Hurry 'Casual Feelings' Review

Earlier this year Hurry released Guided Meditations, a full length filled with 90's inspired, nostalgia filled tracks and messages, and now the band is back with a new 3 song ep called Casual Feelings, and it's fantastic.

Hurry is becoming one of my go to bands for all purposes. The songs are relatable and always bring me to other points in my life to reminisce or make me think of the future in a way that doesn't make me sick. The record moves along at the best pace. I don't feel this urgency to get through the songs even though sometimes the lyrical content hits too close to home. It's a slow burn and it moves at a great speed. It needs multiple spins though.

The title track "Casual Feelings" is the standout track for me. Sometimes I buy these really old records from thrift stores. The kind of records that are called "Honeymoon in Paris" or "Vacation in Rome" and I have this daydream of waking up with someone I care about, and it's warm and sunny, and the windows are open, and I put on those records because they are silly but nice, and then we make breakfast or something... yeah I like that stuff, ok? But anyways, this song makes me think of that.

Casual Feelings is out 10/21 on Lame-O Records.
Stream the ep on Brooklyn Vegan
Read my review of Guided Meditations.

Hurry will be laying:
10/14 Chicago, IL @ Subterranean
10/15 Cleveland, OH @ Mahal's w/ Slingshot Dakota, Kississippi
10/28 Philadelphia, PA @ PhilaMOCA w/ Eric Slick, Cherry, Cave People
11/18 New York, NY @ Mercury Lounge w/ Valley Lodge
12/17 Philadelphia, PA @ Union Transfer w/ The Starting Line, Jank

City Of Caterpillar Reunion Shows and Record Repress

Perhaps one of the most exciting pieces of music news that I've heard in a while is that legendary screamo giants City Of Caterpillar are not only repressing their only and incredible self-titled LP, but that the band in its original lineup is getting back together for the first time in 13 years for a handful of live performances.

City of Caterpillar bridged the gap between hardcore, punk, and indie. Their influence can be seen in most modern hardcore and punk bands. In their short existence in the early 2000's the band managed to create something that still to this day seems fresh and which transcends genre's but also the constant changing musical landscape. This record is both beautiful and chaotic. It's progressive. It's an instant classic in so many tight knit circles. This is passion. This is beautiful.

Stream the record on bandcamp.
Order the repress through Repeater Records.

City of Caterpillar will play:
Friday, Jan 13, 2017 - Richmond, VA @ Strange Matter w/ Bermuda Triangles, Big No
Saturday, Jan 14, 2017 - Philadelphia, PA @ Johnny Brendas w/ HIRS, Pinkwash
Sunday, Jan 15, 2017 - Washington DC @ Black Cat Backstage w/ Pygmy Lush, Malady
Monday, Jan 16, 2017 - Brooklyn, NY @ Saint Vitus w/ Big Hush, Ghastly City Sleep

Desert Sharks 'Template Hair' Review

Desert Sharks released this ep Template Hair in June via MANIMAL Records. The Brooklyn-based rockers mix a combination of garage punk, motorcycle rock, surf punk, and great 90's vibes to create three catchy rocking-as-fuck songs.

The ep opens with the fast paced "crazycrazy" about being legit crazy not silly crazy. Like killing some dude in a hotel kind of crazy. I'm a big fan of singer Stephanie Gunther's vocals and the musicianship is top notch. Some really great solo parts that are super surfy and rule.

My favorite track on the ep is "Ooh, Hey." The riffs, the tempo, the vocals. You just want to move. Head bobbing, cruising, dancing, all of the above, which leads into the last track "Black Moon" which is similar in style to the previous track but it's kind of sinister sounding. The riffs and tom work are so rad.

Get into this band. Grab the ep on tape and listen to it like 30 times in a row because you can and it's worth it. And see them live when you can. Their live show is great.

Stream Template Hair here.
Get the tape from bandcamp.
See some pics I took of them Live in Manchester as the Fuzz Hut here.

Kindling "Everywhere Else" Review

Kindling is no stranger to this blog. The Easthampton, MA shoegaze behemoth is releasing their debut full length Everywhere Else via No Idea Records this Friday, August 12. What's so impressive about Kindling is their ability to take a genre of music where songs and bands can easily start to sound redundant and overused, and make it fresh. They have soaring guitars reminiscent of more post-rock bands, they have heavier riffy parts and constant driving bass like grunge bands, and they have times where the drums seem explosive, fast, and punk. Not to mention the haunting yet soothing vocals of Gretchen Williams and the 90's alt rock vocals of Stephen Pierce. Kindling is like a smorgasbord of grunge, shoegaze, and dream-pop, and it's so good!

