Metz "Cellophane" Track review

The first single off Metz’s forthcoming album, Strange Peace, is an absolute headbanger. The band never shy’s away from the noise and on “Cellophane” they bring it in by the truck full. 

Singer / guitarist Alex Edkins creates a bleak and helpless picture of being buried alive, wrapped in plastic. “How will I know it’s real,” sings Edkins within explosive drum hits and noise drenched, sharp guitar riffs. It’s complete and utter despair while remaining as defiant as ever. 

“Cellophane” is face melting, large, and noisy while managing to stay melodic at times, and more structured than some of the bands older works.

Strange Peace was recorded live to tape by Steve Albini at Electrical Audio Studios in Chicago and it will be out September 22 on Sub Pop.

Check out the track below!

Sorority Noise "No Halo" Track review and cover of Brand New's "Me vs. Maradona vs. Elvis"

Sorority Noise will be releasing their newest record, You're Not As ___ As You Think, on March 17 via Triple Crown Records. The band's first single, "No Halo" is an intimate and heart wrenching song about dealing with the passing of a friend, something I can personally relate to all too much and too often. The song starts off with an upbeat guitar line reminiscent of some of the best early 2000's emo acts like Taking Back Sunday and Brand New. Cam Boucher finds himself set in the emotional turmoil of dealing with loss of a friend and not being able to be there and battling the urge to leave himself as he sings, "When God called you to fulfill a vacancy I tried to see why it wasn't me."
In my opinion this is the strongest and most vulnerable I have seen the band thus far and I thank you for that , Cam.
Keep on!



I mentioned Brand New earlier and it fits perfectly as Sorority Noise just released a cover of "Me vs. Maradona vs. Elvis" for the purpose of getting people involved and to donate to the ACLU. The cover is a beautifully haunting stripped down version that Cam is so good at producing, and it just so happens to be one of my favorite Brand New tracks.



Both of Cam's bands, Sorority Noise and Old Gray will be donating all proceeds from sales on their bandcamp to the ACLU. Please make sure to donate and buy yourself some great music from great humans in this critical time in our existence. Also make sure to go see Cam perform with Jeff Rosenstock, Ben Hopkins of PWR BTTM, and Eskimeaux in Brooklyn on February 3 to benefit CAIR-NY (Council on American-Islamic Relations).

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

The Grebes "WinterNights" and "Colony" Track Reviews

The Grebes are releasing a new ep entitled DarkDays//WinterNights on September 13 and previous to that release they premiered two new songs on bandcamp. "WinterNights" and "Colony" and they are so good.

The band mixes folk with indie and they do it so well. "WinterNights" has a nice slow burn to it. It builds up to so many points where it should flow over the top into something massive but The Grebes always keep it controlled which I think works even better. The build up to the overflow happens to much and it's really great to see a band hold back without holding back. The musicianship and vocals are always on too.

"Colony" got me completely fucked up. I won't lie. I got chills, and after reading the facebook post about the song itself it hit even harder. All I can really say is that it's really wonderful to see a person who has dealt with heavy abandonment and who has channeled those feelings and has created something so powerful and inspiring. My hat goes off to you my friend. Thank you for this.

Stream both of these songs on bandcamp.
See them on the 14th at the Middle East.

American Football "I've Been So Lost For So Long" Track Review

I never thought I would be able to do this, write a review for American Football, without going back to their self-titled record, but here I am. The self-titled record released back in September of '99 on Polyvinyl has been a staple of my musical influence and a record that has kept a steady rotation on my record player and in my car. It's beautiful, real, vulnerable, and one of the first records I bought as a newcomer to punk, early emo, and hardcore. I am proud to say I have turned many of my friends on to this band with over-excitement.

Now here we are, on the brink of a new record simply titled American Football like the last, and we have our first single. Like I mentioned, I never thought I would be doing this for a new song or record from American Football, and honestly that was ok. It's like some movies that are better left alone, no remakes, no comebacks. It's one of those things where their first record is held so high in so many people's eyes that can a new record compete? But maybe competition isn't what it's about. It's not what should be focused on. Yes, the first record is perfect, but times change, people grow, styles differ, and that will never change the fact that that record is amazing, but it shouldn't hurt the new record at all. It's American Football releasing an American Football record, and it should be looked at as such... Wow, ok sorry for the rant.

So here we are with the first single, "I've Been So Lost For So Long" and it is really nice. On the first few listens I could do nothing but smile. There's great guitar tones and single note patterns with shaky drums and a few nice time signatures and changes. Mike Kinsella is an amazing lyricist and vocalist. I have always been in love with his style and it's still on point. As far as the lyrical content goes, it hits home for me, even as far as the song title goes. It's only recently that I've really figured out who I am as an individual and what I want, so lines like "If you find me, could you please remind me, why I should wake up tomorrow" strike a cord in me. I like this a lot. I don't want to assume the rest of the record will follow suit, but I know either way, it will be incredible.

Stream "I've Been So Lost For So Long" now on Pitchfork.
Pre-order the new record now at Polyvinyl.

