KNIVES - I Don’t Wanna Die (Big Neck Records www.bigneckrecords.com)
Before espousing upon how talented Sweet Knives are, I have
to celebrate the amazing layout and packaging of this release.
Four songs are divided into two seven-inch singles in a stunningly
beautiful gatefold style, with Timmy Vulgar constructing dazzling
album art. This release would be worthy of your purchase for
the appearance alone, but then one listens to Sweet Knives,
and this gets even better. The term “synth rock”
make may some people uneasy (i.e.me), but Sweet Knives is
a musical delight. The four songs on “I Don’t
Wanna Die” are bubbly, shimmering songs highlighted
more frequently by guitar than synth. The opening title track
rattles with stirring energy carried by Alicja’s warm
vocals. “U Don’t Mind” is dangerously infectious
due to its insatiably danceable hook and soaring vocals. This
is a burst of sugar-fueled sunshine that merges acts like
the Dollyrots and the Regrettes with Blondie’s best
elements, especially on “Ugly Mugly”. “Some
People” takes a 60s garage rock vibe and combines it
with a grimy, gritty riff to produce a thunderous conclusion
to a brilliant release. Come for the art and definitely stay
for the music.
 SASHA
BELL - Love Is Alright (https://sashabell.bandcamp.com/)
Sasha Bell sounds as if she was dropped into this world from
a different era; a more simple and hopeful time to be sure.
It is too easy to focus on the1960s style musical idealism
one hears on Love is Alright, but it is also impossible to
ignore. From the title track to the happy-go-luck bounce of
“Sparrow” and the fantastical nature of “Heavy
Doors”, the Missoula, Montana resident sounds like she
just made her way back from Haight-Ashbury but politely declined
all the drugs. Equally impossible to overlook is Bell’s
glorious voice as she manipulates her tone to be seductive
(“Molly’s Got a Talent”) or playful (“Candy
Mountain”) with equal ease. This is unabashedly sugarcoated
pop goodness, but that does not invalidate Bell’s obvious
musical chops. “Lemonade” resonates with a infectious
warmth that harkens back to the indie pop heyday of the 90s
and may be the closest Bell gets to a contemporary sound,
but even here, she references “your dirty magazines”,
which I am fairly sure are not really needed anymore in the
glorious age of the internet. (Although, to be fair, I am
not sure of the Wi-Fi capabilities in Montana) With supple
playing, Love is Alright is the musical equivalent of a permanent
grin; an irresistible mix of innocence and sophistication
from a woman whose skills know no bounds.
 CRYSTAL
VIPER - Tales of Fire and Ice (AFM Records www.afm-records.de)
There are only a few items in the world that will always make
me smile-cat videos featuring a mother cat talking to her
kittens, Tom Brady highlights, and old school power metal.
Oh, and it’s even better if the vocalist sounds like
Marta Gabriel. This Poland-based band takes everything I loved
about metal when I was first introduced to it eons ago and
only enhances the production without altering the traditional
formula. Crystal Viper does not to dazzle listeners with dozens
of riffs crowbarred haphazardly into a song; instead, they
skillfully craft a massive hook, surround it with banshee
vocals, thunderous drumming, and lyrics about conspiracy theories,
the Bermuda Triangle, and magic, to create a dazzling slab
of modern metal perfection. Soaring solos, head banging grooves,
and Marta’s striking vocal style make “Still Alive”
and “Under Ice” two of the finest pieces here,
but the entire record is a pristine gem of traditional European
style metal force. The instant comparisons may be Nightwish
or Warlock, and one is safe with either, but Marta has a range
that equals that of Doro or Floor Jansen (or even Tarja Turunen)
with Andy Wave and Eric Juris simply crushing their riffs
on “One Question” and “Bright Lights”.
However, while I had already committed myself to this band
by the end of the third track, the closing cover of Dokken’s
“Dream Warriors” solidified me as a lifelong devotee
of Crystal Viper. Any band with the confidence and appreciation
of pure fun to cover a Dokken effort, especially from their
highest hair and tightest spandex era, is worthy of unending
respect. Bang the head the does not bang and pick this one
up immediately.
 HUSTLE
AND DRONE - What An Uproar (hustleanddrone.bandcamp.com/)
Ryan Neighbors is one of those bold artists worthy of vociferous
respect for not just his talents, but rather for his courage.
After years of touring and gaining notoriety with Portugal.
The Man, he boldly split and morphed his abilities into Hustle
and Drone with writing partner Andy Black. What An Uproar
is the duo’s second release and it is a vast collection
of emotionally cleansing anthems that weave beats within a
hazy fog of droning guitar, occasionally unexpected blasts
of force, and utterly gorgeous serenity. The serene interludes
of “God Daughter” and “Chambers” are
necessary to give the listener an opportunity together him
or herself before carrying on through a candid, albeit often
dark, journey of self-discovery. When Neighbors announces
that he “is fading away” on the opening “Dark
Star”, one quickly learns that there is much happening
underneath these beats. The bouncy nature of “Fame”
is shrouded in a smog of insecurity and is accented by an
underlying aggressive musical subtext. There is danceable
heartbreak on “Shadow Fly” (“when you find
another lover, I hope he’s better than me”), but
the finest moments are heard on “Stuck Inside the Rain”,
a dazzling work of warm piano and chilling lyrics. (“I
lost my heart but I have my soul”) The slower, deliberate
songs, particularly “Borrowed Time” (“I’m
killing time but it just won’t pass”) and the
closing “Never Sleep Alone” are carried by sweeping,
hushed vocals that draw the listeners in on a conversation
to which one is not certain they should be privy. The poignancy
and the depth of the sorrow make What An Uproar a glorious
ride through a desperate attempt for catharsis. “Raw
As the Sun” and the title track may be more geared for
those looking for noisier blasts of beats, but even these
two efforts retain a strong adhesion to pop sensibilities.
With depth and beauty, Hustle and Drone create a stirring
sophomore effort.
 GRADUATION
SPEECH - Maintenance Needed (Black Numbers Records www.theblacknumbers.com)
Kevin Day is normally out in front of Aspiga, but he steps
out alone (well, nearly) for a second time as Graduation Speech
on Maintenance Needed, a jangly collection of emo-lashed pop
with deeply heartfelt lyrics. The dark riff buried within
“Your Heart, My Lungs” balances the otherwise
upbeat tempo of the track. The five song EP is fairly fleeting,
but there is a multitude of ideas flowing through each track.
Day is a skilled wordsmith and he surrounds himself with highly
talented players, specifically Devin Carr on drums), but this
is a bold solo project. “Ourselves” is a shrewdly
delivered effort led by acoustic guitar and soulful honesty.
The moody “Small Apartment” is musically claustrophobic
with its subdued but steady drumming and eerily atmospheric
guitar. “Shedding Myself” is equally minimalist
with highly descriptive storytelling as Day admits, “I
don’t measure up that way that I thought I would”
with delicate keys from Pat Pie adding just the appropriate
amount of nuance. “Love and Patience” concludes
the EP with another emotive delivery, proving that Kevin Day
is perhaps more daring as a solo artist, as he takes chances
that will strike a chord with those who are new to his work,
without risking alienating fans of Aspiga.
 VON
HAYES - Moderate Rock (https://vonhayes.bandcamp.com)
The demented pair of geniuses that make up Von Hayes are back
with Moderate Rock, an expansive collection of everything
these two do best-make noise, make melodic noise, and make
really noisy noise. Moderate Rock, a lovingly obscure homage
to Nirvana’s “Tourette’s”, is eleven
songs fun-loving, reckless experimentalism. The opening “Urinal
Cookies” is exactly how this record should begin; the
song is a short blast of chaos that knocks the listener off-balance
before being struck by the surprising melody baked into “December
Sun”. “Hot Roger” reverberates with a thick,
repetitive riff and heavily distorted, fuzzy vocals meshing
garage and grunge exquisitely. A similar beautiful mess is
heard on “Babysitting”, albeit this tune emphasizes
the lo-fi fun and the grunge touches are slightly less overt.
My favorite track here is the Ramones meets The Troggs blast
of force “Oscar’s Grind (Beth Goes for Broke)”,
a relentless burst of buzzsaw guitar and high intensity energy.
The aforementioned Nirvana is most clearly honored on “Man
of Few Verbs”, a song whose title is matched only by
the intricate nature of the guitar squalls that repeatedly
pierce it. There are not enough bands like Von Hayes out there,
but these two cassette only demons have perfected their style.
 …AND
THE BLACK FEATHERS - Sociallusions (andtheblackfeathers.bandcamp.com)
…And The Black Feathers most likely find themselves
often confused with a folk duo known as Black Feathers, but
this Denver outfit has nothing in common with quiet folk music.
Instead, these guys tear up old fashioned, pop infused, rattling,
rock n’ roll, playing the four songs on Sociallusions
with a joy that is nearly tangible. When Danny and the boys
shout out “gimme some danger” on the opening “Danger”,
it is not youthful, misguided boasting-this is unadulterated
rock and roll attitude delivered at a time when it is desperately
needed. The filthy, hazy blues riff on “Scandalous”
makes it my personal favorite of the four, as the song shakes
but never loses composure. The same can be said of “Feature”,
a mid-tempo nugget of dense guitar playing and surprisingly
airy vocals. The closing “Leash” has a noise-pop
aesthetic that is conveyed through the song’s delightfully
off-kilter groove. Still richly harmonic, the song captures
what this band does so, well; namely, create tireless rock
with very modern characteristics.
 GABRIEL
BIRNBAUM - Not Alone (Arrowhawk Records https://arrowhawkrecords.com/)
Gabriel Birnbaum’s heart-breaking collection of self-exploration
begins with the striking sentiment, “I like to see your
name appear on my phone” on the haunting title track,
and this line acts as a first step into the aching emotion
Birnbaum conveys over the span of nine lovely tracks. His
work is stark, harrowing, and at times desperately lonely,
but never without hope. Even the mournful “Oh, Jesus”
has a Leonard Cohen-esque honesty and warmth. Birnbaum is
a musical lifer, a man who, while barely creeping into his
thirties, has lived far more than most his age. A touring
musician since his teens, he has traveled the nation, visiting
the areas of America few think about or hope to see; the rugged
life experiences of flailing for a taste of success shine
through on Not Alone. “Mistakes” is a bluesy anecdote,
a yard woven with the skills of Lou Reed, while “Comeback
Song” is the tale of redemption one needs to hear every
so (or perhaps very) often in life. The hushed power of “I
Got Friends” celebrates the fact that, despite even
what the title of record may say, Birnbaum is not as isolated
as he may believe, and that truth extends out to the rest
of us. Birnbaum’s music, particularly the subtle jazz
sensibility of “Blue Kentucky Miles”, is the type
of playing that was born and thrives in dimly lit bars where
people know the bartender, the beer selection never changes,
and no one there is looking for anything more than a few moments
away from life’s disappointments. This is beautiful
suffering and elevates emotional pain to a majestic level.
Revel in the brilliance and raw fragility of Gabriel Birnbaum.
 GROW
RICH - Frantic Semantic EP (growrich.bandcamp.com/)
There are moments when one comes to truly appreciate technology;
without the wonders of the interwebs, I never would have encountered
the driving, fuzzy pop brilliance of Grow Rich. Hailing from
Jakarta, Indonesia, Abdur Rahim Latada is a one-man show,
although he does have a few friends join him for the four
songs on Frantic Semantic. Grow Rich is a project whose music
reverberates with a mixture of Ned’s Atomic Dustbin
and Sugar while the members of those bands scour the Sub Pop
catalog seeking out new 7 inch singles. “Bounce Back”
repeatedly asks if the listener is ready to “bounce
back”, and I know that it is this simplicity that makes
the song so endearing. The rattling bass throb of “Kawan
Lama” envelopes Latada’s voice while squalls of
guitar noise dissects the air. “Tenderfoot” may
only last sixty seconds, but when one hears the cries of “Fear,
anxiety, don’t let them stop you”, anyone would
be hard pressed to not jump off the couch and try to rule
the world. “Cat Flag” is a charismatic track highlighted
by a spoken word intro from Cika Fransisca about how people
let her down, powerful guitar playing, and lyrics including,
“I heart you so much I can’t breathe”. Grow
Rich is innocent, pure, and positively impossible to dislike.
 EVEN
EDEN - A Ghost (eveneden.bandcamp.com)
Even Eden creates a swirling, atmospheric sound that pulls
the listener into a densely harmonious realm on “Taking
Flight”, the rumbling, pummeling track that opens
the four-song Ep. Madeleine St. Jacques has a lush vocal
delivery overflowing with warmth and while her delivery
is composed to the point of being nearly understated, each
word she utters has profound impact. She reveals a broader
range on “Minefield”, a track that is dense
and heavy, but intriguingly melodic as she speaks of “rising
waters”, “shifting sands”, and “revelations”
in a spiritually engaging effort. Mike Random, who many
should recognize from his lengthy career as a Jersey area
stalwart, plays drums here and whether he is pounding away
on “Taking Flight” or playing with refined bombast
on “Welcome to the White Room”, his powerful
playing is the centerpiece of the band. The tracks are built
around this thunderous foundation, with Zachary Smith’s
bass playing and St. Jacques opaque guitar playing completing
Even Eden’s wall of sound. The juxtaposition between
intensity and delicacy makes the band’s style difficult
to accurately summarize but limitlessly interesting to hear.
“White Room” has traces of haunting 90s shoegaze
pop across the breadth of a sprawling, feedback drenched
tableau, while “Armoured” has an off-kilter,
grinding post-punk structure and richly poetic lyrics. It
is rare to hear playing that is truly distinctive, and Even
Eden is a band that requires multiple listens.
 RIVER
DRIVERS - Big Oak Road (riverdrivers.bandcamp.com)
When one hears the phrase “Celtic-rock”, one may
be inclined to think that the River Divers are another Pogues-inspired
band, but there is so much more here. The songs on Big Oak
Road are delivered with a rage for the mistreatment of those
incapable of defending themselves. The opening “Children’s
March (Mother Jones)” speaks of America’s great
reformer of child labor laws who once led a march right up
the front steps of President Teddy Roosevelt’s beautiful
Sagamore Hill residence in Oyster Bay, NY only to have the
twenty-sixth president “slam his door”. The band
features shared vocals between Kevin McCloskey (who also plays
guitar, mandolin, and banjo) and Mindy Murray (who additional
talents include guitar, banjo, bass, frame drum), with Murray
carrying “Going Once”, a song telling the tale
of a farm sold out from under its owners in the style of John
Mellencamp or Bruce Springsteen. The tales of woe may features
subjects long dead or topics not relatable to many of those
who listen to Big Oak Road, but the lyrics bring these individuals
and experiences to life. The suffering of “Crooked Jack”
illustrates the hardships of Irish immigrants who often spent
all they had to voyage to America in hopes of a life for their
children that was better than what existed in the motherland,
and “Si, Se Puede” captures the demands of migrant
workers in the West, led by Dolores Huerta and Cesar Chavez,
striving for a union to protect them and allow for their labor
to be viewed with the honor it deserved. Along with Marian
Moran on tin whistle, low whistle, concertina, and melodica,
and Meagan Ratini providing fiddle, tin whistle, and frame
drum, the music has a poignant authenticity on the heartbreaking
“Isn’t It Grand Boys (Look at the Coffin)”
featuring the truly Irish philosophy of “the longer
you live, the sooner you bloody well die”. The folksy
title track rattles with the passion of Phil Ochs and Tom
Paxton with Murray telling the story of a teenage laborer
up working in the fields before “the school bell even
rings”, while “Moonshiner” takes listeners
into the deep American South for a beautiful, yet heartbreaking
tale of hard drinking and equally hard living. “Union
Man” is a quintessential work of Americana, due both
to its musical structure and its lyrics of struggles the working
poor. (“Which side are you on, boy?/Which side are you
on? You’re either for the rich man or the union standing
strong”) Closing with the delicate heartrending “Farewell
Johnny Miner”, the River Drivers have created a masterful
collection of gripping, romantic, and deeply impactful songs.
 THE
DREADNOUGHTS - Into the North (Stomp Records)
The meshing of folk and punk has been done with great success
by acts from The Pogues to The Tossers, but The Dreadnoughts
add their own unique flair to this fine art by immersing themselves
into the sea, namely the sea shanty, on Into the North.
The sprawling collection of fifteen pirate sing-alongs will
have you reaching for your bottle of rum and an eye patch,
but this is not some type of cheeky tribute; the boys from
Vancouver live the hard-drinking, brawling lifestyle emblazoned
within these songs. Even if you are a person who loves the
sea from the comfort and safety of a beach chair, the songs
will strike a chord due to their intensity and beauty. The
shared vocals are stirringly harmonic across the entire record,
but “Pique le Baleine”, “Paddy Lay Back”,
and “Sacramento” are especially engaging, with
the latter providing the foundation for “Camptown Ladies”.
This felt like a live action history lesson interspersed with
modern oceanic tributes to a life of risk and independence.
The Dreadnoughts are best known for rowdy, chaotic punk ferocity,
and while Into the North is much more controlled, it is no
less satisfying. Played with a keen sense of synchronization,
the collective voices work as additional instruments, bringing
depth and refinement to each song. The fiddle of “Northwest
Passage” and the squeeze box of “Whup! Jamboree”
may not be readily associated with punk rock, but it is impossible
to not be energized by what one hears here. The Dreadnoughts
have created the soundtrack for a night out to grab a grog,
pillar a village, and set sail for another adventure. I am
still stunned at just how much I love this.
 IT’S
KARMA IT’S COOL - "Hipsters And Aeroplanes"
EP (www.koolkatmusik.com)
There are bands that attempt to recapture sounds of the past
and then there are those who perfect it, and It’s Karma
It’s Cool are definitely the latter on "Hipsters
and Aeroplanes." Unapologetically poppy and jangly, the
six songs on this EP resonate with the bubbly goodness of
suit-wearing Beatles and the fuzzy warmth of 80s Brit-pop
sweetness such as The Mighty Lemon Drops on efforts like “Raised
by Engineers” and the gentle “Daydream Days”.
James Styring has a voice that floats effortlessly over the
top of equally ethereal playing from Mikey Barraclough, Martyn
Bewick, and Danny Krash, and while “United States of
No Regret” or “Shannon’s Waltz” will
not rekindle lost teen angst, but it will certainly remind
listeners about the beauty of serenely delivered pop-rock.
It’s Karma It’s Cool do not possess the fire of
Cheap Trick or the political leanings of REM; instead, they
deliver traditional rock n’ roll kissed judiciously
by sugar-coated lips and they are proud of it. The jangly
guitar tones and subdued vocals are not my personal first
choice, but when performed by seasoned veterans, it can be
difficult to dislike.
 TSUNAMI
BOMB - The Spine That Binds (www.alternativetentacles.com)
Tsunami Bomb is a band that one does not fully realize how
badly they are needed until it is suddenly fifteen years since
their last release. The Spine That Binds is a declaration
of energy and power from a band that boldly announces its
resurrection on “Tidal” and does not let up over
the course of eleven blistering songs. Kate Jacobi is a fierce
vocalist, spitting lines of frustration and rage on “Naysayers”
(highlighted by blithely commenting that these “are
the good old days”) and the biting “Dead Men Can’t
Catcall”, a scathing rebuke of those who abused positions
of power for far too long. Andrew Pohl’s guitar blisters
throughout The Spine That Binds while founding members Dominic
Devi (whose bass punches up efforts like “Sinkhole”
and “Lullaby for the End of the World”), Oobliette
Sparks and drummer Gabriel Linderman act as the foundation
of one of the most tragically underappreciated gems in modern
punk rock. Sparks’ keyboards open several tracks with
her impressive impact heard on “Persephone”, a
boisterous assault that is built around infectious backing
vocals and a huge riff, and “Wake the Dead”, the
song that should be the theme for Tsunami Bomb’s return
with its combination of rousing energy and richly harmonic
structure. As the world around us becomes increasingly more
dark, cynical, and inexplicable, at least one can take solace
in Tsunami Bomb and their commitment to rebellion, summed
up best on the closing title track as Jacobi reminds all within
earshot that “this is our story, our fight,our song,"
and we all are lucky to hear it again.
 PHONY
- Songs You’ll Never Sing (Smartpunk Records www.smartpunk.com)
Phony is the brainchild of Neil Berthier, and Songs You’ll
Never Sing is a logical progression for a remarkably
inventive player who initially dazzled me with his work in
Donovan Wolfington. For a young man, Berthier has already
lived quite a life, bouncing round the country in recent years,
from New Orleans, to Nashville, to Chicago, before now settling
in Boston. Along the way, he has honed and refined his musical
visions, and the opening “Claustrophobia” is a
fitting introduction to the record. Noisy and musically busy,
the song has multiple ideas happening concurrently, creating
an atmosphere that matches the titles. Songs is a multi-layered
testament to the glory of pop-oriented rock, for Berthier
moves brazenly from the experimental nature of the opener
into the lush “”Nvr Play Urself”, a song
bathed in guitar warmth with a very traditional song structure.
However, before one begins to feel comfortable, Berthier unleashes
“Dr. Ayahuasca”, a Weezer-esque, wild tale of
taking hallucinogenics in a bathtub, playing with a ribbon,
and listening to classic rock. “Most Comfortable Bed”
and “Restaurant” are both propelled by massive,
buoyant guitar hooks that invoke the finest moments of Matthew
Sweet’s 90 heyday, while “Teeth” flirts
with In Utero era Nirvana by swirling an infectious hooks
with a disquieting lyrical delivery and odd time sequences.
Berthier has the ability to appeal to those looking for classically
formulated rock hooks as readily as those desperately seeking
a more loose interpretation of what pop can be; “Hesitate”
drifts by all too quickly with Berthier’s gritty vocals
buried within a luxuriant mix; this is matched perfectly on
“Awake”, as understated singing is awash in a
sea of plush as guitar fuzz. Through the hazy, dreamy nature
of “Awake” as well as “No Other Way”,
allows listeners to hear Berthier play with a loud/soft dynamic
in manner that makes its sound fresh. Songs You’ll Never
Sing is the perfect record for your most jaded friend who
is convinced that there is nothing new or exciting in the
world musically or that everything is merely a reboot-let
Phony prove that person wrong.
 DISJAWN
- Loud Kush Assault (Ranch Jams Records ranchjams.bigcartel.com)
This is exactly what I need on a rainy, miserable Sunday,
or any day of the week really, regardless of weather. Disjawn
is a furious Philly punk outfit with a great name and an even
better musical delivery. “Planning Out the War”
and “Pain is Reality” sound like the best two
songs Magrudergrind never recorded, as Disjawn unfurl a devastating
wave of destructive powerviolence. That trend continues on
the title track, only the song opens with a Black Flag-style
riff that is then overwhelmed by exhaustive force. Three of
the five songs clock in at under a minute, so Disjawn does
not hang around very long, but what an impact they make. A
dark, Orwellian dystopia is captured on “What Have We
Done” as the lyrics include the terms “cyanide”,
“genocide”, and “radiation”, while
“Tortured Life” includes this moment of societal
observation: “Everyone’s mind has collapsed, most
are dead or have relapsed”. I cannot wait for more from
these guys.
 ESPECTROPLASMA
- “Pyramid” b/w “Monster” (Devil
in the Woods Records www.devilinthewoods.mx)
I was vaguely familiar with the work of Espectroplasma, and
loved their take on surf-driven rock, and their nickname of
the Mexican Man or Astroman?, but this new single is unlike
any of their past catalog. “Pyramid” is a mechanized
blast of classic krautrock, as if Kraftwerk and Yellow Magic
Orchestra shared a rehearsal space. The synth-fueled psych-pop
is trippy but yet still built around a rhythmic groove, partially
mirroring Devo’s pre-MTV days. The flipside “Monster”
follows in the same vain, as it is a swirling mass of sci-fi
inspired synth noise, landing somewhere between the score
of Logan’s Run and the theme for “Stranger Things”.
Within the alien technology is another oddly danceable hook
inspired by German musical engineering and efficiency. To
the credit of the four mysterious members of Espectroplasma,
“Monster” still resonates with humanity despite
the heavily tech influenced sound.
 NIK
FREITAS - “Aviso Amor” (Devil in the Woods Records
www.devilinthewoods.mx)
Nik Freitas is remarkable in his soulful delivery on both
tracks of this beautiful single. “Aviso Amor”
is a truly unique take on the standard piano ballad with
an up-tempo vibe, soaring vocals and rich production. Meshing
Roxy Music with indie college rock tones, the song is an
invigorating love song without ever sounding trite. When
Freitas says, “I want to tell you how it feels to
be connected to a heart that wasn’t yours”,
it is difficult to not be swept away by the earnest nature
of his playing. “Normal #3” is a lush, piano
based pop song that floats effortlessly whose lyrics are
utterly heartbreaking. (“The buildings grew too tall,
I get kinda used to feeling small”) The song’s
pacing allows for the tale of sorrow and loneliness to fully
impact the listener as Freitas’ voice radiates an
emotional honesty reminiscent of Double Fantasy-era Lennon.
A limitlessly gorgeous release.
 THE
FULL COUNTS - Next Up (Phratry Records www.phratryrecords.com)
The Full Counts could initially be categorized as “dad
rock”, a blending of jangly guitar and upbeat, hopeful
tempos that are quite easy on the ears. The opening “She
Said” captures this aesthetic perfectly, but as Next
Up continues, the four vets, led by Eric Vermillion (formerly
of Stump Wizards and Gumball) produce harder hitting, but
still traditional, no-frills rock in the style of The Smithereens
or The Plimsouls, particularly on the moody, quasi-blues-kissed
“I Know” and “Song #5 (Have to Want It)”.
The rollicking thump of “Let’s Go” and “Don’t
Waste My Time” are two of the punchier tracks here,
and credit must be given to any band willing to truly channel
the legends of rock through a song with the chorus “I
wanna hold your hand” from the appropriately titled
“Hold Your Hand”. The oose, free-flowing fun of
“Another Way (Egagda)” is overflowing with infectious
energy, and the closing “Oh Whoa Oh” strips rock
n’ roll to its bare bones essentials. The song is a
perfect closer as the Full Counts leave the listener singing
along as a fleeting wave of reverb finishes the ride, wrapping
up a record of nothing but catchy hooks and uncompromising
melody.
 MICHUL
KUUN - Great (Then After Awhile, It Didn’t Mean Anything
to Them) (Ranch Jams Records www.ranchjams.bigcartel.com)
Michul Kuun is determined to make people think through his
music. Great is a collection of wild, ambient, free jazz noise-core
with at times, a crushing punk aesthetic. The dance floor
intro “Great Intro” is a fun beginning before
Kuun brings in Wiki to join him on “Who This”,
a distinctive hip-hop soundscape. “Pay Me” featuring
Isaiah Barr, is a quick blast of experimental noise in the
form free jazz, but the din is stirring in its originality.
Only the closing “Great Ending” extends itself
over three minutes, yet every idea feels completely fleshed
out and fully developed. The ethereal trip-hop beauty of “Magic
If Work” matches the richly engaging “Entrance
to the Dawning of My Night Shop”, a song with delicate
percussion and gorgeous production. Massive beats overwhelm
“Be/Have/Oh”, a song driven by a playful yet pointed
construction, and one hears jazz-infused hip hop on “Snarls
Big with the End Part”, but Kuun proves moment to moment
that he can generate limitless surprises. “Wonderful
and Nice” has a metallic fury that becomes grating in
the most glorious of manners and “Slip Talking”
featuring Klein is driven by room shaking bombast. There is
nothing else quite like this, and one must take time in the
listening and digesting Great.
 THE
CUTTHROAT BROTHERS - Taste for Evil (Hound Gawd! Records
www.houndgawd.com)
Halloween music does not always have to be spooky and ethereal
in order to bring about a fright. The Cutthroat Brothers bring
rollicking, no frills rock n roll back from the grave with
Taste For Evil, a raw, energized blast of garage rock replete
with ghouls, zombies, and old fashioned swagger. For those
who long for the days when a band would simply make the room
shake for three minutes per song then move on to their next
treat, the Cutthroat Brothers deliver exactly that over the
course of ten blistering songs played with both conviction
and a wry sense of fun. Anyone who has listened to the stable
of bands on Hound Gawd! should have a sense of what to expect,
but Jason Cutthroat and Donny Paycheck bash their way through
bluesy, swamp sludge on “Shake Move Howl Kill”,
and the sludgy “The King is Dead”, as legendary
producer Jack Endino emphasizes the thunderous guitar chops
that dominate each track. The title track, “Get Haunted”,
and “Candy Cane” are full bodied, high-speed gems
of Cramps-style punk glory that are a trio of highlights,
even though “Candy Cane” is perhaps more fitting
for the band’s Christmas record. Blending speed and
a tightly wound backbeat, everything on Taste for Evil is
celebration of rock’s defiant nature that ahs been tragically
watered down over the years, but “Out of Control”
and “Killing Time” (“you wanna dance?/You
wanna fight?/Get high and stay up all night?”) both
shimmy with FM radio sleekness and inspire images of pen highways
leading to long nights of drunken debauchery. Donny paycheck
has a mind-numbing resume, with lengthy stints in the peerless
Zeke accented by stints with bands Toxic Holocaust and Camarosmith.
To be released on October 31st, this is the coolest Halloween
treat since the night your friends found the house that actually
gave away full candy bars.
 MAGNAPOP
- The Circle is Round (HHBTM Records www.hhbtm.com)
This is just awesome-simply a glorious release from a band
that ahs been quiet but not dormant over the past decade.
Magnapop was rightfully a darling of the mid-90s indie rock
explosion, and The Circle is Round transports listeners to
that era through the raw energy of “Super Size Me”,
as well as quite literally going back in time in the form
two demos from 1992, “Leo”, and “Pretty
Awful”. Vocalist Linda Hopper’s infectious voice
has never sounded more fluid and strong than on “Change
Your Hair” (s song written “before there was a
band” according to guitarist Ruthie Morris) or “Dog
on the Door”. The Circle is Round is a stirring collection
of fun pop that bubbles with an undercurrent of raucous indie
spirit played by people who were there when it was all getting
started. While there are efforts like “What can I Do”
and “Rain Rain” that posses a jangly innocence,
the bombast is always there, sounding like cuddlecore crowd-surfing
with garage punk in a perfect intermingling of styles. While
the second side begins a bit more quietly than the A-side,
“Rip the Wreck” is a ferocious blast of speed
and strength that hits hard but does so with soaring harmonies.
Magnapop has never shied away from writing songs with infectious
hooks that balance anxiety and splendor, but that can be a
challenging formula to maintain for more than a quarter of
a century. If one is to learn anything from The Circle is
Round, it is that Magnapop is fully back and sound as vital
as ever.
 MARK
LANEGAN BAND - Somebody’s Knocking (Heavenly Records
www.heavenlyrecordings.com)
Mark Lanegan is best remembered for his genre defining work
with Screaming Trees, but his solo work has allowed him to
travel down a multitude of paths, and this sense of experimentation
continues on Somebody’s Knocking. The bluster of guitars
are nowhere to be found, repacked by subtle dance beats, atmospheric
instrumentation, and subdued vocals. What has not changed
is Lanegan’s ability to deliver heartfelt, poetic lyrics.
It is not surprising that someone with the emotional breadth
of Lanegan can capture the sense of disbelief and nearly palpable
fear that defines the current global state of politics. “Disbelief
Suspension” opens the record with edgy, slashing guitar
interspersed with biting kick drum and sharp electronic qualities,
and this nervous ball of energy is an ideal metaphor for what
so many are feeling right now. “Night Flight to Kabul”
not only name drops one of the world’s most unsettled
cities in one of the globe’s most perpetually unsteady
regions, but the song rolls along with seamless energy permeated
with an unnamed but instantly identifiable darkness. Interspersing
electronic angst into a mass of pop harmonies, “Stitch
it Up” and “Radio Silence” quaver with massive
hooks, and one feels transplanted into a different time, as
80s synth touches provide majestic backing grooves. Conversely,
“Paper Hat” and “War Horse” move with
far greater deliberation, minimizing the musicianship in exchange
for a greater emphasis upon Lanegan’s gruff, exhausted
but not expired, vocals. The expansive “Two Bells Ringing
at Once” closes the record with a tale of suffering
and physical pain, and as the song fades delicately into the
air, one is gently released from an immensely powerful record.
This may not be what some would expect from Lanegan, but Somebody’s
Knocking is exactly the music he wants to make, and he does
so beautifully.
 A.M.
NICE - “Scooter” b/w “Man On a Wire”
(Phratry Records www.phratryrecords.com)
I have followed A.M. Nice’s career for several releases
now, and the trio continues to get better. This Cincinnati
band provides a menagerie of influences through two glorious
songs, three if one acquires the digital download. “Scooter”
includes some of the best qualities of 90s indie rock, ranging
from Archers of Loaf to Polvo to Sebadoh, with a little Teenage
Fanclub thrown in for good measure. The tightly wound, energized
rythym section of bassist Nick Hill and drummer Jerry Dirr
supports Adam Nice’s soaring guitar work and equally
stirring vocals. “Man on a Wire” is a track featuring
jangly guitar and an anxious structure that rattles with clear
XTC overtones. It is a pop song that makes the listener feel
uneasy, and has a richly textured sensibility during its scant
three-plus minute existence. I strongly urge a digital purchase
for this EP as “Elliot the Man” is a fast, noisy
explosion of energy that smashes its way through walls with
a constant barrage of raw punk energy. In only three songs,
one hears what sounds like three distinct bands, but this
only solidifies the talents of A.M. Nice.
 INHUMANWICH
- Original Soundtrack (Phratry Records www.phratryrecords.com)
As a kid, I remember Channel 56 out of Boston would present
the “Creature Double Feature” on Saturdays: back
to back 50s horror films, ranging from Godzilla movies to
films about giant ants, zombies, and other classic fare. If
you share similar nostalgia, love horror films that do not
take themselves too seriously, or simply have a sense of humor,
one must check out Inhumanwich. The film is the produce of
Argo One productions, led by Dave Cornelius, a veteran of
Cincinnati television. The film can be found through Leomark
Studios (www.leomarkstudios.com), who also bring you such
classics as “Wedding Swingers” and “Sex
Galaxy”, and is absolutely worth your time. The good
people at Phratry Records have released the soundtrack and
the songs “Meat is Murder” and “Mitch’s
Song” include members of two long-standing Phratry bands,
Swear Jar and Knife the Symphony. The two tracks are punked-up
rockabilly, particularly “Mitch’s Song”
(including the lyrics, “I took her to the dance, but
I couldn’t get in…her father’s good graces”),
and are much fun as the film. The majority of the release,
especially the digital version, includes songs from the film
in which the phrase “Death to” is found, including
death to the following: cinema, science montages, sidekicks,
monologues, wives, inspirational speeches, date night, Cincinnati,
and even this movie, to name just a handful. Inhumanwich garnered
a series of awards upon its release in 2017, including Best
Comedy Feature (Experimental Edge Film Festival), Best Comedy
Feature (Highway 61 Film Festival), and both the Audience
and Best Sci-Fi Awards at the Origins Film Festival. This
is not for the serious, the dour, the uptight, or the dull,
so avoid all of those people and make your life better with
a classic that would have Joe Bob Briggs and the original
cast of Mystery Science 3000 roaring with laughter and appreciation.
 SLEEPCRAWLER
- “HTN” b/w “Albatross” (Phratry
Records www.phratryrecords.com)
Sleepcrawler features Scot Torres and Matt Hemingway from
State Song, but if one believes that Sleepcrawler will be
simply an extension of that band, one could not be more wrong.
“HTN” sounds like what would happen if Ride was
stuck in a room listening to Sleep for hours without rest.
Meshing doom metal with Torres’ emotionally tinged vocals
and shoegaze pacing, the song is a thunderous wall of guitar
bombast and low-end power compliments of bassist Ryan Hickman
and the aforementioned Hemingway. As much as I adore “HTN”,
“Albatross” leaves me with stunned with its beauty
and heaviness. The song is richly textured and highly engaging
through its raw dynamics. Equally engrossing and challenging,
the song opens with off-kilter guitar playing one normally
hears from Radiohead or Flaming Lips, before shifting into
a crushing track. Both songs are over five minutes in length,
providing ample room for ideas to nestle and grow without
ever becoming exhausted. Like the rest of the Phratry label,
Sleepcrawler defies genres and easy classification, and simply
produces intriguing and meaningful music.
 WESDARULER
- Ocean Drive (HHBTM Records www.hhbtm.com)
Wesley Johnson is a highly skilled wordsmith who spins stories
of life’s monotonies as well as its triumphs and struggles
throughout Ocean Drive. The grooves are gentle, R&B flavored
beats over which Johnson delivers a Barry White style baritone
and Ocean Drive is not about boasting or battles, but rather,
Johnson come across as instantly relatable. He admits he does
not want to go out or do anything on “Stay At Home”,
essentially a perfect soundtrack for anyone who reaches Saturday
night and decides that Netflix and Grub Hub sounds a lot better
than crowds, noise, and overpriced drinks. The instrumentals
are lush and beautiful, including the psychedelic rythym of
“Dreaming” and the warm “Interlude”,
but none more so than the concluding title track, but Johnson’s
poetry is the highlight of “Let da Music Play”,
a song who’s message of “letting it go right now”
is uttered with a subdued style that juxtaposes lyrics of
getting out and going wild, although even Johnson admits that
he is “not sure” of what he “is trying to
say”. This same style is heard on “GetUrAssintheCar”,
which asserts that he will not “let you down”
and pledges that he loves his wife, and that sense of positive
feelings drives the life of WesDaRuler. The jazzy piano that
opens “Loseit4tonite” is quickly balanced by a
bass heavy beat as Johnson spins a story about his mother’s
abilities on the dance floor. The record is both fun and introspective,
uplifting and solemn; in short, it is a reflection of most
people’s realities.
 BLACK
BEACH - Tapeworm (blackbeachma.bandcamp.com)
Black Beach opens “Luxury Car” with a wall of
distorted feedback, and it sets the tone for the rest of the
record. Tapeworm is a noisy, highly agitated collection that
reflects the angst and discordant nature of the world at this
moment. Blending lo-fi angst and garage rock fury, Tapeworm
is a mass of swirling, anxiety-driven anthems led by the impassioned
vocals of guitarist Stephen Instasi as he spits out modern
concerns on “Sage “ (“I spend all my time
worrying if everyone’s gone”) and “Modern
World” (“There’s a war inside my head/ I’ve
been feeling guilty for things I haven’t done”)
backed up by the pummeling duo of bassist Ben Semeta and drummer
Ryan Nicholson. The Middleboro, Massachusetts outfit deliver
songs that rattle with kinetic energy on “Broken Computer”
and “Shampoo” (“I wash my hair twice a week,
I try to be nice to all the people I meet”), conflating
Mission of Burma’s perpetual shaking with thick, post-punk
density. “Dumpster Fire” is a more deliberate
effort, exploring the weight associated with the taxing nature
of simply trying to get along, while “It Feels Nice
Just to Care About Anything” both perfectly summarizes
so many people’s feelings right now, but also reveals
how heavy music has limitless avenues of exploration. The
band’s hardcore background is readily apparent on “Positive
Feedback Loop” as Black Beach incorporates punk’s
fiercest qualities and “Nervous Laughter” builds
slowly from its initial clamor and remains on the edge of
self-destruction for well over three unnerving and exhilarating
minutes. The panic-stricken power of “Sometimes This
Body Lets Me Down” and the Nirvana-esque confrontation
of “Burning World” are two sterling moments on
an effusively powerful release.
 VINNY
CARUANA - Aging Frontman (Know Hope Records www.knowhoperecords.com)
Vinny Caruana has established himself as a highly emotive
vocalist with a sharp eye for the nature of daily struggles
through his time with Movielife and I Am the Avalanche, and
while the title Aging Frontman is clearly a self-deprecating
swipe at what it means to be forty and still baring one’s
soul, the record is six beautiful songs of gut-wrenching honesty.
The brief instrumental interlude “I Love You, Please
Watch Over Us” is needed after the emotionally exhaustive
honesty of the opening trio of “Better”, “Alone”,
and “Dying in the Living Room”. When Caruana asks,
“Do I make you better?”, one hears a man longing
for a hopeful answer but also tormented but what the reply
may be, revealing a fragility and self-reflection that defines
Aging Frontman. “Alone” includes the confession,
“I could never take how much you hated me, I vow to
die alone. I did some talking to God/ We spoke of the flowers
of forgiveness, until the sidewalk swallowed me whole”,
as glistening production from Brett Romnes (who also plays
drums) allows the song to shimmer brilliantly. “Tex
‘The Rock’ Johnson” injects little country
twang into the record, with lyrics about having “splinters
from a bar stool” and “slithering out of bed”,
offering a lighthearted narrative about growing old but remaining
true to one’s self. The six songs scoot by too quickly,
and it is a requirement to have this on repeat to fully capture
the nuances and intuitive qualities of Caruana’s writing.
Fans of his work already know how insightful Caruana is a
songwriter, and one does not need any prerequisite knowledge
of his earlier bands to find Aging Frontman engaging, occasionally
uplifting, sometimes painful, but fully engrossing.
CROSSED KEYS - Saviors (Hellminded Records www.hellmindedrecords.com)
Saviors is seven fleeting tracks played with a sense of anxious
energy by a band of veterans with impressive resumes. Vocalist
Joshua Alvarez bares his soul on “True to You”
when he declares “my heart is broken over you/ my heart
is broken and I’m over you” as drummer Dave Wagenschutz,
who has played with Good Riddance and Kid Dynamite opens with
a thunderous roll and never lets up over the course of the
song’s blistering two minutes. Guitarists Beau Brendley
and Dave Adoff create an impressive barrage of riffs on “The
Rays Effect”, a rumbling blast punk angst anchored by
the low-end thump of Wagenschutz and bassist Andrew Wellbrock
that also features a perfectly delivered homage to the Replacements’
“Here Comes a Regular”. In many respects. Crossed
Keys has similarities to the aforementioned drunken geniuses
from Minneapolis, as the playing on Saviors is furious, noisy,
and intentionally raw with lyrics about heartbreak and personal
frustrations that match the desperation of the music, particularly
on “Everything Breaks”. “RJA” embodies
the ideals of melodic hardcore as the song’s tightly
wound chorus explodes into a burst of infectious energy, while
“1212” includes backing “woah-oh”
vocals that pushes the song away from the traditional hardcore
structure and into the realm of mid-90s indie punk. The closing
title track is a return to scorching speed and roaring intensity
while also retaining unmistakable harmony. The punk of Crossed
Keys may not inspire pits that will send people to the hospital,
but the band may help those alone and suffering get over the
person that shattered their hearts and there’s something
celebratory in that.
 DAYSTAR
- The Complete Recordings (daystarpdx.bandcamp.com/)
Portland’s Daystar sound like a soothing ride through
the past to the days of lush AM rock throughout The Complete
Recordings. The opulent melodies of “Right at Home”
and “People Get Lonely” will make Jeff Lynne beam
with pride with the band’s flawless meshing of airy
harmonies, layered guitars, and understated drumming. It is
obvious to all who even offer a fleeting listen to this that
Derek Phillips truly adores the Beatles, and while that fact
itself is not terribly unusual, I am repeatedly struck by
how often Daystar drifts into the realms of George’s
finest moments and Ringo’s immediate post-Beatles catalog,
sparsely emulating the more traditional Lennon-McCartney path.
Rounded out by fellow guitarist Joel Roth, Kelly Simmons on
bass, and Nick Foltz on drums, Daystar’s music seems
to levitate and waft with extraordinary tenderness on the
cello-kissed “Warped Reality”, a song that could
have easily earned the band a contract with Apple Records.
“Buttons and Brass” includes crunchier guitars
but retains the satiny vocals that come to define the band’s
sound, particularly around the lovely chorus. Daystar channels
Rare Earth, Badfinger, and other late 60s/dawn of the “me
decade” rock, but does so with a staggering authenticity.
The circuitous “Angelina” allows for Phillips’
vice to sound movingly poignant, and it is difficult to hear
“The Ballad of Sister Sadie May” and not mentally
reference “Sexy Sadie” from The White Album. The
closing “Fade Away, Love” is a cosmic gem, caressing
the listener with spacious guitar playing and a warm vocal
embrace. This is not nostalgia but rather a brilliant modern
interpretation of richly melodious rock.
