Quick Music Reviews

This is a list of stuff I am listening to at present. I am going to jump around a lot here. Short or long or whatever. Like the back of a punk magazine. You know, you should read one.

Bad Banana – Crushfield  – Self Released (FREE). I downloaded this ages ago and just listened to it now, tonight. It’s one of them Crutchfield sisters projects you’ve read about in the NY Times and shit cuz being a hipster treasure now makes you news worthy (not a diss on them or their music, but I bet a lot of dick heads are already talking about what sell outs they are). Anyway, the production on this demo sounds pretty low fi, and if you like that stuff, then you’ll love the syrupy pop-crunch punk with almost 90’s indie sound. For me it worked better for Waxahatchee, the low fi production made it intimate. Here it sounds like something they’ve already grown out of and forgotten.

Propagandhi – Failed States Epitaph Records. I want to love this album like I love the last three albums by Canada’s greatest export (next to toothless hockey players) but I am having a hard time with it. Don’t get me wrong, it’s the Prop, so it hits all the points you’d expect. But that’s kind of the problem, it started out with a soft little intro and got all melodic and explosive just like I thought it would. It’s a predictable listen which is not what one expects from these angry anarchists from the north. I love the licks, the riffs, the vocals and the lyrics, but it sounds like the corresponding b-sides to Supporting Caste rather than a fresh effort. I’m trying to find its voice, but I’ll never give up on this band.

Big Eyes Back From The Moon 7″. Grave Mistake Records. There is a comic in Razorcake #69 by Liz Prince who writes the most crush-worthy comics ever. She loves pop punk. She wrote this comic about seeing Big Eyes in NYC. I hate NYC, but I checked out this single and I love it. It’s got that fresh but familiar energy of The Ergs. All the best parts about pop punk and indie rock that makes bands awesome. I also checked out there LP from 2011 (Hard Life) but I like this a bit better. The two songs on this 7″ have a great bit of energy and are just a bit crisper. But you should get into this band if you like to bounce around your living area in your underwear listening to music singing into a hair brush or at yr cats.

White Lung Sorry Deranged. This album smokes. I love this band. This is what music is supposed to be. Energetic, frightening, desperate. White Lung takes you to the edge. I don’t know if I want to kill or cry when I listen to this album. I feel alone, wandering the streets with no purpose, desperate for anything, hand on my pocket knife. No rules. No Cell Phone. Nowhere to go. A lot of bands get recognition outside of punk that is often unwarranted. There are bands that people who have listened and dedicated themselves to the genre know are just temporal and luke warm. White Lung sounds like nothing else and deserve to break the genre ghetto of appreciation. Devastating times call for damaged music. This is what I will be listening to when they finally start that war that ends us all. It’s coming. Here is your soundtrack to die to.

Kamikabe Abberation of Man Unique Leader. This is pure fucking awesome Death Metal and I love it. Working on a metal show I’ve gotten into death metal again and have been revisiting lots of Obituary. This band sounds nothing like them, but reminds me of what it is I first loved about Obituary (who isn’t just one of my favorite metal bands, but one of my favorite bands and Allen West is one of my favorite guitar players). Anyway, Kamikabe kicks it in the face. The kids would probably call this technical death metal. It has some great elements that remind me of Dying Fetus, Cattle Decapitation and Pig Destroyer. But make no mistake, this Pittsburgh five piece is their own band. It’s hard to stand out and be distinguishable in a genre of music that has so many rules and where being tech is so important, but Kamikabe stand out from the crowd.

Aesop Rock Skelathon Rhyme Sayers. It’s an Aesop Rock record, alright. You can’t really say this guy sounds like anything. I don’t even know if it’s hip hop. The musical language that Aesop Rock speaks is his own. And this truly is his album. Almost all the beats, lyrics and sounds are his. Aside from a few vocals from a few other people, he did it all. And it’s a sad sounding album. The Ian Curtis of rap. The Joy Division of hip-hop music. I worry about Ian Bavitz, then he puts out a record and goes on tour.

Swearin’ S/T Salinas Records (FREE). This is a first listen review. Literally listening to it for the first time. It did not come with a download code when I bought the record so I had to find this on the internet, which I was able to over at http://www.ifyoumakeit.com for donation/free. There is a lot of hype about this record and it’s not unfounded. It reminds me off some Discount, Superchunk, The Promise Ring, and a lot of pop-rock indie music that I don’t listen to that much anymore. It’s got that same feel as early Lemuria singles before they went all weird. Swearin’ might be a braver bet, making music that is catchy and accessible. It can be hard to wade in waters already tread and try to find new, interesting stones, but Swearin’ here seems to have confidence in what they are doing. Great work on the warbling vocals too. Someone earns a gold star on mixing for this one. Best aspect of the production that is otherwise straight forward.

