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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Episode 16 – Best of 2010 – Punk Rock Edition

I must say, I am inclined to disagree with my friend Joao over at Discoparlante who stated as a header for a recent post that 2009 and 2010 was the years that most music sucked. I think that 2010 was a pretty good year. Lost of music out that got me really psyched up. There was a great deal of really awesome punk rock music. Some of this stuff you will no doubt have read about to any of my regular readers. So yea I totally put together an awesome podcast of awesome punk rock songs that made me feel like raging.

This Podcast was brought to you buy the great minds at The Korrupt Yr Self Office For the Unemployed Fucker. Download it here. Also, we still fucking need tech support.

Black Thoughts – OFF! – The First Four EPS
More Talk From Some Guy
Anthemagic – Dude Jams – split with Too Many Daves
Snortin’ Smurfs By The Dashboard Light – split with Dude Jams
The Last Arrivals – Dan Padilla – As The Ox Plows
Can’t Remember Shit – Tiltwheel – The High Hate Us
Guy Talks Even More
Dale – Grabass Charlestons – Split w/Toys That Kill
Pure Joy – FIYA – Magic Words
Checklist – The Measure (SA) – Notes
Another Dance – Leatherface – The Stormy Petrel
Oh Shit, More Talking
Liar – Young Offenders – Leaders of the Followers
Hey Fuckers – Imperial Can – Hey Fuckers
It’s Not A Fire – Get Rad – I Can Always Live
Can I Say – Dag Nasty – Dag With Shawn
Conditioned Minds – Magrudergrind – Crusher
The Last of the Talking From That Guy
Kids Under the Bed – VRGNS – Manimals
Resilient Bastard – RVIVR – Dirty Water
(44:34)

Old Fartz Can Still Rock

Tiltwheel
The High Hate Us
ADD Records

Old, fat, bearded white dudes are not cool. That’s why none of the cute girls in Washington DC wanted to talk to me last weekend at Crafty Bastards. I was working the table for my friend’s at Berkley Illustrations (shameless plug: buy those prints bros; get on it now!) and there were a lot of cute, tattooed punker girls. I don’t see these ladies at shows or in town or at the record store. I don’t know where they live or hang out to maybe meet one of them. They sure go to craft shows though. Anyway, they’d be buying their prints and being all “these are so cute, i love them so, *gush gush gush*, do you draw these?”. When I would say no, and point to Ryan their attention would quickly divert away from my ugly mug and to his better kept, more pleasing face. When I got home on Sunday, my latest package from No Idea Records was waiting for me. It included the new album The High Hate Us by Tiltwheel. After one listen, I totally related.

Titlwheel are some California punks who apparently have been around forever but never tour and have only put out two full lengths, The High Hate Us being the second. My beloved Razorcake had a three issue interview arc with this band, and even after reading it they sound like crazy, homeless loser drunks. So I wasn’t really surprised that dues weren’t that prolific. But one thing was clearly conveyed in the interviews; Guitarist/Singer and founder Davey Quinn really gives a shit about how this album sounds.

The persistence really pays off because this album is epic. The music is pop punk awesome, with clean guitars that also sound sad and beaten. Tiltwheel is downtrodden, but not beaten, dreary but not completely depressed. Their pants are muddy, but hey, it’s always sunny in California. It can’t be all bad.

It is also clear to me now, as I wade through these awesome sounds, that Tiltwheel is the foundation for so much music that is out there. If Leatherface is one part of the infamous “Gainesville Sound” then Titlwheel is the other half. Leatherface provided the lemons and hell fire, Tiltwheel provided the snappy responses and sugar-coated it. Both of these bands put out new records, near 20 years into their lives as a band, and they are epic testaments to the fact that just because you get older doesn’t mean you have to get slower, boring or less urgent. Tiltwheel churns out songs at rapid pace. They might not do 3 month tours of every town in the US, and that’s a shame, but this album is killer from moment one to moment none.

They are not for everyone though. The first songs have the word “fuck” in the title, and Davey tosses the “C Word” around pretty aggressively in the first song. But the anger and frustration are clear. He isn’t trying to be shocking, uncouth, or dirty. He’s trying to be mean to the target of his anger. But by the time we get to “Shit Your Pants (A Rock Opera)” the misery is turned inwards to poppy, anthmatic rock and roll that’s part Leatherface, part Avail, part Discount, part Hot Water Music. It’s such a fucking amazing song, the intro/bridge part is some of the saddest breakdown riffage I have ever heard. I love the shit out of this song like so many of my long played favorites and I only just got this CD yesterday.

Tiltwheel have put in more than they have taken. If you listen to any type of contemporary punk rock you owe this band your attention. You will be dancing in your room, sad about your shit, but happy to be alive. The High Hate Us is a soundtrack to the working class of today. Bruce Springsteen had his time, but now we are all hyper and irrelevant to the powers that be. The stress, anxiety, sadness and madness have become too much. We feel guilty, yet we are helpless. But there is always another day and it can only get better. That’s what Tiltwheel is here to remind us of.