 JAIL
WEDDINGS - Wilted Eden (Tru Vow Records ;jailweddings.bandcamp.com/album/wilted-eden)
It is a steep challenge for one to begin to describe a band
that has coined the term “death doo wop”, but
Jail Weddings is well worth the effort. Blending blues, psych-pop,
and sporadic synth, the band’s chameleon-like nature
makes Wilted Eden a fascinating musical journey. “A
Haunted Song” has Gabriel Hart’s rich vocals out
in front of a swirling, passionate track that fades politely
into the rousing, emotionally charged “Woman Happy”
that allows Mary Animaux to also step forward, offering stirring
backing vocals accompanied by flaying saxophone from Hart.
The passion and power of this song was matched, and even surpassed,
by “Skin Invocation”, a sultry, sexually-furious
song that pits two highly adept singers in an emotional cage
match over the course of six powerful minutes. There are moments
on Wilted Eden on which Jail Weddings play more driving, sophisticated
rock n’ roll, particularly “Face of Kindness”
which invokes the finest elements of erudite postpunk, and
the country twang fury of (“Can’t Wait to Get
to) Nowhere”. “Do Anything You Want to Me”
bounds with youthful vibrancy with a spiraling chorus and
infectious hook, and is a classic single. The mesmerizing
“Blood Moon Blue” opens with a controlled wave
of feedback and Hart’s deep-throated vocals and Cramps-style
guitar reverb that continues to escalate in hot blooded intensity
until the track sprawls itself out and brazenly exposes its
vulnerability. After twelve years, Jail Weddings has developed
both the skills and confidence necessary to produce a song
like the closing “Love Me Like I’m Dead”,
a massive, nearly nine-minute long effort of staggering beauty.
From the late-night street corner sax to the haunting keys,
the song builds upon itself in a cathartic explosion of emotion,
highlighted by the line “I guess I really love sex as
inspiration”, as the keys only become more symphonic
and the song expands into a majestic panorama of finite skills.
This may only be Jail Weddings’ third release, but they
provide a career’s worth of musicianship on Wilted Eden.
 SUGGESTED
FRIENDS - Turtle Taxi (HHBTM Records hhbtm.com)
This London quartet (“a small choir of mostly lesbians”
according to their bio) plays a wonderfully jangly and spirited
form of modern indie pop. The tracks snap with enthusiasm,
and Faith’s vocals are a beautiful combination of exuberance
and refined tone. The title track has folksy underpinnings
buttressing the more pop-kissed indie flavoring of Jack’s
guitar playing, while “Pretty Soon Your Grave will be
a Landfill” is not only my current favorite song title
of 2019, but it also alternates tempos between fuzzy 90s bedroom
punk-pop and more sophisticated songwriting as the band attacks
the nature of contemporary politics. Clearly the instability
of American political institutions is closely mirrored in
England, and Suggested Friends wrote this song long before
Boris Johnson’s ascension to PM, but it sounds as if
they saw his failures coming. The sweetness of “The
Apocalypse (Is Just a Day Away)” is a wonderful juxtaposition
with the song’s title, as buoyant, refined playing cascades
for three minutes. Blending aspects of good-natured, new wave
pop, “For Jokes” is among the band’s finest
moments on the record as its chorus is a louder, more pronounced
declaration of musical muscle but still retains a delicate
quality as well. Faith’s voice is angelic throughout
Turtle Taxi, revealing both an impressive range and sense
of control, for she never feels compelled to express herself
through outburst of anger, even when detailing frustrating
aspects of life. Rather, efforts like “Magnolia”
and “At Ease” are carried but her melodious and
warm delivery. A cursory listen may trick some into hearing
Suggested Friends as airy, somewhat simplistic pop fare, but
a more deliberate listen reveals a band of skilled players
taking chances with their sound. As I listen to Suggested
Friends, I could only wonder if this what a band like Tiger
Trap would have evolved into had they stuck around a while
longer; namely, a band capable of crafting lush pop aesthetics
but driven by so much more. This is worth finding, and the
band is another example of all the great material HHBTM releases.
 SHARP
VIOLET - “Domino Effect” (https://sharpviolet.bandcamp.com/track/
domino-effect)
Sharp Violet, Long Island's most astute and biting riot grrl
act, is back with a new single, and the timing could not be
better. While Jeffrey Epstein may have exited this world before
rightfully facing his victims, “Domino Effect"
is dedicated to the impact of the #MeToo movement, confronting
monsters like Harvey Weinstein and other powerful men who
use money and influence to lead lives as serial rapists and
sexual predators. Sharp Violet continues to refine its sound,
adding a second guitarist (Marie Tornetto joining Jessica
Benenati) to bolster an already impressive groove-oriented
brand of grungy punk angst. Liz Meehan does not need to scream
to make her point on "Domino Effect," as she delivers
each line with a controlled anger, noting that "all the
headlines will say/you're going down in flames/the press will
have a field day/justice will be...served", and one can
nearly hear Meehan's satisfied grin as she imagines Weinstein
and his abominable ilk led away in cuffs, with their overpriced
designer clothes replaced with an orange jumpsuit. Meehan
captures Liz Phair’s self-assured vocal style, offering
cutting observations about the false remorse of the accused,
saying “you’re only sorry cause you got caught/
for a crime that couldn’t be bought”. Channeling
90's acts like Veruca Salt and L7, Sharp Violet generates
powerful, thought provoking, guitar-driven punk for those
who still believe that music should have depth. The low-end
strength of bassist Alli Sondergrass and drummer Jasmine Fuentes
establish a wall of blunt intensity for the fleeting three
minutes of erudite proto-punk that is “Domino Effect”.
Recent shifts in musical responsibilities within the band
now has Sondergrass on guitar, having re-entered the fold
after becoming a mother, and Tornetto exchanging her guitar
for a bass. Regardless of which instrument is held and by
whom, the resulting song is Sharp Violet's strongest thus
far, as they continue to elevate themselves into a realm of
more polished production and mature song structures. I can
attest that the band is a fierce live act, and “Domino
Effect” captures the energy of the band’s lshows.
There needs to be more acts willing to mesh political statements
and impactful playing, and Sharp Violet should gain a expansive
following.
 BIG
CHEESE - Wild to Be Born (bigcheeseband.bandcamp.com)
When a band uses a Nirvana song as their moniker, it is
safe to assume that classic grunge qualities will abound,
and that is certainly true of Big Cheese. However, rather
then coming across as a collection of fanboys attempting
to recapture Bleach-ear Nirvana, the Brooklyn outfit places
a new spin on the early 90s movement. “In This World”
is a song dedicated to celebrating confusion and isolation,
whole “Golden” is a snarky relationship song
that is a glorious mockery of happy couples, as the song
addresses how it feels when one is the victim of mistreatment
by someone entrusted with your heart. This honesty is a
significant component of the band’s lyrics, making
them awkwardly relatable through the acknowledgment of their
own failings. “Nowhere Scene (Get Free)” is
a violent cacophony of raw guitar-driven punk that will
remind most of In Utero Nirvana when that band abandoned
pop sensibilities and challenged the millions of kids who
bought Nevermind to see if they could stomach a more abrasive
record. The song flies by like scenery on the highway when
driving eighty miles an hour and leaves the listener exhausted.
“I don’t care if you find me appealing”
announces Adam Patten on “In the Living Room”
as drummer Justin Iwinski hammers away at his kit with no
regard for his safety, creating a foundation of relentless
energy that is the hallmark of the band. Sure, the influences
are obvious on “I’m A Sloth”, a Mudhoney-like
barrage of rumbling dynamism, but it does not matter for
this band honors the past with reverence. Before anyone
think of this band as a repetitive group of trickster, the
buoyant “Blank” abandons reckless chaos for
a more streamlined delivery anchored by a blunt low-end
groove as “Pattern” screams “I’ll
just fade away” again with a scream born of earnest
frustration. Wild to be Born concludes with the
more reserved “Long Way Off” that does reduce
the tempo but not the band’s adherence to cutting
guitar work and angular song structure. This may be a trip
down memory lane for some, but Big Cheese brings some haughtiness
to rock at a time when it is desperately needed.
 THE
MONOCHROME SET - Fabula Mendax (Tapete Records www.tapeterecords.com)
As the punk began to become a cannibalistic caricature of
itself at the end of the 1970s, the world became a wide-open
canvas for those willing to produce daring, unconventional
new music. One such band was The Monochrome Set, an artistically
minded, delightfully quirky band from London. Like many acts
who are ahead of their times, The Monochrome Set never enjoyed
extraordinary commercial success, but their influence upon
the burgeoning post-punk movement was undeniable and they
continue to positively impact artists looking to place new
interpretations upon pop song structures. After spending periods
both highly active and terminally dormant, the band has worked
steadily over the past decade releasing a string of consistently
unique collections. Fabula Mendax takes lyrically inspiration
from a portion of the fifteenth-century writings of Armande
de Pange, a contemporary of Joan of Arc, with the majority
of songs driven by warm guitar hooks orchestrated by Bid,
often quite beautiful, even as Bid declares “I want
all of them to die/hang them high” on “Eux Tous”
(“They All”). “Come to Me, Oh My Beautiful”
is a pristine example of flawless pop and expert storytelling,
a quality found throughout the record. “Rest, Unquiet
Spirit” opens with a burst of Iberian Peninsula-inspired
guitar playing, a similar component one hears on the fragile
closer “La Chanson de la Pucelle” (“The
Song of the Maid”) as well, while horns blare as the
poetic title is delivered with breathy intensity. The richly
harmonic “Summer of the Demon” is a clear example
of the impact The Monochrome Set had upon bands such as The
Smiths, Orange Juice, XTC, and Aztec Camera, to name but a
few. “I Can’t Sleep” impishly tells the
story of being kept awake by a bird and heat, but there is
a tangible frustration for the song’s protagonist which
shines through Bid’s nearly panic-stricken delivery
singed with a sharp sense of humor (“Don’t tell
me I need yoga/Because I’ll dislocate my shoulder”).
The Monochrome Set slithers effortlessly into boisterous blues
on “Sliding Icicle”, a track carried by soaring
slide guitar. The Monochrome Set clearly play intricate music,
but the complexity does not overwhelm the listener; instead,
one is allowed to simple gorge upon the talent and realize
that there are visionaries at work here.
 SANTACRUZ
- Katharsis (M-Theory Audio)
After releasing a trio of strong releases, Finland’s
Santa Cruz fell apart as a band roughly a year ago, and Archie
Cruz has spent the past twelve months creating a record about
self-discovery as he put his band and his career back together.
Katharsis is a driving, classic hard rock record
that teems with energy and incorporates more than a few metal
touches, especially the heavier vocal components on “Bang
Bang”. Much of what one hears on Katharsis is a tribute
to Sunset Strip rock n’ roll that celebrated non conformity
during a time when all people wanted to do was to have as
much fun as possible without worrying about likes, public
shaming, or losing followers. The pop dynamics of “Salvation”
and the rounded edges of “Into the War” allow
for Archie Cruz’s voice to shine over the top of a driving
riff that comes straight from the late 80s. Speaking of that
era of excess, the power ballads that made that decade musically
(in)famous are here as well, particularly the moody “I
Want You to Mean It”, and the guys even put their own,
testosterone-fueled spin on Cyndi Lauper’s “Time
After Time”. However, while cheeky covers are always
fun, Santa Cruz are at their finest when they simply want
to be a rock band. To that end, “True Believer”
is a pounding guitar stomp of a track that hits hard and often,
highlighted by a hook-laden, catchy chorus and “Tell
Me Why” is deliciously sleazy attempt at a love song.
The “woah-oh-ohs” that kick off “Smoke Signals”
will make Bon Jovi fans squeal, while “It Was You”
is a dark tale of a failed relationship that alternates between
pulsating fury and more reflective qualities. Santa Cruz proves
that there is new modern rock being produced; I just hope
there are still outlets for this.
 CHERUBS
- Immaculada High (Relapse Records www.relapserecords.com)
Relapse Records has created a wild niche for itself since
the early 90s with raging hardcore and especially death metal
from around the country and the world. As the label matured,
it adopted a more experimental nature, even launching the
limitlessly visionary Release subsidiary, and Austin’s
Cherubs are a perfect reflection of what Relapse now readily
unleashes upon an unsuspecting world. Creating swirling masses
of noisy, frenzied riffs and abrasive vocals, one has to work
to hear the traditional song structures that lie beneath the
din. Opening with the visceral explosion of “Turista”,
Immaculada High announces itself with a devastating kick to
the head. The record is the band’s third record since
their comeback in 2014 after two decades in limbo. While there
are several brief blasts of heavily distorted force (“18
The Number”, “Old Lady Shoe” and “Pacemaker”),
much of Immaculada High includes more expansive songs that
incorporate psychedelic elements to add a level of ethereal
complexity to the band’s already layered sound. “Sooey
Pig” slows the tempo down to a simmer, allowing vocalist
Kevin Whitley to push his voice to new heights as a dense
wall of sound surrounds him. It is all too fitting that the
band recorded this record at a place in Austin called Cacophony
Studios for blaring eruptions “Tigers in the Sky”
and “Breath U Can C” feature equal parts searing
guitar and low end ferocity, an overwhelming amount of force
one also hears on “IMCG”. “Cry Real Wolves”
is a modern interpretation of grunge’s heaviest qualities
and the finest aspects of noisecore. The panoramic closer
“Nobodies” acts as a perfect example of how discord,
when perfectly harnessed, can be thrilling, and the screeching
final seconds are an ideal ending. As other labels have long
faded or regressed, Relapse continues to redefine extreme
music.
 JACK
AND THE ME OFFS - Greatest Hits Vol. II (Universal Warning
Records ; store.universalwarningrecords.com/ pages/news)
Wow! This is great-the Queers have a new record out and Joe
sounds younger than ever! On a second listen, I realize that
this is not the Queers, but rather a band under the tutorage
of the mighty Joe King, something instantly apparent from
the opening chords of “Rise and Shine”. Jack and
The Me Offs are a classic, fun-loving punk pop band, blatantly
unapologetic in their adoration of Screeching Weasel, Mr.
T Experience, Teenage Bottlerocket, and legions of others
and that is just fine with me. Every track on Greatest Hits
Volume II is explodes with energy and sugary sweet harmonies
anchored by infectious choruses. The lyrics are lighthearted
tales about girls who dress like it’s still 1992 (“Green
Day”), refusing to bow down before obnoxious club owners
(“Pay to Play”), and proper hygiene (“Please
Be Neat (Clean the Seat))” with blazing riffs from vocalist
Jack Bravstein and the hyperactive rythym section of bassist
Sam Crisci and drummer Gio Occhipinti. The trio blares through
the goofy, Descendants-flavored “Too Spicy” (“We
don’t need ketchup-too spicy”) with teenage irreverence
and a sincere exuberance, and the acerbic “Squashin’
Doves” is an ideal closer. This Jersey trio will help
listeners escape the repetitive nature of a continuously dire
news cycle as the band stays clear of politics, except for
the quite astute “Designer Fascist” that makes
a serious social point without naming anyone specifically,
but it is clear that the guys have specific targets in mind.
While I love this entire record, “Offended” is
my favorite (“I’m sick and tired of censoring
myself”) as Jack and the Me Offs celebrate of free speech
and give me hope that there are young kids out there who are
not running for cover or furiously tweeting because someone
used a trigger word. This is a wonderful return to punk-pop
authenticity, proudly carrying the banner made legendary by
The Queers all those years ago.
 MESSTHETICS
- Anthropcosmic Nest (Dischord Records www.dischord.com)
When two thirds of a band includes members of Fugazi (Joe
Lally and drummer Brendan Canty), I am instantly drawn to
it, and this instrumental act is a dizzying display of musical
virtuosity meshed with limitless creativity. Rounded out with
guitarist Anthony Pirog, Messthetics’ music is as idiosyncratic
as the tile of their sophomore release. At times delicate
followed by stop-on-a-dime intensity, Anthropcosmic Nest is
a rousing ride through eleven songs. “Drop Foot”
blends dense riffs with playful components and “Better
Wings” highlights Pirog’s nimble adroitness. The
are fleeting moments of noisy, challenging qualities that
invoke Fugazi’s finest days without recycling ideas.
The forty-one second dissonance of “The Assignment”
is matched by the equally gaunt “Insect Conference”
as Messthetics provide a master class in how to utilize avant-garde
ideas without coming across as contrived . The guys embrace
freeform jazz touches throughout the record, but truly highlight
this skill on “Pay Dust”, a track that while brief
is among the highlights of the record. The richly atmospheric
“Because the Mountain Says So” captures a sense
of walking alone through nature, as the trio integrates progressive
jazz with controlled bombast, building slowly throughout he
song until hitting a soaring guitar frenzy by Pirog who truly
emerges as a star throughout Anthropcosmic Nest. Not to be
labeled solely as a jazz-fusion meets indie punk act, the
guys play a loose, rollicking style of driving rock on “La
Lonta”, another song that does not hang round for very
long but leaves a lasting impression. Wrapping up with the
six minute “Touch Earth Touch Sky”, each member
is given an opportunity to highlight his skills across a capacious
anthem. There is a vast audience who will appreciate what
is produced here as Dischord contuse a decades-long tradition
of pushing boundaries and celebrating individuality that confronts
listeners and demands one’s complete attention.
 MONOGRAMS
- Living Wire (Paper Cup Music www.papercupmusic.com)
Monograms, yet another incredible act emerging from the seemingly
endless talent pool that is Brooklyn, labels their work “nuke
wave”, and it fits perfectly, as the band channels the
80s when fear of nuclear annihilation was a daily occupation.
The nervous bassline that propels “Sounds Like Mean
Spirit” is Joy Division and DIY indie pop wrapping around
each other in a loving embrace of musical soul mates. On “Don’t
Fight For It”, vocalist and one-time sole creator of
Monograms, Ian Jacobs, admits, “It takes guts to tell
yourself a lie” as an ocean of 80s dark wave that has
hints of The Cure at their most haunting. While the band may
have started in a bedroom and he des provide myriad of instrumentation
for Monograms, Jacobs now surrounds himself with a bevy of
impressive talent, highlighted by the synth work of Michelle
Feliciano who takes center stage on nearly every one of the
eight songs on Living Wire. Bassist Sam Bartos and drummer
Rich Carrillo augment Jacobs’ contribution with tight
rythyms of their own, shining on the punchy “Century”,
another song of modern frustration (“The centuries keep
coming alive/You don’t know why we should survive”).
“Buzz Choir”, my personal favorite of the lot,
is a combination of pop hooks woven into a patchwork tapestry
of angular, dense playing, opening discreetly before methodically
elevating its intensity. “Nose Dive” is steeped
in 80s nostalgia, and the line “No one cares if we don’t
care” sounds like a youthful call to arms from a band
who are quite daring in their willful injection of modern
rock styling into the boastful flaunting of Jacobs’
new wave and 90s indie fetishes. Living Wire closes with “Prate
Government”, a track that begins with ethereal keys
and introduces a mechanized, machine-gun drum rattle before
settling into an uneasy calm in which Jacobs uses his voice
as an accompanying instrument to add another layer to the
density of the song. There is a theme about giving up or at
least attempting to escape the trappings of contemporary life,
perhaps retreating to the days of MTV and ubiquitous synth,
but Monograms are not suggesting that life is empty. Instead,
the record buzzes with an infectious energy that illustrates
that those of us who are frustrated by what we see each day
are not alone, and there are plenty of others who share in
the confusion and angst. Monograms critique the world without
fully condemning it and do so through imaginative playing.
 PINEWALKER
- Migration (pinewalker.bandcamp.com)
In what has to be Salt Lake City’s heaviest band, Pinewalker
delivers sludge metal played with one foot in the darkness
of 70s Sabbath and the other in the refined brutality of High
on Fire. “Sentinel” builds slowly , incorporating
jarring blasts of thunderous riffs along with ample feedback
to brew a storm of punishing power. Their groove-laden metal
becomes unmistakable and the closing ninety seconds of the
track slams a taste of the New Wave of British heavy metal
with Crowbar into a vulgar display of power. The chunky rythym
of “Bone Collector” is a blues-soaked stomp led
by guitarist Tarren Mead, Jason Kennington, and Sam Roe. A
trio of guitar players can be a difficult balance, but Pinewalker
creates a wall of pummeling sound that elevates this band
out of the tar pits of simply being doom metal, and makes
it much more complex and distinctive. “Burning Earth”
injects noticeable speed and pronounced death metal vocals
during an exhilarating three and a half minutes. Over the
course of the opening trio of tracks of Migration, one hears
three different versions of Pinewalker, reinforcing just how
atypical this band is. The centerpiece of the record is the
massive magnum opus “Maelstrom”. Sprawled over
nine minutes, the track’s gentle intro belies a substantial
wave of seismic force that rumbles across the land with a
musical scorched earth campaign. This is followed by the eight
minutes of “Space Witch”, highlighted by a dreamy
lead that quickly becomes an effort awash in raw power. The
crunchy “Self Vs. Self” comes across as a grunge
band’s interpretation of death metal or vice versa,
but it is a glorious celebration of polished heaviness either
way. The song embodies Pinewalker’s willingness to dabble
in experimental territory as the bottom drops out of the middle
of the song before returning with a flurry of speed. The closing
“The Thaw” is another eight-minute monstrosity
marked by a fearless level of daring. Pinewalker is an example
of contemporary metal’s best elements and also its potential
future.
 UNIVERSAL
THEORY - The Most Attractive Force (universaltheory.bandcamp.com)
Universal Theory plays music with a strong gothic influence,
augmented with Sisters of Mercy inspired darkness; that is,
aspects of pain that somehow sound lush and lovely. This is
due largely to the stirring vocals of María José
Martos who compliments the gloomy delivery of Jesús
Pinilla perfectly. This Madrid-based duo is the brainchild
of Pinilla, and his adoration of 80s Goth and dark, atmospheric
metal shines throughout the record, but there are twists along
that way to offer aspects of distinct originality. The nearly
flamenco-esque guitar break on the emotive “Romance
I” was a delightful touch before the song returns to
a buzzing riff and the pair’s shared vocals meshing
into one powerful delivery. Lyrically, the songs play out
as a poetic ode to heartbreak and longing, heard with overwhelming
emotion on “Unfinished Fire” and “Deeper
Than You Know”. The latter is a more reserved work highlighted
by strings that generate the song’s eerie, mesmerizing
ambiance as Pinilla explores profound sorrow and crushing
depression (
Now It´s Time To Suffer This Life/Now It´s Time
To Walk And Cry/Stay In My Mind
Stay In The Night”). This not celebratory or even hopeful
music, but the musicianship is worthy of great praise, as
Universal Theory create individualized world within each track,
from the rhythmic force of “Romance II” to the
hard driving, metal-tinged “Before Sunrise” that
highlights Pinilla’s ability to channel Peter Murphy’s
most distressing vocal tone and Martos’ dynamic range.
Integrating synth into aggressive music can be a delicate
line to walk, as too much can overpower the intensity of the
band, but Universal Theory strikes a nimble balance throughout
The Most Attractive Force. At times menacing, other moments
reminiscent of church pip organs, the placement of the synthesizer
only helps to emphasize the breadth of passion one hears.
The concluding pair of tracks, “The Wall of Darkness”
and the lush instrumental “Light Vein” are gentle
works driven by wraithlike and hypnotic piano with the former
interspersed with spiraling vocal beauty from Martos. “Light
Vein”, written by Beth Hart, brings ideal closure to
this expressively exhausting work. One can breathe and be
lulled into a state of relaxation following what feels like
a gripping therapy session. Introspective and daring in its
exposure of raw emotion, I am intrigued by what Universal
Theory offers.
 YAWN
MOWER - Why Work Harder Than You Have To? (Mint 400 Records;
yawnmower.bandcamp.com)
This wonderfully laid-back, blissfully lawless act has a long
history of brilliant covers, from “Margaritaville”
to an entire Christmas Ep on which they “ruin”
holiday classics. This time, Yawn Mower play five more covers,
most of which seem in line with the type of band they are,
beginning with “Doctor Worm” from They Might Be
Giants’ 1998 Severe Tire Damage record. A song about
an actual worm who is indeed a doctor, Yawn Mower offer a
heartfelt and loving tribute to this obscure gem. On “Fume”,
the B-side to the slightly more well known “Loser”
from Beck, the guys smash their way through the track, offering
far more energy and guitar crunch than the original. The next
nugget is “Jersey Shore” from the The Promise
Ring, a band forever associated with emo’s salad days
and not an easy act to cover. Yawn Mower again adds a shot
of adrenaline and crisper guiar to bring a sparkling energy
to their interpretation. I was never of fan of The Presidents
of the United States as I just never understood how and why
they briefly caught fire, and “Lump” stood out
as particularly annoying. Even with the punk enthusiasm delivered
here, the song still remains beyond my grasp. I’ll go
with “Weird Al” and “Gump”, but Yawn
Mower’s take is far more entertaining than the original.
Closing with a fuzzy, distortion soaked version of Tom Petty’s
“You Don’t Know How it Feels”, Why Work
Harder Than You Have To? is a fun ride through some memories
and memorable tracks. Now I want some new originals for this
band.
 ALL
EYES WEST - Like Lightning (Jump Start Records www.jumpstartrecords.com)
If one is of a certain age (i.e. getting older), there s something
instantly recognizable about the sound of All Eyes West that
is both comforting and exciting. Like Lightning has Jawbox,
Drive Like Jehu, Seaweed, and even some Hüsker Dü
influences crawling all over it, and there is nothing bad
about that. All Eyes West previously worked with J Robbins,
so that helps to explain some of the similarities, but while
Robbins is not turning knobs on Like Lightning, his impact
lingers across the breadth of the experimentalism heard on
these works. It is fitting that the record has “As I
Bleed” and “Bruised” as musical bookends,
as the two tracks are both rugged and abrasive efforts driven
by masses of focused rage that bring levels of intellectualism
and meticulousness into the turbulence. “Too Alive”
has an uneasy warmth about it, as the riffs from Jeff Dean
are huge, the vocals of bassist Justin Miller are soaring,
and the thunderous rolls provided by Ronnie DiCola are rattling;
these components collide in a perfect stew of early indie
force and sneaky harmonies. The bass throb that drives “Interference”
and the ferocious “Death Wave” is matched by the
slash and burn guitar playing on “Dream of a Nightmare”,
as that song that moves with sinewy precision between inert
power and brief ethereal pauses. It is obvious that All Eyes
West could choose to simply hammer away at listeners if that
was their wont, but instead, the guys clearly take great pride
in their prowess to juggle varied, jarring time sequences
and delightfully off-kilter song structures. All Eyes West
play with a style that sounds like it is collapsing upon itself
and the listener is trapped in the middle of this imploding
racket, for “Chasing Light” is a bellicose anthem
that elbows people out of the way at the bar, while “Holding
on a Holdout” triumphantly manipulates an alternating
loud and soft dynamic range into something that sounds wholly
original. I am so angry that I am only hearing of this band
now, but I love every aspect of All Eyes West.
 THE
DRIPPERS - Action Rock (The Sign Records www.thesignrecords.com)
Sweden currently ranks seventh according to the World Happiness
Report, but that should jump up even higher after a listen
to The Drippers. This is everything rock n’ roll is
supposed to be, namely, loud, greasy, and injected with limitless
energy. Imagine if one can, the New Bomb Turks sharing a garage
with Electric Frankenstein while the Night Birds drink beer
and nod approvingly; that is only beginning of an understanding
of the brilliance that is The Drippers. Opening with the eight-five
seconds of “(Ain’t No) Shangri-La”, the
dual vocals of bassist Viktor Skatt and guitarist William
Dickborn work in flawless tandem, as drummer Niclas Kristoferson
is a machine of a human being. Every song is a screaming,
fuzzed-out explosion of punky, catchy rock drenched in Scandinavian
sleaze, but “Gimme the Shakes” and “White
Light” are nearly flawless. The lo-fi aesthetics of
“Backbeat” makes the song sound sweaty through
my speakers and shimmies with Stones-style confidence and
Iggy Pop’s reckless fury. “Bottle Blues”
and “Finskt Blood” are two high adrenaline tracks
that borrow from Motorhead as much as they do the Candy Snatchers
or Zeke. Every few years a band or two comes along and are
labeled as the “next great saviors” of rock; I
hesitate to put that moniker on The Drippers only because
I do not want to curse them, as these three guys are special.
People can debate about the health of rock music at this point
in the twenty-first century and whether it still connects
with people as it once did, but a person would have be long
dead to hear this and not be moved. The Drippers better get
a significant slot on a major tour of the U.S. because the
nineteenth happiest country in the world could use this maybe
more than ever, and I want to hear “Day Turns to Night”
and “Sweet Action” in a club filled to the ceiling.
 PAT
TODD & THE RANKOUTSIDERS - The Past Came Callin’
(Hound Gawd Records www.houndgawd.com)
Pat Todd and his Rankoutsiders do not cheat the fans. The
Past came Callin’ is fourteen songs of old fashion rock
n’ roll that emphasize loud guitars and good storytelling.
Part garage rock, part cowboy swagger, this is a rollicking
trip through classic riffs and bold energy. The band offers
new work along with a few pieces that had been in the vault,
had the dust blown off of them, and finally given a chance
to see the light of day. The hard driving opener, “If
Only I Could Fly Backwards in Time” is nearly old enough
to drive, while “Yeah, I Had a Bad Night” is on
the cusp of celebrating its first legal drink. Traditional
themes of feeling unsettled and unsatisfied with life are
heard throughout the record but never sound recycled, especially
“Call You on Sunday Night” and “Run”,
the latter featuring the liner notes joke of “no song
writing clichés were harmed in the making of this song”.
With a bar band aesthetic and downhome honesty, Pat Todd and
his mates keep the playing direct and the emotions raw on
“A New Pair of Eyes” and “Just Between You
and Me”, a subdued tale of pain that closes the record
without providing a happy ending to send everyone home hopeful
for a better future. At times folksy and bluesy (“Down
in the Bourne” sounds like a Southern-friend hootenanny),
but more often octane-fueled (“The Future Callin’”),
The Past Came Callin’ reveals a band caught between
looking back and yet still enthused about the present.
 DE
LA NOCHE - Blue Days, Black Nights (Get Loud Records; getloudrecordings.bandcamp.com)
Everything about De la Noche is smooth, from the supple nature
of the velvety jazz and haunting sax that one hears across
the eleven, single-word titled songs, to the warm vocals of
Howard Ivans. This is mature, lovely music for adults but
it is not going to be heard in the background of your local
supermarket anytime soon. The songs are intentionally melancholy
and deeply emotionally penetrating, for when Howard asks “Don’t
you miss me?’ on “Blue”, the question s
soul-shaking in its pain, transcending simple crushes and
truly connecting with people who are lost and wandering without
a guide. “Gold” is a lush, suave jazz track with
profoundly emotive vocals and perfectly placed sax that captures
one of Ivans’ influences, the 80s hit maker Sade (perhaps
the first mention of her in Jersey Beat?). Robert Rogan and
Seth Weeks are the remarkable players behind the words, and
their ethereal soundscapes paint heartrending pictures through
haunting arrangements on the up-tempo “Run” on
which Ivans invokes Brian Ferry, mixing robust sensuality
with poignant fragility and vulnerability, (“I should
run away/but I stay”), and the penetrating humanism
of “Spooky”. “Lover” is gentle and
deeply moving and when the simple lyric of “true love”
is repeated, it is difficult to avoid being swept away. The
kindness of “Lover, it’s killing me to see you
in so much pain” is a punch to the stomach and a daring
revelation about one’s mistakes and regrets. If loud
and fast rules solely in one’s playlist, De La Noche
may not be a band of choice, but those looking for fully developed,
intricately performed works of sheer beauty, go find Blue
Days, Black Nights immediately.
 FLORAL
PRINT - S/T (floralprint.bandcamp.com)
The opening line of Floral Print’s self –titled
EP is “you’ve been fucking with my head/in a good
way” (“Six Pillows”). This juxtaposition
of ideas reflects the band’s music as well; part classic
indie jangle, part jazz-inspired improvisational freedom,
the band’s six songs are a wild ride through lovesick
loss and the hopes for a better future. “I Go Down on
the Breeze” has an ambling nature interrupted by bursts
of fuzzy guitar blasts that reminded me of the oft-kilter
noise of Archers of Loaf and lyrics of desperation and sadness
tinged with a subtle helplessness (“I can’t stand
when you fall/keep it all on track, let the reel of film recall”).
The song is given a minute-long reprise with only stripped
down acoustic guitar, providing a very different approach
to a beautiful piece. The fleeting instrumental “Vermillion”
offers a tender reprise before the band once again takes the
listener down a rabbit hole of profound emotion on “Alice
Arm”. Subdued guitars and vocals mesh together to craft
a song that frequently manipulates complex time sequences
and should hold all who hear it with rapt attention. The closing
“Viridian” is my favorite of the bunch, with the
earnest opening lyric “”I want to show you the
better parts of me/Or drown in a deep, dark sea” and
the crushing concluding admittance “I wanted to show
you all the things that we could be/If you were patient with
the cutting parts of me”. The track finishes with a
flurry and leaves one desperately hoping that a full length
is on the way soon. This is not uplifting, but well crafted,
daring, and refreshingly unique.
 OUTSIDER
- When Love Dies (Flatspot Records www.flatspotrecords.com)
By this point in my life, I have heard a voluminous amount
of stomping, metallic hardcore, but when the cry of “Apocalypse
now when the countdown starts…” launches Outsider
into a thunderous breakdown that acts as the focal point of
the bone-liquefying ninety second firestorm of “Path
You’ve Earned”, I am hooked on this young and
ferociously talented Richmond outfit. Playing with the blinding
speed of acts like Dropdead or Magrudergrind matched with
Madball’s penchant for mind-altering heaviness, Outsider
makes one wonder where the hardcore ends and the metal begins,
as the two styles mesh flawlessly and effortlessly. “Mind
of Misery” is a chunky, thunderous effort reminiscent
of the finest moments of Sick of It All with guitar riffs
that owe as much to Dave Mustaine as they do Vinnie Stigma.
“Let Myself Go” experiments with tempo a bit more
loosely than the other tracks on the EP, alternating between
more pensive qualities and chugging metalcore intensity, all
accompanied by rugged, angered vocals. The concluding title
track may have a sullen intro, but it quickly converts itself
into an abrasive effort that would fit as easily on a 90s
Earache Records roster as on the continuously impressive Flatspot
stable. It can be easy to imagine that this is just another
genre-blending hardcore outfit that is recycling old ideas
in a anew package, but Outsider is genuinely different due
to both their musical proficiency and the sheer power of their
playing. I would suggest having a few EMTs on stand-by for
their shows.
 PETER
LAUGHNER - Peter Laughner (Smog Veil Records www.smogveil.com)
For those too young to remember the career of Peter Laughner
as it happened, this massive five volume retrospective will
provide people with a thorough overview of his visionary
brilliance. While Laughner’s career began in the mid-60s,
he truly emerged as a burgeoning rock n’ roll legend
in the early to late 1970s, and the focus of this box set
is the heart of his expansive repertoire between 1972 until
his tragic passing in 1977. From his time as part of the
brain trust that comprised Pere Ubu to his immortal status
within Cleveland’s long-standing place as a musical
haven through bands like Rocket From the Tombs and the Fins,
few encompassed so much of rock’s potential as singer,
songwriter, and performer, and all of his genius is captured
in this wide-ranging box set. Along the way, listeners are
treated to a range of musical visions that are poignant,
heartfelt, and remarkably intimate. Volumes One, Three,
and Five are acoustic, authentic and intense pieces of Americana
that sound as if those listening are sitting with Laughner
in his living room as he introduces the songs and plays
gritty bur delicate anthems about loneliness (“Love
Minus Zero”), drinking, (“’Drunkards Lament”,)
and New York City (“Sidewalks of New York”,
“Eyes of a New York Woman”). The blues played
a significant role in Laughner’s music, and one hears
the influence most obviously on “Hesitation Blues”
and his majestic versions of Robert Johnson’s “32-20
Blues” and “Me and the Devil Blues”, but
also on efforts such as “Dear Richard”, a song
introduced as “an answer to an unwritten suicide note”.
Each of the tracks, lovingly restored by Maria Rice and
Jeff Lipton, sounds fresh and overflowing with lively passion,
which defined Laughner as an artist. His music was both
a tribute to rock’s glorious and occasionally unsteady
inception as well as a predictor of what punk and indie
rock would become. His grimy, angst-ridden classic “Ain’t
It Fun” drips with the same rage and frustration later
spewed forth by Stiv Bators and the Dead Boys featuring
former Rocket From the Tombs member Cheetah Chrome.
I cannot decide which style of Laughner’s work I appreciate
and enjoy more deeply; the rollicking, noisy garage rock
or the more genteel acoustic work. “Junkman”
is heartbreaking as Laughner laments about “the blues
you get from reading other people’s notebooks”
and how “my sister sold her heart to the junkman”,
while “Sylvia Plath” includes lyrics that cannot
help but make one smile “Sylvia Plath was never too
good at math/but they tell me that she finished at the head
of her class/ And if she lost any virginity, she didn’t
lose it too fast”) despite being a song about a melancholy
figure. The various covers are scintillating and reveal
the breadth of Laughner’s musical knowledge and his
daring. He and band slow “All Along the Watchtower”
to a soulful crawl, embrace the electric Bob Dylan that
caused a near riot at the Newport Blues Festival with “It
Takes a Lot to Laugh”, and deliver a loving and whiskey-soaked
version of “Wild Horses” found on Volumes Two,
Four, and Five respectively. At sixty-one songs, this is
both comprehensive and perhaps exhaustive for one sitting,
but it is difficult to turn away from the box set once it
gets rolling. The concluding Fifth section contains haunting
works that hang wistfully in the air, such as “Come
On In”, a fragile love song that is immensely powerful
in its barebones, Mississippi Delta blues delivery in which
the lines of “I got a lot of plans/I’ve got
a lot future” are uttered which become all the more
heart-rending when one considers Laughner’s early
death. The collection finishes with a high-energy acoustic
take on Eddie Cochran’s “Summertime Blues”.
At only one minute, this truncated interpretation acts a
metaphoric representation of Laughner’s life-inspired,
energized, and over far too soon.
 GOOD
SERVICE - Please (https://goodservice.bandcamp.com/)
Noah Fardon is a one-man force known as Good Service and his
new record is a musical journey as varied and distinctive
as this young man’s life. Although only twenty-five,
Fardon has lived a sojourner’s existence, beginning
in Nashville where he spent time hanging around deep thinkers
on the porch of a coffee shop before traveling northward to
Maine. Vacationland turned out to be anything but for Fardon
as he formed a band and ultimately began living and recording
as Good Service. While a fleeting collection, only nine songs
around half hour in total, Please transports one back in time
to a mixture of 1960s and 70s vibes that may reflect a mixed
sense of hope and concern. “Summer Muses” and
“MaPaw” are two ideal examples of this structure,
for the tracks meander with a lassitude that belies the emotional
depth found within. “Summer Muses” is particularly
griping, telling a tale of drug use that is becoming somewhat
confounding from the protagonist’s perspective, as it
is unclear if the drugs are having a positive or negative
effect. (“Not to say these hours have been useless;
wish I could do this more”) This is an artist born at
the wrong time, but Fardon is doing all he can to bring classic
jangly, groovy aesthetics into digital age. “Washington
Avenue” is a warm, frills-free acoustic piece that projects
subtle warmth through its chilly, airy atmosphere. The record
revolves around the questioning and the stark realization
of one’s mortality, as Fardon became tragically inspired
to pursue this line of thinking following his grandmother’s
diagnosis with a terminal illness, a disease that took her
life nearly eighteen months later. The cleverly titled “Sys’ro”
includes genteel waves of swirling noise as a buttress to
the haunting vocal delivery turned in by Fardon. Please is
a work of minimalist mastery and deep-rooted emotion that
leaves a significant impact upon the listener.
 HIGH
ON FIRE - Bat Salad (eOneMusic)
This three-song EP is both a celebration of High On Fire’s
musical influences as well as a triumphant farewell to drummer
Des Kensel who has left the band after more than twenty-one
years of service and one of the band’s founders. “Bat
Salad” is a clever homage to Black Sabbath both in terms
of title (see Sabbath’s thunderous “Rat Salad”)
and musical force. Dense and muscular musicianship carry the
five and half minute instrumental with Matt Pike’s guitar
prowess on prominent display. The aforementioned Kensel and
rhythm section mate, bassist Jeff Matz, are a punishing combination
one last time as the song is a relentless parade of intelligent
metal. The two covers are crushing tributes to legendary acts,
the invaluable Celtic Frost and true D.C. icons Bad Brains.
“Into the Crypts of Rays” is my favorite CF anthem,
and while others have done sterling jobs recapturing the power
of the original (check out Goatwhore’s scathing version,
for example), High On Fire embraces the frantic nature of
the song and celebrates the raw, punk nature of Celtic Frost’s
early work. Along with Kurt Ballou’s brilliance behind
the scenes, HOF crafts a version that, as blasphemous as this
may be to some, surpasses the original. The EP concludes with
Bad Brains’ “Don’t Bother Me”, and
HOF are again able to perfectly express the unfettered rage
that drove the caustic original. This is a testament to High
On Fire’s strength as an act, for these three songs
would be the pinnacle of many careers, but for them, it was
a fun release for Record Store Day. Go immediately and treat
yourself to this.
 PEARER
- A Healthy Earth (Tiny Engines Records www.tinyengines.net)
This Brooklyn outfit is another step in the evolution of indie
pop rock. The opening “Circle” is a taut whirlwind
of hypnotic riffs and Peter Katz’s sublimely emotive
voice that introduces the band with a mixture of quiet beauty
and precise delivery. The same holds true with “Ollie”,
a playful two minutes of dreamy pop about Katz’s puppy,
accented by a sense of innocence through a bass clarinet solo.
The more capacious “Like You” features fragile
guitar playing as Katz says, “I’m like you because
I want to be” celebrating an admitted sense of imitation
and conformity that one usually does not hear within rock,
but this is a tale of two songs. Roughly halfway through the
track, “Like You” adopts a more rambunctious spirit
with Katz’s guitar force taking a more prominent position
as a larger and louder wave of guitar crunch builds around
a steady backing groove created by bassist Thom Lombardi and
drummer Jeremy Kinney. “Don’t” has an understated
anger beneath its sophisticated, math rock exterior and is
among the record’s most intriguing songs. The start/stop,
unsteady time sequences of the song make it simultaneously
unnerving and enticing, and when Katz’s feedback drenched
solo hits its crescendo, the song collapses upon itself from
its own musical inertia and sheer exhaustion. This is complicated
playing overflowing with resentment for the equally complicated
nature of the times. In “Multiverse”, Katz theorizes
of another time and place when he was not himself and had
“never touched a guitar”. It is unclear if he
is seeking escapism or simply giving in to a form of good-natured
conjuncture. Remaining largely quite subdued, “Multiverse”
is a tour through Katz’s mind done with a sense of bold
bravery. On “Joke”, the band plays a tightly wound
mix of blithe pop and monotone, deadpan vocals (“I told
a joke/ at least it started as a joke/ It was supposed to
stay a joke/ now I’m sorry that I spoke”). The
opening ethereal seconds of “In My Belly” briskly
steps aside and allows for 90s style indie noise to rush through
the heart of the track, only to have the song dissipate again
into a hushed conclusion, thus encompassing the larger nature
of this band; the songs are not quite schizophrenic, but there
are certainly personality conflicts that exist within them.
On “Wilbur”, Katz gruffly declares that he “left
his body behind in pursuit of the mind” over the top
of a breezy, acoustic riff. This stripped down approach is
also heard on the closing “Have Fun” but the song
appears to struggle to wiggle free from its old skin and emerge
as something boisterous, but ultimately, the tracks recedes
into a musical gloaming. This is not an easy listen, but certainly
a riveting one.
 THE
DARLING FIRE - Dark Ceremony (Spartan records www.spartanrecords.com)
It is safe to assume that the members of The darling Fire
bristle at the term “super group”, but when one
looks at the resumes here, it is hard to ignore the vast amount
of talent within the band’s ranks. Featuring members
Dashboard Confessional (Jolie Lindholm), Further Seems Forever
(Steven Kleisath), and Poison the Well (Jeronimo Gomez) to
name but a few, the band has all the prerequisites needed
for a special release. However, if sports has taught us anything,
it is sometimes difficult to transfer greatness on paper to
greatness in action; luckily, that is not the case on The
Darling Fire. This Florida based outfit creates a record with
a perfect name. Dark Celebration is just that-a rumbling,
pounding, dense mass of emotionally driven force. The opening
“For the Loveless” is appropriately heart wrenching
and atmospherically lush, with Lindholm’s vocals existing
beautifully between the realms of sullen and passionate, exuding
a breathy, strong delivery that is a staple of Dark celebration.