Stop Breathing S/T No Idea Records. CHUGGAGHUGGAGHUGGAGHUGGAAHHHHHHHHHHHHH. Are you looking to have your mind blown or are you looking to pedal your ten speed bike as fast as you can down your street like you did when you were ten? IF you want the later, this skate rock inspired, three chord SOCAL punk rock will make you wish for those endless summer days when you didn’t care about anything but 50-50 Stalls on the curb and building the worst launch ramps in history. Nothing fancy, just the essentials. Dated but still timeless. Get those rat bones out kid, yr gonna need the big wheels to grind those curbs.

Post-Teens The Heat No Idea Records. Post Teens has the guitar player from Asshole Parade/Dead Friends +more so I thought this was gonna be heavy, but it’s more like the sloppy, low-fi, pop punk for drunk old dudes that my man Todd Taylor is all into. Oh yeah a dude from Shitstorm/Torche is in this band too. But like they all switch up on instruments and shit. It’s just punk rock music. Six songs, six minutes, it’s a good quick fix. I still wish it was a grind record, but I get the point.

Low Culture S/T Dirt Culture Records (FREE). Ex-member of Shang-A-Lang from Las Cruces New Mexico where they have a place where bands come through and tour instead of Albuquerque because Duke City is a weird town with a weird scene. Jangly guitars, catchy little ditties with a bit of space in there to build some excitement. Gets a little late 90’s pop-emo (the break down in “I Didn’t Know”) for a moment. Bryan Adams would be proud. Or maybe Ryan Adams would be cuz I think these dudes would just be like fuck it. It’s kinda all over the place, kinda like the Ergs because they had a lot of influences. I think they are still exploring all the sounds they are capable of. There’s enough here to make me check them out in the future.

Dan Padilla Sports Fans Dirt Culture Records (FREE). Dan Padilla (the band, not the man) has once again put out an album you can get free. Which makes two in a row. Davey from Tiltwheel/Too Many Daves plays in this band. This album, not quite as exciting as As the Ox Plows. It’s a little too Tim Version without the grit and grime. I liked the hints of sounds and influences of the last album. But I’m just kind of luke warm to this one.

Heathers  Kingdom Aunthill Records. I’m pretty sure that Heathers are the biggest thing in Ireland now and it’s well worth it. Kingdom finds the Macnamara sisters reaching way far out from their humble debut Here Not There. Luckily for me (or them?) I am a huge pop diva fan, because they get in some territory I did not expect, but I love. The bare sound of  an acoustic guitar and vocals are all but gone here. Instead they go all out, relying on a heavy dose of piano and dance beats to make their music now. But the root of what makes Heathers a band that I love is the vocals of Ellie and Louise. The melodies and harmonies are beautiful and striking. So when the duo makes this obvious move to go bigger, they don’t really sacrifice what makes them great, empowering lyrics, solid songs at the core and great singing. I mean masterful singing. This album has been on constantly in my home over the last week and probably will be for quite some time. It’s proof that pop music can be big and grand and sound slick and still be good, if you know how to write a damn song. Ellie and Louise do. I can’t wait to see them rise to heights as great as their talent.

XX Coexist Young Turks. I haven’t been lucid enough before going to bed to really listen to this album the way I want to. But what I have heard so far, I love. I shouldn’t love this. It’s too pretty, weird, soft and subtle for a man in his mid thirties who still thinks BEING LOUD AS FUCK is a good idea. Other reviews that I have read call this record even more minimal than their self titled debut, but I don’t find it that way at all. I think there is a subtle quality to the production that is amazing. It also helps that this trio fell in love with Sade, whose work I am both familiar with and a fan of. The influence shines through on some of their “bigger” songs (“Swept Away” and “Reunion”). This album also has a shit load more space in which the band finds a grove. The debut, while beautiful often felt restricted. For all its empty space, Coexist sounds like a big record. I need to spend more time with this, I feel like it’s getting lost in my collection and I’m pretty sure I love it as much as the first album, just like everyone else.