Songs like the opener "Coma" and "Blinding Wave" are perfect examples of the soaring guitar shoegaze vibe mixed with the 90's alt rock vibe the band is absolutely nailing. The songs are dense and there's a lot there, but they aren't claustrophobic like some shoegaze acts. Then there are tracks like "Black Eye" and "Other Times" that are more heavy on the grunge side of things. Riffs, and hard hitting drums and bass, giving the record a nice contrast but one that isn't overly stark or out of place.

"Became" for me is the piece de resistance. I think it's the culmination of everything the record presents. Layers of heavy guitar, drum fills and steady moving bass, perfect vocals sitting just beyond full clarity, and high singing guitars. This is it.

Everywhere Else has the ability to play through and feel concise like a solid unit of work, but its individual tracks are dynamic and original, and can stand out on their own as well as within the whole. The record plays through so well, but the individual tracks have their own weight to them. They carry enough within them to stand on their own. I think this is what makes a perfect record. One that can play through as one solid piece of work, but can be looked back upon and specific pieces can be picked out. I think what I'm trying to say is: This record is really fucking good.

Kindling are playing two record release shows this week.
Stream the whole record on Spin.
Pre-order Everywhere Else from No Idea or go to a show and get it!

Look Mexico "Uniola" Review

My review of Look Mexico's Uniola is published on 36vultures. Hit the link to read it!

Hurry "Guided Meditation" Review

My review of Hurry's Guided Meditation is now up over at 36vultures. Hit the link and check it out!

http://36vultures.net/review/review-hurry-have-released-the-most-nostalgic-90s-pop-rock-record-with-guided-meditation

Pity Sex "White Hot Moon" Review

I am now a contributing writer at 36vultures. My first piece is a review of Pity Sex "White Hot Moon."

Head over to the site to check it out!

I will be continuing to post on this site regularly as well as contributing over there. I will always post the links here.

Sorority Noise "It Kindly Stopped For Me" Review

Sorority Noise's It Kindly Stopped For Me comes out Friday on Topshelf Records but it's streaming now in its entirety over at The Fader. To call the record vulnerable would be an understatement. Singer Cam Boucher told The Fader that after the songs were sent off to the plant that he thought maybe they shouldn't be released. 

This record hits home for me in so many ways. Being from the same hometown and experiencing my fare share of friends deaths and depression, these songs and Cam's honest approach to these situations gives me chills and the feeling that even the worst situations and feelings can turn into something beautiful. 

It Kindly Stopped For Me is tragic and beautiful, and so honest and vulnerable, like I mentioned before. Songs like "Either Way," with that beautiful rolling guitar line and an honest look at suicide and death, and "Fource," which sounds as though Cam wrote the music and then went walking in the woods and recorded the vocal parts on his phone as they came. It's raw, it's real. 

Honesty in music is something special. In an industry filled with recycled bullshit and trends that come and die in a single breath, Sorority Noise is sincerity. 

It Kindly Stopped For Me comes out April 22 on Topshelf Records.

You can still catch the band on tour now!

Small Circle "Melatonin" Review

Small Circle kind of just appeared. Featuring members of Sorority Noise and Rozwell Kid plus newcomer Marissa D'Elia, the band just released this beautiful ep of emotional, subtly urgent songs with the chops of a band that's been together for years.

"We Belong Here," the ep's first track has this great distant sounding, twangy, Modest Mouse style guitar line throughout it. A song about love. Reminiscent of something I wrote about someone one time... That subtle urgency I mentioned reveals itself here. D'Elia sings, "It's so easy to write about you, there's just never enough words," and there's never enough time to do so. So listen to this again.

"Please Don't Touch The Moon," is wonderfully American Football inspired in the pretty guitar playing by Cameron Boucher, but the song has variety in it's approach to the middle of the song. It's darker and the darkness grows even as the song turns back inward to the softer playing. A nice fusion of sound is built up in the background and repetitive vocal melodies introduce this weird blend of claustrophobic open-ness. Like trapped in a glass box in a field.

The ep closes with "It's Just Not Realistic" that turns back to the Modest Mouse instrumentation of "We Belong Here." The dual vocals between D'Elia and Boucher blend so well and each have their own wonderful pieces they bring to the song. This song feels like it could explode at any minute. Like it's constantly teetering on the edge of somber reflection and an emotional breakdown. Vulnerable would be the word I would choose if I could only use one, both for this song and the ep as a whole. A very impressive first effort. I hope we get more, and what about a physical release? Tapes anyone?