It is not a surprise that the band can create tightly constructed
grooves, as their previous acts were famous for this trait
as well, but “Omaha” and “Catatonia “are
a pair of ethereal body punches masking monolithic strength
behind shrewdly layered harmonies. The Darling Fire is a band
that repeatedly and effortlessly delivers intoxicatingly intricate
tracks without ever overwhelming he listener. Borrowing subtle
touches of 90s shoegaze on “Silver Spade”, Lindholm,
Gomez, and Matthew Short produce a warm, dreamlike world of
guitar hum. Each of the songs stays with the listener, lasting
on average around five minutes, so people can enjoy the stirring
dynamics of J Robbins’ production. Each anthem is a
fully matured gem with a separate identity. Drummer Kleisath
fuels the meandering “The Constant”, while the
closing “In Twilight” is bathed in translucent
beauty interspersed with a massive riff. The songs are emotionally
emotive, poignant, and dazzling. This is a great band that
invokes elements of the 90s indie uprising, but makes those
tones also inherently contemporary.
 SPIDER
- Energy Gone Wrong (CPYRT CNTRL RCRDS)
This three-song EP is more than enough to alert people that
Spider is a seriously punk rock juggernaut. If you do not
believe my words, check out their scathing version of Black
Flag’s immortal “Depression”. It takes guts
to cover one of the true legends of the genre, and even more
courage to put a unique stamp on a classic, but Spider makes
the song their own with ease. Hector Martinez does not simply
attempt a Rollins impression, but delivers the lyrics with
a chilling intensity. The other surrounding pieces are equally
rattling, as the closing effort, the brutal “The Reeperbahn”,
is a heavy, crunchy track that takes rock by the throat and
shakes some punk angst into its aging body. Guitarist Karl
Izumi works in seemly tandem with bassist Jeff Abarta and
drummer Alf Silva on the opening title effort. Abarta and
Izumi also contribute surprisingly harmonious backing vocals
that keep the bad one foot in the garage and the other in
a vomit-strewn gutter. I loved this little teaser and the
full length is hopefully coming soon.
 DIVINE
DIRT - From the Underworld (www.facebook.com/Divine-Dirt)
Bloody F. Mess will always have a special place in my heart.
I first learned of him as the leader of Bloody Mess and the
Skabs, a band that infamously opened for one of GG Allin’s
parole-dodging tours, and later, Mr. Mess declared O.J. Simpson
an “innocent man” more than a year before the
end of that trial with song rightfully called “O.J.
Simpson” which I played into the ground during my salad
days of college radio. All these years later, he returns with
his new act, Divine Dirt, and delivers From the Underground,
a rocking, transcendental collection of trashy punk gems.
Divine Dirt is largely more rock than punk, particularly on
the ultra-catchy ode to the band itself (“Divine Dirt”)
and the Sabbath-like stomp of “Lifting the Veil”.
While the songs may play with tempo, there are more than a
few true punk nuggets to be found, especially “Everyone’s
On Drugs” which chronicles the legal drug trade that
keeps more Americans than ever artificially able to get through
their days, and “My Mind’s Diseased” ( including
a new mantra of modern life-“My mind’s diseased
with daily life”). The plodding “Skeletons”
grinds slowly while Mess does his best Alice Cooper impression,
a style matched in both tone and tenor by “Howling at
the Moon”. The low-end thump of “Thieves Dressed
as Kings” meshes sludge and a classic Judas Priest metallic
assault to produce a slab of fun that could have illuminated
parking lot parties in the early 80s. It is always great to
have Bloody Mess back, and Divine Dirt displays, dare I say,
some maturity from Peoria’s finest product.
 UV-TV
- Happy (Deranged Records www.derangedrecords.com)
UV-TV is able to create music that both bubbles over with
energy and exuberance but the joy is also skillfully muted
throughout Happy. The noisy, occasionally ambient, but always-impressive
guitar work of Ian Bernacett and the remarkable vocal prowess
of Rose Vastola lead the outfit originally from Gainesville,
Florida. On the title track, Vastola’s sweetly sarcastic
tone highlights the song’s declaration that “I’m
so happy for you/Well it’s true/I’ll tell you/
it’s just a lot of shit”, while crunchy punk guitar
dominates. There are aspects of the band’s earlier,
more cuddle-core style, but UV-TV is embracing their angst
on “inside Out” as raw, slashing guitar accents
Vastola’s passionate delivery. (“You’re
always upside down/I’m always inside out”) Subtle
sweetness is heard on “Hide” and “Untitled”
as both songs radiate enthusiasm along with rich harmonies.
“World” is a more refined work as both it and
the closing “Falling Down” are lengthier efforts
that reveal the evolving nature of the band, as the members
have the confidence to grant more air between notes. The work
on Happy proves that UV-TV can strike at a listener’s
head and heart with equal poise.
 CHEMTRAIL
- Collider (Good Fight Records https://goodfightmusic.bandcamp.com)
Instrumental bands deserve limitless respect; it is extremely
difficult to produce music that is both stirring and relatable
without a vocalist and lyrics to connect the listener to the
band. An act like Animals as Leaders comes to mind in terms
of bands that are capable of creating such an impact, and
Chemtrail deserve to be within this conversation as well.
Collider is a richly textured, complex mass of musical expertise
from Ashbury Park. The band has three members who play guitar
(Mike Burke and Chris Camano also offer their skills as keyboardists
as well) and Chemtrail’s prowess is placed on full display
with the opening “Void Crawler”. Ambient and innovative
with sharp time structures, the song is a beautiful wall of
sound that is stunningly lush and intricate but still graspable
even for those of us who could never play like this. The spiritual
nature of “Young Warrior” emerges again during
the second half of “Collider”. This treasure of
a song opens with aggressive guitar work before injecting
a wave of distortion that cleanses the palate before the track
drifts into a mist of unnerving calm that becomes hypnotic
in its soothing nature. While “Parameters” and
“Frozen Dream” are fleeting and beautiful, the
fleshed out majesty of “Safe Passage” takes the
listener on yet another astral expedition. There is something
wholly unique about what Chemtrail does and they are a band
for those who can appreciate truly refined musicianship as
well as those who simply want to be swept away by dazzling
compositions.
 SUB
DIO (undercomm.org/records.sidewithus.com/)
I love a band with a great backstory and Sub Dio certainly
has that. Brian Moss has kicked around in a number of impressive
bands throughout his life and has also spent time as a middle
school teacher in San Francisco, and Danaca Von Hartwig is
a social justice lawyer. Alongside Shane Hendry on drums,
Danthrax on guitar (although Rob carter appears here) and
Ran Marshall on bass, the band rampages through five blistering
efforts of intelligent, hardcore flavored tracks. Von Hartwig
and Moss share vocals and the give and take between them gives
each song an aura of chaos while thunderous playing swirls
around their impassioned voices. Each effort retains a similar
sound that blends speed with raw emotion starting with “Takies”.
With lyrics inspired by Von Hartwig’s critical but often
times frustrating work, the band demands that listeners sit
up and pay attention. “Skeeters” builds slowly
and methodically before detonating into a mushroom cloud of
fervent emotion. There is a clear nod to vintage DC post-punk
on “Credible Fear”, particular the dissonant and
discordant guitar playing that acts as the foundation of the
song, and “Peachy Keen” is a flesh-ripping assault
of a song. With Hendry’s breakneck drumming opening
the song, Moss and Von Hartwig once again throw themselves
into the musical fray, roaring and screaming about “hating
the feeling” and “staring at the ceiling”
with the repeating cry of “so peachy keen” taking
on a sense of biting sarcasm. The concluding “Pardon
Me” acts a perfect bookend to a five-song thrill ride
of uncompromisingly abrasive and potent playing. I hope these
guys can push their day jobs to the side and tour for a while.
 CRO-MAGS
- "Don’t Give In" EP (Victory Records, www.victoryrecords.com)
It is nightmarishly redundant to say that the Cro-Mags are
one of the defining forces of American hardcore, but their
history is important to understand as one listens to the new
three-song EP. Granted, only one original member remains,
but there is still something greatly endearing to hear Harley
Flanagan bark, “Can’t let the circumstances define
who you are” on “No One’s Victim”,
the blistering final song of the three. The past two decades
have been wrought with legal battles about the band’s
name that were as bitter as the nastiest child custody case,
with Flanagan finally gaining the right to record and tour
under the moniker “Cro-Mags," the band he started
when the vocalist was barely out of middle school. The trio
of tracks are heavy, crossover hardcore that is done extremely
well; it may not be revolutionary, but just having new Cro-Mags
music after nearly twenty years is exciting. The band features
the well-traveled Rocky George on guitar, and the opening
“Don’t Give In” has aspects of Suicidal
Tendencies running through it as Flanagan scowls his affirmations
of toughness and self-reliance over three minutes of thunderous
playing. It is a phrase Flanagan must know well, for not giving
in defines his musical career. Guitarist Gabby Abularach and
drummer Garry “G-Man” Sullivan bring their own
brands of raw energy to the EP, and the Cro-Mags sound like
they could throw down with kids more than half their ages,
as the scathing “Drag You Under” proves. For those
who were around to see the Cro-Mags in their early days of
80s New York City hardcore, it may be difficult to imagine
that the band is still alive and vital in 2019, but of course,
no one in the NYC of the 80s could imagine Times Square with
a Disney store and family-style restaurants, so much has changed.
However, one constant is Flanagan’s commitment to the
spirit of the bare-knuckled brutality that defines the Cro-Mags.
These three songs are not announcing a comeback as the legend
and influence of the Cro-Mags never left. Instead, this is
a declaration that the sleeping beast has once again risen.
 THE
GIRAFFES - Flower of the Cosmos (Silver Sleeves Records
https://www.facebook.com/ silversleeverecords)
The Giraffes have been a long time staple of Brooklyn, particularly
the Brooklyn prior to gentrification and rents that rival
Manhattan. Their shows are infamous, and while Flower of the
Cosmos may not necessarily capture the insanity of their gigs,
the record is a collection of simmering blasts of metal-tinged
rock. The opening “Can’t Do This in Your Head”
is a noisy, guitar-heavy festival that is equal parts garage
noise and hard-driving rock n’ roll. The Giraffes exist
somewhere within those murky punk rock waters that infuse
punchy force with just enough musical sophistication to know
that the members are pros and not just a gang of guys slapping
instruments around a rehearsal space. “FAKS” rattles
like “No One Knows” from Queens of the Stone Age
and a similar vibe is captured on “Golden Door”,
with the latter delicately flavored with just enough atmospheric
haze. The superbly titled “Raising Kids in the End Times”
leaps skyward with a energized bass line that correlates with
equally bombastic guitar riffs blending in with smoothly delivered
lyrics from Aaron Lazar as he notes that “nothing’s
gonna change”, and we are all “just living day
to day”; this sad acknowledgment of man’s futility
feels all too poignant right now. Lazar and fellow guitarist
Damien Paris dominate “Bubble Scum”, an effort
that oozes bluesy sensuality, while “Dorito Dreams”
shakes with uncontrollable energy. Lazar declares on “Fill
Up Glass”, “we’ll change your minds tonight”,
and while the masses who attend the sweaty, furiously intense
live performances from The Giraffes may not to have their
opinions of the band changed, for those who are new to this
outfit, Flower of the Cosmos is a perfect introduction. This
is a record of progressive thinking rock as the band delivers
hard-hitting tracks with a musical dexterity that is highly
impressive. Now I just have to get to one of their gigs.
 LOLA
MONTEZ - Dissonant Dreams (lolamontezband.com)
Most people know Lola Montez as the famous mistress of King
Ludwig I of Bavaria who fled the Germanic states during the
ill-fated revolutions of 1848. However, if history does not
interest you, the new reference point for Lola Montez will
be this outstanding trio from Nashville. The band plays an
infectious brand of well-crafted modern rock with a few playful
nods to other genres. The majority of the work revolves around
the guitar work of Blake Scopino and the beautiful vocals
of Inga Rudin. Rudin’s voice soars majestically throughout
the record, cutting through the songs like blazing comet in
the night sky, and she even matches the power of Grace Slick
on the band’s bold cover Jefferson Airplane’s
“White Rabbit”. Scopino provides a wide array
of guitar tricks and displays impressive nimbleness without
ever becoming redundant. “Sacred” is one such
example of this dynamic, but the song also possesses a subtle
ambient nature also heard on “End of the Rainbow”
that provides a sense of mystery and experimentation not always
found in modern hard rock. Lola Montez also allows each of
their songs to have air to breathe and room to roam as most
of the tracks clock in at over four minutes in length. Maintaining
the attention span of fans today can be challenging, but each
of the ten songs resonate with warm harmonies and large, sweeping
hooks, best heard on “Cyanide”. “Can You
Feel Me” includes a funky, impish structure that allows
Scopino to shine, while “Monster” has a heavy
low-end groove. The song also features one of Rudin’s
finest vocal performances, for her warning of “don’t
touch me there” is delivered with a mixture of sensuality
and caution. The shared vocals on “Break Up” gives
the effort extra musical depth and is reminiscent of classic
FM rock radio from a bygone era. Lola Montez does not solely
clubber listeners for ten songs, but rather, the band alternates
their fits of intensity with elements of serenity and sophistication.
This is a band to which people need to pay attention.
 BRUCE
SPRINGSTEEN - Western Stars (Columbia Records www.columbiarecords.com)
I have seen the future of rock n' roll and he is now nearly
seventy, but Bruce Springsteen continues to write songs of
brilliant Americana that convey images of blue-collar struggles
in a manner that makes him rock's Steinbeck. Springsteen famously
invoked that legendary author on his Ghost of Tom Joad record,
and Western Stars will undoubtedly remind many of that work,
along with those who traveled with The Boss to Nebraska. Springsteen
is once again alone on the road, traveling through the forgotten
and ignored places such as the "lonely town" detailed
on "Sundown" as the narrator simply travels "from
bar to bar" lamenting a lost love. Rather than taking
listeners to the heartland, Western Stars is a tribute to
the rugged, still somewhat untamed aspects of the American
West represented by figures racked by loneliness, depression,
and painfully self-destructive regret. Self-reflection and
the crushing sorrow of failure dominate the lives of the characters
captured by Springsteen, whether this takes the form of the
dissipation of a relationship ("There Goes My Miracle")
or a desire to shed one's skin and start anew only to meet
more disappointments ("Tucson Train"). The opening
"Chasing Wild Horses" invokes sentiments of youthful
anger that carried far too deeply into adulthood, while "Somewhere
North of Nashville" includes the line, "I traded
this song for you" offering a poignant emptiness that
Springsteen referenced in both his autobiography and his sold-out
Broadway show.
Springsteen's strength has always been his ability to capture
a fleeting snapshot of American life and make it broadly
relatable; on "Drive Fast (Stunt Man)", the protagonist
lists his ills and the lasting suffering caused by his profession.
In the hands of a weaker writer, the story could come across
as clichéd, but Springsteen makes the tattered stunt
man an analogy for anyone who has been battered and bruised
by life's struggles. The work here is gentle, largely acoustic,
and richly country-flavored, with Springsteen's gravely,
well-worn voice and stunning musicianship granting each
syllable uttered increased significance, accented by stirring
strings, such as the lushly constructed "Stones"
("I woke up this morning/stones in my mouth")
and the desperate self-deprecation of "Hello Sunshine"
("I always had a soft spot for the rain"). While
"Sleep Joe's Café" is a divergence from
this style with its buoyant tempo, "Moonlight Motel"
has a lullaby sensibility and a haunting fragility in which
memories flood back as the speaker gazes at a location of
transitory contentment and offers "one last shot"
of Jack Daniels to honor a place of past happiness, acting
as a template reflective of the collective work of Western
Stars. The career of Bruce Springsteen has included numerous
aspects of rock's best qualities, but there is nothing in
his catalogue that sounds quite like what one hears on Western
Stars. The familiarity of the lyrical style remains in tact,
but the musical structure takes the legend down yet another
path, this one dusty and isolated replete with cowboys and
the big sky of the West. Sit by the campfire and allow New
Jersey's best to transplant all who listen to a majestically
heartbreaking corner of the world.
 AAN
-- Losing My Shadow (Fresh Selects Records www.freshselects.bandcamp.com)
Aan is another wildly creative act from Portland, Oregon that
shape-shifts genres by blending atmospheric keys with dreamy
soundscapes and injections of sharp pop harmonies. Woven throughout
the fabric of Losing My Shadow are tales of complex personal
revelations and self-awareness, as Bud Wilson admits on the
title track, “In my head I knew something my heart wasn’t
ready to face/You wanted my love and I wanted your trust/But
I was telling you lies/I was down in the dust” as psychedelic
guitar riffs and a minimalist beat float around him. “Truly
Massive” feels as if could exist in the late 60s as
swirling, ethereal beauty envelopes equally beautiful lyrics
(“Your touch is such a deception/Each kiss is a lesson
I can’t seem to learn/It’s truly massive the way
the world spins round you/I’m a blip in your atmosphere”),
while “Born a Sucker” is propelled by warm programming
compliments of Cameron Spies. The resplendent “Mistakes”
is a serene, poignant effort that possesses a subdued R&B
groove deftly accented by warm keys. This ability to balance
humanity with the use of digital assistance is a fine line
to walk, and Aan does so with remarkable grace. Much the way
that Sgt.Peppers or Pet Sounds utilized every inch of the
studio, Losing My Shadow conveys a similar sentiment for each
song is overflowing with ideas and waves of sound. The songs
never become cluttered or overly busy but are certainly complex
in their majestic approach. The heartwrenching “Hurts
to be Alone” is not a standard lament about feeling
ignored, but is rather a declaration of pain and confusion
by Wilson as he proclaims to the world, “I’ve
got love for everyone” while gentle keys caress each
syllable. Aan does not shy away from challenging the listener,
as Losing My Shadow is not a record that one simply puts on
as background noise; the nine songs demand rapt attention
and are layered, adroitly textured works that are both similar
in nature and yet still distinctly unique from each other.
The closing “Life of the Party” has an aura that
is the antithesis of the title as the song has a wraithlike
quality hat perfectly captures the line, “I’m
just a ghost in the room”. The loneliness and self-doubt
Aan explores is quite painful and one can almost hear the
anguish Wilson is suffering, but his ability to express these
motions with such daring clarity makes Losing My Shadow
a powerful listening experience.
 CORPORATE
CITIZEN - A Brief Moment of Sanity (El Topo Records www.eltoporecors.com)
Corporate Citizen labels itself a hardcore band but unlike
acts that play fleeting blasts of speed that come and leave
within a blink, Corporate Citizen flesh out their songs and
develop a highly distinctive sound. This is not to say that
the band does not hit with authority, as the opening “Batten
Down the Hatches” is a sonic blast of power, but the
track also demonstrates several tempo shifts and plays with
chord progressions that displays more sophistication than
sometimes heard within the genre, as Corporate Citizen even
write identifiable choruses. Some of the themes addressed
on A Brief Moment of Sanity are standard hardcore fare, particularly
on “Next Big Thing” on which vocalist Bob Meder
admits that he is “just fine with where I’m at”
and eschews capitalist pursuits through musical conformity,
butt he topics are addressed with a more mature level of experience.
The work of Corporate Citizen retains hardcore’s driving
intensity and gang vocals that will undoubtedly inspire massive
spin-kick karaoke, as heard on “Got No Time” and
“Just Walk Away”, but there is a depth to the
nine songs that will provoke as many thoughts as stage-dives.
The closing “The Good One” is a rugged beast of
guitar crunch offset by an unapologetically harmonious chorus.
The song is rife with emotion as Meder says farewell to an
unwanted acquaintance with this biting dismissal: “To
me you are inconsequential/A bump in the road that I will
always avoid”. Bitter and still melodic, Corporate Citizen
are not afraid to expand the boundaries of what hardcore can
be.
 PRETTIEST
EYES - Vol. 3 (Castle Face Records)
This L.A. based post-industrial outfit returns with a distinctive
mixture of angular rhythms and Devo-esque quirkiness. Prettiest
Eyes experiment with tempos and intensity levels throughout
Vol. 3 granting the band the rare quality of originality,
for while they honor their influences they do not simply imitate
past heroes. The wildly infectious “It Costs to be Austere”
bobs with the energy of “Uncontrollable Urge”
and has a chorus that resonates long after the song fades.
“I Don’t Know” and “Mr. President”
have a more deliberate pace that allows for the subtle noise
and carefully placed effects to gain greater attention. Drummer
and lead vocalist Pachy Garcia has a voice that streaks like
a comet at times, capturing extraordinary emotion while still
retaining a great sense of humanity even while being profoundly
impacted by mechanized alterations. This balance between man
and machine is the band’s greatest strength, as the
quality of the songwriting is not lost within a mass of studio
tricks. It can be easy for bands like Prettiest Eyes to be
lured into a trap of overwhelming the listener with layers
of density that, while technically impressive, ultimately
suffocate the songs; rather than becoming laborious masses,
the textured force heard on Vol. 3 straddles the line before
aggression and refinement. The work and contributions of keyboardist/noise
fiend Paco Casanova and bassist Marcos Rodriquez are audibly
identifiable even at the band’s most chaotic moments,
such as the blaring “The Shame”, a song that blends
the fury of the Screamers and the mind-altering passion of
Suicide to be my personal favorite of the bunch. The sullen,
quiet soundscape “Another Earth” is disturbing
in its subtle darkness, matched in apparitional beauty and
by “Strange Distance”, with Garcia’s disturbingly
ethereal voice hovering just above streaking blasts of guitar
and intermittent keys. “Marihuana” is thunderous
blast of danceable punk that fits snuggly in the midst of
the swirling forces that surround it. “Summer in L.A.”
captures a similar vibe and sounds like Brainiac jamming with
early-90s Ministry while listening to Dead Kennedys to create
a grinding, swirling ball of power. The closing “La
Maldad” concludes with song collapsing upon itself in
a heap of exhaustion, capturing the emotions of the listeners
after completing their vital work.
 TOMMY
AND JUNE s/t (Fat Wreck Chords www.fatwreck.com)
This is quite the departure for Fat Wreck; Tommy and June
are true folk duo playing jangly, predominantly acoustic nuggets
that are fleeting in nature and often darkly comical. “Jetlag
Blues” describes hassles at LAX, as the song details
spending “six hours at the gate because I look like
someone who may be smuggling drugs” and “Monogamist”
offers this realization: “I fell into this/I would never
choose this way of life/It may fit for someone ready to give
up his teenage dreams”. While self-deprecating ,the
lyrics never come across as pining for lost youth, in fact
Tommy and June recognize on “Adulthood” that we
are all in this aging process together, and while it may not
enjoyable, there really is no gain in simply complaining about
it. The raucous “Ghost of Paris” slams itself
with a far greater ferocity than the rest of the material
but it still recalls 60s garage rock more than the punk one
usually associates with Fat Wreck. At first listen, the song
may sound out of place, but the frustration expressed by the
song is matched by the sarcasm of “Better Life Story”.
In the latter, Tommy and June laugh at their friends who decided
to have kids, now go to bed at 10pm, and surrendered their
lives of independence. The record is a primer for those learning
to come to grips with enhanced responsibility and the recognition
that life may become more serious, but it does not mean that
all the fun disappears. The music one hears here proves that
claim to be true.
 ELECTRIC
FRANKENSTEIN - How to Make a Monster (Re-issue) (Victory
Records www.victoryrecords.com)
Well, I guess I am officially old; I remember sitting in my
small, basement apartment twenty years ago writing a review
of the new Electric Frankenstein record, How to Make a
Monster. I distinctly recall thinking how this band was
kicking rock n’ roll in its bored and tired face, and
twenty years later, the impact is exactly the same. A scathing
set of blistering garage rock with an uncanny ability to blend
big choruses with unfettered speed and angst, How to Make
a Monster can rightfully take its place as a true rock
classic. From Steve Miller’s full-throated vocal delivery
to the dual guitar power of Jim Foster and Sal Canzonieri,
the songs only know one gear and the band is supremely tight.
Capturing EF at perhaps their creative peak, Monster
is a bluesy, greasy record that leaves you exhausted and bloodied,
but it is impossible to not love every second of it, from
the campy intro “I Was a Modern Prometheus” through
the concluding 50s-tinged rocker, “Phatty Boom Batty”.
While “Use Me” was an early favorite of mine,
I find that many of the deeper tracks hold up with equal ease.
“My World”, “Don’t Know How to Stop
You” and the scorching “Something for the Pain”
are flawless bursts of sarcastic, biting punk rock that does
not shy away from the desire to balance speed with precision,
as heard by the driving low end force of bassist Dan Canzonieri
and drummer Ron Sefcik. “I’m Not Your Nothing”
is an affirmation of revulsion accented by a defiant sense
of pride and sums up this essential listen. Gather around
children, EF is about to reintroduce to what rock should be.
 HAYBABY
- They Get There (Tiny Engines Records www.tinyengines.net)
Haybaby lists their music on their Bandcamp page as “post-nap
sludge pop”, and while I love the cheeky nature of this
depiction, there is an apt accuracy to it as well. “Total
Bore” saunters with a Kelly Deal-like bassline and subdued
vocals. One waits patiently for an explosion of force that
never comes, and this sets a tone for the record. Haybaby
experiments with song structure and gives the aforementioned
opener, “Monster” and “My Mother Tells Me”
ample room to breathe, stretching ideas over tableaus lasting
up to six minutes. “Monster” is particularly captivating
as it a progressive increase in intensity before falling back
into a tightly wound groove of fuzzy grunge. “Animosity”
manipulates the definition of dark pop as Leslie Hong asks,
“hey baby, why can’t you keep it together for
a minute?” and her oneiric vocals are the centerpiece
of the song, and this deft ability is heard again on the start/stop
structure of “I’ll Wait”, giving the song
a tangible urgency. Heartache, loss, and disgust fuels the
music of They Get There as “Witch Like Me” addresses
the long and trouble history of abuse towards women with Hong’s
vitriolic delivery on full display. Noisy and furious, the
song is a two-minute juggernaut. The equally menacing “Empathy”
has a latter day Nirvana sensibility, as it balances rage
with an infectious hook compliments of Sam Yield and Jeremy
Duvall. Yet another great release from Tiny Engines.
 NECKING
- Cut Your Teeth (Mint Records www.mintrecs.com)
I am thrilled to see this, as Mint Records has been a favorite
source of music since my earliest college radio days in 1991.
A particularly fond memory was actually bringing cuddlecore
giants Cub to my school where they delighted an audience comprised
almost entirely of my college radio geek friends; to that
end, Mint has delighted me for over twenty-five years and
Necking only continues that proud legacy. The roaring opener
”Big Mouth announces the arrival of Necking’s
second release and first full length. With thunderous drumming
and Nada Hayek’s declaration of “Big mouth/you
got a really big mouth”, one hears traditional riot
grrl fury funneled through a contemporary filter. “Drag
Me Out” taps into Sleater-Kinney’s finest sonic
force and hook-crafting skills, traits equaled on the biting
“Boss” which attacks sexism within the workplace
with laser focused lyrics that will undoubtedly ring true
for far too many. The nine songs of Cur Your Teeth are fleeting
blasts of erudite song writing, meshing blunt force with uncompromising
lyrics but doing so in a way that is more than standing on
the shoulders of the giants that proceeded Necking. The four-piece
from Vancouver turns up the punk-pop speed on “Go Getter”
while also creating a darkly tinged sing along on “Rover”.
(“I’m a dog calling home/crawling back can be
alone”). “Spare Me” is driven by a highly
kinetic bass line and leaves a lasting influence long after
its scant one hundred seconds fade. The finale, “Habbo
Hotel”, begins with a slower, deliberate pacing reminiscent
of Bikini Kill’s more controlled moments before closing
with a searing blast of aggression.
ACQUAINTANCES - 8 ½ Lives (File 13 Records www.file-13.com)
There are bands that one knows will be good before pressing
play due simply to the line-up, and Acquaintances definitely
meets this description. Featuring Jared Gummere of the Ponys
and Patrick Morris of Don Caballero, Thumbnail’s Stephen
Schmidt and Justin Sinkovich, along with drummer Chris Wilson
who has done time with Titus Andronicus and Ted Leo and the
Pharmacists, this is an all-star cast. It can sometimes be
difficult to have all of this talent collaborate effectively,
but everything on 8 1/2 Lives flows with streamlined expertise,
from the refrain about a “beautiful collapse”
on “Mutual Denial” to the opening blast of driving
guitar on “And it All Went Black”. The hyperactive
energy of “Bermuda Triangle” shakes with passion
while the title track rumbles along driven by a thick bass
hook and a classic 90s indie-style riff. “Mistakes I
Made” balances a droning groove with bursts of noise
to emerge as one of the strongest pieces of the bunch, and
the expansive “The Last Page” moves with the ease
of a light-hearted jam session, which is close to what Acquaintances
is as a band. With members in Philly, Chicago, and Portland,
this is a long-distance relationship that actually works,
and all of us are the beneficiaries.
B-BOYS - Dudu (Captured Tracks www.capturedtracks.com)
Despite the moniker, B-Boys has nothing to do with old-school
hip-hop; if any comparison is to be made, these guys sound
like something that should have ripped apart the stage at
Max’s Kansas City in the late 70s. Discordant, blaring,
and usually fleeting in length, the songs of Dudu are intriguing
puzzles of fuzzy force. When vocalist Andrew Kerr shouts,
“It’s been revoked” on the opening “Cognitive
Dissonance”, the song begins to spin out of control
and crashes in a glorious blaze. “Pressure Inside”
captures the confusion of the modern age with the declaration,
“I’m always busy in my mind/can’t think
things through” as an intensive swirl of guitar noise
dominates the air. The tightly wound playing consistently
sounds as if it is on the verge of exploding into a pile of
unrecognizable rubble and this creates a sense of tension
and anxiety for those listening, keeping an audience permanently
uncertain about what will happen next. This quality makes
the music of B-Boys, the band also including Britton Walker
and Brandon Avalos, particularly exciting, best heard on the
tense “Closer”. “Automation” has curt
guitar riffs that slice through biting lyrics before erupting
is a speedball of punk angst. Even what the band offers highly
truncated efforts, such as “No”, and the punishing
“Smoke You” the B Boys make statements, but they
excel when the songs have more room to move, such as the sardonic
“I Want” which includes Veronica Torres of Pill
(“ I want pretty things/I want poetry”, “I
want intelligence”, “I want quite a lot”)
which rattles with a Feelies style nervousness. Snarky and
overflowing with boredom, “Can’t Stand It”
is the encapsulation of contemporary dissatisfaction. At fifteen
songs, one may worry that the record may become redundant,
but everything on Dudu slams and clangs with consistent potency,
including the engaging off-kilter nature of the fifty-second
instrumental closing title track and the speedy “Taste
for Trash” (“I’ve got no taste for trash”).
It always does my heart good to hear something new and exciting,
and B Boys deliver on both accounts.
LITE - Multiple (Topshelf Records www.topshelfrecords.com)
The sixth album from this limitlessly unique Japanese band
is not just genre bending, but genre smashing in its approach.
Jazz, funk, guitar rock, and soul are seamlessly meshed together,
occasionally all on one song. The opening ‘Double”
is track played with dizzying speed but coherent enough to
grant the listener an appreciation for the talent on display.
A thick, danceable bass line thumps alongside rapid riffs
and tempo shifts that are the musical equivalent of doctoral
level trigonometry. To Lite’s credit, this is not just
a collection of virtuosos simply cramming any many brilliant
ideas into an incoherent mass; each song has a clearly defined
start, middle, and end, even if may take a while or multiple
listens, to identify them. The effervescent “Blizzard”
is one such example. Featuring minimalist vocals, slap bass,
and a more controlled, jazz-fusion style guitar work, the
song is both a musical departure and yet still representative
of their larger aural approach, which “Maze” is
a two-minute long anthem for the coolest after-hours club
imaginable. The jagged, start-stop nature of “Last Mile”
gives the song a sense of schizophrenic energy that is equally
thrilling as it is unnerving. “Ring” offers a
new bend to the path of contemporary hip-hop as rapper Tokyo-based
Maco Merets commands the mic over the top of a blissfully
smooth, island-influenced beat. “Temple” meanders
along gracefully, at times interrupted by bursts of metallic
force before pausing for just a fleeting few seconds before
reinventing itself as a nearly entirely different song. “4mg
Warmth” has a lush, atmospheric nature that wraps itself
around hypnotic rythyms., and the song leads majestically
into the scintillating closer, “Clockwork”. With
potential eruptions of sound hovering just beneath the surface,
the song acts as a perfect conclusion to an immensely entertaining
release.
PRETTIEST EYES Vol. 3 (Castle Face wwwcastlefacerecords.com)
This L.A. based post-industrial outfit returns with a distinctive
mixture of angular rhythms and Devo-esque quirkiness. There
is truly nothing quite like this, as Prettiest Eyes experiment
with tempos and intensity levels throughout Vol. 3. The wildly
infectious “It Costs to be Austere” bobs with
the energy of “Uncontrollable Urge” and has a
chorus that resonates long after the song fades. “I
Don’t Know” and “Mr. President” have
a more deliberate pace that allows for the subtle noise and
carefully placed effects to gain greater attention. Drummer
and lead vocalist Pachy Garcia has a voice that streaks like
a comet at times and retains a great sense of humanity even
while being profoundly impacted by mechanized alterations.
This balance between man and machine is the band’s greatest
strength, as the quality of the songwriting is lost within
a mass of studio tricks. The work and contributions of keyboardist/noise
fiend Paco Casanova and bassist Marcos Rodriquez are audibly
identifiable even at the band’s most chaotic moments,
such as the blaring “The Shame”, a song that blends
the fury of the Screamers and the mind-altering passion of
Suicide to be my personal favorite of the bunch. The sullen,
quiet soundscape “Another Earth” is disturbing
in its subtle darkness, matched in apparitional beauty and
by “Strange Distance”, with Garcia’s disturbingly
ethereal voice hovering just above streaking blasts of guitar
and intermittent keys. “Marihuana” is thunderous
blast of danceable punk that fits snuggly in the midst of
the swirling forces that surround it. “Summer in L.A.”
captures a similar vibe and sounds like Brainiac jamming with
early-90s Ministry while listening to Dead Kennedys to create
a grinding, swirling ball of power. The closing “La
Maldad” concludes with song collapsing upon itself in
a heap of exhaustion, capturing the emotions of the listeners
after completing their vital work.
SUMMER CANNIBALS - Can’t Tell Me No (Tiny Engines
www.tinyengines.net)
I always love a release with a fascinating backstory, and
Summer Cannibals’ Can’t Tell Me No is one of most
inspirational I have heard in a very long. The band, led by
Jessica Boudreaux, discarded an entirely finished record in
order to craft something in defiance of a person Boudreaux
described as “abusive and manipulative” that worked
on the now abandoned work. In its stead came the songs for
Can’t Tell Me No, a bold, confident collection of anthems
that reflect personal strength and a commitment to one’s
principles. Boudreaux’s voice roars with focused rage
on “False Anthem”, a song that directly confronts
abusers and those who do not listens to victims’ stories,
and “Behave” on which Boudreaux confesses, “I
try to behave/it’s gets harder everyday” and asks,
“What if I can’t change?” Blending indie
rock with a solid dose of riot grrl strength, Summer Cannibals
confront gender roles with biting social commentary on “Innocent
Man” (“An innocent man doesn’t scream, doesn’t
cry when he’s right”), a song that proves that
one need not play with reckless fury in order to be effective.
The trifecta of “One of Many”, “Staring
at the Sun” and “Start Breaking” are flawlessly
delivered piece of pop-kissed indie rock that also deliver
a devastating punch to the jaw when one loses focus and each
accents the talents of Casi Blum who devoted numerous fourteen
hour days with Boudreaux to create Can’t Tell Me No,
Devon Shirley, and Ethan Butman. The serene “Innocent
Gold” finishes the record on a tender note musically,
but the lyrics reflect extraordinary strength (“Out
of the dark and back into gold”) and that quality encapsulates
Summer Cannibals.
CHERRY POP - Sue Me (https://cherrypopli.bandcamp.com/releases)
I had the distinct pleasure of watching this band open up
for the Murder Junkies a few weeks back, and they absolutely
owned the club that night. Cherry Pop is a Long Island four-piece
that injects a healthy dose of sleaze back into punk rock.
Vocalist Cherry B, who also handles all lyrical responsibilities,
commands scathing and sexually anthems "Complicated"
and "Whore" as guitarist Austin Vomit proves that
he is anything but simply a three-chord wonder. On "Fool",
the band throws itself into high gear, delivering a track
of blazing speed dripping with unabashed anger. Bassist TJ
Dirt and drummer Nick Hero are a punishing low-end duo that
provide a devastating backbeat for the biting "Past Your
Prime" and the grinding "Garbage". This may
only be a six song EP, but Sue Me is a bold introduction to
a band with outstanding promise.
STRANGEWEATHER - Of the Reeds(strangeweatherpdx.bandcamp.com)
For people wondering where one can hear quality musicianship
with a healthy dose of glockenspiel, one need only look to
Strangeweather. This intriguing Portland, Oregon outfit plays
a hypnotic blend of haunting darkwave and soaring chamber
music. Rhone Lachner makes an immediate impression on the
majestic opener "Syrinx", an expansive, profoundly
lush anthem of delicate beauty. While the song concludes with
a subtle bit of clamor, her flute playing seats a particularly
soothing aura. "The Wind and the Wheel" is replete
with perspicacious lyrics ("Everything you love/everything
you hate/time will turn into dust blowing past your grave").
Invoking Etruscan mythology, "Born in Armor" references
the lives and adventures of Minerva and Diana in a sprawling
anthem with prominence given to bassist Joshum Hardy who also
handles vocals on "The Wind and the Wheel". "Wooden
Cage" is the darkest of the six pieces here ("Fell
to pieces in the blink of an eye/ and then reveled in the
pain") and its atmospheric intensity is almost unnerving.
The poetic nature of "Five of Cups" is particularly
serene as sparse lyrics are uttered throughout a richly textured
song. The band fittingly references winter for there is a
penetrating chill created on "Ace of Swords", another
stirringly delicate that seems as if it could shatter into
pieces at any second, highlighted by the cello playing of
Brenna Sahatjian and intricate percussion from Dirt Deodara.
Sounding like the soundtrack to a seance, the song, and the
larger record, is simply mesmerizing.
 ABOLITIONIST
- Ugly Feeling (Between the Days Records; http://betweenthedays.storenvy.com/)
Apparently, this is Abolitionist’s swan song as the
band is moving on, and if this is the case, what a way to
exit. Ugly feeling is twelve blasts of melodic punk, textured
with a dual guitar sound compliments of vocalist Dustin Herron
and Jeremy Dunlap. The songs balance rage and control as Herron
emotes, “He’s just not getting it/ yell a little
bit louder/he’s just not getting it” on “Yelling”
and he asks “Is the byproduct of patriarchy to consider
only yourself?” Or is it a human thing?” on “The
Selfish Gene”, a track driven by the drumming prowess
of Sean Rule. The songs all focus introspective, contemplative
lyrics that address the complexities of being human “in
such a weird time” (“Ambivalent Nerd”).
Throughout the record, the band, including bassist Joey Mohler,
examines the human condition on tracks like “World Inside”,
“Shelter”(“It wasn’t too bad living
“in the sticks” surrounded by the trees and the
loneliness”), and “Walls”. The songs shake
with frustration and the insecurity that comes with feeling
like an outsider; Abolitionist capture teen angst but make
it clear that those feelings do not dissipate with the onset
of adulthood. Instead of looking for blame, Herron bravely
reveals a reality known by many on the title track when he
admits, “It wasn’t all that bad growing up in
the rural life, being shredded by the eggshells of an unhappy
marriage of two unhappy souls” while driving riffs propel
the song along at a furious pace. I am always drawn to intelligent
songwriting, and that trait abounds on Ugly Feeling as Herron
bares his soul throughout the fleeting tracks and asks profound
and painful questions on “Family Affair” and Crossroads”;
the types of questions that are not solved by simplistic answers,
but rather may remain permanently unresolved. I do hope this
is not the last of Abolitionist because punk needs more thoughtful
acts such as this. Listeners may see themselves within these
songs and may feel uneasy; however, the music of Abolitionist
proves that feelings of disillusionment and uncertainty are
not isolated emotions.
 MYKEL
BOARD AND THE CLEAN BOYS - “It’s Punk Rock”
EP (The Only Label in the World; facebook.com/mykel.board)
Legendary punk gadfly Mykel Board returns with a roaring three-song
release. Featuring the Clean Boys (Danish punks with an impressive
discography of their own,) "It's Punk Rock” is a blazingly
fast and noisy anthem that reminded me of an ode in the vain
of Sebadoh’s “Gimme Indie Rock.” Defiant
and proud of it, the song rumbles along with all the anger
one would expect compressed neatly into about two minutes.
“Fight Fight Buy” has a tone reminiscent of something
the Jabbers would have recorded, overflowing with traditional
punk disgust with society but delivered with a keen sense
of melody.
The B-side is when things take a turn for the very weird:
Singing along with the lovely voice of Persille Ingersler,
Board delivers a lounge version of the Paul Anka hit “Having
My Baby”. Played gently along with Peter Peter with
a hint of sarcasm, the song seems particularly snotty in an
era of the #MeToo movement and abortion laws driving women
back to draconian measures concerning personal freedoms. While
Board’s vocals do not approach the velvet tones of Anka,
the song does not mimic Sid Vicious’ vomit-covered take
on Sinatra, either. No one actually needs this, but the world
should appreciate its existence.
 THE
CANDY SNATCHERS - Moronic Pleasures (www.houndgawd.com)
There are legions of stories of bands that should have been
huge but through a combination of bad luck, bad timing, or
bad habits, it just simply did not come to fruition. One of
the most heartbreaking of these tales to me is The Candy Snatchers,
a riotous act of sweat, beer, and violence that never disappointed.
For those who never caught the band live, they missed unpredictable
evenings of on-stage fights, an often-bloody vocalist in the
form of Larry May, and the most ripping punk rock one would
ever want to experience. All of this reckless energy burned
itself out too quickly, culminating with the tragic loss of
guitarist Matthew Odietus, although, to be fair, no one ever
expected The Candy Snatchers to retire gracefully and quietly.
Moronic Pleasures is an expansive collection of songs that
is often labeled a “lost album”. Whatever label
one wants to affix here, it is nineteen blasts of fearless
aggression, with nothing even coming close to hitting three
minutes in length. Everything on this record just crushes
the listener, but good luck not throwing things around the
room when “Pissed Off, Ripped Off, Screwed”, “Gone
for Good”, or “Killing my Buzz” come through
the speakers. The band was a searing mass of garage rock aesthetics
and blunt punk rock force. Nothing about the band was subtle
or refined, but the tongue in cheek humor of “She Sure
Can Blow” and ”Ass Casserole” makes it clear
that the guys, rounded out by bassist and frequent sparring
partner of May, Willy Johns, and the thunderous Sergio Ponce
on drums, took their fun seriously. While May has moved on
to sing for the great Born Loose, his legacy will always be
the front man of The Candy Snatchers. There is nothing to
not absolutely worship here, and I have already worn out the
vinyl. The Candy Snatchers may be gone, but their legacy should
be a blueprint for any group of kids picking up instruments
in a garage right now.
 ROD
HAMDALLAH - "Think About It " EP (www.houndgawd.com)
Rod Hamdallah has been creating his brand of rock n’
roll chaos since he was only sixteen, and while "Think
About It" is only five songs, every second is a pleasure.
The record meshes bluesy garage force with heartfelt lyrics
about being lovesick, lost, and lonely. Hamdallah declares,
“my heart is beating/beating on the ground”, and
the refrain comes to carry the song “Heartbeat”,
a sultry march accented by accordion that slowly grinds under
Hamdallah’s vocal prowess. Each song celebrates Hamdallah’s
highly emotive voice, but the most significant calling card
is the explosive nature of the songs that rises and falls
with seamless ease. When one hears the scream “take
me back” during the song of the same name, the combination
of anger, lust, and hope converges into a richly textured
chorus that goes well beyond a standard love tale. “Carry
You Home” bounds with soaring rythyms as Hamdallah announcs,
“ain’t nobody loves you the way I do”, a
statement of personal bombast as Adam Holliday delivering
outstanding Hammond organ. The record radiates with a lo-fi
aesthetic and it’s clear that this young man was influenced
by the legends of the delta blues genre as “I Don’t
Mind”, featuring the lyrics “I don’t care
who you’re loving as long as you love me so”,
would make Muddy Waters proud, while the scathing solo will
delight any true rock aficionado. This one is a gem.