Tooth Soup Casting off Curses Plan-It-X (only $.66). Chris Clavin is back with a new punk band, but it sounds more like a collective effort then many of his previous works. He’s letting the influence of the other members into his music, songs and lyrics and it’s refreshing. He does what he always does best with the boy/girl vocals of hope, optimism, angst and disappointment wrapped up in a cutting but pleasant bit of pop punk. Tooth Soup probably won’t be your instant favorite, and it wouldn’t be the album I would use to introduce Chris’s work to others with. But it shows maturity in sonic range and will grow on you quickly. The other thing I like is that each member gets a track to share their individuality. All the members have other projects and each gets to display their singularity. It’s a great way to show how it all comes together, how each members sensibility and perspective comes together through insight, communication and compromise to make a whole. That’s pretty damn daring.

Verse Bitter Clarity,Uncommon Grace Bridge 9. I’m not really sure how I feel about this band. I must like them because I keep finding my way to this album. I haven’t looked at a lyric sheet yet, but it feels like that awesome La Dispute record that came out last year that I am in love with (Wildlife, get it here for $8 you won’t regret it if you like stories and came of age in the 90’s). But it feels like this dude has something to say, I just wish I would take the time to figure it out. It’s definitely an album that’s all connected and shit. The songs don’t stand on their own, but become something as a whole piece. There is something distinct and exact about this album that I can’t quite put my finger on. Lots of guitar solos too, which seems weird yet weirdly works here.

Gaza No Absolutes in Human Suffering Blackmarket Activities. From Salt Lake City, Utah, I was really stretched (and still am) how a band could call themselves Gaza. I haven’t done my research yet, but a few people assured me this wasn’t a bunch of straight edge mormon dip shits playing at hardcore and considering my tastes for metal and grindcore I would probably dig this. It’s not the most slaughtering music I have ever heard and it gets a bit metalcore at times (which is a BAD THING) but when they decide to be brutal and awesome and dig the grind, it’s something my ears and angry heart are attracted to. The verdict is still out (two songs reach over six minutes, which even at pummeling speeds seems excessive to me) because I just can’t blindly trust a bunch of privileged white boys who call themselves Gaza. That’s some heavy geo-political implications they are making there. Takes balls. Lets see if they have the ovaries to back that shit up.

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From Bloomington With Love

Inky Skulls
Introduction to Alchemy
Self Released ($.99 on bandcamp)

The reason why I love Chris Clavin, or at least the reason I am going to talk about in this review is because, despite having a pretty consistent canon, he never, ever fails to surprise me. Since moving from Bloomington Indiana around the country, settling in Cairo, IL and back again, Mr. Clavin has not slowed down a bit when it comes to releasing new music. Whether it was with his punk band Imperial Can or the many split cassette releases he issued on his label, Plan-It-X, Chris has been a busy man writing his endearing songs. Sometimes he’s been filled with bubbling positivity, sometimes the songs are overwrought with pessimism and sometimes they burn with the ire against the ills of our society. But no matter what Chris is singing about, it’s always coming from his heart.

Inky Skulls is yet another new endeavor from Chris and his friend Emily Rose. Despite being a male/female musical duo, do not expect any rehash of the ground that Chris previously tread in Ghost Mice, or any of his other projects for that matter. The duo has chosen the ukulele, an instrument whose face is changing, as the center piece for their songs. And, not surprisingly Rose and Clavin make music that brings these instruments to life, pushing them beyond the toy box stigma and kitsch labels the ukulele is often tagged with. This is not irony music, the instrument essential to the songs breath.

Instead Introduction to Alchemy is a rather robust presentation, which is even more surprising considering it is the culmination of only two weeks of writing and recording. The seven songs, six originals and a fun cover of “Mommy Can I Go Out and Kill Tonight?” are dense and complex, despite the relatively sparse sounds. Further, we find the lo-fi loving Clavin capturing his songs with some of the clearest presentations to date.

The topics range from wanting to rule in a world enslaved by capitalism, good friends standing by you and loving life. There are odes to a hot dog shop and wishing someone would get repossessed by a demon. The simplicity of the whole recording makes it both touching and endearing. This is Clavin at the best he’s been in years, easily his strongest, most cohesive work since the Ghost Mice/Andrew Jackson Jihad split from a few years back. This music was probably as much of a surprise to Clavin as it is to the world, but it was born from a desire to create and collaborate. Rose’s vocals match Clavin’s strong voice that has been honed after years on community center floors, small DIY spaces and the oddest of venues. Inky Skulls are beautiful. There is no other way of saying this.