Stream / download the ep on bandcamp.

Pleasure Gap "Scatter" Review

Southern NH has had it's fair share of bands over the years, but I found that in my immediate location there has been a lack of good bands emerging. Insert Pleasure Gap, the indie rock unit from right down the road from me in beautiful, bright, and safe... Manchester, NH. The band just released its third full length release, Scatter, via Midnight Werewolf Records. A collection of eight unique indie rock songs that are a true breath of fresh air for the scene here in NH and for my ears.

The album opens with the slow burn "Therapist" with it's intertwining guitar and bass parts and vocals harmonies ranging from low and subdued to swollen and layered. The song is a great representation of what's to come. Singer Ryan Egan's Modest Mouse style vocal delivery and the bands delivery of soft melodic parts mixed with louder and noisier executions like those in "Merkle." It's noisey and there are some interesting chord progressions and changes with ever present emotional howls and croons from Egan. The heavier parts have Radiohead qualities while some of the slower, twinkly parts remind me of American Football.

Standout tracks are "9821*" "Rich." "9821*" is this subdued swelling interlude type track, only it boats an over four minute run time. A repetitive guitar line reminiscent of something from Band Of Horses and The Yeah Yeah Yeahs keeps the song slowly burning along, as it builds and builds with the addition of Egan's "I lost my mind, I feel fine," vocals and some distorted feedback which adds to the desperation of the track. "Rich" allows itself to get lost in this shoegaze inspired dream-like haze, creating a steady driving ballad and an atmosphere where the band can get into the dirtier corners of their sound.

Scatter, with the risk of sounding like an idiot, is a real Pleasure. It's always exciting to feel good about/get behind a band that comes from a place you know as home, and who are doing something refreshing and original with real talent.

Get the tape from Midnight Werewolf Records or the band at one of their upcoming shows / tour!

04.15 -- Providence, RI -- AS220
04.17 -- Dover, NH-- Wrong Brain HQ
04.23 -- Boston, MA -- O'Brien's
05.06 -- Portland, ME -- Geno's
05.07 -- Winooski, VT -- Waking Windows
05.08 -- Albany, NY -- The Tree House
05.09 -- Brooklyn, NY-- Palisades
05.29 -- Manchester, NH-- Fuzz Hut

Culture Abuse "Peach" Review

Culture Abuse merge together raw punk energy with sunny pop elements to birth out the catchy, riff heavy, live your own lifestyle theme filled Peach.

The record, in contrast to their earlier releases, takes on a brighter tone. There are elements of shoegaze and reggae weaved in and out of blistering punk anthems, leaving the record a diverse and original listen. Tracks like the opener "Chinatown" feature David Kelling's slacker vocals and hard hitting 90's style riffs, and "Dream On," a standout punk anthem, mirror earlier Culture Abuse and are an exciting contrast to some of the brighter songs on the record.

Songs like "Jealous" with its crooning opening and surf styled riffs followed by an upbeat chorus, constant thundering tom work, and "I'm just happy to be here" vocals match well with the very diverse "Turn It Off." The track opens with riff driven power chords and crashing cymbals only to fall into this reggae styled break in the middle that shows the bands ability to incorporate all sorts of influences into their sound. The best part is it fucking works. It works really well.

Peach is about doing what you want. Live the way you want to live, do what you want to do. Culture Abuse managed to create an album that both incorporates a warm, dream haze, and a raw, punk attitude that opens to flood gates for what is possible in punk music today, and shows what quitting you job, moving into your jam space, and doing what you love can accomplish.

"Let there be peace on Earth. Let love reign supreme."

Stream or buy the record on bandcamp.
Order the LP, CD, or cassette copy from 6131 Records or get a copy from the band on tour now!



