work. Listening to “Last
Ditch Denial” I can hear it in my mind without the horns,
and these songs work – but the horns add that bright
dimension. “Ignorance Is Bliss” is one that starts
as raging post hardcore, transforms to poppy ska punk, and
then goes into full-on ska. It showcases the breadth of these
musicians’ capabilities. “Confession Obsession”
is a favorite, too. It’s one of the quicker tracks,
and it moves easily between strong pop punk and all-out ska,
with some edgier post-hardcore parts. Speaking of edgier parts,
the opening of “Civil Surgery” is amazing, taking
pounding rock music and playing it with horns is genius. “Quarantine
Dream” is probably my favorite track of the LP; it rages
the hardest, but still maintains its bright pop bounce. The
horns do recede somewhat into the background on this one,
adding more of an aura of ska on this great pop punk track.
“Womb Envy” uses hardcore vocals over a skankin’
beat, and has a powerful metallic ending – with horns!
And the closer, “Can’t Complain,” has the
speediness and pop of a Pears track, though it has horns and
isn’t as hardcore. Do you like ska-punk? I normally
can take it or leave it, but Kill Lincoln does a fucking great
job with these songs.
 KNOWSO
– Specialtronics Green Vision (Drunken Sailor Records,
www.drunkensailorrecords.co.uk)
Well, they are from Ohio, after all, so the early Devo-like
mania makes sense. Angular melodic lines, guitar jabs, off-kilter
bass, and vocals that are spoken in unison mark the primary
sound from these Cleveland punk weirdoes. This stuff is so
different from just about any other music being made today
it’s like a shot in the arm to a stagnant music “industry.”
But just when you think you’ve got these oddballs figured
out, they throw a track like “Wrong Calculator”
at us. It’s a twisted spoken word piece about microbial
species with robotic “backing vocals” and dark
beeps and boops from synths and saxophones providing the “music.”
It’s from this track that the album takes its name,
as “green vision” and “blue vision”
and “specialtronics” are heard being spoken about.
“Green vision is two babies,” the robot voices
declare. And “Green vision is the first big step back”
according to the track’s narrator. Huh? Confusing and
comedic. “Peaceful and Extinct” is probably my
favorite of the LP, with a swingin’ vibe and some intense
sax noise interjections. This LP reminds me of some of the
awesome “out there” records that were being released
in the early to mid 80s, and is recommended if you’re
a weirdo, too.
 LIBRARIANS
WITH HICKEYS – Long Overdue (Big Stir Records, www.bigstirrecords.com)
I see what you did there with the album title… Librarians
With Hickeys took their time getting these songs recorded
and collected together for this, their debut album, so it
was, well, long overdue. For the most part, the dozen songs
on this LP are power pop, but with a light touch and just
a hint of psych. The opener, “Until There Was You,”
is a perfect example, with a mix of fuzzy and jangly guitars,
a quiet manner, but great pop hooks. I really like “Be
My Plus One,” the lovely delicate love song, and its
use of ukulele for a warm, twee sound, and the guest list
reference is a humorous touch. “Next Time” has
the sound of an 80s hit that could have been on MTV, halfway
between guitar driven power pop and dreamy new wave pop, sans
the synths, but with sax.
As pleasant as the front half of this album is, the back
half rules. Some of the songs are a little edgier, though
still smooth. There’s a heavier dose of psych in some
of them, and a little more power in the power pop. “Leave
Me Alone” cranks things up several notches with a
garage feel blended with psychedelic overtones. The effects
in the guitar tone are eerie and cool. “Poor Reception”
has some familiar sounding power pop hooks that grab me,
and it’s got a bridge that gets dark and goth-pop
sounding. “Looking For Home” uses piano to great
effect, with the guitars and organ providing a lonely sound,
but the piano a bright hopeful one. And I love the 80s Joy
Division/New Order meets Love and Rockets sound of “Silent
Stars.” Don’t end up paying a late fee –
get on this one now.
 PUBLIC
EYE – Music For Leisure (Drunken Sailor Records, www.drunkensailorrecords.co.uk)
Drunken Sailor had been on a noisy hardcore kick for a whole
bunch of its most recent releases, but their latest LP, from
Portland’s Public Eye, is the one of the most melodic
things I think I’ve ever heard from The Juice Man’s
DIY UK label. At first, given the sound of the band, I thought
they were a UK band, but no, they’re as American as
protesters being kidnapped in unmarked vans. With retro garage
pop instrumentals and droll nearly spoken word vocals, it
sounds like something that could have come from the intensely
creative post punk era of the late 70s and early 80s. The
guitars jangle as the vocals are belted out in a near deadpan,
everything just slightly lo-fi enough for the garage sound,
but not so lo-fi as to make these songs sound muddy. While
there isn’t a bad track on the LP, there are some standouts.
“Awful Questions” has a great mathish guitar hook
repeated over and over in the minimalist tradition, and it
rocks out quietly and subtly. “Neat Machines/Red Flags,”
has rhythmic changes giving a math-like feel, and repeating
minimalist lines, but this time there’s a smooth groove
going on, so almost a cool jazz kind of sound, during the
“Neat Machines” half of the track. “I Might
Go” uses its guitar licks and vocals to give the track
a sense of urgency, of the song being propelled forward. As
I said, I like every track here, but if I would have one criticism
is that there’s a little too much sameness from track
to track, but this is good stuff.
 THEE
DIRTY RATS – Humans Out (Mandinga Records, www.mandingarecords.bandcamp.com)
Post-garage duo Thee Dirty Rats, hailing from Sao Paulo, Brazil,
channel the gritty nature of one of the world’s largest
cities on this LP chock full of lo-fi post-apocalyptic rock
and roll. The rhythms are raw and primal, the guitars noisy
as all fuck. Lo-fi is putting it mildly. And minimalism seems
to be second nature to these two. The arrangements are super-sparse,
with the DIY drums and guitar, plus vocals and a “broken”
Moog synth being all there is. The lyrics are also reflective
of a world gone mad, with songs like “Universe Is Caos,”
which has lyrics “The universe is chaos / Stop, you’re
making it worse” as the drums pound and the guitar picks
out a simple repetitive melodic line. The robotic nature of
the song is in direct opposition to the idea of chaos, which
is pretty interesting. “Let’s Fight” is
a little thicker in the guitar sounds, and is about, well,
wanting to fight. “Modern Disease” has a funky
bass feel to it, while “Oh Oh” has a great raucous
garage rock sound. “Maze of Love” has a bluesy
edge to it, “TDR Will Make Dirty For All Ya Girls And
Boys” is a too short fun track that channels early Beastie
Boys. “Headache” is the most melodic track of
the LP, but that’s not saying much for this minimalist
duo, since melody is not really their thing. The closer is
the brilliant “Stop That Dance,” which, despite
its thin arrangement, has a full feel. The contrasting vocals,
the mechanical factory beat, and the grating guitars all join
forces to create music for the future new stone age. This
record isn’t going to be for everyone, but after there’s
nothing left of the world or its societies, this is the music
that will be left. Drink it up and get used to it.
For more of Paul Silver's reviews, click here...
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