Summer Salt
The Places You Call Home
Self Released (donations at bandcamp)

Surely inspired by the history or even mythology of Bloomington’s DIY music scene, Summer Salt comes (at least for me) out of nowhere. I know nothing about this band, the people in it or what the deal is. All I know is that they are from Bloomington and Chris Clavin endorses them. That’s an endorsement that means something to me and so I checked them out and I’m in love.

Structurally, the band is slightly reminiscent of The Measure (SA), the beloved pop-punk quartet from New Jersey. The vocal harmonies feel right at home and the songs move with ease through the transitions, creating for a seamless, effortless listening experience. Of course, the power of loud amps and thundering drums are not the background for this band. It’s punk in its simplicity, but the songs are nothing but breathtaking.

I love the drum sound on this record. Quiet, low-budget production lovers should take note. Every part of the kit is in full effect, clear and present, but the drums don’t over power anything. Instead, the instrument becomes alive and essential, the product of good, solid and simple playing combined with a good ear turning the nobs at mix down. Sure, these are the boring technical aspects of this record, but it’s so important. A muddled drum set, too drenched in room reverb or too over powering could have ruined this album.

Everything else sits with a great cadence. Whatever room or rooms the instruments and voices were captured in must be a part of some awesome vortex, because everything sounds like it’s in the room with you. My cozy headphones slipped over my ears tonight, at 2:52 AM keeping making me look up, searching for the people making these songs. They aren’t here, but it’s easy to imagine the place where this album was made. It’s warm and inviting and totally relaxing, just like the songs.

Summer Salt is sweet and a bit quirky for sure, but it draws you in and gives you a warm place to rest your head. Sometimes the best music is something that isn’t presumptive or assuming. There are no angles at all here on The Places You Call Home. Instead, it’s just an invitation to sit back and put your feet up. The band will melt your worries away. You can’t ask for anything better than that.

An unclear, random collection of thoughts about music

from R Stevens great webcomic Diesel Sweeties

Getting back to the blog today feels nice. Posting in real time will feel weird and all, but whatever. I’m going to do my best to edit this piece before I post it so it will be awesome for you. This is all an indication that I am getting better. Sadly, I am passing up on being an extra on In Plain Sight tomorrow because I still don’t think my respiratory system can take a spring day outside in dusty Albuquerque. However, the fact that I am sitting here, enjoying Thursday’s new album No Devolución for the first time tells me I am getting better.

As I woke up this morning and emerged into the hallway, looking at the mess on my desk I noticed the pile of tapes I have waiting to be digitized or cut up so they can be put on my iPod. There is guilt there because my friend Joao, who runs the awesome Fabrica Records, sent me some tapes for review and I lost one of the digitized versions somewhere and haven’t gotten that review up and running yet. That’s not cool because he sent me stuff out of kindness and used money to do it. Through this guilt I realized how odd my music consumption has become simply by the fact that I have like ten cassette tapes on my desk. See, I don’t own a stereo system anymore, though I do own a dual cassette deck still. But I have nothing to plug it into except my computer. I listen to music exclusively through my computer or on the stereo in my car. My computer sits on my desk in what most people would use for a dining area. It’s great, I can listen to music while I make food or work on art or read in my living room. But it’s all gotta come through my ipod.

The strange thing is though, now that I am unemployed, when I do buy the occasional physical album, it’s always on what was once a dead format, either cassette or vinyl. This occurred to me last night as I placed an order with No Idea Records who have the pre-Minutemen compilation/covers album 1979 by the Reactionaries. I don’t know if that comes with a download card. It didn’t specify in the listing on the website. Now I wonder when I will find the time to format it the way I need it so I can enjoy it countless number of times.

In Noel Murray’s recent post in his reoccurring series  Home Taping is Killing Music he talks about the consumers fight with multi-devices to consume the entertainment the way companies want them to. I don’t run into this problem too much. Sure I miss some TV shows that I’d like to watch in real time, but I know eventually I’ll get my fix. Plus, Netflix and Hulu have enough content to distract me. Who needs choice? When it comes to music though, most music I buy is independent and those labels have the good sense to include the download code. However, there is this trend to back track, to force a more personal interaction with music. Partly because it’s more cost effective, but partly it’s away for the artist to reclaim space. The reemergence of the cassette tape in DIY culture is not totally surprising. People in my age range, early to mid-thirties who are still making music have a certain nostalgia for tapes. I know I do. The tactile feeling I got when I received Chris Clavin’s latest split tape got me really excited. It’s bright orange and you can feel the ink of the silk screened cover. The thing hisses and hums when I played it. It’s not just sounds coming from a speaker, it’s a whole new world. And considering that his songs are all about his time in dusty, run down and forgotten Cairo, Illinois, there is no other format these songs could work on but the cassette tape.