04/05 Little Rock, AR @ Metroplex +
04/07 Burlington, VT @ Higher Ground +
04/08 Quebec City, QC @ Salle Multi *
04/09 Montreal, QC @ Club Soda *
04/10 Toronto, ON @ Mod Club *
04/11 London, ON @ London Music Hall *
04/13 Des Moines, IA @ Woolys *
04/14 Winnipeg, MB @ Garrick Centre *
04/15 Regina, SK @ The Exchange *
04/16 Calgary, AB @ Marquee *
04/17 Edmonton, AB @ Starlite Room *
04/18 Vancouver, BC @ Imperial *
04/19 Spokane, WA @ Knitting Factory *
04/21 Boise, ID @ Knitting Factory *
04/22 Reno, NV @ Jub Jub’s *
04/23 Chico, CA @ Senator Theatre *
06/05 Cambridge, MA @ The Sinclair ‡
06/07 Toronto, ONT @ Lee’s Palace ‡
06/08 Detroit, MI @ El Club ‡
06/09 Cleveland, OH @ Now That’s Class ‡
06/10 Chicago, IL @ Subterranean ‡
06/11 Minneapolis, MN @ Triple Rock Social Club ‡
06/12 Omaha, NE @ Slowdown ‡
06/14 Denver, CO @ Marquis Theater ‡
06/15 Salt Lake City, UT @ Kilby Court ‡
06/16 Boise, ID @ Neurolux ‡
06/17 Seattle, WA @ Tractor Tavern ‡
06/19 Portland, OR @ Mississippi Studios ‡
06/21 San Francisco, CA @ Slim’s ‡
06/22 San Diego, CA @ Soda Bar ‡
06/23 Los Angeles, CA @ The Echo ‡
06/24 Tempe, AZ @ Yucca Tap Room ‡
06/25 Albuquerque, NM @ Sister Bar ‡
06/27 McAllen, TX @ Yerberia Cultura ‡
06/28 Austin, TX @ The Sidewinder ‡
07/02 St. Petersburg, FL @ Local 662 ‡
07/03 Orlando, FL @ Back Booth ‡
07/05 Durham, NC @ Motorco Amphitheater ~
07/06 Richmond, VA @ Strange Matter ~
07/07 Washington DC @ Rock & Roll Hotel ~
07/08 Philadelphia, PA @ Union Transfer ~
07/09 New York City, NY @ Bowery Ballroom ~
# w/ Self Defense Family, Strange Wilds

+ w/ The Story So Far, Elder Brother
* w/ The Story So Far, Comeback Kid
‡ w/ Nothing, Wrong
~ w/ Nothing

Explosions In The Sky "The Wilderness" Review

Over the course of almost two decades, six albums, and a multiple soundtrack explorations, Austin post-rockers Explosions In The Sky have managed to create a signature sound that has positioned them as masters in their field. So it's no surprise that the band decided, that within the five years since 2011's Take Care, Take Care, Take Care, that they would tear down their signature sound machine and rebuild it. The result is a record of new exploration in sound, in structure, and an exciting breath of fresh air for the band. The one thing that remains is the fact that Explosions In The Sky know how to create an emotional atmosphere that with or without physical visuals forces us to create our own. Each record narrates our own individual film, and that will never change.

The Wilderness adds an element of electronic composition to the wide array of sounds the band already creates using just guitars and drums. The addition of the electronics turns the direction of the record inward instead of outward and vast. The soaring sounds are present but overall the record appears as moving inward, shrinking to the microscopic, to a whisper at times.

The albums first track and its title track "The Wilderness" begin with this electronic reverberation on the smallest level that later pushes up and out of its electronic chrysalis and into a blooming movement that fades and soars as the song progresses. "The Ecstatics" takes on a similar approach beginning with an electronic intro and building into something more full yet still subtle.

The songs don't build on each other like past albums have. Each song acts on it's own, narrating it's own journey while still keeping concise in the overall theme of the record.

Songs like "Tangle Formations" and "Disintegration Anxiety" are two of the more upbeat and open songs on the record. "Tangle Formations" has building constant snare hits with blossoming and growing guitar lines that create a brighter outlook while "Disintegration Anxiety," though still building up and outward bears a colder darker side. Opening with what I describe as an electronic orchestra, and then moving from a cold depth into a nervous bass and guitar driven experience. It's colder, it's longing, it's needy.

The Wilderness is emotional. Emotional for the listener as it demands remembrance of personal fault or victory, and undoubtedly emotional for the band. The album title itself is a testament to that. The Wilderness is unknown. It's vast, it's wild, it's cold and sometimes warm, it's new and different, it's welcoming and rejecting. It's a move into something new. It's stepping out of familiarity and safety and into a new journey.

It's a frightening and exciting transformation. It will separate and challenge. It will move and inspire. It requires attention to the finer details. It's meditative.

Focus on your breathing.

The record is out now on Temporary Residence.

See the band on tour

"Disintegration Anxiety" on The Late Show

Perennial "Early Sounds For Night Owls" Review

This is the second review request I have received. Again a humbling experience to have people dig whats going on over here.

Anyways,

Perennial are a post-hardcore, self described "art punk" band featuring members of early Topshelf Records bands Lion Cub and Aeroplane, 1929. I get a little hesitant when people use the term "art punk" because it's usually never what I want it to be. I love art. I love punk. The two go hand in hand a lot of the time, but... sometimes... not.