Some upcoming shows:
Oct 29 - Chicago, IL @ Vic Theatre
Jan 28 - New York, NY @ Terminal 5
Feb 11 - London, UK @ O2 Shepherd's Bush Empire
Feb 25 - Los Angeles, CA @ The Ace Hotel Theatre

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.

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

Radiohead "Burn The Witch" Track Review

It's finally happened. Radiohead has released the first single "Burn The Witch" off the new album, and it's amazing. After a sudden and almost overnight disappearance from social media, the band teased out a few videos earlier today and now we have arrived.

The song is foreboding, ominous, with orchestral elements, and it's accompanied by a new video. I hear elements of In Rainbows and Hail To The Thief which makes me very happy and if it's not already obvious to you, this record is going to be incredible.

Watch the video below.

Sneeze "Food" Track Review

Boston's Sneeze return with their first single since 2014's Wilt. Glory Kid will release a new six-song ep entitled Rot later this year but luckily enough we get a taste of what the band has been up to over the past year.

I've pressed the play button for "Food" like fifty times now. The only thing I can really say is that it's super catchy, it's riffy, and it rules. This is Sneeze in a more concise mature fashion. Great vocals, tight drumming, this cool bass driven part, and a sweet soaring echo-guitar part towards the end. A perfect way to get back into the world of Sneeze. If "Food" is the blueprint for what we can expect to hear on Rot then this record is definitely worth the wait.

Rot comes out on Glory Kid in September.

Pre-order the record or limited cassette here.

Stream "Food" below.



Sneeze will play:

May 14 at Red Alert Indoor Skatepark - Dover, NH
May 28 at Lilly Pad - Cambridge, MA
June 18 at Obriens - Allston, MA

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.

Empty Houses "Falling Away" Track Review

As you can tell if this isn't your first time reading this blog, I'm all over the place, and this post is no exception. Empty Houses is made up of Adam Mercer and David Mackinder of the band Fireworks and singer Ali Shea, and the band plays beautiful upbeat Motown inspired songs that you honestly can't dislike, and if you can just leave now.

The band teased a 5 song ep last year and are currently about to release their first full length record, Daydream, on Sargent House in June. The band released the first track "Falling Away" off the record and it's wonderful. Ali Shea's voice is so beautiful and could easily be mistaken for that of a 60's era pop group singer. The music is upbeat and impossible to sit still to. Accompanied with claps, a bubbly guitar line, and tambourine. Mercer tells Noisey that the song, "deals with the realization that what you're looking for may not actually be what you want." For a theme that is pretty heavy, the song delivers on such a light, fun note. I honestly can't wait for this record.

Empty Houses will be hitting the road in June with Good Old War.


Daydream comes out June 10 on Sargent House.

Stream "Falling Away" below.

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!

Hinds Live at the Bowery Ballroom, NYC 3/9/16

I remember when I first heard Hinds. I think it was "San Diego" and I knew there was something special there. I love listening to a band and not really knowing much about them, but getting a really strong image of them just based on a few introductory tracks. With Hinds the image was so clear. Just through their tunes you can pick up the raw energy the band produces. It's authentic, it's real, it's special.

Hinds played a record release show in NYC prior to this date and all the reviews I read and pictures I saw made me kick myself for not jumping on the bus and heading the 5 hour trip down to be a part of it all. I guess record release "show" is the wrong title... maybe record release "party" is better suiting as that is what it was from what I saw. Fan karaoke, special guest musicians, complete madness!

Well when I saw Hinds were hitting the states on the second half of their Leave Me Alone World Tour I jumped on tickets.

There are two types of bands. There are bands that make records, good records, and sound really great on them but are a bit of a disappointment in their live performance, and there are bands who are the opposite. Some bands make good records but are fantastic live performers. Well, and then there is Hinds. So I guess there are three types of bands.

Hinds manage to record heartfelt songs that encompass raw emotion, and authenticity, but also manage to put on an incredible performance. Like I mentioned before, it really is more of a party at a Hinds show. It's overly clear that these ladies are having the time of their lives on that stage. It bursts through in wild rock outs, laughter, gut wrenching vocals, and at times, a coordinated guitar line with sequence dance moves.

Throughout the performance Carlotta Cosials and Ana Perrote who share guitar and vocal duties interact and speak to the audience. They do it in a way though that doesn't interrupt the forward momentum of the performance. Everything that this band does is wonderful and their attitudes are contagious. They are humble, excited, engaging, entertaining, and always involving.

After running through a set of favorites like "Bamboo," "Garden," and San Diego" the ladies returned to the stage to perform one of my favorite tracks, the instrumental "Solar Gap," and closed with the energetic and wild "Davey Crockett" which the crowd reacted to by storming the stage to dance, sings, and lose themselves in the world of Hinds. Fun, loose, real, positive, heartfelt, all things rad.

Viva Hinds!

I think the rest of the tour is sold out so if you missed out then you really missed out!


High points: Hinds "Shark" t-shirt. Bumping Ana with a door and then later apologizing and having a quick convo. I posted this on twitter and got a tweet from Ana. <3




*Photos taken by me.

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.