 NEBULA
- Holy Shit (Heavy Psych Sounds; www.heavypsychsounds.com)
Certain bands know how to characterize their music in only
a few words, and Nebula has that done perfectly with Holy
Shit, the name of their first release in ten years. A decade
away would usually place most bands in the either the “recycled”
or “nostalgia” categories, but not here. The Sabbath
style riffs abound, particularly on the pummeling “Witching
Hour” in which guitarist /vocalist Eddie Glass leads
the band through a rollicking feedback drenched dirge that
retains a highly melodic groove. Bassist Tom Davies and drummer
Michael Amster are airtight anchors of the band’s heavy
low-end rumble, from the hazy opening “Man’s Best
Friend” to the Stooges-esque instrumental “Handful
of Pills”. The songs elevate themselves above the typical
stoner-doom genre but adding an atmospheric tone that both
harkens back to 70s guitar rock and is still surprisingly
contemporary. The meandering crawl of “Tomorrow Never
Comes” is seven minutes of fuzzy, hypnotic power that
will have every head in the crowd bobbing in rhythmic unison,
and includes a dramatic tempo shift into a rambunctious mix
of intricacy and truly heavy force before finding its original
anthemic nature again. Despite Holy Shit being Nebula’s
sixth release, this is my introduction to them, and I guess
the old adage of better late than never applies here, for
I am better for hearing this. “Gates of Eden”
has a subtle Southern rock boogie to its otherwise meandering
psychedelic sound, and would be an ideal blast for rock radio
if that still existed. With touches of everything from Deep
Purple to Iron Butterfly to Spirit, Nebula brings expansive
headspace rock into the twenty-first century, perhaps truly
highlighted by the blazing (pun intended) “Let’s
Get Lost”, a punishing assault of scathing wah-wah effects
pedal guitar work and impassioned vocals demanding “Let’s
get lost/ let’s feel something”. It could be a
“Sweetleaf” or “Dazed and Confused”
for the vape generation or simply a new anthem for those of
us looking for a return to rock’s more experimental
nature. Concluding with “Cry of a Tortured World”,
Nebula boldly announces their return and people should sit
up and take note.
 THE
NEXT GREAT AMERICAN NOVELIST - I’ll See You in the
Art You Love (store.cdbaby.com/ cd/thenextgreatamericannove2)
This New York City band eschews the dirt and grime of the
City in exchange for beautiful, richly harmonious folk with
a healthy dose of pop. What is easily appreciated here is
the juxtaposition of buoyant playing with shockingly dark
lyrics, as one hears on “American Queen” (“Here
I am with the razor blade/ too good for my body”)
and “Clover Color Blooms” (“Love will
bring you laughter/then hang you from the rafter”).
The songs are delivered with a sense of hopelessness that
conveys early adulthood depression with the reality of life
through the passionate vocals of Sean Cahill, who channels
the best of Elliot Smith on “Mental Highway”
and “Blue”, a song in which Cahill laments,
“Nobody’s on my side”. The band has subsequently
evolved from the release of Art You Love to become
a louder act, as Cahill joined forces with Jason Cummings
and Danny Sher, but the delicate beauty of the songs here
are deeply moving. The sadness is unavoidable throughout
Art You Love, and the record plays like one long break-up,
but for anyone who has ever had their heart broken, the
songs are a testament to a pain that is all too real and
often indefinably penetrating. What I admire most here is
that Cahill remains devoted to his suffering; there are
no happy endings to these songs nor is there any silver
lining-everything he feels hurts and he is boldly exorcising
these obsessive thoughts for all to hear. Despite the similarities
in tone and topic, the songs never become redundant, and
even the six minute “Prosthetic Memories” moves
along briskly and poignantly. Closing with the ethereal
title track, the record closes with a breathy, solemn statement
that reinforces the anguish Cahill feels. His suffering
is the world’s gain and I can clearly understand why
the Boss of Jersey Beat wanted this one to get some attention.
 NOT
A PART OF IT - Defiant Indifference (Next 7 Exits Records
https://www.facebook.com/next7exits)
Not a Part of It returns with more ultra fast, biting political
punk. The Trump era has inspired the most incensed politically
motivated punk since Reagan and this highly skilled trio makes
it clear that America is in trouble. On “And?”,
the band warns that “they are coming for you”,
and the ominous nature of the line is intensified when one
considers that the band does not designate who the targeted
group actually is. The denser but equally speedy “So?”
reminds us all that it is “not enough”, while
guitarist/vocalist Jason Burton expels biting frustrations.
The B-side “Yeah?” demonstrates the complete talents
of the band, particularly bassist Daylon Liles and drummer
Rush Lamb-ah! Harkening back to the sound of the Damned and
Stiff Little Fingers, the track speaks of a nation that has
voluntarily made itself “emotionally blind”. This
is menacing music for unsettled times.
 HEATHER
WOODS BRODERICK - Invitation (heatherwoodsbroderick.bandcamp.com)
While Heather Woods Broderick may be known for being a band
mate and collaborator of Sharon Van Etten, she excels on her
own throughout the deeply stirring Invitation. Written largely
in solitude in Oregon, the songs permeate the listener as
Broderick blends intimate fragility with incredible soul.
A gentle piano riff and a massive chorus drive “Nightcrawler”;
the song acts as a perfect companion for a day with a low,
grey cloud ceiling and constant rain. The minimalist beauty
of “Slow Dazzle” is my favorite moment of the
record until I hear Broderick describe herself “moving
through the white tail of the jet stream” (“White
Tail”), and there in lies my only challenge with the
record: just as one stirring anthem finishes, another begins
and it is easy to get lost in Broderick’s vocals as
she explores raw emotion with a daring vulnerability. “Quicksand”
is a gem from this virtuoso, as Broderick takes the listener
on a journey that ebbs and flows through heartfelt waves of
emotion. The tile track is where I truly fell in love with
all Broderick does, as she declares, “I dreamt it took
me last night into the darker side of life. I accept the invitation”.
The song is a wistful, richly personal song that encapsulates
the brilliance of the entire record. From this point forward,
people should boast of ever working with Heather Woods Broderick.
 KITTENHEAD
- NYB (www.kittenheadla.com)
Kittenhead play riot grrl anthems for a new generation with
their own unique spin on the angst that fuels the music. The
LA based five-piece understand the power of a towering hook
and memorable chorus, and the opening duo of “Numb”
and “Bloom” certainly illustrate that point. Vocalist
Kivi Kittenhead is not a screamer, but a truly refined singer
whose voice conveys elements of sensuality, fear, rage, and
disgust all with equal aplomb and with excellent range. “Bloom”
hums along at a mid-tempo pace with hazy guitar from VJJ and
Daddy Kittenhead as Kivi’s vocals soar majestically
above the refined chaos. The feedback that ends the song illustrates
the band has its foot (paw?) squarely in punk aesthetics,
but as “Confusion” opens, the hook is undeniable
and one quickly learns that this is a well-honed rock n’
roll animal of a band that can balance harmony and fury with
expert ease. Yet, for those looking for a bit more frenzy
in their music, the title track will leave listeners exhausted
and richly satisfied. An acronym for “not your bitch”,
“NYB” is a ripping assault upon the Harvey Weinsteins
and Donald Trumps of the world as Kivi spits out “I’m
not your toy/ I’m not your test/ I’m not your
pick up game” over the top of a thumping bass line from
dd Kittenhead and the punishing low end of O-Face Kittenhead.
The song breaks down into a sarcastic lecture that needs to
heard on repeat at least ten to twelve times to be fully appreciated,
and this one is easily my favorite track of the bunch. The
closing “143” is a speedy, punk-pop nugget overflowing
with bratty arrogance and a great sing along line of “we
don’t care”. I can only hope that Kittenhead make
their way to the east cast soon because they are a rare mix
of smarts, humor, and a killer set of songwriting talents.
 THE
YAWPERS - Human Question (Bloodshot Records www.bloodshotrecords.com)
Taking their name from Walt Whitman is always a great start
in my book, and the Yawpers only improve their standing with
me from that point forward. The band plays a unique blend
of bluesy, breathy, rock n’ roll, particularly the ultra
cool “Dancing on my Knees”, a track accented by
unexpected blasts of noisy guitar. The title track is a harmonious,
bubbling work with understated yet impressive guitar work
and thought provoking lyrics, matched by the erudite folk
of “Man as a Ghost”. The fuzzy, reverb-fueled
guitar on “Earn Your Heaven” is rugged, but still
has rounded edges for greater accessibility and incudes beautiful
Wurlitzer piano from Alex Hall who also masterfully produces
the record. “Carry Me” soars like a religious
revival while the bluesy stomp of “Forgiveness Through
Pain” swaggers with confidence. The trio tap into their
love of 60s pop on the jangly “can’t wait”
as the guys channel The Byrds and then later borrow from the
masters on the Beatles-esque “Where the Winters End”.
The Yawpers give listeners a little taste of all forms of
American music and excel at every turn.
 THE
GET UP KIDS - Problems (polyvinylrecords.com)
The Get Up Kids may no longer be kids, as they now have children
of their own, but their commitment to warm, lyrically introspective
playing remains intact. The work of this band has traditionally
been accented by a shrewd pop sensibility, and that is certainly
heard throughout Problems. From the self-deprecation
of "Lou Barlow" (“I saw Lou Barlow on the
street/I don’t think he noticed me”) to the equally
critical “The Problem is Me”, the songs here resonate
with lyrics of self-contemplation and memorable choruses.
The guys do deviate a bit and take more chances throughout
Problems, particularly on the keyboard-laden “Waking
Up Alone”, as the song recoils, lunges, and bounds with
sugar-fueled energy without the sole focus remaining on the
guitar. The same holds true on the piano-kissed “The
Advocate” which becomes a bit darker after the subtle
beauty of the intro. Matt Pryor continues to craft songs of
hope, sorrow, and loneliness, but now he does it for those
of us who have deeper concerns than fleeting crushes. His
heartfelt, genuine emotional breadth is heard around the heavier
riff of “Symphony of Silence” as he admits “I
used to be good once/I used to be gorgeous”. The closing
“Your Ghost is Gone” is a churning piano ballad
that does not end the record on a whimper, but rather with
a devastating emotional punch. Problems illustrates how after
more than twenty years, the Get UP Kids still appreciate the
combination of heartbreak and pop hooks.
 MEKONS
- Deserted (bloodshotrecords.com)
From the second of their inception in 1977, Mekons have been
one of the most confounding, fascinating, and erudite bands
in punk. Perhaps too punk for some art folks and too art for
the punks, the band has long existed in a sphere of their
own genius. Finally returning after eight long years away,
Deserted continues this brilliant combination of
off-kilter musicianship and stirring storytelling. “Weimar
Vending Machine” is just one of the numerous gems found
within this collection, and the song is a varied, winding
tale of references to the German government post-Kaiser Wilhelm,
Iggy Pop at a Berlin vending machine, and the fact that the
world has been teetering on the edge of complete self-induced
destruction for far longer than just the past few years. Always
imbued with elements of folk, Mekons embrace go full on Southern
boys (considering they are original from Leeds, England) on
“Andromeda” as singer John Langford carries the
song with his lush vocal range, and again on the closing “After
the Rain”, propelled by the shared vocals of Sally Timms
and Langford over the top of haunting fiddle. “Lawrence
of California” is a brilliant introduction to the record,
as the song opens with a slowly developing wave of feedback
before launching into a rousing chorus as the band pays homage
to Joshua Tree State Park which surrounded the studio in which
they recorded the virtuosity that is Deserted. “How
Many Stars?” is a gentle slice of subtle beauty that
envelopes the listener, while the atmospheric nature of “In
the Deserted” is established by the remarkable voice
of Timms who once again is rightfully among the Mekons ranks.
Bouncy, fuzzy guitar abounds on yet another historical reference,
“Harar 1883”. The song is a nod to French poet
Arthur Rimbaud who, while searching for more dramatic life
experiences, traveled to the city in what was Abyssinia (today
Ethiopia) in his early twenties. Some bands defy comparisons
and peer groups, and Mekons are such a band. It is good for
all of us that they have again graced the world.
 RICHARD
VAIN - Night Jammer (bigneckrecords1.bandcamp.com)
The thunderous rumble of guitar reverb that opens the appropriately
titled “Tremors” by Richard Vain act as a forbearer
of what is to come over the scope of nine largely expansive
tracks. At times, the work is offset by moments of more delicate,
jangly riffs, such as what one hears on “Castles”,
but even this effort has bursts of skull rattling guitar force.
Merging 80s alternative with the darkest aspects of grunge,
Night Jammer is a powerful record from a deftly adroit songwriter
named Jared accompanied by a keyboardist/drinking buddy called
Carbomb and a drummer named Lugs. There is a experimental
vibe that runs through tracks like “Encounter”
as ethereal keys hover sparingly above an angular guitar hook
that introduces itself and recedes quickly throughout the
song while Jared’s slightly hushed vocals fight to be
heard above the controlled din. Briefer flashes of manic force,
namely “Rats” and “Tar Pits” tap into
the band’s affinity for punk energy, but still retain
a musical dexterity that elevates Richard Vain above standard
punk fare. The blasting force of “Punks Inbred”
takes me back to Dinosaur Jr.’s finest moments in which
melody is not lost in the midst of blunt force. There is a
delicate line to walk between merging styles and sounding
recycled, and Richard Vain masterfully celebrate the past
while contributing something distinctive to modern punk.
 SWEET
JAP - Be My Venus (bigneckrecords1.bandcamp.com)
I love this type of story, albeit a bit heartbreaking. Sweet
Jap was a band that existed between 2000 and 2004 and they
vanished with only one official release to their name, but
left behind a legion of devoted fans, a few magazine covers,
and sweat-soaked tours. Big Neck Records brazenly declared
that fifteen years after the break-up the world needs Sweet
Jap and released this collection of lost and never released
efforts. Opening with the scathing “I’m Only Moonlight”,
one is transported back to the time when The Mooney Suzuki,
the Vines, and others were in the business of “saving”
rock n’ roll. With driving grooves, raw, abrasive guitar,
and rugged vocals, “La Rock” embodies everything
a rock song should be-two and half minutes of attitude and
grit. The blistering one hundred and twenty seconds of “Found
There No Go” is exhausting and pure fun as the song
hovers dangerously on the edge of simultaneous combustion.
The one-two punch of “SJAP” and “You Know
Reno” are inspired, scream-along anthems that take hardcore
speed and combine it with a Dead Boys-inspired snarl that
works perfectly. Closing with “Oh, My Pretty Face”,
one is left lamenting about what could have been and wondering
if these guys just ran too furiously to have an extended lifespan.
At any rate, one should be grateful for what they did produce
and to Big Neck for their genius to release it.
 GANG
OF FOUR - Happy Now? (Gilmusic)
“We’ve got so much catching up to do”,
says vocalist John Sterry on “Toreador”, the
first track on gang of Four’s new record, Happy
Now?. Blending mechanized and industrial with pop aesthetics
is never easy, but all of Happy Now? is biting and drenched
in sarcasm. Certainly the presidency of Donald Trump has
brought a sense of concern to the world, but Gang of Four
shoot for Trump’s most sensitive area with “Ivank
My Name’s On It”. With references to Moscow
hotel rooms embedded within a steady, throbbing beat, the
song is much more than a wave of insults hurled at the current
occupant of the White House; it is an exploration of the
hyper-sensationalized age in which we all find ourselves.
Gang of Four, led by sole original member Andy Gill is not
here to answer questions or provide solace-the guys know
the word is a mess, but hopefully we can get through this
together. The danceable darkness of “I’m a Liar”
moves effortlessly into the foreboding “White Lies”
that warns, “time destroys empires”. The more
up-tempo but equally serious “Alpha male” is
another example of the band’s ability to spotlight
bassist Thomas McNeice and drummer Tobias Humble. Gang of
Four first illuminated the world forty years ago with Entertainment!,
a brilliant, biting post-punk gem. Four decades later, Gang
of Four has changed personnel, altered their sound, but
the remarkable insight and creativity remains.
 CLUB
NIGHT - What Life (Tiny Engines www.tinyengines.net)
I love this band-Club Night is comprised of five veterans
from Oakland California’s music scene, and the result
is a genre-smashing assault upon indie rock. “Path”
explodes with a blast of childlike energy and enthusiasm with
undeniable passion. Emotive and highly intelligent, the song
is led by the guitar playing of Ian Tatum and vocalist Josh
Bertram, whose soaring vocals reach beyond the occasional
din that accompanies the majority of the work on What Life,
whose songs are at times accented beautifully through the
synth work of Rebecca Lukens and even cello from Robin Miliken.
The lyrics, compliments of Bertram, capture fleeting snapshots
of life with remarkable detail and poignancy and often examine
one’s struggles and reflections upon life with a mixture
of sorrow and a realistic optimism for the future, all the
while stunned by the rapid passage of the years. (“I
took the ashes off our mantle/the white linen cloth on the
dining table”) The songs are each stirring manifestos
about not achieving dreams quite yet and the realization and
acceptance that life may not be what one wants. This record
helps people realize that they are not alone in these frustrations,
particularly on the fleeting pop of “Village”.
By Club Night’s parameters, the song is a sugary little
gem, and when Bertram says, “Love does us in over and
over again”, one cannot help but heave a heavy sigh
and bask in the pain. The ambling, delightfully quirky “Mute”
plays with the definition of what indie rock can be, as the
song is a light-hearted effort with a more serious underside.
(“It is strange the sound of your own voice bleating
out against the wind/I hope the sad buzzards don’t notice
our death /The years they have made a mess”) The song
is the embodiment of the feeling of being just on the verge
of tears but being able to just hold one’s self together.
“Cherry” is an equally brilliant ride (“Feeling
like a tourist in my own mind”), blending subdued indie
pop with wildly beautiful, double-jointed riffs to create
challenging harmonies. The closing, seven-minute “Thousands”
notes, “not everyone I know is poisoned by the fear
of the unknown” as a stirring mass of cacophonous angst
erupts around the listener, driven by drummer Josiah Majetich
and bassist Devin Trainer. All I hear on What Life wonderfully
stuns me, and I cannot wait to tell my friends about this
band.
 LO-PAN
- Subtle (Aqualamb Records www.aqualamb.org)
Lo-Pan plays modern hard rock and they do not care what anyone
thinks about that. That later statement is made abundantly
clear throughout Subtle because nothing here is subtle-there
are no studio tricks, cute instrumental accents, or experimentation.
The guitars from Chris Thompson are loud, the low-end of drummer
Jesse Bartz and bassist Skot Thompson is heavy, and vocalist
Jeff Martin can hit notes that the vast majority of humans
cannot reach. Therefore, ladies and gentlemen, I give you
what you thought was no more-rock n’ roll. The question
for Lo-Pan is how can they get themselves known in a world
that seems to have a dearth of these acts. I cannot answer
that for right now, but the music on Subtle speaks for itself
as “Old News” grinds with a nice blues-based touch,
while “10 Days” and “Bring Me a War”
craft something that many bands fail to incorporate into their
songs, and that is a hook. The traditional bombast of big
time arena rock is present on every track, whether it is the
bitter love song of “Savage Heart” or the varied
tempo and multi-textured “Butcher’s Bill”.
These guys can play, have strong structures throughout all
eleven tracks and the record never grows repetitive. Lo pan
helps to demonstrate that there is more than just Greta van
Fleet playing rock right now.
 CLOWNS
- Nature/Nurture (Fat Wreck Chords www.fatwreck.com)
It takes bravery for bands to alter their sound, especially
when an act begins as a hardcore band. Typically, audiences
can be quick to scream “sell out” or reject a
band outright if they deviate from the initiate intensity
that first won people’s hearts. For Melbourne Australia’s
Clowns, they began as a hardcore band and remain a hardcore
band, only a sharper, more mature, and musically focused outfit.
The opening of Nature/Nurture is “Bland is the new Black”,
a searing, decimating slab of classic punk barbarism which
is quickly supported by the equally crushing “Soul for
Sale”. By the time one reaches “I Wanna Feel Alive
Again”, however, something changes, and the variations
of song structure is exciting. Rather than solely kicking
one’s head inside out for two and half minutes, Clowns,
led by vocalist Stevie Williams, begins to delightfully play
with eccentricities in tempo and mood. Guitarists Rod Goon
and Will Robinson drive the song’s meandering shift
from melancholy to self-actualized through riffs that alternate
between ethereal and slashing. “I Shaved my Legs for
You” and “May I Be Exhumed” are snarky both
musically and with their titles as the song are tightly wound
blasts of energized punk in the more classic definition of
the form, with the latter as ninety seconds of brain rattling,
angular noise. Bassist Hanny J and drummer Jake Laderman shine
most brilliantly on “Prey for Us”, a track that
rattles with the pomp and circumstance of arena rock without
sacrificing street punk credibility. However, the concluding
title track is the biggest deviation; a five-minute journey
that climbs slowly and steadily towards a massive hook, the
song is the culmination of a band’s evolution thus far.
One gets the feeling that Clowns will continue to experiment
and challenge themselves and their fans as the years and records
progress. To me, that is a sign of both confidence and impressive
ability, which Clowns clearly possess. This is a great find.
 GIRLS
ON GRASS - Dirty Power (https://www.girlsongrassband.com/)
One finds interesting results when doing a quick Google search
for “girls on grass”, but this band, led by Barbara
Endes on vocals, plays a mixture of bluesy, country-fried
rock with limitless self-confidence and tough-chick attitude.
“Down at the Bottom” is a rollicking opener that
allows Endes to shine, along with David Weiss on guitar. Drummer
Nancy Polstein hits fervently throughout the record, but truly
makes quite the first impression. “Got to Laugh to Keep
From Cryin’” has both a classic country title
as well as a battle-tested country delivery through which
one can almost hear the truck driving down a dusty road. Girls
on Grass, rounded out by Dave Mendl on bass, are skilled storytellers
that do their best to stay out of the political maelstrom
that currently envelopes this country, but try as one might,
it is difficult to not comment on the state of our land, and
“Commander-in-Their” is a less than subtle summary
about Washington D.C.’s most famous spray-tanned inhabitant.
Additionally, “Because Capitalism” is a scathing
critique of how politicians take on their jobs “for
the cash and the underage ass” and revel in the elimination
of food stamps despite starving families and ignore the homeless
living in train stations, while twangy guitar rattles overhead.
This is blistering Americana that injects indie rock rebellion
into traditional bluegrass licks. The title is perfect, as
there is a grizzled veteran quality to the playing here; Girls
on Grass deliver forceful songs with a sense of knowing defiance
that only comes with age; namely the age when one stops caring
about what others think. Go get this.
 HEAVENSAKE
- Post-Chroma (https://heavensake.bandcamp.com)
I always appreciate when a band is willing to embrace who
they are without attempting to create some type of pseudo-intellectual,
sub-genre label. Heavensake formed in 2016 and readily declared
themselves part of an “emo revival” and everything
on their five song EP Post-Chroma sounds like a return to
the best moments of the Deep Elm Records roster, replete with
biting lyrics from vocalist Mikey Lince, intricate guitar
playing from Pat Wood and Sean Burke, and derisive titles.
All of the above meshes perfectly on “If You’re
a God, Then I’m an Atheist” featuring the lines,
“The hate I have for everything inside me” and
“I can never seem to get you out of my head”.
The Philly via New Jersey five piece (including bassist Skeeter
Seifert and drummer Anthony Massimini) sound like a band with
four times their experience throughout the release. “Aftercoulour”
starts everything off with a new interpretation of loud/soft
song dynamics by injecting a combination of youthful exuberance
and streamlined precision. A thunderous low end carries “Bleach”
as Lince asks sarcastically, “so this is what you call
your best life?”. “L’appel Du Vide”
is the most traditionally melodic of the bunch, allowing Lince
to show off his impressive vocal range, but my favorite effort
is the poignant “Did I Leave Everyone, or Did Everyone
Leave Me?”. Opening with a hazy, near shoegazing groove,
the song is a multi-faceted demonstration of this band’s
great reservoir of talent.
 FAT
CHANCE - Do Not Resuscitate (https://fat-chance.bandcamp.com)
Eight years in the making, this DIY Jersey band plays an aggressive
form of true ska punk. I find the horn playing in most ska
often creates an artificially happy construct, but that does
not happen here; Fat Chance are singing songs of real pain,
loss, and a seemingly endless quest for redemption, and the
sadness is only enhanced through the sax work of Lacey Liptak.
I am instantly impressed on “Quit Bitchin’!”
and the reference to ‘Where Eagles Dare” by the
Misfits, but that is merely the start of a remarkable musical
journey. The stark lyrics of “Blue” (“I
woke up this morning and I started thinking suicidal thoughts”),
“Running”, and “Pathetic” each feature
a speaker in distress, and there is no silver lining or neatly
arranged ending. “Rise or Die” and “Capitalism”
both express a disgust and hatred for the current conditions
in America, with the latter delivering these concerns over
a mid-tempo groove that is unapologetically rhythmic. Vocalist
Ferris Denequolo adroitly adjusts his voice from a rugged
shout to a melancholy melody, best heard on the majestic closing
title track that also allows the duo of bassist Weston Mohr
and drummer Shawn Werman to truly shine. Boldly baring his
soul, Denequolo offers lines of raw despondency, noting, “These
visions I have in my head keep on changing/ and they’re
changing until I’m dead/ So I stay withdrawn/I create
my own meds/Cigarette burns on my hands/and your texts before
bed” before bellowing out a heartsick demand of “do
not resuscitate”. The nearly twelve minutes associated
with this song may appear daunting, but be sure to hang around
for the special bonus track which will leave the listener
smiling a bit after the preceding bakers’ dozen of anguish.
Fat Chance allows people to truly enjoy being miserable.
 JONNY
KOSMO s/t (https://jonnykosmo.bandcamp.com)
This L.A.-based act opens this release with an ethereal “Prelude”,
a concoction of church-like organs that hovers with a sense
of gravitas and leaves the listener completely befuddled as
to where the self-titled work is going. “Come Down to
Get Down” bounces with a 1970s disco groove that makes
Jonny Kosmo sound as if he could have been a guest on the
old Dinah Shore Show. The blithe retro-themed fare continues
throughout the record, as “Jessica’s Triangle”
sways gently beneath Kosmo’s warm, falsetto vocals.
It is interesting that he labels his music as “pop-strange”,
when in actuality, Kosmo is blending 70s soft-rock melodies
and varying degrees of non-threatening vocals that range from
sweetly delivered to breathy. Perhaps this sounds “strange”
to those who are too young to remember the “Music”
part of MTV, but for those of us of a certain age, Jonny Kosmo
is mainstream pop goodness. KC Rabbit’s relaxed rap
delivery on “Strawberry Vision exists over the top of
a hook reminiscent of Van McCoy’s “The Hustle”.
“Lazy Susan” and “Overgrown” are far
more ethereal in their deliveries, as Kosmo’s vocals
drift and glisten through the musical equivalent of dazzling
light. This feels like an artist looking to recapture the
past but not in a contrived manner; one gets the sense that
Jonny Kosmo loves the bedazzled relics of the past and is
looking to inject new life into them. I’m fine with
allowing the past to be the past, but Jonny Kosmo makes yesterday
today.
 ELIZA
NEALS AND THE NARCOTICS s/t (www.elizaneals.com)
The sexiest record of 2019 has already been determined and
it the steamy blues of Eliza Neals and the Narcotics. The
highly emotive singer-songwriter is a treasure, and every
moment of the self-titled release overflows with sultry eroticism.
The opening “Jekyll and a Hound” is a gorgeous,
textbook version of how classic, American, blues should sound
and I am hooked before the track concludes. Without giving
listeners time to collect themselves, the band hits with “You
Ain’t My Dog No More”, and when Neals coos “no
more licking my face”, I understand that I am in the
presence of true greatness. The slide guitar of Howard Glazer
is the centerpiece of the track, but Neals is irresistible
with an extraordinarily inviting vocal performance. Clearly
raised on a steady diet of Mississippi Delta blues legends,
along with B.B. King, Bo Diddley, a little Motown swing, and
maybe some Georg Thorogood thrown in for fun, the Detroit
native has a scotch-soaked voice that perfectly conveys tales
of frustration and heartbreak, accented by a limitless sexuality.
“Breaking and Entering” is perhaps the most enticing
anthem of the bunch, but it is still laced with a tongue in
cheek sense of humor, as Neals admits that seducing a man
is “like robbing an armored car” and concludes
the track by announcing how she will “feel your gun
pop”. A splash of funk drives the infectious grove of
“Love Dr. Love”, while she slows the tempo majestically
on “Cold, Cold Night” and the equally sensual
and dazzling “At the Crossroads”. Get ready to
find your next and last true crush.
 JEFF
WHALEN - 10 More Super Rock Hits (Supermegabot Music www.supermegabot.com)
This is pure fun. Jeff Whalen plays lighthearted, sing-along
power pop that does not reflect the angst that so dominates
the first two decades of the twenty-first century. It may
be criminally impossible to get the hooks of “Goofing
Around” or “Jendi” out of one’s head
after only a single listen. Much of 10 More Super Rock Hits
sounds like the Knack hopped up on Pop Rocks and soda as the
songs shake and shimmy with an uncontrollable energy. Sugary
efforts such as “Ground Game for Worm” and “Man
of Devotion” bubble with a warmth and happiness that
make some of this seem out of place within contemporary political
and social climates, but that may be the entire point: Whalen
is rebelling through his sense of innocence, hope, and overall
positivism. Rather than following the depressed, angry heard
of malcontents, Whalen wants people to smile and celebrate.
Even when he slows down a bit, Whalen’s love of lush
pop is obvious on the piano-laced “Soylent Blues”,
and he goes back in time to the silent-film era with the ragtime
jam “Shanghai Surprise”. (And no, there’s
no reference to the historically bad Madonna-Sean Penn film
project) It takes an astounding amount of confidence to deliver
this type of music, for one risks being laughed out of the
room by those who do not appreciate Whalen’s commitment
to the integrity of true Americana. The backing “woah-woah”
vocals on “Don’t Give it Up” are wonderfully
appropriate as the song harkens back to the glory days of
AM radio with an affinity for harmonies that would make the
Bee Gees, Seals and Crofts, or even Captain and Tennille jealous.
I am old enough to remember Columbia Record Club and their
ads for “super hits” on cassettes and my misspent
youth came flying back on the closing title track. I want
to buy this on 8-track.
 CHOKEHOLD
- With This Thread I Hold On (Good Fight Music https://goodfightmusic.merchnow.com)
Certain bands are needed for specific times, and the world
needs Chokehold right now. Fortunately, the band heard the
cosmic cry for their classic brutality and answered the call
with With This Thread I Hold On, a devestaing work of sheer
aural barbarism. The chugging riff, screamed vocals, and riotous
low-end force of the opening “2.0” announces the
bold return of this much beloved but woefully underappreciated
act. Complete with spin kick inducing breakdowns, the work
of Chokehold is pummeling but not without an adherence to
the power and the lure of a huge hook. These vets craft songs;
they are not merely stringing together angry rants under the
guise of twenty-first century hardcore. “Profit Over
People” thunders along a path of mosh-ready hardcore
power, blending politics with intelligent lyrics and bone-shattering
intensity. The guys attempt to burn down the world on “Silenced”,
as Chokehold’s raw, violent playing illicit comparisons
to other weathered gods such as Terror , Vision of Disorder,
or Earth Crisis, along with the fury of a young act like Knocked
Loose. The results are virulent blasts of blood-spitting rage
such as “G.O.D.” and “Instilled” that
seamlessly blend hardcore and thick metal grooves into slabs
of relentless intensity. I cannot hear this enough.
 MASKED
INTRUDER III (Pure Noise Records http://www.purenoise.net)
Masked Intruder return with their brand of free-flowing, good
time punk. Borrowing from 50s rock n’ roll (“Mine
All Mine”) or playing with more reckless bombast (“B&E”),
the guys hold every song together with an affinity for soaring
guitar, richly harmonic vocals, and clean production. The
classic Queers influence abounds on III and there is nothing
wrong with that. The driving “All of My Love”
is a textbook example of guitar-fueled power punk-pop. Despite
the sheen that one hears across this record, there is also
just enough grit to prevent Masked Intruder from crossing
over from melodic to unnecessarily saccharine. The sun-kissed
fare of “I’m Free (At Last)” and “Please
Come Back to me” are still rooted in punk’s most
raw nature, and even the loving “Maybe Even” still
rattles. Masked Intruder are not afraid to sing songs of lost
love and frustration, but their work is also accented by a
resounding faith hat life can get better, as heard wonderfully
on “Stay with Me Tonight” and through the fuzzed-out
guitars of “Dream a Little Dream”. This is a perfect
band when your anger has subsided, but not your need for assertive
guitar punk.
 DEAD
SWORDS - Enders (Human Blood Records https://deadswords.bandcamp.com)
Dead Swords features Alex Rosamilia from Gaslight Anthem and
former I Am the Avalanche member Corey Perez, and together,
the two produce chilling, deeply haunting musical beauty through
vastly panoramic songs that are each a complete and complex
musical journey. While this could be played in coffee houses,
the impact of more forceful guitars makes this a stirring
collection of staggering magnificence. “Tonight”
is largely acoustic, and its lush nature is obvious, but the
more bombastic aspects of the song, highlighted by stirring
keys, provide majestic, celebratory moments. “Black”
and “Fumetsu” hum with a controlled but readily
identifiable rage, as the duo deliver shoegaze with the addition
of crushing, antagonistic qualities. Bands like Ride and My
Bloody Valentine are instant comparisons, but the guitar playing
on “Letters” slices through the calm with the
intensity of a black metal outfit. The ghostly figure in black
that adorns the cover is a perfect representation of this
band’s collective vision. The music is intriguing more
than terrifying, but that does not take away from the eerie
elements still heard within. Dead Swords balance aesthetic
pleasantry with doom-laden intimidation, most expertly heard
through the chugging riff of “Perception”. The
song propels itself into a realm of conventional metal before
launching skyward into a lush crescendo. Two mysterious “interludes”
(numbered 4 and 5) are spooky reminders of the band’s
breadth of creativity, as odd spoken word pieces are delivered
in whispered vocals over a wall of subtle hiss and noise.
The title track is a ten-minute excursion into the sonic depths
of splendor, meshing walls of sound with intimate songwriting.
Masterfully mixed by Kevin Dye, the record is a journey trough
sound that is both intriguing and unnerving. The musical complexity
and sense of dynamic power make Dead Swords a staggering achievement.
 THE
DEAFENING COLORS - Run Pass Option (www.thedeafeningcolors.com)
The Deafening Colors are a band with a deft touch for serene,
atmospheric beauty that sounds distinctly unique yet somehow
familiar. The six tracks on Run Pass Option hang in the air
like melodic apparitions as minimalist lyrics, genteel song
structures, and understated guitar playing, specifically from
John Arthur, work together to create a swirling mass of beauty.
The hushed singing on “Saracen Revisited” provides
the track with a subtle uneasiness that juxtaposes the more
kinetic, musically disjointed “Count on a Crime”.
The latter includes fuzzy guitar but still retains an adroitly
soft pop touch. “Crash Course” mirrors this approach
as well, while soft riffs and beautiful melodies, particularly
a strikingly warm two-part harmony, enliven “Love on
Television”. The lonesome “She Moved to Oklahoma”
includes woeful keys accompanying soulful, ethereal vocals
that revel in 1980s studio antics. The band sounds like they
are from another time and planet, not a bunch a guys who recorded
this little gem in Weehawken.
 SUNBATHERS
- A Heat Wave (https://sunbathersmusic.bandcamp.com)
Sunbathers cannot wait for summer, and this four song EP is
the perfect way to shed late-winter/early spring ennui. “Honeysuk”
opens with 80s synth-pop sensibilities and a devotion to funked-up,
dance club energy. The song radiates fun with the refrain
“I want you all the time” driven by a steady bassline.
The same approach is heard on “Bare”, an equally
light-hearted blast of sunshine that blends modern R&B
with splashes of indie pop. This is screaming for mainstream
success, and I can easily hear much of this featured in a
commercial for mass consumption. The appropriately titled
“Intimacy” bumps and grinds with varying degrees
of enthusiasm, eventually finding a groove that climaxes with
the lines “I feel like an animal/make me beautiful”.
The closing “Sugar” is the most gentle of the
bunch, delicately kissed by affectionate sax. I would not
normally gravitate towards this style, but sitting in my basement
with dirty snow on the ground and a chilled rain falling,
A Heat Wave is just what I want.
 FEMME
DE CHAMPAGNE - Impulsive Sky (reverbnation.com/femmedechampagne)
Everything about this is stunningly beautiful, maybe too pretty
in fact, at least for my more hardscrabble tastes. The delicate
piano riffs that runs “Sois Gentil” is lush and
majestic, matching the equally stirring vocals of Babette
Novak. Sophisticated, refined, and mature, Femme De Champagne
play music for adult cocktail parties in which only the finest
liquor is served and everyone knows their limits. Sung largely,
but not entirely in French, Novak has an angelic voice, and
“Shimmering Lights” and my favorite, the soaring
“Famished Heart” are masterworks in song structure
and deft performance. Only a trio, Novak is supported by Fran
Kondorf and Mike Collins on bass and drums respectively, Femme
De Champagne have a massive sound, enveloping a room with
their ethereal prowess. My mouth left agape and me utterly
speechless, I am drawn to talent such as that displayed by
this Chicago outfit. Impulsive Sky exists for lovers of jazz,
blues, and old-fashioned Broadway-level skill. It is refreshing
to know that artists like this still exist.
 NAT
FREEDBERG - Better Late Than Never (Rum Bar Records rumbarrecords.bandcamp.com)
Nat Freedberg, known for his work in the legendary Upper Crust
and the Satanics, brings bluesy, sultry rock n’ roll
for clubs that overuse the smoke machine and the audience
left their phones in their cars. Freedberg displays impressive
chops through Better Late Than Never, with “All My Love”
and “I Think I Die and Went to Heaven” as examples
of dusty slabs of gritty rock n’ roll steeped in rockabilly
blues. “If I Could be the One” struts with exuberant
confidence with Freedberg adopting a subtle twang for the
chorus. I could not help but love a song called “Heavy
Metal Cow”, and rightly so as it includes the lyric,
“heavy metal cow/I wish that you loved me”. Everything
on Better Late Than Never combines early rock brazen attitude
with punk’s snarky quality and wraps it around huge
hooks and soaring choruses. The lead single “Madame
Butterfly” is a roundhouse punch of a tune that is the
embodiment of everything one is treated to throughout the
record. It is a delight to hear Freedberg express himself
and place his various skills on display.
 THE
SUCK - In-Cog-Neat-O (Mom’s Basement Records www.facebook.com/MomsBasementRecords)
Here is a band that does not live up to its name. The Suck
play fast, agitated, blasts of pop punk in the purest of fashions,
blending speedy riffs and smart-aleck lyrics. “#youredead”
may sound like a collection of kids trying too hard to make
a contemporary cultural reference with a song title, but the
track’s buoyant energy grabs the listener from the opening
second, and this theme carries through the next seven pieces.
With The Cola on vocals and the Dunk and the Alien on guitar,
The Suck already have a great nucleus, but it is the drumming
of the Basement and the bass playing from the Problem that
set the band apart on tunes like “Death Machine”,
“Catfish”, and the very funny “Vape Store”.
The stodgy among us with grunt and say they have heard this
all before and that Ben or Joe did it better, but The Suck
have the same energy and love for the genre as the giants
who preceded them. It is next to impossible to listen to “Basement
Buzz” and not have the urge to throw things round, and
that to me, is all I need to hear. Go find this now.
 THE
CARVELS NYC - “Life Is Not a Waiting Room” EP
(Tarbeach Records www.tarbeachmusic.com)
Some bands make life very to understand; simply put, if you
do not love the Carvels, you do not love rock n’ roll.
If rock should be swagger and attitude wrapped around angst-fueled
talent, then Lynne Von Pang and her crew are all you need.
Printed on gorgeous, deep-blue vinyl, the record opens with
“Life is not a Waiting Room”, a track that jumps
out of the speakers with a blaring sax from “Sweet”
David Spinley, rousing guitar, and Von Pang’s snarky
and richly melodic vocals. Incorporating classic NYC punk
vibes with rock’s original sense of bombast, the Carvels
make the past the present with an explosive mixture of fun
and frustration. While they do not take themselves overly
seriously, the Carvels craft sharp lyrics, particularly on
“Scarcity”, with its opening line of “I
just write a love letter to the person I might have been”.
The song’s mid-tempo pacing and garage meets doo-wop
approach mirrors what one hears on the soaring cover of “I
Fell in Love with a Dead Boy”. Both tracks allow Von
Pang to fully explore her dynamic vocal range and masterful
delivery as guitarist Brian Morgan, bassist Mike Dee, and
drummer Steve Pang play with a simmering boil that balances
raucous energy and refined prowess. The three songs are over
far too quickly, and I can now sit anxiously and wait for
a full length.
 DOC
ROTTEN - Illusion to Choose (docrotten.bandcamp.com)
Produced by Bouncing Soul Pete Steinkopf, Trenton’s
Doc Rotten play old time hardcore that puts the listener in
a headlock and never loosens his grip. “Mind Control”
is merely a fleeting sample of the twelve blistering tracks
on Illusion to Choose, as the band injects heartfelt harmony
into the work one hears here, highlighted by “Questions”,
striking a balance between teeth-rattling power and refined
song-crafting talent. “Hold Fast”, “So Long”,
and “Listen Up” are all sing-along anthems with
high energy and a hint of Rancid-style groove. With a pair
of guitar players (Andy K and Wes) who also share vocals,
Doc Rotten produce a rich sound that resonates both warmth
and fury, rounded out by bassist Doug and drummer AJ. With
an ability to play with a tempo on “Federation”
and the bluesy “Sick and Suffering”, the band
proves that they have the chops to write much more than just
two minute blasts of rage. Smart, insightful, and at times
even downright fun, Illusion to Choose is contemporary punk
with a true, but not worn, sensibility.
 LOST
WAX PROCESS - “Mix Tape” b/w “Pushing
Out” (Sonopherique Records https://lostwaxprocess.bandcamp.com)
As a person who was recently hired as a Political Science
professor, I adore three of the members of Lost Wax Process
who share the same job. Mark Copelovitch, Andrew Kydd, Michael
O’Russa, and Jon Pevehouse play intelligent and interesting
pop. “Mix Tape” is an ode to late 80s and early
90s indie pop with an ethereal guitar riff and easy on the
ears vocals from O’Russa. I prefer the slightly darker
groove of “Pushing Out”. While still resonating
with a pop-kissed jangle, the song reverberates with more
energy and tells a rich story. Fitting to the job of three
quarters of the band, this is the embodiment of college rock,
harkening back to the days of indie rock’s earliest
rejections of over-production and celebrates songwriting.
Familiar yet still invigoratingly fresh, Lost Wax Process
is gem I am thrilled to discover.
 TULLYCRAFT
- The Railway Prince Hotel (HHBTM Records www.hhbtm.com)
Having been immersed in college radio in the mid-90s, I did
become aware of the twee and cuddlecore movements and lovingly
remember my first encounter with Tullycraft. Incredibly, more
than twenty years later, this Seattle outfit continues to
hang on to their collective innocence, blending the most pop-friendly
tempos and sprinkling in lighthearted, sentimental lyrics
that point out the most minute of details with good natured
sarcasm. Titles like “Has Your Boyfriend Lost His Flavor
on the Bedpost Overnight?” and “Lost Our Friends
to Heavy Metal” reveal the band’s penchant for
writing buoyant tales of self-awareness and growth that sound
like 1995 never ended. “It’s Not Explained, it’s
Delaware” is a quirky, slightly faster effort that rattles
more than the majority of the other songs on The Railway Prince
Hotel and features a subtle country giddy-up along with more
pronounced guitar, while the jazzy “The Cat’s
Miaow in a Spacesuit” is a demonstration of shrewd instrumental
control. The genteel nature of the title track and the closing
“Vacaville” can sometimes overshadow the intricacy
of the songs, but there is a great deal happening here. Tullycraft
is incredibly impressive all these years later.
 PAVO
PAVO - Mystery Hour (Bella Union Records www.ballaunion.com)
This is the type of story that always gets to me-Pavo Pavo
is the work of prolific musical duo Oliver Hill and Eliza
Bagg, or at least it was; the pair are no longer together
as a couple but continue to produce majestic music together.