Perennial is not one of those art punk bands. In fact I get a really nice combination of Sinaloa and Daniel Striped Tiger. The fullness of Sinaloa's songs and the raw energy of Daniel Striped Tiger, especially Condition days and earlier, but with something new. While producing top notch post hardcore jams, the band adds the new element of keys and effects which really add something nice. What's refreshing is that the keys take an active role in the song and aren't just there to add filler parts.

We are introduced to the keys as soon as possible as the ep kicks in with the rocking groove of "La Fugue Pour Beton brut." Nothing like coming out of the gates swinging. Energetic, some cool time changes, and the keys and effects at the end add that arty-ness to the mix which is followed by the straight forward and soild "Massachusetts Scenic Byways."

The albums interlude type track, "Circle/Pivot/Circle" is really nice. I like when bands release an ep of a handful of songs where you get a good well rounded taste for what they are about and where they could go in the future with a full album. I;m really stoked on the fact that Perennial can do these interlude tracks that offer more than the normal interlude/noise/ambient track. Sometimes it gets annoying when a band does this interlude thing. I feel like it's an easy way to go when you want another tracks but the ideas just aren't flowing anymore. This is not the case. The track is deliberate and it sets the scene for the intro to the closer/title track, "Early Sounds For Night Owls." A short subtle quiet vocal part that leads into a great payoff when the tracks starts moving.

All around this is a great first effort. Very excited to see what the future holds for this band.

Grab the limited cassette off their bandcamp and listen to the ep over there.

You can see the band on 4/2 in Willimantic, CT and on 4/8 in Amherst, MA!

Plebeian Grandstand "False Highs, True Lows" Review

I can not be more stoked. I saw Plebeian Grandstand a few years ago when they toured the states with Reproacher. They happened to be touring the states at the same time as Hexis, and I was able to see both bands at once. Needless to say it was one of the most intense shows I have ever seen. But the reason I am so stoked is not only is this album amazing, but Throatruiner Records, the label putting this record out, contacted me directly asking if I would be interested in writing a review, and accompanied the request with a full download of the record. Throatruiner, thanks so much! It's pretty cool getting requests from labels you dig for bands you respect. Anyways, here it is:

The follow up to Lowgazers had to be nothing short of incredible. The bands 2014 full length release was one of the best records of the year, in my opinion, and took the wave of blackened hardcore releases to a new tier. The French four-piece has taken the genre and completely overhauled it. It's not as simple as flipping it on itself, but they have taken it and created a new limb. Dark, exhausting, and claustrophobic.

False Highs, True Lows, which will be released by Throatruiner Records on April 29, is yet another extension on the hybrid they are creating. Really, the category of blackened hardcore doesn't do the band or the record justice. It's too often thrown around to any form of aggressive music baring a black metal attitude. What Plebeian Grandstand is creating here is a not just an intense monumental record, but an entire experience.

The record is exhausting. It's like a freight train pummeling down the tracks towards your damsel in distress body tied up and waiting in full blown horror. Or a car crash from the inside as you flip over and over and every piece of metal and debris is flying in all directions along with your body.  From the opening haunting repetition of "Mal Du Siecle" setting the mood for the record, followed by the chaos of "Low Empire" with those signature piercing guitar riffs by Simon Chaubard, and then to the first taste of the record we got "Tributes And Oblivions," which boasts inhuman drumming and haunting vocals that both lay deep underneath the walls of sound and present themselves as an entirely new instrument, the record is itself a different environment in a different atmosphere.

The record slows down about half way through with "Mineral Tears" which lasts a whopping 58 seconds. The track is merely a noise filler, but instead of acting as a pause or breather break, it only really displays itself as anxious. It's creepy, sudden, and long enough to really evoke the feeling of claustrophobia that the rest of the album encompasses.

Quick time changes, arpeggios, constant, unrelenting drumming, and guttural screams and howls haunt the record from the first instant until the first breath you can hope is waiting for your dried lungs at the end of this record. Plebeian Grandstand have truly created a violent, shifting, whirlwind of a record. One that will undoubtedly be on the tops of everyone's "best of" list this year.

Listen to "Tributes And Oblivions" below.

Pre-order the record through Throatruiner or through Deathwish in the states.