And yet, how many miles will I get from that tape? I love Chris Clavin’s story telling. I think he’s one of America’s greatest, living story tellers.But format, for me is an issue; as is time management and a plethora or other things. But shouldn’t there be a separation between art and entertainment? After all, most of Noel Murray’s article is about television, and sure it’s about how we want to have access to it and how the creators want to sell it to us. But, who cares really? I’m not saying TV can’t be great art or story telling, but it’s so driven by revenue streams that eventually, even the best shows begin to fail and stop telling good stories. Music has that tendency in today’s market and I think the major labels are once again getting a grasp on that revenue stream again. The single song model seems to work and ensure that people will buy, cuz after all what’s a $1.29 to the average westerner? But for the rest of us who want something more then just distraction, who want to be engaged, what are we to do? Yes, I like the tactile feel of records and tapes, but they take up space and are wholly unnecessary. Those that I buy are carefully selected works, both out of necessity of finances and because the particular work either warrants the oil and plastic presentation or is only available that way. Some of this is obscure by choice and some by content. And honestly, most of the stuff released on these formats is to fulfill the first world distraction of collection, a habit that many middle class boys have growing up and seem to be unable to give up in adulthood. But I don’t take any pride in the stuff I have. Records and CD’s by the thousands take up space in my one bedroom apartment, are a mess to manage and a pain in the ass to move. The digital storage of it all though doesn’t really help either. I have a collection of MP3’s, a half a terabyte deep. How much of all of this do I really need? How much can I actually enjoy?

We have quickly become a document obsessed culture, collecting so many moments, worthless thoughts, boring ideas and mundane experiences. The access to technology is no longer a rite of the wealthy or a fight for those that are most willing to be heard. I think of DIY punk in the 70’s, all those labels like SST and Dischord that just usurped the system in order to be heard. They built and grew and worked for their own networks. Now, any one can have a music label on BandCamp with the albums they make on Garageband. But who is listening? Who cares?

And as for the things that permeate through culture, be it art or entertainment, who really controls it anymore? The ease of which I can download any film or album or book or view any piece of art on my computer is, honestly overwhelming. What code can be put in the way of want? None really. This entitlement age, this over-consumption age, this availability age it’s all reeking havoc. While the anarchy has potential for everyone to have a voice, with everyone shouting, no one’s actually listening.

The Great Plan-It-X Haul of 2011

So, you guys know I’m a pretty big cheerleader for my friends. From New Idea Society who I pretty much preach the gospel on, to Katy Otto who runs Exotic Fever and plays in Trophy Wife, I get into what my friends do. I feel lucky that most of my musical heroes are people I know and love.  In that same vein I am a big fan of what my friend Chris Clavin is doing with his Plan-It-X Record label. I met Chris a few years ago because these awesome dudes Ryan and Wade put me on a show with his band Ghost Mice (as well as Rachel Jacobs and Christian Brady who are equally as awesome and loved). Then they put me on a few more shows with Ghost Mice. Then I went on tour for a few days with Ghost Mice and Heathers in 2009 which is like one of the most awesome moments of my life. Anyway, I got to know a lot of Plan-It-X bands because of Wade and Ryan and getting to know Chris.

It’s been a while since I sent Chris some money for releases. I try to keep up on all the new releases that I can, whether I have heard the band or not. I believe in what Chris is doing, putting out interesting music and making it very cheap and accessible. He doesn’t do any online advertising or in any of the remaining punk zines. He doesn’t even take orders online (you can get all the PIX stuff through NO Idea online). Instead he does mail order, like they used to do in the old days. Times have changed a lot. Not many people are buying CD’s and I can tell you from search results that bring some people to this blog, people are still way trying to steal this music. It’s a shame and it makes me sad. Plan-It-X is trying to change with those times, we shall see what happens, but anyway, onto my haul.