Beginning as a friendship while studying at Yale, the two
came to collaborate on various musical entities, and Pavo
Pavo’s work is a soaring testament to two highly distinctive
talents. The record began as a form of therapy as the two
addressed the realization of a crumbling relationship, and
the hunting nature of Mystery Hour reflects the anguish felt
during the recording. The songs ache as they swim through
the air with Hill’s voice resonating with anguish on
“Mon Cheri”, lamenting as he gazes at a picture
and notes how he “will never adjust to the dark”,
while Bagg’s exquisite soprano vocals often carry the
majority of the material. Deeply emotive keys along with poignant
guitar work create an individual universe for each song, at
times both intimate and expansive. “Check the Weather”
is extraordinarily beautiful, as a mid-tempo dance beat propels
an 80s synth groove with shared vocals longingly stating to
“stay here at night”. “Close to Your Ego”
is a gripping tribute to the challenges of any emotionally
strained relationship, as two people balance what they want
for each other along with what they need for themselves. Lush
and gorgeous, “Around Part I” and the instrumental
“Around Part II” are stirring works, while the
sullen closer “Goldenrod” features the vocals
of Hill and Bagg working in such close proximity that they
seem to blend together as one. It is a fitting metaphor for
the pair and they work effortlessly well together but still
look for aspects of individuality. This is a lovely record
about a painful process.
 THE
SAXOPHONES - "Singing Desperately Suite" EP (Full
Time Hobby Records www.fulltimehobby.co.uk)
The saxophones do not play music for the upbeat and celebratory.
Singing Desperately Suite is an EP of heartbreaking work that
resonates with sadness and negative self-reflection through
the lyrics of vocalist Alexi Erenkov. Written sporadically
throughout 2018, including the appropriately crafted “Crude
Advance” during the Brett Kavanaugh Supreme Court hearings,
the band, accented by the dynamic Alison Alderdice and Richard
Laws, offer ambient folk that is far more griping than one
may expect from such a genre. The jazzy, thirty-second introduction
of “Prelude” gives way to the morose “Singing
Desperately”, a song of dark introspection and regret.
Minimalist musical accompaniment allows for Erenkov’s
vocals to garner full attention as he bemoans the failures
of relationships with the recognition that the blame should
be placed aggressively on his shoulders. While “Crude
Advance” moves at sloth’s pace, the lyrics of
loneliness and longing become all the more affecting due to
the haunting instrumentation. The closing “You Seem
Upset” is a brief piece with hushed vocals and delicate
playing. The dreamlike atmosphere may induce some to become
somnambulistic, but I was enticed by the openness expressed
by Erenkov. He is wrestling with his own lack of empathy and
why it exists throughout the world. The song ends too quickly,
much like the release itself, and one feels as if The Saxophones
have only begun to explore an issue of great significance.
 AGEIST
- Babyface (Arctic Rodeo Records http://arcticrodeorecordings.com)
Whenever a band is described as “old men playing in
a band no one has heard of”, I know I am gong to be
a fan. Ageist is much more than old guys still bashing out
noise like if they stop they will die, for there are truly
gifted musicians here. Go do a little research on your Google
machines, kids, and look up the resumes of members Eric Odness,
Frank Bevan, Arty Shepherd, and Tucker Rule, then be prepared
to be highly impressed. The opening “Lead Legs”
is an eruption of distortion-laden, 90s grunge guitar on top
of relentless drumming and warped vocals. The title track
teeters on chaos and displays a masterful control as the riff
ebbs and flows to allow the vocals to alternate between violent
diatribe and controlled purposefulness in manner than embodies
the record as a whole. For a collection of grizzled, seen-it-all
men of experience, there is not a second of rest to be heard
on Babyface, as “Breathe In” and “Kicked
in the Head” include angular, thick bass lines that
wrap themselves around the sharp guitar segments to create
dense and heavily melodic songs that revive the sounds of
twenty-five years ago with ease, largely because guys like
Ageist invented the sounds from twenty-five years ago. “USA
vs. USSR” is built around a thriving guitar riff and
a pulsating bassline that deftly alternates in a loud/soft
power-play that creates a tension that is nearly tangible.
For those interested in bands that attempt to recreate the
intricate ferocity of 90s indie punk, go listen to Ageist
and gain yourself an education in how this style should truly
sound.
 JD
HANGOVER s/t (Hound Gawd Records www.houndgawd.com)
This six song EP delivers distorted, stomping, punishing blues
and does so effortlessly. Stiv and Roberto Villa make the
blues sound dirtier and muddier than ever on “Broken
Bones Blues”, a distortion pedal snapping romp that
quivers with energy, while the steady thump that opens “Barrelhouse
Queen” is instantly riveting. The two sound as if they
are sitting right next to the listener, as each song has an
intimacy that conveys a rough and tumble fury accented by
flashes of cutting guitar noise and drone. “Headspinner
Blues” is aptly named with its thunderous low end and
heavily distorted slide riff, but I fell for the meandering
grind of “Down at the Public House”. Sounding
as if it is crawling along a liquor slicked barroom floor
in desperate search for an exit, the track is a unsettling
display of blunt guitar angst and waves of noisy power. I
could listen to this for hours as long as the drinks keep
coming and there was no need to go home. Entertain your inner
deviant and celebrate debauchery with a wild ride of a release.
Hound Gawd knows how to find the real jewels hiding in the
world.
 BOB
MOULD - Sunshine Rock (Merge Records www.mergerecords.com)
Bob Mould may have moved to Berlin and grown a beard that
provides him with a grandfatherly appearance, but his fury
has not come close to dissipating. Do not be fooled by the
cheery disposition of “Sunshine Rock”-the buoyant
title track to Mould’s latest collection of sardonic
guitar angst-for this not a light-hearted romp, but by Mould’s
standards, it, along with “Sunny Love Song”, and
“Camp Sunshine” are downright dreamy odes. The
consistency of the term “sunshine” is intentional
but not overbearing as the sun motif does not become redundant.
Instead, it is juxtaposed with the biting guitar force of
“What Do You Want Me to Do?”, a track in which
Mould seems to be oscillating between overwhelming frustration
and begging for forgiveness (“Now you’re home
and I’m a total mess”). Truly flexing experienced
guitar muscle, “Send Me a Postcard”, a cover of
the Shocking Blue anthem, and the biting “I Fought”
are two of the more iconic moments on a superbly delivered
collection of powerful tracks. Harkening back to his 90s solo
work, “Sin King” is a clever play on words (“You’re
sin king our democracy”) while a blanket of distorted
guitar spreads across a vast musical panorama. With a subtle,
danceable quality, “Lost Faith” is a somber lament
(“I’ve lost faith in everything”) before
Mould gives himself a rousing pep talk and declares, “Life
is so complicated, don’t let your hopes and dreams disappear”.
“30 Dozen Roses” is a painful tale of a broken
heart on the jagged rocks of a searing riff with Mould proclaiming,
“olive branches piled up at your door, you don’t
let me come inside your place no more”, and one is treated
to a reflective, more wistful veteran on “The Final
Years”, as Mould ponders about his “sense of misplaced
rage”. Sunshine Rock is a snarky title for unsteady
times crafted by a master who still produces voluminous gems
at a crushing level of intensity.
 WILLIAM
TYLER - Goes West (Merge Records www.mergerecords.com)
William Tyler leads an adroitly skilled collection of players
through ten serene and expansive tracks, each progressively
more sprawling in scope. While delicate, Goes West is still
able to capture the rugged terrain of the untamed West with
an intimacy that is both haunting and soothing. The tracks
seem to mesh effortlessly into each other, specifically “Call
Me When I’m Breathing Again” and “Eventual
Surrender”, two pristine works of genteel guitar playing
from Tyler and Meg Duffy and expertly placed percussion from
Griffin Goldsmith. “Rebecca” exudes a joy that
is clearly a celebration of the person for whom the song is
named, while “Not in Our Stars” has an ethereal
and atmospheric quality befitting its name. “Venus in
Aquarius” and “Virginia is for Loners” both
exude a more country feel that could easily be the soundtrack
for your next covered wagon journey through the Oregon Trail.
As I listened, I was perpetually curious about what lyrics
would have done for these tracks, but ultimately, the record
was exquisite without any vocals, allowing the songs to breath
and roam unencumbered. Like the land it references.
 DAN
FRANCIA Come Back to Life (Exploding in Sound Records http://www.explodinginsoundrecords.
com)
Much of Dan Francia’s new solo record was written
as he was working at New York’s Noguchi Museum, and
that is important to note; for like the legendary sculptor,
Francia does not adhere to any one school of thought in
regards to his art. His songs are consistently beautiful
in nature, but vary in degree of experimentalism, from the
refined beauty of the title track (including the poignant
lyric, “tell me you love me before you go to bed”),
to the subtle cacophony of “Pass it On” to the
more direct, sixteen-second noise-fest “I’m
Not Insane”. With polyrhythmic structures merging
with free form horns, “Ghost Stories” is a perfect
embodiment of all Francia is as an artist. The song begins
as if it is simply a collection of gifted players each performing
a solo piece collectively en mass before settling into a
more cohesive groove until that structure completely unravels
into a John Zorn-like eruption of sound before once again
finding a more well worn path, and then launching into a
full meltdown as the song moves towards its conclusion.
Challenging, intriguing, and even a little exhausting, it
is a fascinating four minutes of creative genius. The fist
single is the antithesis of much of the record, as it is
an iPhone recorded pop gem called “Stereotype”
that features Nora Dabdoub of Shea Stadium as the centerpiece
of the song, and Francia harkens back to Lou Reed’s
work from the 1980s as a source of inspiration for the song’s
tone. Meanwhile, the keys that carry the nineteen seconds
of “I’m Ready for Death” possess a haunting
quality to them and they mysteriously dissipate in favor
of the lush “No Matter What”, clearly the most
conventional of the works here. With gorgeous backing vocals,
the song is a delicate ode to trust, optimism, and love.
“Can’t Forget” opens rather serenely before
devolving into a furious mountain of rage with noisy, angular
guitar ripping and shredding through the air as brazen and
relentlessly intense vocals define the song’s vitriolic
nature. This is a brilliant start to the new year.
-----------------------------------------2019-------------------------------------------------------
 GRIM
DEEDS - Gree! (https://grimdeeds.bandcamp.com /album/gree)
Well, the calendar has turned to a new year but existence
is still dismal for Grim Deeds, and we all benefit from his
misery. Gree! is another collection of biting, cynical tracks
that discuss problems but offer a dearth of solutions. For
those who love self-loathing and punk rock guitars, Grim Deeds
is all one needs in life. The jangly guitar on “I’m
Not Allowed” (a brilliant song about how life takes
away all of one’s fun), “Four Letter Words”
(which include the terms “life” and “love”)
and “Mostly Miserable”) are closer to pop nuggets,
but the more aggressive “Shithole Town” and “Life
is a Nightmare” are two of the bright spots (relatively
speaking) on Gree!. Grim Deeds comes through boldly through
a very commendable cover of the Motorhead classic “Ramones”
and highlights the stupidity of social media on “Facebook
Wisdom”. The rapid fire playing of “Stress Addict”
and the dark humor of “Sad Cannibal” embody all
the Grim deeds is-a wildly self-flagellating, twisted musical
visionary whose suffering helps me, and I am sure many others,
fight through life’s daily tribulations.
 KLEENEX
GIRL WONDER - White Lacuna (Reasonable Records https://kgw.me/album/white-lacuna)
Kleenex Girl Wonder, aka Graham Smith, has been kicking around
for more than two decades producing gorgeous and whip smart
pop. White Lacuna is another step forward in the evolution
of this vision, as the ten songs presented here are soaring
blasts of pristine pop goodness that are both remarkably light
in texture but are not without depth, both lyrically and musically.
Although drummer Matt LeMay, keyboardist Ryan Smith, and guitarist
Thayer McClanahan assist Smith at times, Kleenex Girl Wonder
is a vehicle for Graham Smith’s unique outlook on life.
“A Sweet Person” overflows with grace as free
flowing, jangly guitar works in perfect congress with Smith’s
vocals. “Hope All is Lost” admits that “giving
up has a certain seductiveness” and the expansive “Angelina”
is a shimmering jewel of a song. The danceable “White
Witch” seems to fit perfectly alongside the more raw,
acoustic energy one hears on “Emerita”, and Smith
commands both songs with glorious ease. “History of
Ice” is a sterling opener with a density to the ethereal
pop sweetness, while “Worry the Well” has a bouncing
bassline and biting lyrics (“you’re still broken
hearted and impotent”) that makes the song my favorite
of White Lacuna. The longevity and the continuous creativity
of Kleenex Girl Wonder remains incredibly impressive.
 OBNOX
- Bang Messiah (Smog Veil Records www.smogveil.com)
Bim Thomas is noisy, one-man wrecking crew whose legendary
status is well earned and expands far outside his home of
Cleveland. Bang Messiah will only continue to enhance that
reputation, as the record is a sprawling mountain of occasionally
chaotic, at times refined, and constantly engaging fury. The
opening “Steve Albini Thinks We Suck” is a visceral
punch to the face through a mass of noise, but when one reaches
“I Hate Everything”, the song plays out like a
1960s psychedelic garage gem replete with harmonious vocals
accented by soaring cymbal crashes and a ethereal guitar riff.
This dichotomy of the unbridled and the precise makes Bang
Messiah such an enchanting listen. While “Cream”
is an atmospheric beauty, “Enter the Hater” is
a rugged, muscular wall of guitar force. Thomas mixes and
matches hip-hop (“Rally on the Block”) with distorted
noise-core (“Off Ya Ass”) and he excels at all
he attempts. This is not an easy listen but nothing experimental
should be; rather, this is a wild ride across numerous genres
and styles with Thomas continuing to refuse to cower to the
expected. Bang Messiah is too dark in nature to correctly
label as “fun” and doing so would minimize the
impact of a visionary artist, but there is something inherently
enjoyable about being bashed from limitless directions throughout
the dozen songs one finds within this record.
 THE
BLANKZ - “It’s a Breakdown” b/w “You’re
Not my Friend Anymore” (Slope Records www.sloperecords.com)
The Blankz provide another glorious explosion of punk-pop
goodness that explores just how bad things really are but
do so without entirely ruining the listener’s day. The
Blankz have an uncanny ability to inject Blondie-esque, New
Wave keys into rugged punk riffs to produce apologetically
catchy tales of sarcastic woe. “It’s Breakdown”
sums up the current state of affairs in this nation with the
line “hang myself or hang around/It’s a breakdown”
as an infectious hook propels the track. “You’re
Not my Friend Anymore” addresses the pitfalls of living
through social media with references to disliking posts and
the sorrow associated with disconnecting virtually. This Phoenix
band plays angry, passionate punk for confusing and frustrating
times.
 BURLY
- Self Titled Demon (Five Kill Records https://www.fivekillrecords.com)
This upstate New York outfit plays gentile, nearly fragile
music that is majestic in its beauty. The songs on Self Titled
Demon revolve around fragments of memories and faded glimpses
of events in one’s life and are lush in their beauty.
Each of the songs meanders along at a steady, albeit deliberate
pace that incorporate muted jazz-inspired sax and the exuberate
warmth of the vocals. Everything the band tries works here,
from the inconspicuous genius of the drumming to the whistling
that accents “Snowden”. With references to smoking
pot through a corn cob pipe (“Happy Bday”) and
meeting with friends in Providence, Rhode Island (“Kent
Lame”; a song whose dissident guitar is rapturous),
the music of Burly brings the listeners into intimate moments
as if all parties involved are old friends. “Branches
of Blood” has an understated darkness, while the line
“You’re not a person that I think about a lot/
And I don’t mean for that to come off as a slight”
in “Happy Birthday” is somehow both illuminating
and heartbreaking. This is a gorgeous collection of five lovely
and painstakingly constructed songs.
 GRANDCHILDREN
(https://grandchildren.bandcamp.com)
I am a sucker for great romances, and Grandchildren is just
that, plus a dazzling band musically. The seven songs are
the tales of Alecks Martray and Shari Bolar, two highly skilled
songwriters who met while Martray was on his first tour with
Grandchildren, and nearly a decade later, the two present
seven musically dense and powerful tracks. The opening “Ok,
I’m Waiting” is more traditional pop fare with
soaring harmonies and a staggering gorgeous arrangement. It
is an intriguing start to the record, as Grandchildren pride
themselves on their highly eclectic mixture of folk, rock,
pop, lo-fi, and electronic touches. The rollicking “Zuni”
possesses a hootenanny, front-porch sing-along sensibility
accented by lush atmospheric beauty and the shared brilliance
of Bolar and Martray. The bluesy “Phantom Pains”
has a thicker guitar riff that exists is sharp contrast to
the spectral nature of “Want it Bad”, a song of
engaging warmth. The shared vocals and lyrical refrain of
“I don’t believe the wicked/I don’t believe
the poor” make “Gravity” another highlight
from a collection of distinctive tracks. “Motherboard”
feels as if it fell from the late 1960s as it blends pop and
psychedelia into a flawless mass. The genteel closer, “Only
One” exudes a sensuality while a quietly infectious
drum loop propels the effort. This is striking and impossible
to hear without being moved.
 MARSHMALLOW
COAST - Memory Girls (HHBTM Records www.hhbtm.com)
The opening “Warm Bodies” sets the tone for delightfully
canorous release from a truly distinctive band. Marshmallow
Coast play electronica for those who normally hate electronica,
as this is largely pop-kissed gems that have hints of electronic
flavoring. The beats are understated and heavily groove-oriented,
occasionally co-existing with both serene keys and more bombastic
guitar playing, best heard on the masterful “Take You
On”. “K. Freeman Enslaved” is a perfect
encapsulation of all the band is-jangly guitar holds hands
with a retro dance beat and a layered vocal delivery hovers
between a whisper and a panicked conversation. “Sinz
of my Father” radiates with a tangible 1980s vibe from
the robotic vocals to the instantly catchy groove, the song
is akin to opening a vault from the past and one can nearly
envision the dancers from a JJ Fad video grinding to this.
The playful “Foxy Boy” is anchored by a steady
throb and spacious, jazzy saxophone that pushes the song into
R&B territory. As we approach a new year and hope for
the best, it may be difficult to find anything more unique
than the work of Marshmallow Coast.
 NIGHT
BEATS - Myth of a Man (Heavenly Records http://heavenlyrecordings.com)
Danny Lee Blackwell leads Night Beats through twelve tracks
that sound like they have arrived from another era. From the
flamenco sounding, sultry “I Wonder” to the 1960s
pop bounce of “There She Goes”, Myth of a Man
is the type of record that takes the listener far away from
current troubles and places them firmly in the grasp of a
highly gifted songsmith. The closing “Too Young to Pray”
is a gentle love ballad ensconced in a web of haunting lyrics.
The innuendo-laden “On Thing” has a guitar riff
that ricochets off the walls and reverberates with psychedelic
energy and encapsulates the varied talents on display throughout
the work. It is among the finest pieces on Myth of a Man,
which is a record that strolls and saunters with Texas-sized
confidence on “Wasting Time” and “Let Me
Guess”. The theme of the work addresses how many people
seem to exist solely to hurt and manipulate others, and just
how painful it can be when it happens to you. Blackwell examines
fleeting moments of happiness, such as the refined beauty
of “Footsteps”, a sterling gem that is matched
by the jazzy groove of “Stand With Me”, a rack
with a guitar riff that would make Carlos Santana beam. This
is wonderful musical escapism delivered by a collection of
highly skilled players.
 TRANSGRESSORS
- They Made Her a Criminal (Super Secret Records https://supersecretrecords.bigcartel.com)
This Texas act plays old time rock n’ roll with a heavy
drawl and a gun-slinger’s sense of confidence. Exuding
cowboy swagger, the Transgressors rumble through “You’re
Running Wild” and “Ask Me No Questions”,
while the Americana vibe of “Maddux Creek” channels
Johnny Cash as the song gallops along while telling a wild
yarn of potential violence. (“Put that knife away, son”)
This same tone returns on “Driving Nails in the Floor
for You”, as The Transgressors again infuse their work
with Southern fried colloquialisms and slide guitar. “I’d
Die to Kill for You” saunters forward with a strong
bassline and more lyrics of murder and mayhem. For those who
believe that the Stratocaster is the be all, end all of rock
instruments, The Transgressors are your band-a gritty, hard-driving
collection of players who clearly believe that the trends
be damned and they stay true to rock’s honest and earnest
outlaw origins.
For more Rich Quinlan reviews, click here...
 21
KINGS - Things I Couldn’t Say (https://21kings.bandcamp.com/
album/things-i-couldnt-say-ep)
This New Jersey three-piece takes pride in labeling themselves
a “power trio,” but it fits perfectly. The four
tracks on "Things I Couldn’t Say" are exactly
what is missing in contemporary rock n’ roll: big riffs,
catchy hooks, and enough tempo shifts to make each song distinctive.
“Break Me Down” is thunderous, sludgy, post-grunge
gem that borrows from the 90s without becoming a parody. The
loud/soft song structure works seamlessly and assists in carrying
a soaring chorus. The title track is a galloping piece with
an equally anthemic chorus. Resonating force through a booming
low-end, compliments of Steve Nicosia on drums and his brother
and bassist Jon Nicosia, the song possesses a firm allegiance
to infectious harmonies. Vocalist/guitarist Stefan Iseldyke
and Jon share vocal responsibilities and the at the risk of
sounding embarrassingly cliché, I could not get this
song out of my mind for days after first listening to it.
“Without a Doubt” is a classic tale of chasing
the girl of your dreams, proving that high school never ends.
(“Please don’t let me ruin this now/You’re
the one, without a doubt”) Ebbing and flowing with waves
of musical force the reflect the emotions expressed lyrically,
the song encapsulates modern love into a four-minute guitar
pop nugget. The closing “Tamarindo” has an island
vibe as it celebrates the finest moments of being away from
concerns and cares and simply enjoying the fun of being in
love. (“I’ve always loved you and I always will/When
we’re alone I feel like time stands still/Cherish this
time for the rest of my life/Just us together in this paradise”)
Marking a departure for the band, “Tamarindo’
exposes the versatility of 21 Kings, noting an effortless
ability to blend lighthearted joy with more driven, boisterous
rock anthems. There is a bright future here.
 THE
CRACK PIPES - Fake Eyelashes (Super Secret Records https://supersecretrecords.bigcartel.com)
This Austin-based juggernaut plays a rough mix of garage-tainted
blues, and Fake Eyelashes is their first record in over a
decade. Ironically, the record opens with the gentle title
track whose rich harmonies are bathed in serene guitar and
acts as a wonderful contrast to “Lil’ Cheetah”.
Inspired by rock’s earliest sense of reckless energy,
“Cheetah” bounces with a fearless swagger that
is intoxicating, matched later by the piano riff at the center
of “Sea of Beverly”. After a sluggish start, the
rollicking strut of “(I’m A) Moon Man, Baby”
sounds like an outtake from the Rolling Stones’ Rock
n’ Roll Circus. The track is a delight, highlighted
by the rugged, grumbling vocal style of Ray Colgan. “Sweet
and Low” proves to be a fun, sweaty mess of a song that
embodies all The Crack Pipes are as a band-musical soldiers
carrying the flag for those who still frequent dank, cramped,
beer-soaked clubs with sticky floors and a killer jukebox.
“Giraffe” is a methodical, expansive anthem of
panoramic guitar playing, while the closing “You’re
the Reflection of the Moon on the Water” is not only
beautifully phrased, but also possesses one of the dirtiest
riffs on the record. Inspired by the likes of Johnny Rivers,
“Reflection” and “My Underground”
harken back to a more simple time in rock’s then unadulterated
past. The Crack Pipes are a gritty, earnest rock n’
roll band in a an age where those qualities have become nearly
non-existent.
 GREAT
FALLS - A Sense of Rest (Corpse Flower Records)
This is a little slice of heaven to me, and A Sense of Rest
makes the perfect soundtrack for a dark, dismal winter. The
hardcore and noise fiend Demian Johnston leads Great Falls,
formerly Hemingway, and A Sense of Rest is a churning, swirling
wave of musical destruction. The opening “The Accelerationist”
is punishing with Johnston’s voice stretched to its
limit and establishes the structure one hears throughout he
sprawling eight tracks. Part Unsane noise fest with a touch
of Acacia Strain bravado, a Sense of Rest is a daunting task.
“We Speak in Lowercase” is a fourteen minute masterstroke
of grinding noise accented by blasts of hardcore energy and
controlled rage. The entire record is the soundtrack to a
purge, with each song existing as an expansive, violent landscape.
“Thousands Every Hour” eviscerates the listener
with guitar acrobatics and low-end vehemence from drummer
Phil Petrocelli who has also rattled brains behind his kit
with Jesu. As Johnston tears through his guitar work on “Not
for Sale Bodies” and “I Go to Glory”, his
prowess is matched by the rumbling destruction compliments
of bassist Shane Mehling. While the eight works are collectively
devestaing, the songs each feature elements of deft subtlety
woven within the walls of brutality. The fleeting seconds
of quiet only exacerbate the blunt force of “Baldessari
Height” and the song reflects the lengthy history and
dazzling creativity of the members of Great Falls. This is
noise for those who love hardcore and hardcore for those who
love noise; a mammoth and fearless exploration of music at
its most raw and penetrating.
 ELEVATOR
PITCH – “FIRST FLOOR” EP, with “Eric”
b/w “Vladimir Putin Has a Weather Machine” (https://elevatorpitch.bandcamp.com)
The concept behind an “elevator pitch” is that
one should be able to sell an idea to a stranger in only a
matter of minutes or even seconds. This Hoboken band of brilliant
youths achieved this nearly instantly with me on “Eric,”
a hilarious and sardonic tale about the less significant and
most likely less subpoena-laden Trump brother. With references
to SNL skits and MSNBC editorials, the song is a witty, engaging
lyrical storm wrapped around a mass of jazz-fusion. It is
that final component that truly excites me about his band
- the rock, funk, jazz alliance one hears on “Eric”
is even more prevalent on “Vladimir Putin has a Weather
Machine,” a startling display of instrumental deftness.
At times sounding like a late-70s lost classic, the track
provides a rollicking blast of fun, both heavy from Marvin
Baker's bass and yet deliciously accented by Edward Horan’s
keys, which waft across the song’s landscape; it is
impossible to not be swept away by the talent on display.
“Eric” has a sharper edge, as it borrows a bit
from Jersey punk rock, specifically through the guitar work
of Andrew Wholf, but it is the latter instrumental that makes
this single one of the most unique releases one will hear
this year. Go look this up and send these kids your money.
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 aBIRD
- Hard Times in Two Dimensions (abirdmusic.com)
Despite making name for himself as a Jersey staple with
bands like Perfuma and Those Mockingbirds, Adam Bird is
travelling down a synth path on Hard Times in Two Dimensions.
“Fuck You (and You and You)” has a smooth,
nearly joyful bounce to it that defies the less than uplifting
message found within. “A Cool Island Song” has
a made for MTV sensibility if MTV was still a thing. The
track is a fun, lighthearted, and infectious nugget with
a beat taken straight from early 80s ABC-inspired pop. It
is a testament to Bird’s talents that this is as enjoyable
as it is, for in lesser hands, the songs could easily come
across as farcical. However, while not what one may traditionally
expect from Bird, each song has a massive riff and undeniably
lovable hooks. “The Lights” may initially sound
like a middle school dance soundtrack, there is such earnest
nature to what is being done, and when Bird asks, “who
turned out the lights on you?”, as a noisy guitar
riff rustles beneath there is a soul to the work that is
readily apparent. The subtle darkness of “the Creatures
We Ignore” makes the song the most engaging of the
bunch, with Bird lamenting, “are we all afraid at
the end we’ll all be lonely”. The mesmerizing
beauty of “If I Had a Gun” is laced with an
injection of uneasy tension, and the closing “Polluto”
stomps with a low end bombast and a lyrical delivery teased
with playful keys. This may confuse, confound, and even
frustrate, but Hard Times also reveals the expanse of Adam
Bird’s skills.
-------------------------------------------------------------------------------------
 CAN’T
SWIM - This Too Won’t Pass (Pure Noise Records www.purenoise.net)
Can’t Swim is a band that seems fixated with evil
but not in a manner that will make one think of backwards
messages and pentagrams. The evil that permeates This Too
Won’t Pass is the evil of reality-the frustrations,
disappointments, and downright loathsome behavior that so
many people demonstrate. Darkness permeates the record with
“Not the Way it Was”-featuring declarations
like “the evil is here to stay” and “kill
your neighbor-the enemy”-as perhaps the most lyrically
menacing effort, but the work is collectively audacious.
Nearly every moment is a declaration of fearless guitar
force that borrows from emo’s golden years and Can’t
Swim thickens the sound with punishing riffs and a frantic,
almost frenzied level of intensity. Whle there are moments
of beauty, such as the delicate opening of “Malicious
444” and the downshift during the verses of “Amnesia
666”, but the band’s finest moments are the
unapologetic rage of “Sometimes you Meet the Right
People at the Wrong Times”, the disjointed jangle
of “Daggers”, and the urgency of “My Queen”.
The opening “What Have we Done” references “the
evil in you” and vocalist Chris LoPorto sounds terrified
when he declares “there’s nowhere to hide”
and the gang chant of “no one is safe” may lead
some to believe that Can’t Swim may be announcing
the arrival of the apocalypse. In truth, the guys are simply
illustrating how stark reality truly is and how people,
even those one believes can be trusted will usually betray
trust in the end. The jagged riff of “Hell in a Handbasket”
opens with the advice to “have a party at my funeral”,
and this cheeky dismissal of death’s seriousness is
fitting for a band that sounds fed up with all life’s
disappointments. Can’t Swim are the perfect drinking
partners, as they will help reinforce the correct assumption
that life is awful, but there is no better way to be to
be miserable.
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 ROLAND
RAMOS VIENNA -The Lost and Found (https://rolandramosvienna.
bandcamp.com/album/the-lost-and-found-2)
Upon a quick listen, Roland Vienna plays lovely, heartfelt
acoustic pieces that sing of hope and love at a time when
such messages are desperately needed and often difficult
to believe. However, what makes his songs so intriguing
is Vienna’s recording style-the music is not just
based on the places around the world he has been fortunate
enough to visit, but his work is recorded live outdoors
in parks and other bucolic open spaces. The free-flowing
nature of “Me or the Music” has a clear Simon
and Garfunkel sensibility, and Vienna’s vice has a
grace and majesty. “Happiness” brings back memories
of Bobby McFerrin, but after a few drinks on a nice night,
the song is the soundtrack to a wonderful evening. “Anaharta”
has a playful nature to it with Vienna’s fingers simply
rollicking across the strings while “Pollyanna”
is a lush work that is highlighted by a refrain of “the
heart wants what the heart wants” delivered with an
aching beauty. Nothing about The Lost and Found is revolutionary,
but it is refreshing at times to hear a performer playing
purely for the joy of singing songs and losing one’s
self in musical innocence.
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 NATIVE
SUN - Always Different, Always the Same (Paper Cup Music
www.papercupmusic.com)
Native Sun’s six song Ep "Always Different,
Always the Same" sprints out of the box with “Hippie
Speedball,” a rattling blast of kinetic rock that
introduces the band’s style. This NYC four-piece recaptures
some of rock’s purest qualities, including frustration
and raw energy and sprinkles in a handsome assortment of
catchy hooks. “Hippie Speedball” nods towards
Generation X style punk, while “11th Street”
has a mid-tempo swagger in the same style of the New York
Dolls. Grimy and sweaty, t’he song has a monstrous
riff and an equally warm sense of harmony as the refrain
of If you want it, you gotta take it from me” wafts
overhead. Singer Danny Gomez can yell and harmonize with
equal ease, and his dexterity is representative of the band
as a whole. “Swoon” has a sexy confidence about
it that pays a loving homage to the band’s adoration
of the Stones through a 60s bubblegum chorus mashed together
with a wall of guitar force from Jake Pflum. My favorite
of the bunch is the speedy “Modern Music”, a
slab of boisterous contemporary rock that acknowledges the
past while also pushing forward as the band drives the song
to a scintillating and flailing crescendo. The bass-heavy
“Big Succ(ess)” glides easily into a burst of
thunderous force that retains a pop flavor without surrendering
any of the track’s punch. These guys have what rock
needs right now-a limitless amount of verve and fire, for
each song here ebbs and flows effortlessly but largely maintains
a boisterous construct. The closing “Sweet V”
fades away in the middle of the effort and Native Sun briefly
plays with aspects of ethereal quiet only to reemerge with
a rousing conclusion. Native Sun understand how to write
massive riff and punch it up with soaring vocals and enthusiastic
expressions of youthful angst. They revel in the belief
that great songs should be memorable and not necessarily
overloaded with technical excess, and their adherence to
informal precision makes this a great release.
------------------------------------------------------------------------------------------------------
 THE
REVEREND HORTON HEAT - Brand New Life (Victory Records www.victoryrecords.com)
The seemingly ageless Reverend Horton Heat returns and Jim
Heath sounds reenergized and spicier than ever. The title
track is a classic blast of speedy rockabilly that takes one
back to 1955, and the energy and optimism of the song is infectious.
With a rollicking piano riff and lyrics about hope and love,
it is impossible to not smile incessantly as one listens.
The record only gains strength from this point, with “Hog
Tyin’ Woman” and “Wonky” emerging
as two future live staples. The former digs deeply into Southern
fried rock n’ roll that Jerry Lee Lewis and Roy Orbison
would have loved to perform, while the later is a slinky,
sultry screamer of a song with a guitar riff that might bring
Chuck Berry back from the grave. Heath and the boys-bassist
Jimbo Wallace, drummer RJ Contreras and Matt Jordan on piano-slow
the tempo down considerably on “Hate to See You Cry”
and the sweetly delivered “Don’t Let Go of Me”,
but truly shine on the blazing love song “Perfect”,
a track that features a Roy Orbison name drop and lyrics about
learning from one’s mistakes, as well as the scorching
instrumental “Ride Before the Fall”. The latest
Reverend gem concludes with “Vive Las Vegas”,
and the song falls neatly between Elvis’s hip-swiveling
campiness and the Dead Kennedys’ light speed assault.
Question the presence of a soul of any person who listens
to Brand New Life and does come away feeling better-escape
into this after watching your next newscast.
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 RICHARD
LLOYD - The Countdown (Plowboy Records www.plowboyrecords.com)
Richard Lloyd is perhaps the most unique of all the true punk
icons, as he has said “I never felt the angst necessary
to be a punk. I was too young to be a beatnik and too old
to be a hippy. I like to say I’m an anthropologist from
another planet who is observing human nature.” The songs
on The Countdown vary in scope and sequence, but each of them
come together to create a fascinating album that does indeed
reflect a man studying the most finite aspects of the world
around him. “So Sad” has a rightfully blues-based
melancholy nature, while “Run” soars with the
unbridled exuberance of rock’s origins. The opening
“Wind in the Rain” borrows power pop hooks and
merges them with the grit of 1970s New York where Lloyd became
a legend. “I Can Tell” rattles with a garage rock
vibe that imbues 1960s energy and a youthful innocence, but
Lloyd has always possessed a penchant for crafting poignant
songs as well. “Just My Heart” and “Something
Remains” are a loving duo, with the latter beginning
as a largely acoustic piece about lost love and heartache
that transitions nicely into a country twanged, mid-tempo
rocker with a deceptively warm groove. “Down the Rain”
bristles with a surly guitar riff and biting vocal delivery
from Lloyd as his gruff, curt vocals cut through air as his
guitar delivers repeated sharp body blows. This song, like
all of The Countdown, is sophisticated rock n’ roll
from a man who has always found the ability to express a highly
distinctive and irreplicable voice.
 KURT
REIFLER - Year Of…(https://www.kurtreifler.com)
This long form EP is the first a two part, two year release
from singer-songwriter Kurt Reifler about a dear friend of
his, Ross, who was lovingly known as “the Bear”.
While Ross lost his fight with brain cancer in 2016, the songs
on Year Of channel a wide array of musical styles and influence
that pay homage to a childhood friend. Reifler presents nimble
guitar savvy with elements of 70s funk and jazz throughout
the EP, particularly on the energized “Backbreaker”.
Able to ease effortlessly between modern rock and delicate
beauty, Year Of includes the slow burn of “Carry On”
and the flawless closer “Hurricane”. Acting as
a perfect bookend to the opener, “Hurricane” rattles
with energy and varied vocal tricks before drifting into a
genteel atmospheric cloud of exquisite finesse highlighted
by shoegazing guitar and fragile piano. “Stay Above”
has a swirling mass of keyboards that adroitly lift a style
from suave 70s R&B, while “Aftermath” is a
dense, rocking opener that announces, “it was the year
of the bear and we knew it would be the last”. Emotional
and profoundly personal, Reifler offers an affecting collection
of works.
 SICK
OF IT ALL - Wake the Sleeping Dragon (Fat Wreck Chords www.fatwreck.com)
Could there be a better time than now for New York’s
legendary Sick of it All? Wake the Sleeping Dragon is proof
that getting older does not mean that one slows down, mellows
out, or looks to grow complacent. The songs are as furious
as anything the band has done, going back to legendary releases
like Yours Truly and Scratch the Surface. In the finest hardcore
tradition, the seventeen songs on Wake the Sleeping Dragon
are blurring blasts of face-splitting intensity, and the opening
“Inner Vision” makes it clear that the spin kicks,
stage dives, and blood-soaked pits will again get fired up
as the band hits the road. With a massive chorus that includes
“whoa-oh” backing gang vocals, the song can hang
with any Sick of it All classic. While the term “funny”
or “light-hearted” would never be associated with
SOIA, there are moments on the new record that reveal a cheekier
version of the band’s songwriting, including “Beef
Between Vegans” ,“Hardcore Horseshoe”, and
my personal favorite, “Self-Important Shithead”,
but the New York act continues to infuse politics into their
scathing deliveries. “Deep State” and “Bad
Hombres” take direct aim at the current political climate
without necessarily favoring one position but finding fault
and culpability on both sides. Additionally, “Robert
Moses was a Racist” and “The New Slavery”
act as powerful reminders that this band can expose the truth
with a pummeling brand of hardcore fury. For all the kids
scanning YouTube and Bandcamp for the next “great”
hardcore act should stop with their fruitless searches and
go out and support a band that has and will continue to do
the genre proud.
 VAL
EMMICH - "Auto Bio Part II" EP (valemmich.com)
Writer, actor, musician, and all around limitless talent Val
Emmich returns with Auto Bio part II, an EP of five sharp,
shimmering pop gems. “Going to Waste in the Garden State”
is more than a lament; it is a detailed exploration of youth,
innocence, and painful loss about friends who were crushes
and others who left the world too soon. Built around a steady,
driving riff, the lyrics read like a diary brought to life
with dazzling impact. The horn-touched “I am a Middle
Child” is an honest examination of family dynamics (“stuck
in the center of two extremes/half laughing, half in tears”),
while “I’m Not Ready” is an equally heartfelt
and soulful anthem about making life-altering decisions. The
acoustic “Boys” is a stark collection of memories
about people from one’s past whose “aimless rage”
never left them. The deftly applied keys transform the song
into a delicate track that belies the tale of violence and
desperation found within. The concluding “We Were All
Alone (But Now We’re Not)” talks of pre-mature,
sickly newborns and “how the heart can keep expanding”
as the song steadily climbs towards a towering crescendo.
If one is wise enough to do so, the full download will allow
a listener to gain six bonus tracks.
 DELICATE
FLOWERS -Die Progress Unit I (Sniffling Indie Kids Records
http://www.snifflingindiekids.com/)
“Vessel” is an incredible opener for Die Progress,
as it is a fuzzy, slow boil of a droning guitar powerhouse.
The track borrows heavily from the finest moments of post-shoegaze
and 90s grunge-pop, and the song is simply impossible to ignore.
“Killer They Send” and “Very Ordinary”
take the most accessible elements of Dinosaur Jr.’s
college rock prime with choruses that emerge and recede with
a mixture of blunt power and refined control. “Debt”
has a subtle funk groove that injects an infectious energy
into the song accompanied by soaring, atmospheric guitar.
Many of the songs on Die Progress Unit I fly by briskly, only
slightly touching the three-minute mark and often delivered
with speed and charm. “Interstellar Love Song”
slows the tempo down considerably and “Heat Death”
is a five-minute beauty. The song’s lyrics reference
thermodynamics and the eventual death of the planet due to
rising temperatures, so I guess Delicate Flowers will lose
Republican listeners who will see the song as a Chinese-inspired
hoax. “Pleased” is a buoyant, two-minute trip
on a musical bouncy castle that strips away some of the grime
heard on earlier tracks to reveal a shimmering pop nugget.
The closing “Gaze” is a bit of an anti-climatic
closer, but it does reveal a lush tone that reflects the vast
talent of this band.
 DIVIDED
HEAVEN - Cold War (Wiretap Records wiretaprecords.limitedrun.com)
Alternating between punk infused anthems that focus on big
guitar and soaring hooks and stunningly serene and gentle
anthems of heartbreak and love, Cold War is an infectious
and beautiful record. “Dance with Old Habits”
and “Maybe, We Would Should say Goodbye” are two
heart-breaking tales of delicate emotions laid bare. Of the
two, I struggle to pick one over the other, but the haunting
lyrics of “Dance” are supremely articulate without
becoming overly esoteric. The subtle country vibe of “Stay
What You Are” gently kisses subtle aspects of Americana
with harmonica accompaniment and reveals a distinct genius
of Divided Heaven. Themes of the fragility of life’s
decisions and the fleeting nature of time dominates Cold War,
as vocalist Jeff Berman declares that he is “ripping
down the posters of this jaded trip/tearing at the corners
of this faded map that leads me home” in Home for the
Summer”. The rollicking title track pays homage to what
now can be viewed as a quant world in the midst of contemporary
horrors (as Berman announced, “I was a baby face born
for the 80s in a Reagan-era white flight run”). In contrast,
the mid-tempo groove of “Love Letters to New York”
is a warm, richly sentimental effort with references to subway
mirrors and Holden Caulfield. A richly talented band, Divided
Heaven bring energy and intellect to modern rock.
 EARTHWORM/HUMAN
ADULT BAND - Happy Horror Days (Dihd Records www.dihd.net)
Well, my holidays are set! Earthworm and Human Adult Band
come together for some fun and horror over the course of
three brilliant songs. Earthworm is a tuned-down, D-beat
noise hybrid, and their “A Very Important Discovery”
is the musical equivalent of a multi-car pile-up with unknown
fatalities. It is dark, menacing, and utterly fascinating.
Angular, angry, and bludgeoning, the bellicose nature of
this band will either delight or terrify you, but the real
answer will most likely be both. The speedy breakdown that
concludes the song is impressive, but the furious grind
of “Beastly People” nearly defies the bonds
of humanity. Human Adult Band is among my favorite bands
in the world and they make my Christmas wishes come true
with the twisted genius of “(All I Want for Xmas is
a ) Rusty Roll of Quarters” with one of the uses being
to “wash my dirty trousers”. The song’s
mid-tempo, crawling pace seems unsettling and Justin Mank’s
vocals fill the listener with a sense of impending dread.
Nothing about this is the least bit cheerful and for that
reason alone, it is a deranged classic. Please give me more!!!
 THE
BLANKZ - “I’m a Gun” b/w “Bad Boy”
(Slope Records www.slopercors.com)
One would not expect to do much surfing in Phoenix, Arizona
but do not tell that to The Blankz whose poppy, sun-kissed
“I’m A Gun” is more infectious than a barefoot
stroll through an Ebola ward. The song is exactly the type
of song the world needs right now; two minutes of no frills,
unpretentious goodness with intentionally goofy, tongue in
cheek lyrics (“I’m a Gun and I’m gonna kill
you”). Tommy Blank has the perfect voice for a band
of this style, as the guys blend dawn of the 80s New Wave
with the purest blasts of punk from the days of Max’s
Kansas City and CBGBs. The B-side “Bad Boy” is
a similar slab of light-hearted sugar punk. However, the coyly
sexualized lyrics are reminiscent of “53rd and 3rd”
with a more buoyant structure. Two great songs that will you
forget just how miserable you currently are.
 ALPHA
DU CENTAURE/ ELVYN RUDD - Split 7” (PVR Records www.pyrrhicvictoryrecrdings.com)
I live for releases like this-PVR never disappoints and the
split release here is a droning, misanthropic gem. Alpha Du
Centaure has only been in existence since 2016 but the band
sounds as if they never left 1991. Blending elements of dreamy,
shoegaze pop and delicate, nearly fragile guitar playing,
“Le Movement Perpetual” is a mesmerizing ride
through a sensual blast of elegant beauty. Wrapping itself
around you, the six-minute effort permeates the listener as
the dual guitar playing of Cédric Tessonneau and Gaël
Marcou hovers, explodes, and recedes with dazzling brilliance.
A stunningly beautiful song from a band with remarkable mastery
of sonic balance.