Graf Orlock "Crimetraveler" Review

I was lucky enough to witness the brutality that is Graf Orlock twice live. Once in a small basement show just outside of Manchester, NH and the first time at Dude Fest in 2006 or 2007. I remember they had their first singer at the time and he was a smaller dude. He was in the air as the crowd held him up as he was blasting through songs when something happened and he fell. The band kept on blasting through and the singer let out this blood curdling scream and kept on going. it was both horrifying and amazing, much like the entirety of this bands existence.

Enter in the bands newest full length release, Crimetraveler, out on Vitriol today (Feb 5). The band is known for their use of cult movie, action, and sci-fi related themes and snippets in their songs and live shows, but this record takes that to a whole new level. This record is basically the soundtrack to their own movie. Yes, the band created a film starring themselves for which the record is written and inspired by.

 From the band:

The Crime Traveler film tells the story of a French-Canadian assassin who discovers a wormhole and travels back in time to kill American politicians so that Canada can attain superpower status in the future. As the samples selected for the album illustrate, our anti-hero zips through time and space on his mission - rubbing elbows with John Hinckley at the Reagan assassination, witnessing the Exxon Valdez oil spill, and more.

 The record is nothing short of intense and brutal. Graf Orlock brings their own hybrid of metal and hardcore punk like only they can. Sometimes overwhelming, sometimes catchy, always intense!

"Bad Cell Service On Connecticut Avenue" opens the record with a "Hey, fuckface" and blistering blast-beats and soaring guitars with some great back and forth gruff as fuck vocals. There's a great melodic riff around the middle of the track too and a really cool heavy groove at the end.

"600,000 Tons Of Explosive Ordnance" has up hitting a bong hard as fuck. Heavy, classic hardcore. I love the dual / group vocal contributions. This one is slower in pace early on with some great riffs and tom work on the drums. Enter in some techy drum and guitar work. Sweet! That little solo thing too! Shit!

"Afternoon Lunch At The Red Bacchus" is a literal kick in the balls right of the bat. The recording quality of so flipping good. The guitar tone too! Full, heavy, pummeling, and clean. What? Yes! Great groove part towards and into the end. Some sweet ride.

"A Decent Proposal In A Shitty Alley" is non-stop. This one moves. Swirling, mayhem. A montage of intensity, heavy and fast paced. A tornado of riffs, little single notes, and d-beat. I don't mean to overlook the bass either. It's the backbone to these tracks. It gives that girth and linger to these songs. Always present. Always a necessity.

"Regional Turf War Spills Blood On Vegas Strip" has some of the fastest chugs I have ever heard and then that melodic part. This song is one of my favorites on the record. It takes a few different turns, each lasting just long enough and it demands a second or third or... well you get it.

"Nursing A Hangover" is something we all experience, but how about nursing one while you spill a fuck ton of oil into the ocean. You shit-turd. This is the song where the crowd completely looses their minds. The circle pits, the stage dives, running on top of people heads as far as you can until diving into the masses. Guitar slides, jumping off the kick drum, microphone to the forehead, blood, spit, people are screaming, you're in it now.

"Our Infallible Cybernetic Future" wants to know if "you're on the list, fuckface." You're probably not. It's better off, probably. You can't handle it anyways. This song has this sweet twisty dizzy sounding riff. The vocals in these tracks are so good. This band has some of the best back and forths and they each have a great gruff voice. Sometimes you get a band that try to do this but one dude sounds like an idiot. This isn't the case.

"Summer Getaway , Mount Hermon" is drippy and painful. Laugh it up. "I got an itch on the boys." This is the shortest song on the record and another one of my favorite. It's catchy and a real headbanger. There's a little solo part in there that rules.

"Difficult Decisions In The Yutani Mess Hall" makes you want to re-think that decision... This one moves. The guitar is like a whirlwind. It's like swelling and I got wicked dizzy. It was weird. Like vertigo or something.

"Cheaper, Safer, And Better Than The Real Thing" closes the record. "This is the problem with Earth today." This is how you end a record. With a fucking bang. A heavy build up throughout to this creepy credits rolling piano piece. "Go back to Mars."

As if the record and the content isn't enough, the packaging sets the bar even higher. This record is packaged with a full color 12-page news paper based on the content of the film / record.

Exploration Of The Rift In The Space-Time Continuum

Get the record now!

Frameworks "Time Spent" Review

This record is so damn good. Frameworks blasts out two songs of the most kick ass post-hardcore, punk... whatever you want to call it. It's just insane. If you read the piece by The Fader you will also know the the songs are deep as hell too. So not only are they flipping' hard as fuck, but they are heavy as fuck, like meaningful!