The Max Levine Ensemble, DC’s pretty much exclusive pop-punk band, turned 10 years old recently. In an effort to celebrate this milestone that barely any band in DC makes it to, they re-recorded a bunch of old songs. Mr. Gikokovich 2000-2005: A Retrospective is the awesome result. The band wanted to capture the way they play the songs now in a more updated sound then the originals. Some of the songs, I don’t think I even remember hearing recently like “Leopard Print Girl” or “Tidal Wave” so it’s nice to hear old songs that don’t feel like old songs. Then of course the band tackled some of the classics. Super fast versions of “Poop Farm” and “Nihilism” make you realize how ADD this band has become. The whole CD is just over 20 minutes and it feels like it. If your just learning about pop-punk but NOFX and Pulley are overbearing and dull, start with this album. You’ll be able to keep up next time The Ensemble pulls into town. If yr an old crotchety punker like me, you’ll love the updated sounds of the classics, just the way they play them live now. It had a purpose and Mr. Gikokovich delivers on that purpose.

Another thing about Chris Clavin is that he is totally prolific. He has something like 7 solo albums and easily 7 split tapes. He used to release albums under the name Captain Chaos (of which I only have one, which is lame) and a few years ago he put out a great album on Crafty Records called The Road Leads Everywhere. The thing is, at least from what I own, all his songs are pretty great. In the past it was just him and his guitar, but in 2009 he put out a split with Sara Cilantro called Secrets that was him playing ukulele. I missed out on his split with Madeline Ava (I was gonna order it on this haul) but I have his two most recent one. The first one I listened to was his split with Kyle Hall. Chris’s side is pretty good stuff. He plays both ukulele and the guitar and has other instruments accompanying and accentuating his songs. IF yr familiar with the Ghost Mice you will feel all cozy with these songs. Kyle Hall is a young dude from California. I think I traded zines with him. Anyway, he’s clearly a convert to the Plan-It-X way of life. His songs, I think pay, homage to a lot of the Ghost Mice canon, which is great because Kyle tells great stories in his songs. I really dug “Nothing Gold Can Stay” a lot. It’s a sentiment I can relate to.

The other split was with Waxahatchee. Waxahatchee plays these really dark songs on an electric guitar. It was kind of sad to listen to while reading about the vastness of space last night. I can honestly say, I was a little melancholy while listening to those songs. They were recorded in a way that felt disconnected, like they were being played behind a curtain. It was chilling. Chris’s songs on this tape were also more sad. He has one song called “Greyhound” where you can tell he’s really trying to keep it together while he delivers the tale about a friend who wasn’t allowed on a bus to visit him. I think it’s about Plan-It-X cofounder Sam, who died pretty recently. It made me want to bawl my damn eyes out. The songs on this split are really good. It’s songwriting that’s getting a lot more intricate and complex from Chris. I’ve always thought he was a good guitarist, but I always felt like he held back on the solo stuff and with Ghost Mice. This is a great tape release, with an awesome cover and everyone should get this like now.

I also caught up on two other CD releases. Taxpayer’s To Risk So Much For One Damn Meal floored me as soon as I put it on. The drums remind me of early Against Me, the songs are like a hyped up Mountain Goats if John Darnielle was a bit more upbeat kind of guy. He isn’t, but the people in Taxpayers are. I really, really like this album. It just has that Plan-It-X feeling to it. Sometimes it kind of reminds me of (Young) Pioneers even though I don’t think this band really sounds like them Richmond dudes. There are a lot of influences, instruments and vocals here. They make me want to dance my ass of and get into the pit like the old dude I am and do the lawn mower until some 15-year-old kid knocks me over. Taxpayers are just some intense, hyperactive people who play really great music. I’m way into it.

The other album I got was by Small Bones. They released their Self Titled album last year and I wish I had gotten it sooner. There some dudes from New Orleans that play some really driving, up-tempo punk rock. They sorta remind me of a lot of DC bands that never quite made it out of DC, the names of which I forget now. But they have some awesome blast beats and chilled out guitar breakdowns. The vocals are young sounding in a higher register than people are singing these days. It’s like the post Braid, Promise Ring type of poppy-noisey-punkish music that was sorta big for like a year and then kind of faded out. Either way it’s another excited release from Plan-It-X, from a side of the label that I think is under-associated to the legacy. It’s good times.

So yea, Plan-It-X is still alive and kicking despite these despairing times. I got all this music for 25 dollars. I totally gambled and as always when I roll the dice on the Plan-It-X craps table I come up sevens man. Chris Clavin is doing it real, and I really hope he can continue. There is nothing I have heard on the label yet that has disappointed me. Keep up the good work Chris! I love you.