Elvyn Rudd is the work of Leo Puy and Cassandre Arpin, and
they infuse their minimalism with aspects of bluesy, nearly
country-bake soul on “Orange is for Love”. The
couple share vocals with Puy’s deep, nearly monotone
bleakness counterbalanced by the haunting glow generated by
the glow of Arpin’s delivery. With “Orange”
and “People in Hampton Court don’t Care About
Dying” both clocking in under three minutes each, their
combined output is briefer than that of their counterparts,
but the songs work well with their brevity. “People”
hums along with a similar meandering pace as “Orange”,
but the vocal accompaniment of Arpin looms larger and is more
panoramic in scope. In all, three gorgeous songs on one staggering
split.
 KING
BROTHERS - Wasteland (Hound Gawd Records www.hundgawd.com)
King Brothers are such a great rock act that I failed to catch
on that all of this is delivered in Japanese. The language
barrier does not matter, for the trio of Keizo Matsuo, Masafui
Koyama and Zony (naturally the drummer) transcend culture
and dialect with songs that rattle with limitless energy.
All one needs to hear is the raring “Oh yeah”
on “No Want” to know that rock n’ roll is
universal. Everything on Wasteland is designed for the aficionado
of garage rock delights, as “Bang! Blues” is little
more than vocal noises, but it is held together by fuzzy guitar
work and unbridled energy. The harmonica playing on “Odorushikabane”
transports the listener into a different era, as these guys
clearly listened to expansive amounts of early Americana rock
and transformed it into something distinctly original. A song
like “Kick Ass Rock” may sound simplistic-and
it is-but it roars with a vibrancy that cannot be feigned.
I also have to respect any band that drops their name into
a song, as the guys do in “The Machine” by saying,
“This is King Brothers/latest style of rock n’
roll/haven’t you heard? You gotta shake baby/yeah! Whoo!
Whoo!” I concur…whoo, whoo, indeed.
 CURSIVE
- Vitriola (15 Passenger Records www.15passenger.com)
2018 has not been a great year, much like 2017, and to have
a new Cursive record actually brightens an otherwise dismal
world. Tim Kasher is one of America’s great songwriters
and his leadership within Cursive shines again on Vitriola.
Omaha’s greatest contribution to American society (aside
from the College World Series) has constructed a sterling
collection of expansive, articulate, and emotionally gripping
songs. When Kasher says “the internet gave the world
a mouthpiece then swallowed our enlightened intellect”
on “Ouroboros”, it is not the old man in the neighborhood
telling the kids to get off of his lawn-he is truly sickened
and saddened by the culture in which we all find ourselves
struggling to understand. His biting social commentary is
accented by buzzsaw guitar blasts and the sarcastic advice
of “read between the htmls” hits with a biting
cynicism. Kasher has addressed many personal issues on both
Cursive’s work as well as his own solo records, including
adulthood, marriage, family, and divorce, but I have not heard
him as frustrated-almost flustered-as he is on Vitriola. I
do not believe that he has given up, but like so many, the
guys in Cursive look around, shake their heads and find a
way to soldier on, and this perhaps explains the title of
the record’s seven minute closer “Noble Soldier
Dystopian Lament”. Lament seems to be a binding theme
throughout Vitriola, as the words “Wish I had hope,
wish I could cope with this” adorns “Under the
Rainbow” and Kasher bemoans how “life became one
big horror” and how the “world has never felt
so uninviting” on the majestic “Ghost Writer”.
The noisy intro and outro of “Life Savings” reflects
the chaos of the world around us, but the song itself addresses
the seriousness of wealth discrepancy with a nearly fanciful
tone, with Kasher noting that “there’s no future,
there’s only money”. However, it is the morose
piano riff which highlights “Remorse” that best
surmises what the band hopes to achieve on Vitriola. The playing
is lush and haunting, providing an element of serene beauty
to an otherwise daunting breadth of complex musical brilliance.
Cursive is not here to tell anyone that everything will be
ok in the end, but it is nice to know that the band is here
to provide a soundtrack to the collective disgust.
 ACTIVE
BIRD COMMUNIY - Amends (Barsuk Records https://www.barsuk.com)
This is yet another reason to pick up from wherever you are
and move to Brooklyn. Active Bird Community play compelling,
guitar-charged rock with lyrics addressing standard topics
such as love and break-ups, but do so in an unconventional
style. The explosions of force that wax and wane on the opening
title track set the stage for a mix of fun-loving and surprisingly
intense tracks. When vocalist Tom D'Augustino says “we’re
both in love with what hurts”, he is passionate and
brutally honest. The whimsical nature of “Baby, It’s
You” makes it a sweet track without becoming overly
sugary. The Weezer-esque riffs of “Virginia” radiate
with an infectious energy, while “Blame” is delicate
and fragile. This juxtaposition of style makes Active Bird
Community such an interesting listen. On “Metrics”,
Wolfson asks, “Why can’t I sleep without a pill
between my teeth” as dreamy guitar hovers overhead.
“Silver Screen” is an expansive and powerful track
that is among my numerous favorites on this record, and while
“Lighthouse” closes the record acoustically, Amends
is a boisterous, deftly delivered modern rock gem.
 DOC
ROTTEN - Illusion to Choose (https://www.docrottenmusic.com)
Doc Rotten delivers five new slabs of classic slabs of fury
led by the highly combustible opener “Mind Control”.
The song is a ripping beast of a track from its opening note
but also retains a subtle sense of harmony, particularly during
the chorus. Produced by the Bouncing Souls’ Pete Steinkopf,
the hooks become more pronounced and plentiful, especially
on “Questions”, a song that could have easily
found its way on any of the Souls classic records. At only
five songs, the EP flashes by quickly, but the band is so
nice that they have included much of their two equally impressive
earlier works, Fallout and Sick and Suffering, in addition
to this new material. Each song on Illusion to Choose has
a memorable blend of punk angst and pop-infused buoyancy.
“Snake” has a warm sensibility and places a strong
emphasis on the rock side of punk rock while powerful guitar
work and an indisputable swagger highlight “So Long”.
The closing “Hold Fast” is another sizzling blast
of well produced, adroitly played punk delivered with great
intensity. The band is incredibly exciting, and luckily for
the world (quite literally), these guys will be on the road
until the spring.
 BUM
OUT - Celebrate with Me I’m Letting Myself Go (Twistworthy
Records www.twistworthy.com)
Austin’s Bum Out sound like a trip back in time for
me; I could almost smell my old college radio station’s
stained carpets and stacks of vinyl as I listened to the opening,
angular riff of “Don’t Worry, I Forgot Your Name
Too”. When Doug Cohenour asks, “why are sad songs
so appealing?”, he is both pondering a larger esoteric
quandary and desperately looking for relief. This mental anguish
carries the work on Celebrate with Me I’m Letting Myself
Go, as the trio blends edgy, nervous playing with endlessly
emotional vocals. The result is a Rites of Spring/Fugazi approach
best heard on the soaring “Shut Up and Fish” and
the two-minute explosion of sound that is “Going Nowhere”.
While it would be rightfully easy to find one’s self
fixated on the guitar dexterity of Cohenour, the rhythm section
of drummer Dugg Nelson and bassist Mark Twistworthy cannot
be ignored, for they provide a solid, albeit at times chaotic,
foundation that allows Cohenour to explore a seemingly endless
array of riffs, including the fuzzy ruggedness of “Sell
Your Equipment”. “Clock Me Out” is a grinding,
fiercely driven anthem that reverberates with blunt force
that transcends punk angst and becomes something much larger
and darker, and “Whatabummer” sounds as if the
song is perpetually on the verge of exploding. Bum Out deliver
their music as if their very lives depend on it, and there
is a raw, relentless honesty to each of the eight songs. The
closing “This One” is a freight train of a song
with the trio delivering a precise punch with blunt force.
I am completely enamored with everything I hear from Bum Out
and I certainly hope these guys are on the road.
 PEZZ
- More Than You Can Give Us (http://signalflowpr.com/pezz/)
Pezz have been kicking around in one incarnation or another
since 1989, yet More Than You Can Give Us is only their fifth
proper release. While the band has endured hiatuses, line-up
changes, and all the other problems that plague most punk
bands, More Than You Can Give Us is a triumphant declaration
of the Memphis’ band’s commitment to speedy, highly
melodic, and socially conscious music. “Live Another
Day” is a blistering, dense opener that addresses the
permanent torment with suicide and the inability to sometimes
stop a friend from making that decision. (“Sometimes
you watch your friends unravel right before your eyes”)
“Light the Way” and “This Too Shall pass”
may reduce the bombast but not the emotional power, with the
former reiterating the message that individuals have only
one chance to live their lives and that cannot be underappreciated.
When vocalist Marvin Stockwell declares “welcome to
a warzone” in “Welcome to Palestine”, he
does far more than express rage; he is unleashing a frustration
wrapped in historical failures that have led to untold numbers
of deaths. What separates Pezz from other acts is that is
not blinding hardcore nihilism, but rather highly coordinated
songs with complex structures, mature lyrics, and clearly
defined ebbs and flows. “More Than You can Give Us”
is a beast of a song that still refuses to sacrifice harmony
while “Hard Lessons” is built around a thunderous
chorus. A staple throughout the record, regardless of the
song, is the stellar guitar playing of Stockwell and Ceylon
Mooney, as heard on the slow boil build-up of “I Miss
You So bad” and the rattling closer “Guilty”.
Pezz is a band committed to ending social injustice as fiercely
as they are to their music, and the work on More Than You
can Give Us is far more than another emotionally charged punk
record-this is a wake-up call to the apathetic to look around,
get scared, and do something.
 GOLD
STAR - Uppers and Downers (Autumn Tone Records www.autumntone.com)
Despite hailing from Los Angeles, Gold Star is bathed in the
warmth of not the Hollywood skyline but of highly emotive
Brit-pop. The folk-inspired tones one hears on Upper and Downers
resonate boldly, but I continually see the members of Gold
Star breaking up fights between the Gallagher brothers as
I hear “Crooked Teeth” and “Chinatown”.
While “Half the Time” is a jazzy, heartfelt gem
with a Stones vibe, it is the gut-wrenching melancholy of
the title track that leaves me haunted. A highly understated
minimalist song, “Uppers and Downers” crawls through
the speakers and stares listeners in the eyes. Marlon Rabenreither
is an extraordinarily gifted songwriter, generating lyrics
that still feel so close to home even if the experiences he
describes are completed disconnected from the lives of his
listeners. The haunting and longing his voice conveys throughout
the record belies his youth and when he says that “he’s
turning twenty-seven and getting too old to die young”,
the sense of loss is palpable. Rabenreither is a man who does
not seem of this age, borrowing a Beatles-esque ethereal beauty
on “Does it Ever Get You Down” and “This
is the Year” is another sterling example of simmering
pop splendor. “Babyface” stands out among the
collection with its delightfully rich harmonies and resplendent
hook. Everything about Uppers and Downers is highly distinctive
and while there are aspects of Gold Star that are comforting
in their familiarity, this is undoubtedly, a highly gifted
and unique American contribution.
 LOVELAND
- “Strange Charms” b/w “Web of Sound”
(Hound Gawd www.lanaloveland.com)
Loveland plays a perfect combination of hazy, fuzzy garage
rock that swings like a 60s beach-blanket bingo party led
by Lana Loveland’s sultry vocals. Built around a slightly
psychedelic wave of washed out guitar freakiness compliments
of Lenny Svilar, the track proves to be both contemporary
and timeless. “Web of Sound” has a slightly more
angular shred of a guitar riff, but the overall tone remains
highly focused. Loveland is obviously led by the legendary
Lana Loveland and that alone is enough to sell this for me,
but both songs are pristine, hard-driving anthems that encapsulate
the best features of authentic American rock.
 ASPIGA
- Dragged Through the Years (https://aspiga.bandcamp.com)
New Jersey’s Aspiga play a highly familiar style of
emotive punk that is quite comfortable and familiar but also
devoid of pretense. The opening “Beautiful Wounds”
is a well-textured effort that is a dense but not obtuse piece
of melodic guitar punk. It is a very solid opener, but my
eyes were truly opened by the more aggressive “August”,
a track propelled by the powerful low end of bassist Alec
McVey and drummer Ray Solowij. “Searching” is
a lush, highly melodic song that brings to light the best
elements of classic 90s emo with subtle touches of grizzled
grunge, while “Fading Into Summer” is just a perfect
example of how a band can mesh smart, sharp playing with equally
engaging lyrics from vocalist/guitarist Kevin Day. The pummeling
opening to “Momentary Flashes” hooked me instantly
as I found myself inundated by a tightly wound guitar riff
wrapped around another frenzied rhythm section delivery. Never
what one would declare as raw, but also not overly polished
at any point, Aspiga toes the line between slick and rugged,
finding a well-honed middle ground that is highly impressive.
 ELECTRIC
SIX - Bride of the Devil (Metropolis Records www.metropolis-records.com)
Detroit seems to produce a certain type of rock n’ roll-a
grimy, blue-collar style of rock that is always covered in
a thin layer of sweat and grime that is found on those who
actually put in a day’s work. The Electric Six fit perfectly
within this knock around world and while some of Bride of
the Devil may be a little tongue in cheek, this is a thunderous
record. The Electric Six are well regarded for not letting
down their fans, and that is the truth here as well, for Bride
of the devil is a groove-happy nasty rock record. “You’re
Toast” is a bluesy, last call after a long night type
of feel and embodies the band. Not what one would call retrospective,
Electric Six give a modern kick to the shimmering, all too
pretty rock n’ roll with a blast of grinding power.
While some may laugh off a track like “Hades Ladies”,
with its tributes to disco balls and the 1980s, a closer listen
reveals one ripping, angry beast of a band, and even the keyboards
heard on the title track do not minimize the heavy low end
and biting guitar. “Witches Burning” is a rousing
explosion of fuzzed-out guitar that is a mass of dark fun
equaled by the triumphant “Grey Areas” and its
limitless angst-fueled energy. Run out and grab this, put
it alongside your Electric Frankenstein records and enjoy!
 ALBERTA
- Mmmmm (alberta.bandcamp.com)
David Boone is a lo-fi, one-man act that has apparently given
up all he owns to hit the road and support Mmmmm. While this
may reflect a courage few possess and may be overly ambitious
in theory, one listen to the record and it is easy to hope
Boone breaks big because his work is played with an exceptionally
puissant style. The rough acoustic vibe of the opening “Outta
My Head” rumbles noisily before giving way to the far
more smooth “Nobody’s” which glides with
an ease and confidence. “Accidents” creeps along
at a measured pace, accented by underlying guitar haze to
create a blues-based track with a highly distinctive personality.
Boone’s voice strains at times, but his inflections
reflect the intensity that drives the record. While reserved
in nature, even sullen at times, nothing about Mmmmm is ever
tedious or repetitive. Each song has a unique identity, from
the genteel beauty of “Soft Lights”, with its
slide guitar and hushed vocals, to the subdued beauty of “Jay
Walk’n” that is accented by anxious guitar riffs
that sporadically enter and depart. Boone erupts vocally here,
unveiling a gruff, rugged sound that matches the power of
the song. “Parlour” has a sultry, bluesy sensibility
that defies the twenty-nine years that Boone has occupied
this planet. He has the heart of an old soul and the talent
of a grizzled veteran, as Mmmmm is the soundtrack one would
hear in small bars choked with the overwhelming presence of
smoke and the broken-hearted, if people were still allowed
to smoke in bars. The piano-kissed “Clueless”
and the uniquely titled “Baby, Don’t Blow Your
Head Off” meander and the latter could easily be heard
on the score to a piece of film noir with its soulful, haunting
horns mixed perfectly into a faded background while Boone
laments, “baby, I’ve got a bottle with your name
on it”. The Dixieland jazz of “Black Powder Sweet
Pea” is a resounding blast of unfettered fun, as the
song bounces with energy and enthusiasm. The more restrained
jazz of “Quitters and Thieves” reveals a disquiet
brilliance that elevates Boone above others attempting to
perform in this style. Alberta is sophisticated music for
a largely unrefined age, but Boone remains true to his vision.
Beautifully done, Mmmmm should be widely celebrated.
D’ARCY s/t (https://darcytheband.bandcamp.com)
When I saw this pop into my inbox, my mind instantly turned
to the D’Arcy of Smashing Pumpkins, and as the opening
“Ritual Massacre Soundtrack” began, I quickly
came to realize that I am not that far off musically speaking.
This veteran New Brunswick band plays heavily constructed,
dank and dirty rock with a palpable 90s influence. Each song
has a refined delivery that is obviously well honed and precise,
but one can also imagine “Beautiful and Down”
simply rattling walls in a live setting. This ability to keep
their power in check is the band’s finest skill as the
trio produce songs that are deftly performed but overflowing
with sizzling fury. The rousing “In Heaven” and
“Shaking” resonate with Nirvana-esque force, brimming
with intensity yet still adhering to the love of a big hook.
Taking cues from Dinosaur Jr. and Mudhoney, D’Arcy play
with a passion and urgency that captivates, especially when
the band elevates the speed and aggression. “Lethal”
is drowning in feedback and distortion and bleeds nicely into
the dense thump of “Hazel”. “Disorder”
is a brooding powerhouse of a song, propelled by a thunderous
low-end. The track liberally uses the well-worn loud/soft
dynamic, but does so with a dynamic precision that prevents
it from sounding cliché. The quiet closer, “Boy”
seems a bit anticlimactic, but still emanates a warmth and
quiet power. While not much is known about D’Arcy, they
are highly worth the effort to find.
 A.M.
NICE - End of an Era (http://phratryrecords.com)
This Cincinnati, Ohio trio play easily digestible forms of
punk rock swaddled in harmony and pop arrangements. “Porchlight”
announces the start of End of an Era with the band sounding
like a twenty-first century Buzzcocks, led by the immediate
impact of Adam Nice’s hook-riddled guitar playing. Rounded
out by bassist Nick Hill and drummer George Marshall Jenkins
IV, A.M. Nice have a jittery, shimmering quality to their
work. Rattling like an “I’m the Man”-era
Joe Jackson and early Feelies, End of an Era snaps with bustling
energy on “Say Hey” and “Mothers Posed”.
The richly melodic title track is a glaring example of maturely
crafted, pop-infused proto-punk, or what would have been simply
labeled “alternative” twenty-five years ago. “Mind
Right” is a slightly more subdued effort as Nice adopts
a quieter tone before rising concurrently with the chorus.
The beautiful “Lost at Sea” is my favorite of
the nine offerings, as it alternates effortlessly from a mid-tempo
stomp to an atmospheric hum. “I’ve Done It”
is another jangly, highly kinetic blast of youthful energy.
Hopefully, End of an Era is merely a title and not a prediction
of the band’s future.
 ANAMON
- Purple Green and Yellow (https://anamon.bandcamp.com)
Ana Emily Monaco is the leader of Anamon and it is her voice
that is instantly engaging on the opening “No Friends”
from Purple, Green, and Yellow. While genteel guitar waxes
and wanes with varying intensity, the song maintains a steady,
mid-tempo pace. However, the meandering nature of the song
belies what is simmering beneath, and that is the most intriguing
aspects of Anamon. The band’s name, from the research
I did, loosely translates from Japanese into “a small
gate in a mud or stone wall”, and this uniquely specific
term somehow fits this Rochester, NY band perfectly, for like
their obscure nature of their moniker, there are quite few
bands that generate such a warm and unique sound. At times
swaying with a slight country twang (“Magician”)
and other moments exuding wild energy, including soaring sax
solos from Luke, Anamon is a varied celebration of classic,
fearless, indie rock. Daring and adroit in all they attempt,
no two songs on Purple, Green, and Yellow sound alike, yet
there is the generation of a very specific sound. The blues-touched
“Queen of Fools” is a rollicking slab of Americana,
while the brief “You Cry” allows Monaco to maximize
the stirring nature of her voice. Anamon has a style that
defies genres and labels, for there are injections of garage
punk here as well, but I largely hear a band of players who
easily grasp intricate song structures to create music that
is both familiar and comforting but also challenging and wholly
original.
 MILKMEN
s/t (Know Hope Records http://www.knowhoperecords.com)
While Milkmen dabble with jazz elements on their self-titled
release, they are at their collective core, a thrilling rock
band. The opening “Ramus” is a noisy, aggressive,
birthcry that is wonderfully paired with the blazing pace
of “Johnny Dangerously.” Frankly, I did not think
these guys were old enough to remember this oft-overlooked
Michael Keaton gem, but I was smiling broadly throughout the
track as Ben Thieberger pushes his voice as fiercely as his
berates his guitar. Each of the works stay for only a brief
visit, as only a scant single track lasts beyond three minutes
(the closing “Foreverday,”) and while one is exposed
to a streak of unencumbered chaos at times, I am also repeatedly
taken by the level of self-control one display as well. The
rumbling, tug of war structure of “I Think I Know”
has a complexity that yet still retains a deft rhythmic composure,
compliments of bassist Brian Hughes and Anthony D’Arcangelo.
Yet Thieberger declares that his mind is “rigid and
at the same time it is without shape or form”, he surmises
the musical capacities that define the band. Built around
a central riff, many of the pieces on Milkmen boldly flee
into numerous directions at once. The guitar gymnastics of
“K.O.T.H.” are supported by the thunderous anchor
of a powerful rhythm section that provides a solid base for
Thieberger’s experimental streak to manifest itself
as wildly as possible. Some of Milkmen captures an early 90s,
alt-rock sentiment such as the noisy “Circles are Square”
which sounds like a band handcrafted to with Archers of Loaf
or Polvo. The record takes a brief yet musically significant
detour on “Fruit Leather”. The song is a fluid
demonstration of the band’s affinity for jazz standards
but yet it also reveals Milkmen’s own brand of defiant
individualism. “Indian Red” is a controlled demolition
of a song, accented by the vibrant lyrics, “You’ve
got your fingertips pressed against his chest, ripping out
his heart through his vest.” With its seething guitar,
the song is the equivalent to be awoken from a deep sleep
by a violent punch to the head. Finishing up with the aforementioned
“Foreverday,” Milkmen conclude an exhilarating
ride through modern indie punk.
 STRINGER
- My Bad (https://stringerny.bandcamp.com)
The chaotic noise of “Intro” sets a unique tone
for Stringer’s latest effort, My Bad. Rather
than continue down a spiral of a furious musical inferno,
the band launches into the pop-kissed rocker “USA;”
sunny musically but intense vocally, the song presents a dichotomy
that defines the band. A similar style is heard on “Flower
Bomb” as well, another up-tempo track that is a rollicking
slab of feel-good punk. The slamming power of “Through
the Walls” rattles for a scant two minutes, while “Ghosts”
is more aggressive in nature, wrapping itself around a crunchy
guitar hook. These briefer blasts of force are among my favorites
moments, as “Termites” slams away with reckless
force and raw passion, while “Halving” ebbs and
flows with a classic loud/soft dynamic. The delicate, methodical
“Rachel” suddenly explodes into a boisterous ball
of force that is both surprisingly and extraordinarily powerful.
“Swimming” and “Dead Horse” make for
a perfect pair of smartly crafted, moody pop with a permeating
sense of sorrow that creates an intriguing duo of works. While
members of Stringer have played in various bands, they retain
a DIY ethic that is highly commendable, as is their adherence
to providing a new twist to standard pop-punk fare.
 BRAZEN
YOUTH - Primitive Initiative (thebrazenyouth.com/)
Brazen Youth play music that defies their moniker; rather
than aggressive bursts of frustration, Brazen Youth offer
richly harmonious rock with well rounded and softened edges.
“You Could Not Provoke Me” sounds like three songs
in one with its subtle tempo shifts, and this is heard throughout
the record as the founding duo of Nicholas Lussier and Charles
Dahlke (now accompanied by Micah Rubin) craft songs as bucolic
and expansive as the rural ton of Lyme, Connecticut from which
they hail. “Birds in My Attic” and the delicate
“Back of My Mind” are heartfelt, emotionally provocative
works of raw honesty and daring vulnerability. Jazz-like in
its structure, “Back of My Mind” shimmies with
the grace of Steely Dan, blending superior musicianship with
a bold (“brazen”, perhaps?) rejection of any particular
trend. The beautiful “Death Posed” is a warm embrace
of a piece, encasing the listener in a cocoon of soft piano
and hushed vocals that are both genteel and unsteady, forging
a dichotomy that mirrors the song itself as the work rises
slowly to a powerful climatic conclusion. “My Feet My
Sun” is built around a stirring piano riff and has the
most vibrant pop elements of any of the songs hare, followed
by the folk-pop goodness of “So Young Then”. “Burn
Slowly I Love You” is a sparse, richly emotionally complex
effort that is flushed with 70s AM radio qualities interwoven
with an understated repetition of the wonderfully hypnotic
chord progression. The closing “Figure in the Field”
toys with song structure a bit, injecting an experimental
strain not heard in the previous nine anthems (minus the seconds-long
title track). Flowing like an epic poem, the track is a winsome
beauty, closing with vocals that are airy and hang like an
apparition as the song concludes. This is not my first style
of choice, but Brazen Youth mesh the past and the future to
create engaging music to be enjoyed now.
 KINKY
FRIEDMAN - Circus of Life (http://www.kinkyfriedman.com)
I first learned of Kinky Friedman on the Don Imus Show with
his legendary “they Ain’t Making Jews Like Jesus
Anymore”, and I still can hear Imus roaring with laughter
as Friedman unleashed a collection of brutally funny lyrics
that would undoubtedly bring a legion of protests today. While
I knew the Kinkster was still hanging around, I did not give
his career much thought until Circus of Life suddenly appeared
in my review pile, and I am glad it did. I was amazed to find
that this is Friedman’s first collection of original
songs in nearly forty years! Kinky Friedman is a sardonic
songwriter (In the otherwise dour and self-reflective “Back
to Grace”, Kinky admits “Some kind people brought
me here/They said do you want salvation?/ I said I’d
rather have a beer”), but the comedic strains are merely
an ancillary component of his craft. His adherence to honky-tonk
style country shines forth of “Cooper Love”, but
much of Circus of Life are slower, powerful tales of drinking
and sadness occasionally accented by fleeting moments of hope
and hopes for redemption, as he explores on “Sister
Sara”. His ode to Willie Nelson “Autographs in
the Rain” is a touching piece of fandom, but other songs,
such as “Jesus in Pajamas” which tells a tale
of finding Jesus visiting a Denny’s includes poignant
lyrics accented by brilliantly ironic elements (Jesus arriving
at 3:16 am is just perfect). The heartbreaking “Song
About You” lays bare a raw sense of sorrow with great
courage, a theme repeated on “Me and My Guitar”.
There appears to be a sense of reckoning and self-exploration
throughout Circus of Life, with Kinky looking backwards with
a combination of melancholy and acceptance, best captured
on the opening “A Dog Named Freedom” and the closing
“Sayin’ Goodbye”. With a staggering ability
to paint images with vividly descriptive language, Kinky Friedman
is an American treasure, and hopefully this does mark the
end of his career.
 THE
STUDS - Red Planet Rock (https://thestudsmusic.com)
The Studs play highly infectious punk-pop with copious
amounts of buzzsaw guitar playing and gang vocals. “Shrug”
kicks off Red Planet Rock with a rousing riff and catchy
hook. The guys from Chicago do not deviate from their formula,
but this style fits The Studs perfectly. The one exception
is the subdued “Numb and Cold”, but even this
track becomes a volcanic eruption of Ramones-like speed
for its closing sixty seconds. “Idiot” teems
with Screeching Weasel style harmonics, capturing a classic
tone of melodic punk rock that still retains an aggressive
edge. The Star Wars nod on “Alderaan Exit” and
its refrain “We need an asteroid now” may capture
the frustration felt by so many due to contemporary events,
and its searing guitar and strained vocals capture that
frustration perfectly. Ending with another pop culture reference,
“Stupid Sexy Flanders”(a Simpsons reference
for those too young to know) is given a wider berth and
the band stretches out their sharp playing for four thrilling
minutes. For a bunch of friends who broke up in 2015 and
have not released anything new in five years, The Studs
certainly do not miss a beat.
 SEAN
TOBIN - This Midnight (https://seantobinmusic.com)
Playing acoustic music with true ardor and intensity can be
a delicate proposition. It often sounds forced or falls flat.
Neither is the case with the music of Sean Tobin. From the
delicate embrace of “Winter (In an Ocean Town)”
to the personal lyrics of “Human”, a beautiful
song accented by haunting strings, Tobin plays intelligent,
poignant music for those seeking depth from their songwriters.
While “Coalition” kicks the eight song collection
off with a more rousing spirit, the majority of the songs
on the record are heart wrenching tales of loneliness, lost
love, and the other pains that haunt so many. The title track
is a simply beautiful song about the most powerful of feelings,
and Tobin captures the depth of love and passion with remarkable
clarity and vivid detail. Tobin’s ability to portray
fleeting moments of one’s life with dazzling figurative
language makes him an exciting listen, even in the most quiet
of moments. The closing “Everything and You” is
a bare-bones track displaying the lush nature of Tobin’s
voice (“ all we need is three chords and the truth”)
over the sparest of guitar strumming. When he declares that
he “could use some light”, the words cut through
the soul of the listener. Sean Tobin is not afraid to bare
himself for public consumption and we are better for his courage.
---------------------------------------------------------------------------------------------------
 LENNY
ZENITH - What if the Sun? (www.lennyzenith.bandcamp.com)
Lenny Zenith is one of those fascinating artists that has
been around for a very long time in a multitude of different
acts, but somehow remains well below the radar of most. Unfortunately,
I am one of those who recognized some of Zenith’s past
bands (RZA, Jennifer Convertible) but did not know the name
individually. Throughout What if the Sun, Zenith plays a driving
brand of straight ahead rock with insightful, poignant lyrics
about the everyday worries that plague all of us. On the opening
“Sunday Dress”, Zenith declares, “Everybody
walks in time, everybody thinks you're fine
Nobody can imagine your frustration” as a huge riff
rattles and Zenith’s clear yet commanding voice cascades
over the top of it all. The title track offers assistance
for those overcome by life’s daily and occasionally
emotionally crippling anxieties by trying to imagine a world
in which the worst happened-the sun actually fell from the
sky. In comparison to that disaster, even our daily news updates
that cause our phones to explode do not seem as frightful.
A wide swath of rock n’ roll is explored throughout
the record, including the guitar fueled stomp of “Whatever
Stella” (including the line, “emotional terrorist,
I don’t have time for this”) and the lush jangly
pop of “Hands”. However, the true beauty of this
record is the ease with which Zenith and his band, accented
by guitarist Ben Collins, bassist/guitarist James Pertusi,
drummer Scott Campbell, and keyboardists Carl Baggaley and
Leah Diehl, sway from boisterous tracks such as the two minute
blast of “Trouble” to the serene, majestic “Wish”
with effortless precision. “Decompress Baby” and
“Still I Rise” are other sterling examples of
serene power pop that are instantly infectious, highlighted
by Zenith’s warmth as a singer. Hopefully, What if the
Sun brings Lenny Zenith the type of name recognition so rightfully
deserved by a highly talented artist.
 A
FLOCK OF SEAGULLS - Ascension (www.august.net)
The year was 1982; a New York real estate mogul named Donald
Trump was busily shooting his mouth off to the press about
his value and impact upon society and “I Ran”
from A Flock of Seagulls was a top ten hit as a result of
heavy MTV rotation. Fast forward thirty-six years and Trump
is president (for now anyway) and A Flock of Seagulls have
recorded an album accompanied by the Prague Philharmonic Orchestra;
honestly, I am not sure which of these two events strikes
me as more odd. What one hears on Ascension is A Flock of
Seagulls for adults; the synth-powered fun of “I Ran”,
“Space Age Love Song” and “Wishing (I Had
a Photograph of You)” have been replaced by lush, symphonic
beauty, granting the songs a level of gravitas before considered
unimaginable. The closing “Man Made” hovers for
over eleven minutes and possesses an unnecessary sense of
self-importance, but the majority of the work stays true to
the original, simply repackaging the synth-pop with orchestral
pop. The Seagulls became a bit of an 80s joke due to the idea
that Mike Score and his band mates were all haircut and no
talent, but when one listens to “Telecommunication”,
“Transfer Affection”, and even the ubiquitous
“I Ran” in this form, it is obvious to recognize
the song writing talent that existed beneath the mountains
of teased and gelled hair. I am not certain if Ascension is
an effort by the band to silence dismissive critics, a cry
for attention, or both, but it is an interesting meshing of
two dramatically different musical styles into a soaring accomplishment.
While other acts have played with symphonies ranging from
Frank Zappa to Metallica, one hears a distinctive difference
on Ascension, for this disc strips away the façade
that defined A Flock of Seagulls throughout their career and
allows those who may not know or remember much about the band
aside from their incessant MTV plays to hear the band in an
entirely new light. I do not know what the demand would be
for this disc, but it helps someone answer the question, “hey,
do you remember A Flock of Seagulls? I wonder what they’re
up to, now”, and I guess there is value in that.
------------------------------------------------------------------------------------
 ROBERT
POSS - Frozen Flowers Curse the Day (Trace Elements Records
www.robertposs.com)
Robert Poss is a remarkably gifted musical visionary with
an expansive resume and impressive history, including spending
nearly a decade working with modern dance companies. His background
is steeped in unique approaches to guitar playing and how
that instrument can be seamlessly woven into the complex fabric
of experimental music. Frozen Flowers Curse the Day only continues
to display Poss’ continued growth as both a guitar player
and constructor of intricate song ideas. The ten songs are
a smattering of various styles and tones, but the continuous
thread is the belief that if artists are to be truly intrepid
concerning the creative process, their results should come
in numerous forms. Opening with “More Frozen Flowers”,
Poss takes listeners through a stunning journey of atmospheric
loops and ethereal soundscapes accented by his ever-present
guitar wizardry. The songs range in length and fury, with
only a trio incorporating vocals (“The Sixth Sense Betrayed”,
“I’ve Got a Secret List”, and “”You’ll
Curse the Day”), but frankly, any additional accompaniment
simply gets in the way of truly immersing one’s self
in the ocean of guitar brilliance put forth by Poss on the
swirling, meandering masterpiece “Time Frames Marking
Time”. Clocking in at nearly nine minutes, the song
soars effortlessly and seemingly scurry by as the listener
is absorbed by the song’s lush orchestration. This is
matched by the symphonic nature of “Bitter Strings”.
However, while delicate perfection abounds here, Poss can
also craft massive riffs, such as the bluesy “Sketch
72” and the hard driving force of “The Test Pattern
Setting”. The aforementioned “You’ll Curse
the Day” is perhaps the most traditional track of all,
with its strapping guitar riff and fuzzed-out vocals, but
it marks a sterling conclusion to a dazzling record. Perhaps
embarrassingly, this is my introduction to Robert Poss, but
I know the rest of my summer will be spent investigating all
that this man has created.
 NO
QUESTION s/t (Kitschy Spirit Records www.kitschyspirit.bandcamp.com)
This is what I always hope to hear when I find a new release
with minimal information; namely thick, punishing hardcore
with elements of sludge and powerviolence mixed in for good
measure. Delivering ten songs in twelve minutes, No Question
batters everything and everyone in their wake, sneers down
upon the broken carcasses, and moves forward with a knowing
smirk on their collective faces seeking out the next victim.
Every song is a simmering mass of aural devastation, highlighted
by the grueling “Signs of Abuse” and “Double
Negative”. The bass heavy “Substance Control”
will have the spin kickers gunning for people’s heads
and fists undoubtedly flying, while the opening “Structures”
is an incendiary introduction to a band that takes the energy
of Magrudergrind and Capitalist Causalities and injects an
Infest-style brand of heaviness to produce an ideal storm
of flesh ripping power. Powerviolence is a favorite style
of mine, and No Question do it as well as anyone right now.
 THE
PATHOGENS - Patient Zero (1896’d Music www.1986d.com)
Blending classic West Coast punk energy with a subtle adherence
to pop aesthetics, The Pathogens make intelligent rock n’
roll for intellectually lazy times. When singer Cinder Block
(just awesome, by the way) instructs all within ear shot on
“Rattle the Cage” to “let’s do something
bad”, it is not an empty cry of frustration and feckless
rebellion, but a demand for change to shock the system. The
shared vocals between she and Jess Luscious balance each other
with a sense of well-honed refinement, making the song both
impactful and memorable. Everything on Patient Zero is instantly
memorable, from the rowdy vocals of “Long Time Gone”
to the blistering speed of “Better Bother You”,
The Pathogens mix and match their punk histories to generate
a wide array of styles from one highly dexterous act. The
resumes of members is highly impressive and illustrates how
age and experience can often forge the best songs. Slickly
produced with explosive artwork, this is a single that will
be on repeat.
 TRASH
KNIFE/DUMB VISION – Split EP (Kitschy Spirit Records
www.kitchyspirit.bandcamp.com)
Two delightfully noisy, angular acts are perfectly paired
on this split release. Philly’s Trash Knife play rough
and tumble punk with an indie-rock spirit. Abrasive guitar
work scratches its way behind Lauren’s impassioned vocals.
Inspired and fresh in both approach and energy, Trash Knife’s
“Inna Funk” is a nervous, rousing punch to the
face, while “Locked Out” is a fuzzy garage gem
with a massive hook. With nothing reaching two minutes, the
three songs here come and go quickly, but this will be the
best five minutes of your day. “Sick of It” is
deliciously raw and overflowing with force and limitless vitality.
I love this band. Dumb Vision continues their evolution from
a grunge-inspired act to a more fuzzed-out powerhouse. “Modern
Things” and “Creepy Crawler” are a powerful
duo of tracks that instantly grab the attention of the listener
and refuse to leave. Equally aggressive as their peers on
the A-side, Dumb Vision have a sound that reaches to the past
but delivers a truly contemporary version of noisy punk. These
bands make for a perfect duo one this split release.
 DENTIST
- Night Swimming (Cleopatra Records www.cleorecs.com)
When a band begins with a sterling debut in the manner of
Dentist back in 2014, one has to be wary of the dreaded sophomore
slump; however, Dentist passed that test with remarkable ease
and is now perfecting their sound on the band’s third
record, Night Swimming. The centerpiece of Dentist
is the majestic vocal ability of Emily Bornemann, who can
sound innocent and optimistic or angry and frustrated with
similar effortlessness, producing a broad scope of emotional
force. The jangly surf-pop sheen influencing many of the songs
are merely a façade covering a simmering punk angst,
as one hears quite powerfully on “Figure-Four”
and “Alone in the Garden”. Guitarist Justin Bornemann
and drummer Matt Hockenjos work in perfect tandem with Emily’s
soaring voice and story-telling skills. The bounce of “Oh”
is juxtaposed with the coarse, rollicking “Remind Me”
and the aggressive “Tight Spot”, which is my favorite
of the bunch here. “Tight Spot”, with its refrain
of “tell me no/tell me no again” simmers with
frustration while good-natured surf riffs are drowned out
by thunderous bass and furious energy. The first single, “Corked”
(with the infectious line, “Something’s wrong
again, cuz we’re still friends”) takes the beach
atmosphere of the band’s home of Asbury Park, NJ and
injects an atmospheric quality into a traditional pop arrangement
to create a wistful beauty also heard on the luxuriant “Owl
Doom Pt. 2”. There is absolutely nothing one can do
with Dentist but to love them, and this one should be the
soundtrack of your summer.
 TWIN
GABLE - Gritty Gold (twingable.bandcamp.com)
This very DIY duo from New York have been harnessing and refining
a distinct pop sound for a few years now, and Gritty Gold
is the result of musical maturity from both Lider Calle and
Ken Rose. “Can I” opens with haunting noise and
includes lyrics that encourage and challenge individuals to
think more creatively. This theme of unique imagination is
heard throughout Gritty Gold, whether in the form of the subtle
dance grove of “These Times” or the harder edged
“Deeper”, with the latter also including minimalist
segments before concluding with a massive din of guitar and
dance energy. What makes Gritty Gold so intriguing
is how Twin Gable produces pop that is both conventional and
yet still atypical due to the intricacy of the song structures,
such as the numerous shifts in tempo on “The Beautiful.”“Fainting
Char” is a perfect single, with its highly rhythmic
and free-flowing nature, while “Money Song” returns
to the use of ghostly vocals accenting a streamlined pop gem.
Ironically, “ATM” follows “Money Song”
and the latter is a heavily distorted spoken word piece that's
both unnerving and somehow still comforting through the use
of a lush and spacious soundscape. This dreamy dance-pop is
truly the band’s strength, but “You Don’t
Have Any idea” reveals a multi-faceted aspect of the
duo’s abilities, as the song shifts seamlessly from
a sullen, quiet intro to a rousing, punk-infused explosion
of force before returning once again to its original gentle
nature. The music of Twin gable is simultaneously recognizable
and challenging, revealing a pair of musical wizards with
expansive imaginations the talent to bring life to their concepts.
 WELLER
- s/t (Tiny Engines Records www.tinyengine.net)
I am instantly taken in by the words of Harrison Nantz on
the opening “Answer Anything” when he wonders,
“I wanna know how we think to avoid the escape from
reality, and the nerves that make me tired as soon as I’m
awake”. This burst of anxiety-riddled honesty is delivered
above a poppy, fuzzy, guitar riff and sets the stage for a
nervous batch of jangly guitar nuggets that reflect how worrisome
it is to be young in America right now. Maturing and trying
the navigate the pitfalls associated with it act as the central
theme of Weller’s self-titled release, as Nantz exposes
about past relationships and an uncertain future through ten
blasts of brief anthems. Only two of the songs here creep
past three minutes, and one of them, “Standard”,
is a raw piece of self-examination on which Nantz admits that
“it feels sincere, how quickly I can disappear?”
while a sullen riff churns beneath his vocals supported by
bassist Evan Clark Moorehead and drummer Jeremy Berkin. Weller’s
brand of melancholy pop, occasionally structured around acoustic
riffs (“Buck” and the fleeting “Think Tank”),
maintains a freshness by boldly exploring personal feelings
of insecurity and misguided memories of the past, revealing
a lyrical deftness that will undoubtedly resonate with a vast
array of listeners. On “Every Other Day”, the
story is one of reassessment of one’s life and fighting
off the sense of impending doom with Nantz stating, “my
Ivy League education replaced with hate” as the song
increases in intensity without ever losing its fundamental
pop orientation. The closing “Point of Personal Privilege”
fluctuates in tempo and passion, as Nantz continues to ruminate
as to what will be and how he can reconcile what once was.
The songs on Weller read like a diary brought to life through
the daring honesty found within. Poignant, impactful, and
musically shrewd, Weller is not just a bunch of lost twenty-sometimes
lamenting their impression of fading youth (wait until you’re
in your forties, boys!), but rather, the trio articulates
fears and remorse that transcends age. Plus, the record is
also a staring collection of smartly crafted pop songs, and
that will never become antiquated.
 ROCK
N’ ROLL HI-FIVES - Re-Introducing the Rock N Roll
Hi-Fives (Little Dickman Records www.littledickman.com)
Perhaps America’s coolest family, the Rock N Roll Hi-Fives
are Joe Centeno on guitar, his wife Gloree on bass, and two
children Eilee and Evran on vocals and drums, respectively.
Now before anyone jumps to a cheap Partridge Family reference,
there is nothing cliché or fabricated about his band;
the Rock N Roll Hi-Fives are a fully formed and functioning
band that play gritty rock kissed by just enough pop sweetness.
On the opening “Same Mistakes,” Eilee sounds wiser
than her years when she says “Honey, you make the same
mistakes I do,” while her vocals on “Battles”
take on the classic tone of Cherry Curie and Brett Anderson
to capture rough 'n’ tumble rock. The snarky “Hold
On” has Dad Joe doing a wicked Rick Neilson impression
to craft a rollicking, slightly blues-tinged gem of a song
that includes a propulsive bass line and Evren’s steady
drumming. The band has the ability to strip their sound down
to a more raw and straightforward approach, best heard on
“Glass Towns” (complete with richly harmonic backing
vocals) and “Livin’ the Lost Boy Life”,
but the closing “Running Nowhere” has a chunky
riff ala' Johnny Thunders, accented by Eilee’s most
aggressive vocal performance of the record. Fun and incredibly
infectious, the Rock N Roll Hi-Fives inject a sense of purity
into their playing that is desperately missed by most bands
today. There is no pretense or tricks; this is rock 'n’
roll for people who love rock n’ roll, and I love it!