"Worn Out" has this great intro part and it's almost like a heavy pop song when the band and vocals kick in. There are some great soaring guitars throughout. I love the tone of the guitar. It's clean and clear while staying hard. There is great tom work in this jam too. The end has some cool synth work going on. It's really intricate and there is this overwhelming feeling of urgency. Put this on repeat.

The title track, "Time Spent," goes so hard. It has such a sweet groove to it in the beginning. The guitars shred so hard and the drums are bombarding. The songs slows den for a bit and there's time to take a short breath of air and then jump back in the pit, kid. The end has this quick punk part and then some twinkly beautiful guitar work with some heavy synth flow.

Shit. I'm a mess. This one got me all wrecked.

Grab this record from the mighty Topshelf Records.
Stream it here.
See them on tour with Donovan Wolfington next month!

Fucko "Demo" Review

Fucko recorded this demo back in 2014, so it's a bit old, but they are releasing a full length early this year on Black Numbers and it will feature re-recorded versions of these three songs. The band is straight out of Boston and features siblings Sarah and Jacob Desmarais and newly added drummer Derek Desharnais of Sneeze-fame. 

Fucko is great grunge-pop, alt-whatever. Shit just rules.

"Buzz" is my favorite song I think. I always do this. I'll say which song is my favorite and then I take it back like two songs later, so whatever. It rules. Great riffs right off the bat and then the guitar fades to some light feedback as Sarah sings the verse. Then it kicks back in so good. I love the recording. It's dirty but clear. The cymbals have that rawness to them but without being way too fucking harsh and overpowering. There's this sweet guitar lead part towards the end of the song where everything stops except this single note part and then the song rolls on until it kicks back in with the chorus part. A little pause and some feedback. Yes!

"Shitty City" is a solid 90's pop rock slayer. The guitar is so sweet in this one. Sarah's vocals kill me too. So nice! That bass as well. A nice solid crunch to it, and it stands out among the other instruments which I really appreciate. Dig the little into part too. "You are perfect."

Look, I'm going to do it again. "Kind Of Mean It," might be my jam. Shit, I need to stop doing that. I won't though. Whatever, this song rules, and I don't kind of mean it, I really do mean it. See what I did there? Yup. This one is really intricate. The drum fills are so fast and smooth. The riffs too. When Sara sings "I could fall in love," I get the feels. Makes me start thinking, you know. Thinking about stuff. Anyways, this is the one. I'm going to day it. My favorite track. There, last words.

Stream the demo on bandcamp.
Get the full length Dealing With The Weird when it comes out on Black Numbers.
Go see them live!

Culture Abuse "Spray Paint The Dog" Review

I posted Culture Abuse's video for "Perfect Light" on my Facebook page because not only is the song super flippin' kick-ass, but the video is wild as hell. I got one comment from someone I used to work with that said, "What the fuck did I just watch?" I responded with a simple, "You're welcome."

Culture Abuse is a monster, drug infused, punk band from the Bay Area.
This two song 7" is too good and too short. Another great record on 6131 Records.

The record starts off with "Nicotine," a real banger. The beginning really sets the scene great. It's creepy, and dirty. The riffs are wicked, and the production of this record is so good. It's clear and clean while keeping it grimey and punk a.f. Towards the end there is this nice sludgy slow part with some overlapping vocals and some real noise. The chaos is so wonderful.

"Perfect Light" is my jam. I've played this song so many times over and over again rocking my face off. It's this great, weird, dance jam. I love the vocals so much and the direction this song takes. It's steady, rocking, and fuzzy. The parts before the verses with that chanty thing they do. I dig that so hard. "Love's not the answer," but Culture Abuse is definitely the answer. Get weird. Do whatever.

Grab the record from 6131.
Stream it here.
Look for a full length in the future!

Peep the video for "Perfect Light." And hey, it's totally NSFW. Bomb!

Kindling "Galaxies" Review

I've been meaning to do this write-up for a while now. I love this record. Kindling is this noisey shoegaze band out of Western MA featuring Andy and Stephen of Ampere fame. The band blends elements of 90's grunge with think and sometimes cosmic shoegaze parts. This baby was released on the legendary No Idea Records, too. So good!

The record opens with probably my favorite track "Blinding Wave." There is this great driving bass / guitar riff that kills. When we get to the chorus part the guitar takes on this cosmic swirl that compliments the vocals so well. I love the vocals. This song moves. It kicks in right away and it's so steady and thumping throughout. I get a heavy 90's influenced grunge thing. Like if Pearl Jam had a female singer and played dirtier, or something. Oh, and towards the end where it sounds like its over with these rad spaced out hits, and it kicks back in to that opening part, yes!