 LA
FIN ABSOLUTE DU MONDE - Killing the Host (Wicked Wonderland
Empire https://wickedwonderlandempire. wordpress.com)
This one is difficult to write, for La Fin Absolute Du Monde
is one of the most unique acts I have encountered, and sadly,
Killing the Host marks the end of the line for the
duo of Jason Myles and Cyndy Melanio. The couple, once married,
has now split and with the demise of their marriage comes
the end of the band as well. If there is any positive to be
found here, it is that Killing the Host concludes
the musical career of these two in staggering style. At times
noisy and dissident, other moments chilling and stark, and
still other tracks are groove-oriented and robust, LFADM is
a stark contrast to the vast majority of music being created
today, which is why their loss stings so significantly. Myles
and Melanio lived their lives together in the pursuit of crafting
challenging music and Killing the Host is a brash, daring
record of undeniable brilliant ideas engulfed by a swirling
din. The gentle keys that poke their heads out during “Shame
on You” are a subtle indication of this band’s
distinctive musical approach, as these delicate keys offset
a menacing sense of suffocating ambient force. Killing
the Host opens with the title track, a searing blast
of furious noise replete with Melanio beautiful vocals, while
the moody “Sunday Mourning” embodies the band’s
adherence to the darker elements of song crafting. “When
You Look in the Abyss” is punishing, as a devastating
bassline and chilling vocals coordinate to produce a masterwork
of modern black metal, a style heard in a similar form on
the Myles-led “They Divide”, yet that is only
one side of the multifaceted duo. “Pig Puker”
is a relentless assault upon the listener, as the song is
a thick, churning mass of blunt force awash in a murky sea
of distortion. The closing “Dark Days” moves with
the pace of a funeral dirge and really does encapsulate perfectly
the end of a band that seems to have a series of unfinished
promises. I do not know how many individuals were able to
appreciate LFADM while they were a functioning band, but whether
one is lamenting their break-up or hearing them for the first
time, it is impossible to not be deeply moved by what these
two music outliers created.
 MAD
CADDIES - Punk Rocksteady (Fat Wreck Chords www.fatwreck.com)
This is a cute ide Take a handful of (mostly) punk gems
and ska them up a bit. Punk Rocksteady is a record
one can throw on and just let it go, as the songs are recognizable
and the ska versions stay true to the originals while certainly
adding some spice. The gentle piano opening to Bad Religion’s
“Sorrow” gives way to a mid-tempo slide, while
the cover of Green Day’s “She” offers a
level of depth to the song that the original did not quite
capture. The songs swing and sway with dazzling playing, particularly
the deeply relaxing, tropical vibe of “Sink Florida
Sink." My favorite of the bunch is the Descendents classic
“Jean is Dead;” kicking off with a soaring guitar
riff, the song instantly shifts gears into a subtle reggae
groove and soaring vocals. It is quite an achievement to turn
“Some Kind of Hate” from the Misfits into a lounge
worthy treasure, but Fat Mike and the Mad Caddies do so with
deft skill. This one does not require much thinking or heavy
lifting; it is simply a collection of fans playing their favorite
songs in an inventive and distinctive manner, proving that
inter-genre crossover records can be highly well done.
 VON
HAYES - You Vape? (vonhayes.bandcamp.com)
Playing lo-fi rock n’ roll is trickier than it may appear,
for it can either be instantly appealing or a complete mess.
Von Hayes falls somewhere in the middle between utter disaster
and inexplicably intriguing on You Vape?, the duo’s
first record in a decade. Recorded whenever and wherever they
could, the fourteen songs are rollicking, noisy, fuzzy nuggets
of angst and self-deprecation. The refrain of “I used
to be cool a long time ago” (“Exclusive Monk”)
is delivered with a perfect blend of sarcasm and self-awareness,
while “Evident Eyelid” hearkens back to the early
90s indie explosion and would have undoubtedly been the song
from this record that I played into the ground on college
radio. While the opening “Museum” is a bit of
a muddy, scramble mass of jumbled lines, the record does include
wonderfully insightful anthems such as ”No Title”
with the observation, “Oh you think I’m happy
now?/Is that what this is?” and “Hey Gary (Let
Me Ride)”. The concluding “Crushed” is an
acapella song that puts a fittingly odd bow on a collection
of songs that is difficult to comprehend at first, but makes
far more sense if one simply reclines and allows the material
to wash over them.
 ABOLITIONIST
- The Instant (1859 Records 1859records.bandcamp.com)
This is exactly what I love and exactly what the nation needs;
raw, aggressive, and intelligently politically charged punk
fury from Oregon. The opener is a blazing two-minute assault
about how quickly all that we know can collapse, and this
sense of impending devastation is heard throughout The Instant.
With the longest track clocking in at only two and a half
minutes, Abolitionist does not stay for long, but they make
quite the impression. Dustin Herron may sound (rightfully)
enraged, but his vocal delivery is always quite clear, particularly
on the socially conscious “A Little Animal Liberation
Never Hurt Anybody” and the scathing “The Movement”
(“we’ve got a brave new world to mend”).
Fellow guitarist Jeremy Dunlap works with Herron to build
a wall of fuzzed-out guitar force that protects the virulent,
low-end bombast of Joseph Moher and Sean Rule on bass and
drums, respectively. Some of the work takes a more personal
turn on “Never Wanted This” and “Failed
Projects”, a track on which Herron declares that “we
won’t be your newfound animals” while a power
drill riff screams around him. With moments of expertly placed
gang vocals and a bold sense of melody within the din, Abolitionist
harkens back to a classic hardcore delivery. When one thinks
of the political instability and fear that accompanied the
birth of hardcore, the world today is once again in need of
bands that speak boldly and through aggressive, articulate
musical power. As the band asserts on “What If…?”,
“history repeats itself, no matter how many people die”.
A tragic thought for a tragic age.
 THE
PLURALS - Swish (GTG Records www.gtgrecords.com)
This trio from Michigan plays dense, surprisingly harmonious
punk rock, with an emphasis on the “rock”. The
opening “Overthinking” is a rough and tumble celebration
of classic guitar-driven force, while “Coke Daddy”
blends the best aspects of Nirvana and The Replacements at
both of their most melodic. The band has over a decade of
recording and touring together, and the benefits of experience
are obvious on the groove-oriented “I Have Your Life”
with Hattie’s vocals carrying the song, along with the
thunderous “Honey Water” which hears the band
hit a crescendo in terms of aggression. The fuzzy-pop of “Colorado
Sun” is matched by the sugar rush energy of “Be
Flat”, whose rich backing vocals offset the raw angst
one hears throughout the song. There is so much to like on
Swish, one can become swept up in falling in love with each
successive song; just as I relish the rousing kick to the
stomach that is “Hammer to the Head”, I equally
adore the Brit-pop style goodness of “Ghoulie”,
and after that along comes “Thermal Nuclear” which
is a highly charged slab of indie rock that completes itself
with a volcanic eruption of a conclusion. This is a band of
great skill and the ability to craft songs for nearly all
tastes-go out and find this immediately
 KARMIC
JUGGERNAUT -
The Dreams That Stuff Are Made Of (http://karmicjuggernaut.com)
Wow…this one is a trip, perhaps quite literally, from
start to finish. If Zappa’s Barking Pumpkin label was
still active, Karmic Juggernaut might be the first band he
would sign. Sprawling, fearless psychedelic rock, the songs
can be playful or rocking, and often a swirling combination
of both. “Psycho Billy’s Downtown Adventure”
is the darkest piece with the heaviest guitar riff, but even
as the distortion drips through one’s speakers, the
horn section of Ian Gray, Joonas Lemetyinen and Joe Gulluce
inject a level of reckless fun into the sterling jam. The
band’s core includes Randy Preston and James McCaffrey
on guitar with new singer Daimon Santa Maria out in front
of a rhythm section of drummer Kevin Grossman and Cody McCorry,
accompanied by keyboardist Jake Hughes. Together, this band
of virtuosos creates dazzling, wildly creative and free-flowing
masterpieces that are both somehow painfully intricate and
wildly improvisational in nature. The massive “Moving”
is a sprawling nine minutes, while “Be Careful Moving
Camel” is another lengthy piece that would become redundant
in the hands of less talented players. Interspersing everything
from hilarious end of the world radio broadcasts to brief
flashes of experimental noise, Karmic Juggernaut are indeed
a tank of innovative ideas performed by a collection of immensely
skilled, like-minded geniuses who relish the idea of being
musical outliers. This is not easy, but absolutely worth your
time commitment.
 PALE
BLUE DOT - Anatomy (www.palebluedotband.com)
I have been waiting for Pale Blue Dot’s next musical
act since their 2016 "Telescope" EP, and Anatomy
is another collection of richly melodic tracks that are replete
with tight grooves and the soaring vocals of Tony LaRocco.
LaRocco truly shines on “Stained Glass Window,”
a mesmerizing shot of rollicking playing over the top of poignant,
emotive lyrics. If real radio still existed, Pale Blue Dot
would be massive, for these are radio-friendly songs that
are anything but pre-fabricated drivel. Instead, the seven
efforts here bubble over with an enthusiasm and energy, while
still being truly beautiful in their delivery. It is difficult
to listen to Anatomy without being overwhelmed by the sheer
loveliness of the collective work, but these are not feckless,
weepy tracks; the lush musical complexity one hears on the
majestic “Dust and Light” confirms that. “Only
Love”, a song inspired as a reaction to the invasion
of the band’s home base of Charlottesville, Virginia
by tiki-torch waving white nationalists, bounces with the
enthusiasm of an 80s pop song accented by the stirring vocals
of Yolanda Jones. The opening “I Know” wraps itself
around genteel but highly powerful guitar work and La Rocco’s
lyrics of loss and regret. It is a significant, passionate
introduction to the band’s newest material that sets
a clear tone for the remaining six pieces. “Yesterday’s
News” craws along with La Rocco significantly flexing
his mighty vocal muscles while Peter Balough’s haunting
guitar playing floats behind him until the band shifts gears
and launches into a brief flurry of aggression to close out
the work. I would enjoy a bit more of that energy from Pale
Blue Dot, but their sound is wholly unique as the sensual
“Canyons” proves. A meandering six-minute jewel
of a song, the band never elevates their heart rates, but
the track still conveys a robust message.
 HIS
NAME IS ALIVE - Black Wings (HHBTM Records www.hhbtm.com)
His Name is Alive is the long-running spawn of Warren Defever,
and Black Wings is a celebration of everything the
band has always done extraordinarily well; namely creating
penetrating musicianship through lush arrangements and bucolic,
ethereal soundscapes. Vocalist Andrea Morici possesses a starkly
beautiful tone, and she is the star on the majority of the
work on the expansive, thirty-six song release. The opening
trio of “Patterns of Light”, “Energy Acceleration”,
and “You Best Pray” feature Morici’s breathy,
haunting vocals as she is accompanied by only the sparsest
amount of musicianship. The work on Black Wings includes expansive
works of wildly passionate emotion, (“How Ghosts Affect
Relationships”, “Get Air-La”), but the four
piece, rounded out by fellow guitarist Dusty Jones and drummer
J. Rowe, also explore a more thunderous side of their collective
personalities on the guitar-heavy “Rush”, the
rugged “The Examination”, and the furious din
of “Demonfuzz”. Even “You Best Pray”
is treated to a “fuzz” version, and the song that
is heard earlier as genteel and stirring, becomes equally
engaging as a far more menacing slab of brief, noisy, fits.
The band has an uncanny knack for moving effortlessly between
styles and formats, including elements of progressive synth
on the “Dragonmix I” and “Patterns of Lights
(Moog mix)”. Even brief snippets of songs, such as “Italia”,
“Memory” and “Les Zeppelina” are beautifully
arranged, and there is purposefulness to their presence in
the midst of longer, more fleshed-out tracks. The cacophony
of restraint of “After Greensleeves” is seated
comfortably close to “White Loops”, a buried gem
that sounds like a lost effort from the Stranger Things soundtrack.
There’s even a cover of America’s “Sister
Golden Hair” thrown in for purposes known only to the
band. Bands like His Name is Alive demonstrate how much creativity
there is still in the world; one may have to look deeply to
find it, but the search is worth the effort when one encounters
works of genius such as this.
 SHARP
VIOLET - “These are the Rules, Boys” EP (https://sharpviolet.bandcamp.com)
On a quiet Thursday night in Amityville, NY, I was fortunate
enough to catch a set from Sharp Violet, Long Island’s
contribution to a resurgent riot grrrl movement. A quick scan
of their Bandcamp page gives an introduction to a band that
is biting, musically skilled, and very intelligent. The sardonic
“These are the Rules, Boys” attacks the phenomenon
of “mansplaining”, but does so without blanket
accusations or sweeping condemnation; instead, vocalist Liz
Meehan, who looks and sounds like what could have happened
to Taylor Swift is she grew up listening to the Kill Rock
Stars roster, says, “It can be so easy/ If we got along/But
you always have to be right/Even when you're wrong”.
Accompanied by a riff straight from Bratmobile’s finest
moments compliments of Jessica Benenati, along with a throbbing
low end rumble from bassist Jasmine Fuentes and drummer Tala
diBenedetto, the track glides along with a controlled sense
of simmering frustration that ultimately explodes in the final
moments with Meehan roaring “always talking, never listening”.
Sharp Violet’s latest effort is “Domino Effect”,
taking full aim at Harvey Weinstein and his nauseating ilk;
Sharp Violet are the right band at the right time, for sadly
there are all too many stories of abuse and misogamy for them
to explore. However, while the behaviors the band chooses
to excoriate are repugnant, Sharp Violet’s music is
just the opposite. As someone old enough to remember Bikini
Kill, Heavens to Betsy and others when still in their infancies
as bands, it is inspiring to hear riot grrrl punk still being
played with such precision and rage. Go check out Sharp Violet
immediately.
 GRIM
DEEDS - Seasons in the Amiss (https://grimdeeds.bandcamp.com)
Regardless of what one may say about the music of Grim Deeds,
the man is limitlessly prolific, and Seasons in the Amiss
(just brilliant, by the way) is another collection of brutally
honest songs about just how disappointing adulthood truly
is. “Sucks to be an Adult” is the opener and it
sets the tone for the release, but as great as that song is,
“Act Not Stoned” may be my new favorite Grim Deeds
effort, as he makes it clear that getting high used to anger
his parents, and now it angers his wife. (“I have to
act not stoned/ so I don’t get in trouble at home”)
“Happy” is an ode to being miserable in every
aspect of one’s life, be it marriage, job, being alone,
or even spending time with friends. The dynamic “Give
Up Your Dreams” (“the life you live is meaningless”)
smacks of the Dead Milkmen’s best moments with its jangly
punk rock riff and tongue in cheek delivery. “Time Has
Come” wraps a huge, metallic groove around lyrics of
frustration and despondency about the current state of man’s
existence (“living in a modern hell”), and this
same theme is explored on the fiercely agitated “Leave
the World Behind”. The closing “Waste of Time”
is a fitting conclusion to a collection of furiously desperate
tales of woe. Only the opening track hits the three-minute
mark, and while there is certainly an Adult ADHD sensibility
to Grim Deeds’ material, none of the songs feel incomplete.
The work is here is quite relatable, maybe hitting too close
to home for many of us, and Grim Deeds uses biting humor to
capture the ennui of modern life.
 LORDS
OF ACID - Pretty in Kink (https://lordsofacidofficial. bandcamp.
com)
Not to be relegated to some form of 90s dance-club relic,
Lords of Acid mastermind Praga Khan returns with a dazzling
collection of quasi metal grooves awash in sexually charged
beats. Everythig throughout Pretty in Kink oozes the carnal
lust associated with the band going back to their legendary
1991 debut, but the star here is Marieke Bresseleers. With
a voice that is as soaring as it is erotic, she turns “Sex
Cam Girl” into a majestic celebration of sexual expression
of power and control, while her presence on “Ma Fille
De Joie” adds a level of subtle sensuality to the song’s
infectious hook. “Flow Juice” is riddled with
innuendo, and once again Bresseleers’ talent elevates
the lyrics above sounding corny (“move your ass around/let’s
screw”) to celebratory. Not everything on Pretty in
Kink slams listeners against the wall and grabs them by the
hair, as “Androgyny” is a slow-boil of a song
that climbs methodically over the course of four teasing minutes
with subtle surf-tinged guitar floating across a steamy rhythm,
and “Goldfinger” is an electro-funk banger that
includes a lush solo from Bresseleer before the track grinds
slowly until reaching a richly satisfying conclusion. Pretty
in Kink throws a more straightforward hip-hop grooves at the
audience on “What the Fuck!” and “God Damn
Good”, with the latter embracing eroticism over pure
visceral sexual fury. The record demonstrates how the band
has continued to evolve and dare I say even mature over the
past decades, as “My Demons Are Inside” is a gorgeous,
multi-layered track that will rattle walls inside of clubs
and assist in breaking box springs as well. The closing “We
Are the Freaks” is a declaration of individuality and
strength, and although it lacks some of the aggression of
earlier tracks, it acts a perfect conclusion to a brilliant
return from the Lords. The world is not a fun place to be
right now, and so if people can climb all over each other
while listing to Pretty in Kink, it may help to escape, if
even for a few moments, all the chaos that dominates daily
life, and that alone is reason to pick this up.
 DEAD
GIRLS ACADEMY - Alchemy (Victory Records www.victoryrecords.com)
Sleazy hard rock has become a lost art sadly, but Michael
Orlando and Dead Girls Academy are here to revive the form
with all the necessary swagger and excess. However, DGA are
not mullet-sporting retreads trying to capitalize upon a sense
of nostalgia; this is an old-fashioned rock n’ roll
band employing lyrics about life’s underbelly (“Right
now I wanna feel this pain forever”) and scorching solos.
While “I Can’t Feel a Thing” has a slower,
more controlled tempo, “Everything” could have
lit up the Sunset Strip in ’87, and I love every second
of this. Edgy and overflowing with nervous energy, Alchemy
is a stirring collection of impactful three minutes blasts
of rage and frustration that may be snubbed by elitists, but
that is not going to be DGA’s audience; instead, this
band will appeal to purists who remember when rock had an
element of danger and inspired panic. I love what Orlando
is doing here, and this is a man who confronted death and
rebounded with an even stronger sense of purpose. Alchemy
represents his remarkable attempt to craft a niche for himself,
and DGA will be a brilliant second act.
 HUMAN
ADULT BAND - Sonic Enlightenment (Third Uncle Records www.thirduncle.com)
Human Adult Band is the type of outfit that still gets me
excited about delightfully odd music as if I was still doing
college radio for ten listeners. From the green, swirly vinyl
to the whimsical noise found within, Sonic Enlightenment is
a cacophony of perfectly executed chaos. “This Will
Happen Again in a Year and a Half” and “Tampa”
are two schizophrenic blats of noisy, disorganized precision.
As a huge fan of metallic din, I adore everything about Human
Adult Band-this is anti-music to confound and annoy those
who simply do not recognize the genius at play here, but for
those in the know, Sonic Enlightenment is a gem. The brief,
surf-tinged “Monopus” comes closest to a more
traditional song structure, but its droning riff still sets
it aside from one’s typical act. This could be punk,
but in essence, Sonic Enlightenment is defiance set to a polyrhythmic
structure. Only the massive “Easton Ave. Laundromat”
and the feedback drenched “Old Timey Teratological”
include vocals, and while the presence of lyrics adds something
unique to these efforts, the majority of the work eschews
any vocal presence and allows the listener to be overwhelmed
by the musical directions taken by the band. “Cosmic
Snake Bite Kit” begins with a rather benign intro before
erupting into a screeching, agitated mass of force. Closing
with “Departed Earthen Angel”, a song appropriate
for a low-budget slasher film, Human Adult Band concludes
distinct blend of no wave, experimental noise, and fearless
originality.
 MOJAVE
NOMADS - Phases (Standby Records www.standbyrecords.com)
Roaring out of Ogden, Utah of all places comes this six song
EP of danceable guitar pop with sultry undertones. Mojave
Nomads blend lush synth from Mason Hill with the highly emotive
vocals of Tyler Harris to generate the dreamy sensibility
of the opening “GIRL” and the particularly beautiful
“Talk of the Town.” While “Morning Glory”
has a swirling rock vibe, led by guitarist Colter Hill and
supported by the rhythm section of bassist Bryton Bell and
drummer Cole Eisenhower, the guys return to more somnambulistic
tones on the genteel “Strange Love”. The closing
“Heavy” truly demonstrates the warmth and breadth
of Harris’ vocal abilities. I had no idea what to expect
entering this release, and I finished Phases immensely impressed
with what Mojave Nomads are doing.
 CHANDLER
TRAVIS THREE - O Backward Crooked From the Sunset (www.chandlertravis.com)
Quirky, irreverent and highly skilled, Cape Cod’s Chandler
Travis and his Three O’s play downhome, folk-inspired
tracks that boast of unbridled irreverence. “Disappointment”
is a meandering effort that is accented by a blast of guitar
force before settling back down into Travis’ earnest
vocals. “All the Little Things” has a Buddy Holly
meets Johnny Cash vibe and the song bounces with a sublime
level of kinetic energy, while “Settling for Less”
has Travis’ traditional story-telling skills kissed
by his subtle humor (“Number one is nice I know/But
there are so many other nice numbers”). The lush piano
one hears on “Salad Days” augments a heartfelt
love song that still includes a dark sense of humor as the
female love interest confesses about all of her past loves
(and yes, there were many…) while the poor guy involved
attempts to remain above the pain that comes from hearing
about the vast number of conquests. The subtlety of the humor
matches the playing on Backward Crooked From the Sunset, for
the songs resonate with a natural warmth like the sun beating
down on a crowded Cape Cod beach on the Fourth of July, as
even the brief instrumental “Queen Rachel” has
a stirring beauty to its arrangement. The high water mark
is “The Mayor of Drunktown”, a rollicking, honky-tonk
of a song that is both very funny and too realistic for many
of us. At its core, the song is about someone having a good
time, but woven within to this is the realization of what
this behavior can do to the people around him. The closing
“Not in Service” has a rich guitar tone and Travis
sounds particularly inspired. For people who appreciate the
art of a gifted raconteur and a highly proficient crafter
of intelligence, personalized songs, Backward Crooked From
the Sunset is a perfect soundtrack for the summer.
 FOUR
LIGHTS - Kobayashi Maru (Bomb Pop Records www.bombpoprecords.com)
These Seattle pop-punk lovers wanted to make “a big,
dumb, rock record” according to vocalist and guitarist
Dan Gardner, and the result is a grand, often-hilarious, highly
satisfying listen. Kobayashi Maru (named for a test of one’s
character from Star Trek so says the internet) opens with
“Bent”, a song that rattles out of the box with
a great hook. However, once the second track, “ComRAD”
hits, it is clear one is in for a treat. With lyrics about
falling love with a Communist at a coffee shop (“She
asked me what I thought of Lenin/I told her that I really
loved ‘Imagine’”), the song is blisteringly
funny and played with effusive energy. “Jimmy’s
Song (Part 2)” slows the tempo down a bit with a chunkier
guitar riff, while “Run” and the highly self-effacing
“Let’s Burn Burn Burn” are ideally crafted
punk-pop gems. A picture on an ex’s Facebook page is
the crisis explored on “He’s Got Good Teeth”,
and the sad yet speedy track is paired perfectly with “No
Return”. It can be potentially redundant to listen to
twelve consecutive light-hearted punk tracks, but Kobayashi
Maru is expertly structured so the songs vary in tempo and
approach just enough to consistently hold one’s attention.
I found myself sad when this ended-both for the heartbreaking
stories so boldly shared on each song, and also because this
is a sterling example of a band who knows what they do well
and does so with ease.
 HIGH
PRIESTESS s/t (Ripple Music www.ripple-music.com)
Three metal goddesses (Katie Gilchrest on vocals and guitar,
bassist Mariana Fiel, and drummer Megan Mullins) simply crush
the listener through six pummeling, overwhelming efforts on
their debut release. The band became the toast of LA’s
metal scene through one demo released less than a year ago,
and everything about their self-titled release illustrates
why. Gilchrist’s vocals can be both ethereal and lush
or terrifyingly guttural, and her two band-mates support her
with thunderous low-end force, with Fiel’s bass lines
offering consistently memorable waves of devastation. Yes,
the mandatory Sabbath-inspired stomp is present, most noticeably
on “Banshee” and “Take the Blame”,
but it is not so prevalent as to become predictable. The opening
ten-minute opus “Firefly” is an atmospheric triumph,
majestic and intriguing. Mullins is a star behind her kit,
contributing brain-rattling force to the otherwise airy “Despise”,
as Gilchrest’s guitar force ebbs and flows with the
same ease with which she controls her voice. The band is not
traditional doom in terms of sounding as if they are collectively
trapped in a musical tar pit, as both “Mother Forgive
Me” and “Earth Divide” have stirring moments
of quiet that accentuate the bombast with shattering intensity.
Certainly fans of Sleep’s legendary work will find mush
to appreciate here, for High Priestess emphasize musicianship
that is sometime lost in the dirge that is doom metal. Artistic
and visionary, High Priestess create truly engaging, and even
energizing, doom masterpieces.
 ANIMAL
FLAG - Void Ripper (Flower Girl Records www.flowergirlrecords.com
Singer/guitarist Matthew Politoski is the leader of Boston’s
Animal Flag and he rightfully describes the band’s records
as each a separate “universe”. Within that single
word lies an ideal summation of his band’s latest effort,
Void Ripper. Animal Flag has witnessed numerous shifts in
sounds and members, but Void Ripper is a scintillating nine-song
experience that is occasionally challenging but consistently
engaging. The opening quiet hush of “Morningstar”
gives way to “Candace” with a sinewy aloofness,
and “Candace” assaults the listener with a massive
bass line from Zach Weeks and a groove that swings and smashes
with wild aplomb. The rumbling loud/soft dynamic of “Stray”
is simultaneously infectious and intimidating. Imbued with
a powerful hook, the song’s darkness shrouds a band
that knows how to craft sublime harmonies. Surrounding Politoski
and Weeks are guitarist Sai Boddupalli and drummer Alex Pickert,
and the four allow Animal Flag to integrate familiarity into
a sound that is slightly impossible to firmly place. “Fair”
has a panoramic sensibility; the track is expansive, but also
includes a warm, nearly shoegaze pop aesthetic. The band takes
the listener on oscillating emotional journeys on “I
Can Hear You Laugh” and “Lord of Pain”.
The latter begins with a seemingly innocuous acoustic riff
before morphing into a more complex and multi-layered effort.
The austere beauty of “Why” makes it my favorite
of Void Ripper; however, this is not an easy choice and my
feelings may change with subsequent listens, but for this
moment, the expert power heard on the track makes it a perfect
embodiment of this band’s prowess. Closing with a fury
on “Five”, Animal Ripper has a gem of modern experimental
rock with intellect, force, and precision.
 THE
BUNNY GANG - “Problem What problem” b/w “Protecting”
(Zojak World Wide www.zojakworldwide.com)
The Bunny Gang plays lighthearted, instantly infectious ska
that would act as a primer for those unfamiliar with the genre.
The A-side is a cover of “Problem What Problem”,
originally done by DoNots, a German outfit that took a little
time to research, and The Bunny Gang inject a little life
into the original. The B-side “Protection” is
a smooth flowing track about looking out for those who matter
most. The single overflows with positive vibes, and is a celebration
of kindness and affirmative messages. This is not a reinvention
of ska, but the band does not pretend to do so; instead, they
proudly display their fun-loving nature across two songs that
are equally easy in which to lose one’s self.
 PUNKEMON
– “Gotta Rock ‘Em All” EP (Sounds
Rad Records https://www.soundsradical.com)
While obvious a niche piece, Punkémon is also a celebration
of delicious punk-pop tomfoolery from some of the best in
the business. Originally recorded in 1999, the two songs on
the single sound as if they were cranked out last week. Dr.
Frank from the Mr. T Experience is joined by Chris Imlay from
the Hi-Fives, Mel Bergman from Phantom Surfers, and Lookout’s
Chris Appelgren for a wonderfully adorable time capsule project.
“Lickitung” celebrates an actual Pokémon
character, who according to his bio, has the special talent
of “licking”. It makes sense, but it almost makes
too much sense, so I though the character was a creation of
these twisted geniuses, but incredibly, Lickitung is an actual
creation generated to be sold to children. At any rate, the
brief B-side “Pocket Monsters” flies by far too
quickly, as did the window of potential success for this band.
However, it is a wonderful throwback to a simpler time in
America.
 SHARKFIST
VS. BROWN PLAID – Split 7-inch (Splits McGee https://sharkfist.bandcamp.com)
Brown Plaid has me hooked with “A Perfectly Cromulent
Song”; the track has both a title with a fantastic Simpsons
reference and lyrics about Metallica’s mid-90s make-over
(“I’m pissed off like a metal head when Metallica
cut their hair”). The guys from Long Island play traditional
punk-pop fare, but do so with a sharper than average sense
of humor. Placing the inconsistencies and general stupidity
of modern society through a sarcastic lens is nothing new
in the world of punk-pop, but with references to Doug from
“The State” (“We’re Outta Here”),
and a keen eye for pointless nostalgia (“Practice”),
the four songs are both aggressive and hilarious. Their Screeching
Weasel acumen is obvious, and there is nothing wrong with
that. Meanwhile, Sharkfist has a moniker that refers to partying
“beyond comprehension” according to their Bandcamp
page, and who can doubt their sincerity on “There’s
No ‘I’ in Party”? This loud, snarky, outfit
deliver their punk with a slightly less obvious pop affect
than their split mates and they allow “.666 (The Batting
Average of the Beast)” to breathe a little bit rather
than rushing through the effort. I suggest picking this up
digitally to gain access to the bonus tracks “Beer Pong
Champions of Long Island” and “Drink ‘Em
if You Got ‘Em”.
 RADIATION
RISKS - “Headless Horse-man” b/w “Nancy”
(Feral Kid Records ttps://feral-kid-records.bandcamp.com)
This Buffalo outfit makes it clear that all that snow and
ice can lead to cabin fever which leads to temporary insanity
which leads to this. Radiation Risks play quasi-psychedelic
punk that is somehow lo-fi, speedy, groovy, and majestically
bizarre. With lyrics referencing The Godfather, “Mr.
Ed”, and sexual fantasies involving Nancy Reagan, be
sure to share this only with people who have been acquaintances
for a long time. “Headless Horse-man” is almost
atonal at times with the vocals buried deeply into the mix,
while “Nancy” is much more clear so one can appreciate
lines such as “Hinckley is free again, Jodie…she
needs you John, to hunt again”). Throughout multiple
listens, I truly have no idea what I am hearing, and I love
it more each time.
 DIGITAL
CRIMINALS - Hell Yeah (www.digitalcriminals.com.uk)
This four-song EP from the only band from Wales that I know
of is a surprisingly danceable blend of aggressive guitar
rock and pop aesthetics. Emily Bates has a powerful voice,
and when declares that everyone should declare, “hell
fuckin’ yeah” on the title track, the line is
delivered with and infectious and undeniable authenticity.
The band has too many massive riffs, compliments of Dan Fry,
to labeled as a pop-rock act, but they are certainly not afraid
to craft easily digestible and incredibly infectious hooks.
“Just Jump” is rife with a massive chorus and
the closing “Sleep When You’re Dead” shimmies
along with a bouncing groove from bassist James Hardwick.
Playing what used to be labeled “hard rock” is
a lost art, and Digital Criminals are unapologetic in their
affinity for arena rock elements, but the foursome has an
energy that elevates them above merely posing. With many bands
of this ilk, the songs can sound a bit too overproduced or
mechanized; while there are traces of that on the four tracks
on this EP, the raw strength of Bates helps to preserve a
level of fun-loving, too-drunk-at-the-party type of vibe.
Digital Criminals are not trying to invent something new or
rewrite the way rock n’ roll is played; instead, the
focus their collective energy on crafting huge guitar-driven
anthems that do not require any analysis-the band just wants
to have fun. It’s a refreshing idea.
 PARLOR
WALLS - EXO (Northern Spy Records https://northernspyrecs.com)
Parlor Walls throws a little bit of everything at the listener
in a celebratory mass of noise, jazz, rock, and dissonant
fury. “Necromancer” is a hypnotic, dysfunctional
combination of swirling force with a subtle hint of sexuality
that makes the song a delectable slice of inspirational
chaos. EXO is a highly robust EP, giving listeners much
more than just four songs-the experimentalism and creativity
of Alyse Lamb and Chris Mulligan is reflected through a
powerful musical relationship. The songs rise and fall with
both abrasive force and supple dexterity. “Love Complex”
has a chorus that erupts with devastating volatility before
regressing back into a more genteel approach. “Isolator”
is a controlled ball of simmering force that toes the edge
of exploding, but holds itself together for a scintillating,
jazz-tinged ride. The closing “Low Vulture”
has Lamb demanding to “get out in front of it”,
with her voice slicing through the atmospheric din constructed
around her. This is a flawless effort.
 GREAT
LAKES - Dreaming Too Close to the Edge (Loose Trucks Records
https://greatlakesbencrum. bandcamp.com)
Ben Crum is a bit of a personal inspiration to me; we are
the same age and both teachers. However, the similarities
end there, as Crum is an immensely gifted singer/songwriter,
whose heartfelt, earthy songs are pristine gems of smart,
gritty rock n’ roll. Everything on Dreaming Too Close
to the Edge rambles with a fluidity and confidence, from the
opening barrage of “End of an Error” through the
understated psychedelia of the closing “You Could Have
Had Me for a Song”. The work of Great Lakes has the
honesty of Tom Waits and the pop sensibility of The Byrds,
best heard on the serene “Awaking Up Together”,
a lush, rollicking piece that sounds effortless in its delivery.
Crum’s bluesy, weathered vocals are ideal for the songs
of Great Lakes-the stories he tells are those of maturity,
self-discovery and recognition, and it requires a certain
amount of miles to deliver such tales with the eloquence and
passion they deserve. The record is highlighted by the sing
along components of “Bury the Hatchet” and the
earnest nature of “To Live is to Lose”. While
not truly country-flavored, “Kingdom Came” contains
a slight twang that provides a level of distinction from the
other surrounding anthems. Suzanne Nienaber and guitarist
Kenny Wachtel are two of the all-star caliber talent on display
here, but the entire band, rounded out by drummer Kevin Shea,
keyboardist Joe McGinty, pedal steel wizard Phil Sterk, and
multi-everything player David Gould, support Crum through
a collection of heartfelt anthems. The songs have both a battle-tested
intimacy as well as a distinct nature that makes Great Lakes
a captivating listen.
 MIEN
s/t (Rocket recordings www.rocketrecordings.bandcamp.com)
This wildly talented four-piece (whose other outfits include
Black Angels and The Horrors) offers atmospheric electronica
tempered with a classical Kraftwerk style component. The opening
“Earth Moon” has a densely hypnotic tempo structure
that dances on the edge of pop, but still retains a complexity
that elevates the song well above standard fare. “Bleak
Habit” wraps itself around a haunting groove that suddenly
drops out mid-song before reemerging with even darker and
fiercer energy. While Mien generates a specific sound, no
two songs are repetitive, or for that matter, even remotely
similar in nature. The forlorn emotion of “(I’m
Tired of) Western Shouting” steps aside for the ethereal
complexity of ‘You Dreamt”, as dance rhythms permeates
the mind of the listener, making the song an uneasy but fascinating
experience. The gentle ambiance of “Other” has
a gentle quality that offers the initial impression of a warm
embrace, but there is also a menacing component to the song,
and this speaks to what Mien does so well. As one gets lost
in the swirling masses of sound heard through the sprawling
release, the experience is both uncomfortable and somehow
serenely enveloping. Alex Maas, Tom Furze, Rishi Dhar, and
John-Mark Lapham are all limitlessly skilled, as “Ropes”
and “Echolalia” both demonstrate. The songs continue
the theme of distemper and familiarity, for both songs entice
with their beauty but one can never fully feel at ease. Each
song on this self-title release is a vast soundscape kissed
by pop hooks that allow the band to be both accessible and
confrontational. The buoyancy of “Odyssey” is
woven within a sedentary dance beat and haunting keys. Perpetually
and majestically bi-polar, Mien is a challenging listen that
is well worth the effort.
 THE
CARVELS NYC - Everything With You is a Travesty (www.thecarvelsnyc.
bandcamp.com/releases)
The Carvels NYC play five blasts of flawlessly executed garage
punk with a healthy injection of pop fun. Lynne Von Pang is
the inarguable star here, singing with a snarl dipped in delicious
sarcasm. Her assault upon a vapid partner through the lyrics
of the title track is a conversation everyone would love to
have, but simply lack the courage to do so. (“No matter
what I say, you just don’t pay attention/Then I have
to answer all of your stupid questions”) The bluesy,
controlled “Questioningly” (“I don’t
love you anymore/What do you want to talk to me for?”)
is led by the sax playing of Dave Spinley, but the band then
instantly shifts into surf-punk overdrive on “You make
Me Want to be Alone”, which is another scathing break-up
anthem. “It Wasn’t My Idea to Break Your Heart”
and “I Don’t Know What to do With You” are
rare pearls that sound like the Runaways and the Shangri-Las
sharing the same rehearsal space, with the latter highlighted
by Brian Morgan’s guitar work. Complete with beautiful
gatefold artwork and awesome stickers, The Carvels NYC do
everything right!
 NIHILIST
CHEERLEADER - Riot, Right? (Perfect Attendance Records http://perfectattendancerecords.com)
Reminiscent of, but not simply imitating, the Riot Grrl movement
that I fell in love with during the early 1990s, Nihilist
Cheerleader is a band with limitless energy and an equally
developed political acumen. This band would have been sharing
a stage with Bikini Kill and been the darlings of Kill Rock
Stars twenty-five years ago, but the world is lucky to have
them now. Akin to the calls to action commanded by Downtown
Boys, Nihilist Cheerleader attacks difficult topics with fearless
intensity. Flynne Collins has a broad vocal range, but she
is at her best when she unfurls her rage on “And She
Takes It”. Guitarist Dylan Loftin and drummer Charley
Barley run wild on the combustible “Shark Fin Soup”
and “Three Drug Cocktail”, while bassist Leona
Hinkle does a superior job of holding the songs together.
Boldly embracing garage aesthetics, Nihilist Cheerleader play
the purest form of punk-the noise and the aggression are there
to make people put their phones down and listen. The swirling,
dance groove of “Your Ur Uniform”, majestically
controlled by Hinkle’s bass work, is a soaring example
of a band that is firmly in control of their sound and are
only getting better. The opening, menacing riff of “Bleach
Boy” gives way to an explosion of disgusted fury that
references several politicians who may or may not be in office
by the time one reads this. With ten songs delivered in less
than thirty minutes, this band does not waste a note. Athens,
Georgia has quite a robust military history, but Nihilist
Cheerleader may be the future of that great city.
BABY BONES - The Curse of the Crystal Teeth (Gubbey Records
www.gubbeyrecords.com)
Baby Bones utilize dark tones with a surf rock vibe to create
an incredibly unnerving and thrilling listen on Curse of the
Crystal Teeth. Borrowing Ace Frehley from Music From the Elder-era
KISS and forcing him to sit in with Night Birds begins to
explain a bit of what it is like to be bombarded by “Pay
Us in Dimes”, the thunderous second track of the boisterous
six found here. “Slick Shoes” is a rattling wall
of force that is shockingly crafted by only three players
as Dave Rucinski, Thomas Burgos, and drummer Badnewz Brandum
simply decimate the track. This song stands in direct contrast
with the sinewy, slithering “Bottom Breather”
that also infuses a healthy blues hook into the dazzling conclusion.
The psyche-noise clamor of “We’re Done Talking”
is a triumph of a merger between punk and groove-oriented
rock into one boiling mass of force, while the opening “Bought
he Farm” is a hard-driving, pulsating rock gem. These
guys have kicked around the Louisville area for years, but
Baby Bones should make them national names.
 EDITORS
- Violence (Play It Again Sam Records)
While much of what Editors does swirls with extraordinary
energy, their brand of soaring, dark wave is best embodied
by “No Sound but the Wind”. Led only by Tony Smith’s
vocals and sparse piano, the song resonates with profound
impact through its lyrical power and stunning beauty. Blending
elements of the old and the new, Editors sounds like Echo
and the Bunnymen sitting in with Interpol, and the result
is a collection of mesmerizing songs. With a stripped down
delivery, “Darkness at the Door” and “Counting
Spooks” are deceptive; a cursory listen may infer simplicity,
but repeated plays allows one to hear the complex subtleties
that make the songs so memorable. “Cold” can be
both the soundtrack to a very adult night out or the coolest
song ever played at a middle school dance, and therein lies
the brilliance of Editors. Their songs are powerful and transcend
genres and ages. When Smith says, “Baby, we’re
nothing but violence”, (“Violence”) it is
a soulful admission uttered with remarkable honesty and sensuality
as a haunting beat cascades around him. The rich harmony and
groove that drives “Nothingness” is matched by
the ethereal expanse of “Magazine”, whose dance
floor hook is addictive and anchored by Smith’s Bowie-like
crooning. I had no idea that I would love this as much as
I do.
 MARC
RIBOT’S CERAMIC DOG YRU - Still Here? (Northern Spy
Records www.northernspyrecs.com)
Marc Ribot is a genius. There is no way to deny this fact
after one hears the delightful lounge sounds of “Pennsylvania
6 6666” (“Pennsylvania, want to live there/Place
where everyone is white”). The song meanders along,
somewhat innocuously so, for four minutes before erupting
into a rousing conclusion that includes stirring horns and
cries of “don’t go back”, “white pollution”,
and “never go back”. This comes on the heels of
“Personal Nancy” in which Ribot, accompanied by
two equally brilliant players in bassist Sahzad Ismally and
drummer Ches Smith, alerts all within ear shot that he “has
the right to scream like an idiot” and to “say
fuck you!”. The entirety of YRU Still Here is just stunningly
bizarre and it is unfeasible to not find one’s self
swept away in the grunge meets surf vibe of “Agnes”
or the hard-hitting swing of “Muslim Jewish Resistance”.
The song is bellicose in nature, with John Zorn-style horn
chaos and references to Steve Bannon and fighting against
fascism. Politics are woven throughout the record with less
than subtle allusions to our current leader, “I say
the president’s dumber than an artichoke” may
be my personal favorite line, but even when the band says
nothing, they speak voluminously. “Shut That Kid Up”
and “Oral Sidney With a U” are both thought-provoking
instrumentals, with the latter borrowing heavily from 70s
Blaxploitation funk and the former strutting down the street
with too much confidence to be held by only a mid-tempo swagger.
As angelic sitar opens “Orthodoxy”, I know that
I have found my new obsession. Go tell your friends what they
are missing and get ready for the stares of wonder and amazement
once they have their lives transformed by this.
************************************************************************
 THE
LAST GANG - Keep Them Counting (Fat Wreck Chords www.fatwreck.com)
The Last Gang’s Brenna Red screams, “Through music
we will never die” on “Turn the Record Over”,
the hidden bonus track on the digital copy of Keep Them Counting,
and her intensity is palpable. While this release is the band’s
first for Fat Wreck, the trio has been kicking around in one
form or another since 2007. Keep Them Counting is ten (plus
the bonus) tracks of blistering, hyper-aggressive punk with
heart and harmony. The Last Gang places an emphasis on the
“rock” in punk rock as the opening “Sing
for Your Supper” demonstrates. With a massive riff and
an infectious melody, fans of Anti-Flag, Rancid, the Distillers,
or Damn Mondays will rightfully adore The Last Gang. Sleekly
produced by Cameron Webb, the songs are crisp without minimizing
the punch. The raw angst of “Nobody’s Prostitute”
(I ain’t for sale now/I am forever/Don’t ever
you say you don’t love me”) and the slashing riff
of “Strange Fruit” are but two of the instantly
memorable moments one finds on Keep Them Counting. Bassist
Sean Viele and drummer Robby Wantland are a thunderous combination
throughout the record, but truly excellent on the raucous
“Believe in the Poet” and the driving “Karla”,
acting as a perfect anchor to Red’s scorching vocals
and thick riffs. Red is the star here, and she proves she
has a multi-faceted arsenal on the acoustic “Secret
Sounds”, a pop-infused anthem of darkness and lonesome
travels with a damaged cast of characters. The Last gang has
all the traits necessary to become a band with broad appeal
without having to sell their souls to do so.
 LONG
NECK - Will This Do? (Tiny Engines Records www.tinyengines.net)
Lily Mastrodimos, formerly of Jawbreaker Reunion, surrounds
herself with three highly skilled players (drummer John Ambrosio,
bassist June Rose, and guitarist Kevin Kim), but truthfully,
she is Long Neck. It is impossible to avoid being swept away
by her dynamic voice throughout Will This Do? To answer that
question posed by the title, all of this does quite nicely.
On the swirling pop of “Elizabeth” Mastrodimos
channels Natalie Merchant at her most affective, and “Love
Letters” bobs with effusive buoyancy in a dazzling two
minutes, contrasting with the darker, methodical “Ashes”
that crawls along a dirty street with rugged guitar. The indie
rock goodness of “Milky Way” is a clinic in how
to produce smart, savvy, guitar pop that will impress even
the most jaded of listeners. “Lichen” is a perfect
example of how the presence of a fleshed out band changes
the dynamics of Mastrodimos’ music-the track could work
as a solo piece, as would the delicate beauty of “Rosy”,
but the additional girth of a full band makes the loud/soft
shifts more engaging. The concluding “10,000 Year Old
Woman” is a return to Mastrodimos’ roots through
a stirring acoustic work. Will This Do? is a lush, charismatic
record celebrating both combined talents and the unique gifts
of Lily Mastrodimos.
 AWAKEBUTSTILLINBED
- What People Call Low Self-Esteem is Really Just Seeing
Yourself the Way That other People See You (Tiny Engines
Records www.tinyengines.net)
Shannon Taylor may have just become my favorite singer. Similar
to Marissa Paternoster or Victoria Ruiz, Taylor tosses all
regard for her vocal chords to the curb and makes listeners
feel each syllable throughout What People Call Low Self-Esteem.
Surrounded by Borin Bou on guitar and Elijah Stoll on drums,
Awakebutstillinbed create songs that rage and recede around
Taylor’s unrelenting effort, particularly on the rattling
“Safe”, a shape-shifting anthem that alters tempo
with staggering ease. While the abrasive nature of Taylor’s
angst is instantly intriguing, the band is more than just
articulate screaming, as beautiful melodies carry “Saved”
with a greater emphasis on a hook rather than searing vocal
force, but the closing lines of “Why can’t we
fix ourselves? Is there any way out? Why is there so much
wrong with us?” is both chilling and brazenly honest.
“Interlude” is a lush instrumental that does allow
the listener to take a quick breath before being assailed
again. The band’s strength is not only how they deliver
their messages, but also what is being said. When Taylor states,
“I know I’ll stop breathing one day, and I’ll
never be able to justify the ways that I’ve lived my
life. I just want something to feel all right, something to
show for all this time”, she taps into a universal sense
of worry. Beginning slowly, with a nearly menacing sensibility,
“Floor“ eventually unleashes a cacophony of angular,
biting guitar that smashes head-on with punishing drumming.
Within a few seconds, the din subsides and Taylor’s
honest tale of betrayal shines with intrepid honesty (“You
were my best friend, but you fucked up my life”). “Closer”
gives an initial impression of a jangly, nearly pop-inspired
anthem before Taylor takes control. As the final seconds fade
harmlessly into the air, one can finally stop, exhale, and
appreciate what is an astounding experience.
 RUNAWAY
BROTHER - New Pocket (Tiny Engines Records www.tinyengines.net)
Representing Cleveland, Ohio, Runaway Brother has an emo component
to their dreamy pop. The quiet moments on New Pocket are occasionally
virulently shredded by blasts of guitar, but largely the band
plays with maturity and control. The cleverly monikered “Conscience
in Tumult” ebbs and lows with a hypnotic bounce and
90s indie rock guitar tones. Vocalist Jacob Lee has a voice
that exudes passion, but often does so through a genteel,
heartfelt delivery rather than looking to scream each syllable.
“Canopy Eyes” includes sharp tempo shifts and
Lee’s soaring harmonics that lead perfectly into the
spacious “Bully”, a song highlighted by a dynamic
performance from drummer Ian Phillips. The pristine nature
of “Cats in the Sun” makes it a one of the true
highlights of the record, as shimmering guitar and an intricate
time scheme imbues the song with a level of sophisticated
complexity. Woven into the lush sheen of “Kissing”
are lyrics that capture a fleeting moment and expound upon
it with an honesty that never seems contrived: “Revealing
peel the innermost skill/all my feelings completely naked
now”. There is a comforting familiarity to what Runaway
Brother does, from the experimental aspects of “Paws”
to the sprawling nature of “All Saints Day”, but
yet this also sounds distinctive. New Pocket is a gorgeous
demonstration of shrewd musicianship.
 ELK
CITY - Everyone’s Insecure (Bar/None Records www.bar-none.com)
Majestic, spacious, and graceful, Elk City plays pop for
people who look for depth within their musical voyages.
The instant hook of the band is the stirring vocals of Renée
LoBue, whose voice soars through a series of evocative and
emotionally charged songs. The opening “Sparrow”
begins with a low rumble of Martin Olsen’s bass before
giving way to a sinewy groove revolving around LoBue’s
partially hopeful, somewhat despondent realization that
she will never “be as free as the sparrow”,
while “He’s Having a Baby” (“He’s
having a baby/ he says he’s not ready”) is mischievous
take on falling in love with the right guy at the wrong
time. Sean Eden of the newly resurrected Luna offers lush
guitar work throughout the ten songs, most pronounced on
the gripping “25 Lines”, but also a centerpiece
on the fragile, shoegazing title track and the more rollicking
“No Depth”. “Root Beer Shoes” seems
to hover innocently in the air, guided with delicate care
by drummer Ray Ketchum, who also produced this beautiful
gem of a record, and pianist Carl Baggeley. LoBue begins
the song by asking, “Whatever happened to Cupcakes
O’Brian/she dated Bukowski for one day”, then
references Hemmingway and the simple joy of having a person’s
shoe brush against yours. These simple moments are captured
with extraordinary care and what others may see as simply
a passing event void of meaning, LoBue uses to construct
mesmerizing stories. With a combination of chilling prowess
and supreme musical command, Elk City’s brand of ethereal
pop will enthrall.
 ERIK
CORE - No War, No Where, No Peace (Abouticore Music www.erikcore.com)
Furious and hard-driving are not often terms associated with
acoustic outfits, but Erik Core is anything but a typical
act, and No War, No Where, No Peace is a series of constant
surprises. I am stunned to hear acoustic music played with
such devastating intensity, but this is a raging collection
of politically shrewd anthems, leading off with “Smart
Bombs” which acts as a blind-sided punch to the gut,
and is an ideal table-setter for a collectively brilliant
release. With only four of the ten tracks clocking in at over
three minutes, Erik Core makes his points quickly and firmly.
Even more impressive here is the fact that this is only a
trio-Core leads the din on “Devil’s Workshop”
and “Coming Loose”, but it is impossible to ignore
the machine gun timing of drummer Josh “Bulldoza”
Mendoza or the rattling low-end force of Al Stingle’s
bass. Combined, these three take punk’s primal energy
and folk’s social commentary and channel it into an
articulate amalgamation of both forms. “Peace for Pawns”
embodies this style perfectly, offering a glimpse into how
an unplugged Dead Kennedys would sound. At times borrowing
from 1960s protest songs (“Tears Running Red”
and “No War”) and often rumbling with relentless
energy (“Smoking Gun”), Erik Core exudes passion
along with sophisticated songwriting.
 DINOLA
- Up High (Saustex Records www.saustex.com
The New Orleans outfit plays think, intoxicating, blues-soaked
rock n’ roll, led by the enthralling voice of Sue Ford
to drive each track. The thunderous bass intro of “Apocalipstick”
is only one of numerous highlights from Up High, a celebratory
record of blunt force and subtle dexterity. The band’s
backstory is a fascinating, as each member (drummer and Sue’s
husband Jimmy, bassist Eddie Payne, and guitarist Eric Laws)
survived the life-altering disaster that was Hurricane Katrina.
Rather than be subjugated by the destruction, the catastrophe
became a rallying call and inspiration to celebrate the legendary
city, hence the band’s moniker. The sludgy “Shut
Up” is a teeth-rattling show of force with Ford bitterly
spitting out the chorus with a tangible disgust as Laws’
guitar work rises and falls behind her. It takes remarkable
courage to tackle Screamin’ Jay Hawkins’ legendary
“I Put a Spell on You”, but DiNola’s interpretation
is a majestic slab of sexual energy and erotic bombast. The
title track includes a gritty, Southern-boogie riff and Ford’s
most sensual performance of the six songs here. Replete with
wah-wah pedal and a rebellious spirit, the song is an ideal
example of rugged, groove-oriented rock. I loved this from
start to finish.
 SPIDER
ROCKETS - Along Came a Spider (P-Dog Records www.spiderrockets.com)
I do not envy those performing in a hard rock band in 2018;
with the genres and sub-genres within sub-genres, the music
business has become a confusing labyrinth. However, a band
like Spider Rockets cuts through the labels and plays old-fashioned,
blaring guitar rock overflowing with harmonies and all the
hooks one could hope for in eleven tracks. The old time, meat
and potatoes groove of “Love Gore” and “Adore”
is matched by snarky, self-affirming lyrics on “Love
it When You’re Wrong”. Helena Cos has a voice
that can channel the best moments of Donita Sparks or Pat
Benatar, the latter lovingly honored with a cover of “Heartbreaker”.
It is the mold of that 80s hit maker upon which Spider Rockets
model themselves, and do so unashamedly. The thunderous “Sick”
is counterbalanced by the slow grind of “Burn”,
and the pop-rock glam of “Come to Me”, all the
while the production of Dan Malsch keeps each song slick but
never with too much sheen. The most obvious constant throughout
the record is guitarist Johnny Nap who is the fuel powering
the band, revealing the ability to balance technical prowess
and catchy riffs to create songs that actually stay with the
listener instead of simply fading into oblivion before the
track emerges. The band’s strongest point may also be
their biggest challenge-they can paly a with a legion of acts,
and while much of what Spider Rockets does sounds comfortable
and familiar, there is not much out there right now that sounds
like Along Came a Spider. This is a band for people who still
like bands and not “artists” and complete records
rather than singles. I count myself among this rapidly diminishing
group, so Spider Rockets has a devoted fan in me.
 GOVERNESS
(Radical Empathy Records http://onepercentpress.bigcartel.com
/category/radical-empathy-records)
Washington DC’s Governess has one of the coolest backstories
I have ever encountered-Kim Weeks, Kieca Mahoney, and Erin
McCarly met each other while constructing a local cooperative-style
preschool for their kids and formed an angular, snarling punk
band. The three rip through eight raw, garage-tinged flare-ups
with biting lyrics and cutting observations. Opening with
“Broken Glass”, Weeks announces, “science
was my savior until I was nine/I thought I wanted a test tube
baby” over the top of a scathing yet still jangly riff.
This ability to balance emotionally charged fury while still
retaining a sense of melody is also true on the rollicking
“Zipless”. Introducing a subtle surf vibe on “Elegy”,
the band displays a deft command of tempo as haunting lyrics
about the sudden arrival of an untimely death is extraordinarily
hard-hitting, while the serpentine “Control Top”
glides along methodically with minimal musicianship, asking
“how can a full home feel so empty?”. The moody,
spatial “Patterns” closes this remarkable record,
with subtle guitar bursts and sixties girl-group harmonies
coexisting in flawless symmetry. Blending the finest elements
of Slater-Kinney with the raw energy of a band like Faunas
or Coathangers, Governess is an essential re-release by Radical
Empathy.
 THE
DEAN WEEN GROUP - Rock 2 (Schnitzel Records http://schnitzel.co.uk/)
Dean Ween has spent over three decades continuously reinventing
himself, and Rock 2 continues the astounding musical journey
that is his life. Rock 2 begins with the heartfelt “Don’t
Let the Moon Catch You Crying” then shifts all too effortlessly
to the grungy, smarmy “Fingerbanging”, oozing
with sexuality, sax, and a soaring guitar solo. After opening
with distinct styles of songs, only Dean Ween can offer “Theme
From ‘Skinhead Kicking Your Ass”, a Zappa-esque
burst of guitar wizardry dripping with sarcastic brilliance
without saying a word, while “Pussy on my Pillow”
includes references to a dog who “loved her daddy”.
“Waste Station 9” is yet another effort that would
fit perfectly alongside Weasels Ripped my Flesh from the Mothers
with its supernatural guitar word and airtight rhythms. Manically
twisted, the entire record is a throwback to a different age;
a time when experimentation was celebrated and genius was
not measured in numbers of views on YouTube. The seventies
rock vibe of “Showstopper” and “Someone
Greased the Fatman” is matched by the laser-light show
ready guitar work of “The Ritz Carlton”., and
the low-end thump of “Yellow Pontiac”. For anyone
who doubted the talent of Dean Ween, Rock 2 illustrates for
anyone with functioning ears that this man is boundless in
his talents, swaying and frolicking at times, delivering thunderous
monstrosities of force at other moments, and doing all with
equal aplomb.
 SPIT
TAKE - Frog Rock (Ice Age Records https://iceagerecords.bandcamp.com/)
This highly DIY outfit from New Haven, Connecticut blasts
through eleven noisy, punk-pop anthems replete with raw emotion
and limitless energy. Frog Rock is actually a compilation
of two cassette only releases recorded in 2016, now on one
release for mass convenience, but there are marginal differences
between the songs and that is a compliment. While the opening
“Turn the Car Around” blazes past in a scant fifty-eight
seconds, “Something Sometimes” and “Sideways”
rattle with warmth reminiscent of Archers of Loaf and other
early to mid-90s masters of controlled raucous. Vocalist and
guitarist Joe bares his soul throughout the record, admitting
“everything’s lovely ‘cuz last night you
loved me” (the aforementioned “Sideways”)
and “Behind this boy’s mask, I am an alien on
a planet alone”. (“Long For Home”) Supported
by bassist Maggie and drummer Dan, the band competently shifts
tempos enough to provide each song with a level of distinction,
which is critical on tracks like “How ‘Bout You?”
and the hyperactive “Awful Long” in which lyrics
are at a premium, and the songs are largely instrumentals
carried by vigorous riffs and a clattering low end. Abrasive
but never without heart or a penchant for a hook, Frog Rock
is an impressive introduction to an intriguing band. “A
Candle” (I'll always think about how badly/things ended
up between you and me/I'll always keep a little candle burning)
and “Rain-Soaked New York” are poignant, controlled
anthems of raw pain, while the autobiographic “The Natural
Facts” illustrate that even when one moves forward,
there is a feeling that nothing has changed (I stayed on top
of the laundry/ cleaned my clothes/ smelled a little better…but
last year was a long year/like this year is a long year”).
There is much to enjoy here and this is a record demanding
repeated listens because there is something new to discover
each time. This is not unhinged garage punk with a few pop
accents-Spit Take blend fuzzy, dreamy pop elements and aggression
into a well-balanced delivery. I absolutely want more of this
band, and I hope college kids around the country are playing
this one into the ground.
 STEVE
BARTON - Tall Tales and Alibis (Sleepless Records www.sleepless-records.com)
Musicians are always looking to challenge themselves in an
effort to expand upon their past achievements and progress.
In the case of Steve Barton, he undertakes an nearly Olympian
task with Tall Tales and Alibis; rather than release
a string of records, Barton, he of the long-time and deservedly
adored Translator, has unleashed three albums simultaneously,
each distinct in tone, sound, and approach. Collectively,
one is provided with a spotlight into the vast reaches of
a truly brilliant mind, while Barton espouses, laments, celebrates,
and mourns all of life’s events across a sprawling set
of songs that are perpetually engaging.
The first release is Star Tonight, a dazzling compilation
of buoyant pop songs that will instantly remind people of
Translator’s finest Beatles-inspired moments. Poetic
and beautiful, every effort on Star Tonight tells a stirring
story, including the Mersey Beat tempo of “I Only Want
to be Your Clown”, the seductive “Little Rule
Breaker”, and the rollicking “Levitate the Pentagon”.
Sounding like a singer/songwriter from a different era, Barton
effortlessly alternates between fun-loving optimism and spatial,
ethereal tracks. Referring to the legendary comedian, Barton
admits on “Hey, Buster Keaton”, that he and the
silent-film star could have been friends in 1922. Meanwhile,
the majestic “When She’s Lost Your Mind”
is more than just a great play on words, but also has a haunting
streak that is matched by the more somber “Vacantville”.
However, the subdued, introspective nature of this effort
is heard throughout all of album number two, Shattered Light.
For those who are fans of bluesy, somber, acoustic playing
from a man baring his soul for the benefit of an audience,
than, like me, Shattered Light will be the favorite
of the triumvirate of releases by Steve Barton. Every song
is a genteel, airy track in which each syllable can be heard,
analyzed, and digested properly before the next line is uttered,
revealing a deeply spiritual poet and raconteur throughout.
The closing “Stare at the Sun Tonight” (featuring
the line, “Is the world the way we make it or does it
make you and me?”) is driven by bare bones instrumentalism,
accented by Springsteen-style harmonica and gutsy, gravelly
vocals. Perhaps Barton’s recent move to Portland, Oregon
inspired “Northwestern Girl”, easily the most
energized of the anthems on Shattered Light, while “Breath”
and the penetrating “I’ll be Loving You”
are methodical anthems of quiet passion, with the latter enhanced
by fuzzy guitar riffs that briefly cut through the quiet in
a manner both jarring and engaging. The gut-wrenching “Tearing
Out the Roses” is gorgeous in its ability to expose
the most profound of emotional pain as Barton’s tale
of suffering is carried by lush piano work. Also including
a version of Sinatra’s 1955 hit “In the Wee Small
Hours of the Morning” and a deliberate reimagining of
Translator’s “Unalone”, Shattered Light
is a work of near perfection that, if released on its own,
would be more than most others could hope to achieve in an
entire career. However, Barton was still not done!
Before I Get Too Young is a more traditional rock
album on which Barton is backed by a sterling group of friends
including Translator buddy Dave Scheff (and for three songs,
Attraction Pete Thomas) on drums, Derrick Anderson of Bangles
on bass, and Marvin Etzioni and Willie Aron on guitar and
keyboards in addition to their producing responsibilities.
If Star Tonight dwelled in the land of the Fab Four, Before
I Get Too Young certainly pays an ode or two to the Glimmer
Twins. This occurs quite literally with a version of the Stones’
“Dandelion”, but “My Little Strange One”
shimmies and sways with a sexual angst comparable to anything
on Sticky Fingers, and the dirty guitar riffs that abound
on the title track capture the early energy heard in the Jones-Richards
line-up. Playing live in the studio, the songs flow effortlessly,
from the sinewy sexuality of “She Is the Girl”
to the bubbly energy of “Gimme Your Hand” and
“Now That We Have Tomorrow”. Tackling each of
these three pieces may seem overwhelming in theory until one
undertakes the task and suddenly, one record’s conclusion
simply demands that another one must begin. Steve Barton has
been a revered player for decades, and while I suggest checking
out all three of these releases, any of the components of
Tall Tales and Alibis is enough to solidify Barton’s
legacy.
 BLIND
IDIOT GOD - Undertow (Indivisible Music http://www.indivisiblemusic.com)
Originally released in 1989, Undertow from Blind
Idiot God sounds as fresh and important as ever. Blasting
through thirteen songs, three of which are exclusive to the
re-release, the record is an assault upon all musical senses.
The opening “Sawtooth” is a brute of an introduction-a
pummeling mass of guitar force that sets the table for a fascinating
ride through rock’s darkest corners of noisy power.
What makes BIG so compelling is that, while they have the
ability to simply musically dismantle the listener on each
track, they often select to reduce the tempo and volume and
create anthems that embrace delicate beauty and near mysticism.
This trait is heard on the richly textured “Clockwork”,
but the song deftly gives way to the driving intensity of
“Atomic Whip”. The pounding track establishes
a template that remains true throughout much of Undertow,
namely slashing, vicious guitar playing from Andy Hawkins
that is often accented by blast beat style percussion from
drummer Ted Epstein. “Drowning” concludes with
a wall of screaming guitar rage, while bassist Gabe Katz shines
on the darkly sensual “Alice in My Fantasies”.
Most listening to this will be rightfully intrigued by the
appearance of Henry Rollins on “Freaked”, a song
that was used as the title theme for a cult classic film by
Alex Winter (“Bill” from Bill and Ted’s
Excellent Adventure), in which Randy Quaid played a mad scientist-in
a case of perfect casting-who created a collection of freaks
for the public to exploit. Rollins is the only vocalist on
a Blind Idiot God track, and his voice and fury was at its
peak during this recording, eliciting images of Black Flag’s
most visceral moments. Undertow also includes a dazzling collaboration
with master of chaos John Zorn in another ideal musical marriage
on the schizophrenic “Purged Specimen”, a two-minute
cacophony of blissful anarchy. The work of Blind Idiot God
are showcases for three supreme musicians who relish musical
destruction, such as the crushing “Waling Wall”,
but also have the ability to contain their outbursts on the
lush “Dubbing in the Sinai”. I do not remember
how many people embraced this back when the Berlin Wall was
crumbling and George H.W. Bush was reversing his course about
“no new taxes”, but Undertow, with all of its
bluster, vehemence, and musical vitriol, could certainly act
as a metaphor for the world of 2018.
 CRAIG
WEDREN - Adult Desire (Tough Lover Records, available through
Dischord Direct https://www.dischord.com/ release/TL01/adult-desire)
Getting older is an odd experience-some adopt a “Peter
Pan syndrome” and fight the process as fiercely as possible,
occasionally clutching on to a youth that is long past, while
others, such as Craig Wedren adopt the changes life brings
and channel this new reality into a collection of majestic,
mature songs. Much of Adult Desire is acoustically dominated,
articulate stories addressing the grown up topics of love,
family, marriage, and responsibilities. Rather than lamenting
about the inevitable, Wedren embraces them, occasionally through
very direct language, such as on the title track, but usually
through clever metaphors and genteel vocal deliveries. Aside
from one explosion of guitar force on “Join the Zoo/Live
Again”, the songs are subdued, introspective gems, accented
by subtle piano and minimal instrumentation. “Be a Man”
has a thin layer of psychedelia behind its message, while
the instrumental “Amnesia Wedding March” is a
crisp piece of tender playing, sounding like a lullaby. There
are refined studio tricks on “I am a Wolf, You Are the
Moon”, and “2pristes (The Heat is On)”,
but never enough to detract from the central purpose of the
song. “Safe Home/Fadeland” and the concluding
“Face the Pillows” are superbly crafted songs
with hushed, whispered vocals that are smoothly and deeply
reassuring, like coming in from the bitter cold into a warm
house with loved ones happy to see your return. Richly poetic,
adroitly performed, and beautifully constructed, Adult Desire
is the soundtrack for a quiet, reflective evening.
 THE
HANNAS - Cut Loose (https://thehannas.bandcamp.com /album/cut-loose)
This Montclair, New Jersey band incorporates several forms
of pop-favored punk into an easily digestible aural stew on
Cut Loose. Vocalist Joey J. has a sweeping voice,
one that can easily shift from angst-fueled barks to falsetto
“woah-ohs” that dominate the opening “Porcelain
Hugs” and “Pyro”. The title track has a
fittingly relaxed sensibility, with a subtle ska quality heard
much more definitively on “Agree/Disagree”. The
six songs on Cut Loose are a wonderful primer of the band,
as The Hannas are not looking to reinvent good-natured pop,
but instead, they find a pleasant balance of bored, suburban
punk frustration and dance energy. The guys even channel goofy
dalliances on the country-fried “Goin’ Out Tonight”,
a song that may become a fun live staple, but seems to stop
the momentum built by the previous two efforts. Closing with
“Bad Juju”, the band again infuses comedy into
their story-telling (“this room’s got bad juju”),
while soft-hearted ska skips along at a mid-tempo pace before
a furious sixty seconds of thicker guitar and speed brings
the song a level of energy too often missing on the EP. As
the final thirty seconds tick away, Joey J speaks directly
to the listener, invoking a reference from Ferris Bueller’s
Day Off- a great allusion, but I wonder how many of The Hannas
fans will get it. Ultimately, Cut Loose is wholesome
fun, but not destined to alter anyone’s life.
 JOCEPHUS
and the GEORGE JONESTOWN MASSACRE - 5 Minutes to Live-A
Tribute to Johnny Cash (Saustex Records; www.saustex.com)
Before one hears even a single note on this record, it is
impossible to not be impressed with the selections of covers.
A typical Johnny Cash tribute may include “Walk the
Line” or “Man in Black”, but instead, four
more obscure anthems are treated to celebratory recreations
led by Joey Killingsworth, Brian Costner, and Dik Leddux,
but guests abound throughout this fleeting musical gem. Significant
contributions come from former Jonny Cash and Carl Perkins
drummer WS Holland, Mick Harvey and Warren Ellis, two supremely
gifted musicians who are also two of Nick Cave’s Bad
Seeds, J.D. Pinkus of the Butthole Surfers, and the indomitable
Buzz Osborne of The Melvins. The collection opens with Pinkus’
wickedly self-actualized delivery of “The Losing Kind”,
featuring the classic Cash lament of “Too proud to crawl,
too weak to run, I’d shoot myself, but I lost my gun”,
as the song is a darkly comical homage to all those who struggle.
Killingsworth takes the vocal helm on “The Sound of
Laughter”, a tragic story of how one woman’s derision
and ridicule can drive a man to murder, while “Long
Black Veil” features Osbourne’s forlorn crooning
as another misguided victim meets an untimely demise. The
title track’s vocal responsibilities fall to Harvey,
and he provides a sterling performance for a song that was
the theme song for a 1961 film featuring Cash starring alongside
an up and coming child star named Ronnie Howard. The four
tracks may fly by too quickly, but each second is worth savoring.
 SPOOK
SCHOOL - Could It be Different? (Slumberland Records http://www.slumberlandrecords.com/
Glasgow’s Spook School makes quite the impression on
“Still Alive”, the opening track of Could it be
Different? as the refrain of “fuck you, I’m still
alive” buries itself in my brain. A bold display of
courage and defiance, the song is the ideal declaration of
the band’s emerging confidence and an announcement to
the world that Spook School is primed to become a band that
will be help to define 2018. This socially progressive and
politically cognizant act laments how “it’s been
a bad year” on “Bad Year”, and while that
is undeniably true for most, their brand of infectious, guitar
rich indie pop may be enough to help get through whatever
happens over the course of the next twelve months. The jangly,
bouncy groove of “Alright Sometimes” begrudgingly
surrenders to aspects of optimism, while the bass-heavy “I
Only Dance When I Want To” is the finest New Wave-flavored
song in a decade, and showcases the dazzling talent of Anna
Cory and drummer Niall McCamley. “I Hope She Loves You”
is a new take on the traditional break-up song, as Nye Todd
acknowledges that he threw away a wonderful relationship,
and offers a sentiment of regret (“I hope she loves
you like I didn’t do”) while a furious barrage
akin to Mission of Burma jamming with Husker Du roars beneath
him. Nye and Adam Todd share vocal and guitar responsibilities
throughout the record and soar most triumphantly on the endearing
“Best Intentions” and the pop-coated “Body”,
with lyrics of positive self-reflection (“Some people
look so confident/I don’t know how they do it/You have
a lot to be proud of/I have a lot to be proud of”) juxtaposed
with reassurance given to a friend who entertained suicidal
thoughts (“Are you ok now, do you feel alright? Why
did you say that you want to die?”) The self-analysis
of “High School” is both powerfully daring in
its naked honesty, as well as preserving a poignant respect
for nostalgia and wonder about how changes to the past would
reshape the present. Leaving the failings of 2017 in the past
is healthy, and Spook School provides something to eagerly
enjoy in the new year.
 THE
WEDDING PRESENT - George Best 30 (HHBTM Records www.hhbtm.com)
Three decades after the release of their debut album, David
Gedge and The Wedding Present take Steve Albini’s producing
acumen and re-record George Best, expanding the scope and
impact of these legendary songs. “Everyone Thinks he
Looks Daft” and “What Did Your Last Servant Die
of” retain their punk-influenced manic energy, but with
Graeme Ramsay’s drumming far exceeding the original
density, the songs have a sprawling quality missing back in
1987. “My Favorite Dress” and “Anyone Can
Make a Mistake” are pristine examples of how the songs
differ from the original studio versions-noticeable shifts
in speed and energy levels allow listeners to envision themselves
in the midst of a cramped recording studio, with The Wedding
Present tracking song after song in one take with the fury
and enthusiasm of a live show. Truly, that is what George
Best 30 captures-the loose, free-flowing nature of a live
performance without the hassle of other people. Christopher
McConville’s guitar slashes across “A Million
Miles” and shines on the sleek and soaring “Give
My Love to Kevin”, while “Shatner” becomes
an even nimbler three minutes of controlled chaos. Thirty
years ago, I was not in a position to catch on to The Wedding
Present, as Motley Crue, Ratt, and the other bastions of the
fading Sunset Strip were lighting up my Walkman. However,
between then and now, I am fortunate to say I have come to
admire The Wedding Present, and while some may question the
need for the re-recording of old classics, the combined talents
of the older, wizened Wedding Present and Steve Albini illustrate
how sometimes, occasionally, magic can be recreated and even
improved.
 BLACK
WAIL - Chromium Homes (Rhyme & Reason records www.rhyme-reason.com)
This Jersey City outfit seems defiantly out of touch, and
that is exactly the point. Forgoing any concerns with contemporary
fads, Black Wail is a trip back to the most sludgy, psychedelic,
and heavy aspects of the 1970s. Opening with the Sabbath-friendly
bombast and stoner-rock riff of “They”, Black
Wail unleashes a wall of pummeling low-end force. Anchored
by the bass playing of Susan Lutin, the track is a hazy six
and half minutes of tales about kings in ancient times, courtesy
of guitarist/vocalist leader Michael Tarlazzi. Replete with
dazzling guitar work and perfectly appropriate keys, I am
instantly hooked. “Thee Ghost” includes atmospheric
keyboard accompaniment from Bram Teitalman and another massive
hook; the calling card of the band. All of Chromium Homes
includes a classic metal vibe accented by 70s experimentation,
as the band is prone to simply stop a track halfway through,
take a breath, and then unveil a thrilling barrage of force.
In the case of “Radioactive Mutation”, the song
swings with an effortless freedom, and is a swirling breadth
of musical range The title track has a more refined nature,
taking cues from Badfinger or even Thin Lizzy, contrasting
the menacing vocals one hears on “The Dead Man’s
Hand”; juxtaposing the serene and the terrifying, Black
Wail produces their most intimidating song with this sludgy
gem. The EP includes a stirring version of The Beatles’
“Norwegian Wood”, and while covering he Fab Four
can be a risky, and often fruitless, venture, Black Wail make
the song their own and it fits beautifully within the construct
of Chromium Homes. This is an injection of rock’s best
qualities into an age when it is desperately needed.
 COUNT
VASELINE - Tales From the Megaplex (Saustex Records www.saustex.com)
Stefan Murphy is the mastermind behind Count Vaseline, a singer/songwriter
with a tremendous amount of courage and a penchant for lo-fi
punk fury. On “Hail Hail John Cale”, Murphy sardonically
spits out the line “Lou Reed died wishing he could be
John Cale”, while a controlled din simmers beneath him.
The impassive nature of his delivery does not deter from very
clever wordplay throughout the record, as there are delightful
references on “What’s Your Name, Where Are You
From, What are You On?” (“I am Lawrence, I’m
from Arabia, I’m on acid now”) With only one song
reaching two minutes the length, the ideas are fleeting but
all highly worthwhile. The country-punched “Texas Band”
has references to “holding Charlie Sexton’s hand”
and ultimately buried within “Texas land”, while
“I’ll be Your Johnny on the Spot” is a loving
ode to Ween. The darker “Heavy is the Head that Wears
the Crown” glides effortlessly, guided by a thick serpentine
guitar riff. The bass-heavy “Song for Tom” tells
a tragic tale of “a very good man” who “spoke
six different languages”, who ultimately “died
alone” as a mesmerizing dance beat radiates alongside
Murphy’s richly expressive vocals. The closing “Town
of Horseheads” is a dystopian anthem about the struggle
of being “too old for revolution, too young to lie down
and die” as a subdued synth-pop bubbles throughout the
effort. I am continuously impressed and intrigued by Murphy’s
work, and Tales from the Megaplex only increases my admiration
for this truly distinctive talent.
 POCKET
FISHRMEN - The Greatest Story Ever Told (Saustex Records
www.saustex.com)
I do not know how I have missed them until this point, but
the Pocket Fishrmen are apparently Austin’s “greatest
sci-fi punk metal band”, and The Greatest Story Ever
Told is a massive thirty song collection that spans the entire
“career” of this act. Every single song here is
destined to offend someone, and in the midst of the current
political climate, maybe the Pocket Fishrmen is exactly what
this country needs-three chord blasts of dirty jokes, odd
references, and old-fashioned fun! Listening to “Go
Go Saddam Hussein” actually takes me back to a simpler
time, while “Amy Carter” is a sarcastic gem. Sex
puns are everywhere here, and I defy anyone to not incur a
serious injury laughing at “Sex Billy”, “Flaccid
is the Night”, and the priceless “Half Mast”.
The Fishrmen are not afraid to borrow and even mock previous
hit songs, turning “Angel of the Morning” into
“David of the Merkin” and even “Pot Mountain”
follows a very similar lyrical structure to AC/DC’s
“Whole Lotta Rosie”. With lyrics devoted to unfinished
Ed Wood films (“Queen of the Chimps”), delightful
diseases (“Flesh Eating Virus”) and rough sex
with a single mom (“Mommanatrix”), The Pocket
Fishrmen make the kind of punk that will earn the ire of the
straight-edge kids, but will have all the drunks at the bar
dancing and singing with alcohol-fueled confidence. Rather
than attempting to build complex, multi-layered songs, the
majority of the work is richly melodic punk-pop singed by
dark wit. Clearly, Brant Bingamon, Chris Burns, Jason Craig,
and Lance Farley are not without day jobs, but these guys
actually remember when having a slightly perverted sense of
humor did not get you fired.
 HELEN
KELTER SKELTER - Melter (Shaking Shanghai Records www.shakingshanghai.com)
Living in New York, I admit that I sometimes forget that there
is more to America than just the East Coast or what latest
trend is sweeping California. The rest of this glorious nation
is more than just cornfields and billboards about Jesus dotting
endless stretches of highway. To prove this, I offer Helen
Kelter Skelter, an Oklahoma based outfit that is truly unlike
anything people are listening to as we speak. Melter is a
swirling, sinewy mass of class rock vibes set to maximum swagger
with soaring organ play, throbbing bass lines and danceable
hooks. The slithering “Inside Out” is the best
primer for the band, as the track glides with ease from night
club dance floor to rock club to a long pause mid-way through
the effort, as if the band stops to figure out where to go
next. The song returns with an even larger beat and finishes
the next three minutes rattling one’s head and shaking
one’s memory for anything quite like this. HKS bring
all the bluster of rock n’ roll without all the angst,
preferring instead for steady doses of fun, wall-shaking groves.
From the opening “21st Century” that announces
the band’s presence with a sonic thrust of force to
the dreamy, ambling closer “Wunschkonzert”, Melter
is a dazzling record of spatial and ethereal rock that may
befuddle the masses, but I am not sure this band will have
a problem with that. Cody Clifton is the “bass thumper”,
and while he shines on nearly every song, he truly carries
“Tracers”, one of the collection’s finest
moments. “Palamino” and “Time Bomb”
inject modern psychedelia into bombastic anthems, while “Mysterio
Prevails” takes a dreamier, more deliberate approach.
Regardless of how the band constructs a song, everything works
on Melter. The name drew me in to this band, but I definitely
stayed for the music.
 PROMISE
OF REDEMPTION - Before and After (Know Hope Records http://www.knowhoperecords.com)
Shane Henderson of Valencia displays the emotional breadth
of his writing and singing on Before and After, a collection
of heart-wrenching acoustic pieces. These demos and B-sides
are able to express an intensity that may otherwise be lost
in a wave of guitar force. The delicate heartache and honesty
of “Let the Waves Crash Down” is stark and majestic,
and while Henderson ahs always had a penchant for passionate
song writing, his talents are inarguably impressive here.
Fragile piano opens “Hard Times” and when Henderson
pleads, “You gotta say that you’ll be alright/You’re
gonna make it out alive”, the song bleeds empathy. “On
and On” aches with sentimentality, while “The
Light” is a song of grand beauty. Gripping and raw,
the song speaks of holding on to love while delicate strings
play and Henderson reveals that “California is whispering”.
Before and After says a great deal in only six songs and whether
one has followed Henderson over the course of his career or
just stumbled upon this, it is impossible to not be swept
away by the sheer conviction of the playing.
 DINOSAUR
EYELIDS - Turn Left on Red (https://dinosaureyelids.bandcamp.com)
This majestically DIY outfit from New Brunswick brings back
a brash style to rock that is glaringly omitted by most bands
today. Left Turn on Red opens with “Day Zero”,
a thunderous eruption of guitar power that blends Dinosaur
Jr-style fuzz with a slight Southern boogie into a teeth-rattling
four minutes. The song embodies the band’s motto of
“we may never be rich but we will always be loud”,
a slogan later hard on the rumbling “Land and Sky”.
“Into the Woods” readily embraces the more primal
elements of grunge, most notably distortion drenched guitar
and a low-end roar. “Basilone Bridge” is yet another
aggressive track, but the band also plays with tempo shifts
a bit throughout the song, but never deviates too far from
their original purpose to be a massive sounding rock force.
With guitar solos that are fleeting at best, Dinosaur Eyelids
are not interested in technical wizardry, but are committed
to making soulful, honest music that takes cues from classic
rock as readily as contemporary acts to generate something
that is both refreshingly new and instantly comfortable. The
atmospheric aspects of “Neshanic” truly allow
Evan Staats’ vocals range to shine, and when he laments,
“If nothing is real, does anybody care?”, he could
be speaking to today’s political environment as well
as the state of music. Integrating slide guitar and a slower
tempo, “L.A. Lady” oozes regret and passion, while
the acoustic “Whiskey” is a tragic harmonica-driven
anthem dedicated to the alcohol that can destroy: “When
you’re empty, I’m empty, too”, Staats moans
while Patrick McKnight provides the sorrowful musical accompaniment.
“No Money Blues” allows the band to demonstrate
a penchant for writing genre-spanning songs before returning
to the hearty riff of “More Than Nothing”. There
is much to enjoy here, and Turn Left on Red is a welcomed
homage to true rock n’ roll.
 THOR
AND FRIENDS - The Subversive Nature of Kindness (Living
Music Duplication www.lmduplication.com)
Thor Harris and his “friends” Peggy Ghorbani and
Sarah “Goat” Gautier return for a second record,
with the brilliant moniker The Subversive Nature of Kindness,
a work created to, according to the band, “ease some
of the terror” of the world in which we all dwell. Considering
the tone and tenor of this world, that may be a lofty ambition,
but the nine songs heard here are multi-instrumental pieces
that say much even sans vocals. One cannot help but to be
swept away by the craftsmanship, often connoting images of
woodlands and deeply cloistered scenes. Harris, who spent
years touring with the Swans, is a brilliantly gifted player
of instruments few have heard of, much less actually heard,
because in some cases, he has invented the item himself. The
opening “90 Meters” features majestically delivered
light percussion in which the beauty of the song cascades
over the listener and sweeps one away into a serenity that
is sporadically interrupted by squalls that fade quickly.
The harrowing, melancholy “Carpet Creeps” is a
song of reclusiveness; haunting and poignant. “Dead
Man’s Hand” clocks in at over five minutes and
is more playful in nature, similar at times to “Mouse
Mouse”, another gentle, almost childlike effort. Sparse
at some moments, melodically dense in others, “Dead
Man’s Hand” sounds like something heard in an
aboriginal rainforest. It would be a careless gesture and
potentially an affront to select one or two songs as particular
favorites, but “An Escapist’s Theme” is
a soaring triumph. Genteel, but yet a touch speedier than
its predecessors, the song propels itself into soaring beauty,
sounding like a movie score for a masterpiece not yet made.
What makes The Subversive Nature of Kindness so appealing
is the multitude of talent who contribute to its collective
brilliance-Michael Gira from the Swans contributes, as does
Enrique Soriah, a throat singer from Oregon, and Aisha Burn
a violin improvisationist and virtuoso. The darker, more ambient
nature of “Standing Rock” is paired exquisitely
with “Grassfire!” The most expansive song of the
lot, “Grassfire!” is airy, yet replete with sound,
including fascinating vocal contributions that slash across
the landscape with penetrating impact. These constant paradoxes
make the record a masterstroke of brilliance. The closing
“Resist” continues this theme by building a series
of complex ideas on top of each other into a stirring mass
of delicate power. The finesse, originality, and radiance
of this record cannot be overstated. I do not know if Thor
and Friends will be able to quell some of the ugliness that
currently abounds, but this record will be the perfect panacea
to one’s daily stress.
 JEREMY
PORTER AND THE TUCOS - Don’t Worry, It’s Not
Contagious (GTG Records www.gtgrecords.com)
Jeremy Porter and his mates Gabriel Doman (drums) and bassist
Patrick O'Harris do not waste time with gimmicks or studio
tricks, opting for the path of traditional, greasy rock n’
roll. The third album from this Detroit act jangles and shakes
with tales of broken hearts, failed relationships, and not
giving up even after all the pain. The bluesy, whiskey-soaked
“Walk of Shame” is a straight shooting, country-punched
anthem that sets the tone for the rest of the record. Doman’s
hard-hitting nature carries the downhome “Huckleberry”,
while Porter tries diligently to impress yet another woman
who is hard to please. While the majority of the tracks here
deal with love gone wrong, it stays in the world of adult
heartache and never stumbles into any form of teenage melodrama.
Like the music they play, Porter and his Tucos have seen some
sights and are fighting off cynicism and sorrow on the reflective
“Avenues are for Heroes” and the biting title
track. The slower “Consolation Prize” is made
deeply compelling by the soaring beauty of Jennifer Westwood’s
stunning vocals, while the heart-wrenching “Torn”
invokes the best moments of Paul Westerberg’s skills
as a raconteur. “You Don’t Have to Ask Twice”
and “Worth the Wait” both have a Tom Petty vibe
made all the more poignant by that legend’s tragic passing,
while “Patty’s Not Impressed” proves that
Porter and the Tucos have a sense of humor. Accented once
again by Westwood, the song details a tough critic who “did
not like the opening band/even though they did their best”
and cannot understand why Porter’s band always plays
last. Jeremy Porter may hail from Detroit, but he has certainly
traveled south down Route 66 for inspiration on “Urge
to Cry”, an emotionally gripping anthem that is one
of the finest moments here. For those who still appreciate
honest rock, this is one of America’s best examples
of pure talent and hard work.
 AMINAL
- In With the Gnu (https://www.facebook. com/AminalMusic)
First off, it is indeed Aminal, and while the name may be
slightly challenging, one is only getting started with the
oft-putting nature of this incredibly unique band. (Although,
remarkably, a quick search will find several bands with this
moniker) Perhaps we are living through times of unparalleled
blandness, but regardless of decade, this is scintillating
in terms of its originality. “The Kid is Still There”
bounces and shakes with the energy of Zappa at his most charged.
Searing, fuzzy guitar slash through the heart of the song,
while bass lines that are equal parts jazz-fusion and thick
funk drive the track forward. This wildly brazen and invigorating
disregard for pretention or genre boundaries continues on
“Underwater Catastrophe”, which again borrows
from a Mothers of Invention style playbook, blending complex
song structures and fluid time changes to produce a anthem
that requires the listener to work. Aminal label themselves
“molten rock”, which is fitting, for there is
no label one can accurately apply to this band. Perhaps their
finest moment is “It’s No Picnic with Snazzlepants,
Baby”. With an infectious bassline, vocal tricks, and
deceptively obtuse lyrics, this invokes the finest experimentalism
that used to be far more ubiquitous in rock n’ roll.
One can clearly hear the influence “Dynamo Hum”
or “Peaches En Regalia” throughout the six songs,
and I am particularly intrigued by the rambunctious nature
of “Insex”, as the band effortlessly moves between
rock, pop, jazz, and blues with lyrically puns abounding.
The funk-fueled bass that commands center stage on “No
Way, Know How” seems to have climbed off a 70s detective
show, but when blended with equally groovy, wah-wah-kissed
guitar, the marriage is one of perfection. Those with limited
miles on them will likely shake their heads in amazement and
confusion when introduced to Aminal, but others, whether more
experienced or more adventurous, will embrace this and rightfully
honor it for the bold tableau of ideas it is.
JerseyBeat.com
is an independently published music fanzine
covering punk, alternative, ska, techno and garage
music, focusing on New Jersey and the Tri-State
area. For the past 25 years, the Jersey Beat music
fanzine has been the authority on the latest upcoming
bands and a resource for all those interested in
rock and roll.
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