"While Away" is slower and more grungy and fuzzed out. The opening is so nice. Drawn out and then the songs kicks in. Guitars are soaring again. I love that. The riffs are so cool. They are muffled and fuzzy but stand out so well among the murk. This song has some great stand out parts. They are all like small little transition fills or riffs and only happen once. It's like a whole bunch of little surprises. Andy's drumming is on point.

"Painkiller" has that nice feedback opener and then into heavy shoegaze heaven. Such a headbanger. Jamming out in the front row, pushed up against the kick drum just banging away. These songs all feel like they should be played in a film. Maybe Lost In Translation. I can picture this one during the end where Bill Murray is driving away before the credits. The chorus part in this one is so good! I get a Sunny Day Real Estate vibe and I want to watch Pete and Pete. Man, I need to see this band live. This is tied for my favorite track. They lay on that last part for a good while. Perfect amount of time and the end is so rad!

The record closes with the shortest track "Coastal." Straight forward, such great drum fills, and heavy riffs. This one needs a few listens. The vocals here too! Nevermind what I said about favorite tracks, They are all too good. This is a great ender track though and the fact that this is a 4 song 12" ep just means you need to spin it a few times!

See this band when you can.
Grab the record from No Idea!
Stream here.
Look for a full length!

Julien Baker "Sprained Ankle" Review

I remember reading one of the many "best records of..." articles on some website and I was going through and pulling up the links to the ones that sounded most intriguing. Well, Julien Baker's Sprained Ankle was one of them and is my favorite record I looked up on that list. I now because I still have them all written down. I listen to this record at least once a day. It's incredible.

"Blacktop" is is beautiful and haunting. I love the chorus part where Julien's voice and the guitar she plays follows this same run of notes. It's so nice. The simplicity of the recording is wonderful. It's just her and her guitar. The recording has this echo to it like she's in this room and you're chilling and it's so rad!

"Sprained Ankle" is the first song I heard on the record and I did so by watching the music video which is pretty cool. The first line of this song is so heavy and hits hard. There is this elaborate simplicity to these songs. They are so intricate and so so deep but there is this great minimalist quality. They aren't overproduced. Everything rules. Man I am repetitive, haha. Get used to it.

"Brittle Boned" has this great swelling quality where we start with this guitar plucking and then this second guitar comes in with an Explosions In The Sky echo thing going on. Later there is this part where the echo guitar goes away real quick and her voice is almost alone and I get wicked feels. Then there is this double voice thing where she is harmonizing with herself and this simple bass kick or floor tom thumps away followed by some choice cymbal hits and more fast passed strumming in that same EITS vein. This is one of my favorites as you can see by my run on sentences.

"Everybody Does" is more upbeat than most of these songs but that doesn't mean it's not hard hitting and sad. But so beautiful in a tragic way. This whole record gets me right in the feels, man. Julien, you kill me. In a good way. This one is short so play it a few times.

"Good News" is another perfect example of how great her voice is. It's like unsure and painful and so full but at the same time so vulnerable, Fuck commas. Haha. I can relate with this song so much. That feeling where someone's opinion matters when you don't want it to. And it shouldn't anyways. Shit.

"Something" is another one of my favorites. I watched a live video where she played it acoustic in some parking garage and it was so damn good. Another song I relate to, and I;m sure you do. "I can't think of anyone else." Tell me about it. Damn. The feels again. This song is perfection. The guitar and the vocals. "The ringing in my ears taste's like blood." "I thought I meant something." Man, I'm getting goosebumps from this one.

"Rejoice" has so real depth to it. She goes pretty hard in the second half of the song. There is a call to a god and a lot of unanswered questions and non-response. It's vulnerable, honest, and inspiring to say the least. Song writing at the top tier. This record blows me away.

"Vessels" is another really beautiful but haunting song. I've watched some live videos of this too and I fall into a trance. There are these great ambient guitar parts with some great tom work and again I get great EITS vibes. It's swelling, and so real and honest. There is so much depth beneath these songs. So many stories. So much.

"Go Home" is my favorite track and the closer. I really have no other words for this song. You really just need to hear it. Real. Honest. Vulnerable, Deep. Beautiful. The piano though. Oh man. And the last verse. I get full blown chills. I think I shed a tear the first time I heard this one. No shit. Swear. Full blown emotional train wreck. "I know my body is just dirty clothes."

This album is my favorite thing right now.
Thankful.

Get the record from 6131 Records.
Stream it here.
Julien Baker started her East Coast tour yesterday.
I'll be at the Boston show! You need to fucking go!