Faster and Louder
Punk and rock n' roll reviews from Lord Rutledge and friends
Sunday, March 02, 2025
Automatic Lovers - "Boston Brats"
Wow! As a huge fan of '77-style punk rock, I'm getting chills from Automatic Lovers' debut single! Sometimes when these newer bands are playing old school punk rock, it sounds like exactly what it is. But "Boston Brats" (out now on FOLC and Wap Shoo Wap Records) sounds like it could actually have been released in 1977. On the title track, this Madrid-based outfit blasts out some blistering & ferocious punk rock 'n' roll that will just about melt your face off. The sound here is total fire. Think snotty vocals, ripping guitars, a pounding rhythm section, and attitude for days. When I mention punk rock being my favorite music of all-time, this is the sort of stuff I'm talking about! Listening to this song is like being smashed in the face with a sock full of coins and enjoying it. Play it on repeat and pogo until you drop! On the B-side, Automatic Lovers have at an obscure gem from my neck of the woods: "Who Cares If Tomorrow Comes" by Kirk and the Jerks. They do an amazing version of the song, and I love that they're going to turn a whole bunch of people on to Kirk and the Jerks! What an amazing world we live in when we can say a Spanish band in 2025 is obsessed with The Vibrators and Slaughter and the Dogs and covering a little-known '80s punk band from Lancaster, Pennsylvania. Heck yeah! I am so excited to hear more from these guys!
Dan Paquin - Head Case
Dan Paquin (Dirt Bike Annie, Short Attention) has a long and distinguished history in the musical universe in which most of us inhabit. When I heard he had a new solo album coming out, I was intrigued. This is someone I admire, but I had little knowledge of his work as a lead artist. I wasn't sure what to expect from the album. What it ended up being was something pretty darn great. Head Case, a collection of songs written amidst Paquin's pandemic experience, is essentially the culmination of all the musical influences he has ever had. And so it's very different from the records he has played on in the past. Specific inspirations are very hard to pin down because they're all over the place. But I'm hearing lots of indie/alternative rock from the '80s through the early 2000s with hints of power pop and classic rock. The big plus about launching a solo career in your middle years is that you've had plenty of time to absorb a wide variety of influences and figure out who you are and what you're all about as a songwriter. Broadly, I can sense a love for guitar-heavy '90s alt-rock, but Paquin is too skilled of a songwriter to really tip his hand on his influences. So he's arrived at a place where he just sounds like himself. And if you don't know Dan Paquin yet, you'll feel like do once you've given Head Case a couple spins.
Head Case, like so many pandemic-inspired albums before it, is introspective and intensely personal. In Paquin's own words, this is an album about "loss, triumph, mysticism, death, life, divorce, family, mental health struggles, pain and joy." I have tremendous admiration for any songwriter who's willing to be this open and vulnerable with the entire world. I marvel at someone with the guts and the eloquence to write about mental health challenges or a crumbling marriage from an insider's perspective. But here's the thing: all of that only works if the music is good. And in the case of this album, the music is very good. First of all, I can't really place whom Paquin reminds me of vocally, but he reminds of someone (or perhaps several someones). As a singer, he's quite likeable, with a voice that's capable of both dramatic emotion and more understated, matter-of-fact musings. Generally I'd describe his musical style as loud indie rock with hooks. And while many of these songs could stand out in isolation, I would urge you to experience Head Case as a complete work. This is an album that tells a story a lot of us can relate to. And even as it was conceived during the pandemic, its narrative transcends a specific moment in time. This is a tale of some doors closing and others opening, of reckoning with the past yet also looking to the future and figuring shit out. Paquin's lyrics are vivid and powerful while still leaving a lot open to interpretation. And even as the album confronts heavy themes, it's not a depressing or "difficult" listen. With their memorable choruses, nifty guitar hooks, and carefully crafted melodies, these are enjoyable songs to listen to. While of course I'm partial to some of the crunchier, '90s alt-rock-ish numbers like "Barely Afloat," "If You See Something Say Something," and "Blown Away," I might say it's the deep cuts that really make this record. "Beach Boys Paradise" sounds like it belongs on the soundtrack of a movie you'd never get tired of seeing. "Lost in a Dream" starts out as an unassuming ballad and just keeps building until it soars. It would be a perfect album closer if "Slowly Fades" weren't an even better one.
Dan Paquin's Head Space is a reminder that even in the digital age, the full-length album is still a format of tremendous value. I know we live in a moment when there's so much of worth out there to listen to and never enough time to hear it all. But I would highly recommend giving this album 37 minutes of your undivided attention. It's a terrific album and an absolute triumph for a much-loved musician who is just coming into his own as a songwriter. Old fans of his will not be disappointed, but a knowledge of his past work is no prerequisite for a thorough enjoyment of Head Case.
Friday, February 28, 2025
The Vapors - Wasp in a Jar
How amazing would it be if the best album of 2025 were to be released by a band that first formed nearly five decades ago? It just might happen! Wasp in a Jar is The Vapors' fourth album and their second since they reformed in 2106 after thirty-plus years of inactivity. While 2020's Together was nothing short of a triumphant return, Wasp in a Jar feels even more like vintage Vapors due to its mix of social/political commentary and deeply personal reflections. Perhaps it's stating the obvious that Wasp in a Jar "sounds like The Vapors," but that was exactly my first impression. Other than the fact that David Fenton is 45 years older and sounds like it (as he should), there's little about Wasp in a Jar that's dramatically different from 1980's New Clear Days. This is a brilliant punk-influenced power pop album that finds this venerable band rivaling the best of power pop's present-day standouts. And while Fenton and bassist Steve Smith are the only original members left, Michael Bowes on drums and Fenton's son Dan on lead guitar are formidable players in their own right who more than live up to the standard of their predecessors. I've always put David Fenton in the top tier of the finest songwriters from the new wave generation. His ability to craft thoughtful, clever pop songs and infuse them with irresistible hooks is a rare gift. He is, as the kids say, one of one. It's truly remarkable that after not releasing music for nearly four decades, he has been able to pick back up like he never stopped. And his musical chemistry with his bandmate Smith remains something quite remarkable.
Thursday, February 27, 2025
J Prozac- "Take Me Away"
When it comes to the modern-day pop-punk scene, J Prozac is the epitome of class. He consistently turns out quality releases with his longtime band The Prozacs and as a solo artist. His solo work typically finds him expanding his musical palette yet never straying too far from his pop-punk roots. On his new single "Take Me Away," he's done something pretty remarkable: crafting a tune that's somehow both one of the poppiest and most "rock" songs he has ever done. By broad definition, this is what power pop is supposed to be. Sometimes I can't quite put my finger on what it is about Jay's music that strikes such a chord with me. But with "Take Me Away," it's just so obvious: he writes songs that you can feel deep in your soul. This is a song about being in such a dark place that you wish you could just run away from your life. But it's no bummer. Jay sings and performs this song with such raw emotion that you can't help but feel a connection. A song about hopelessness feels more like a song of hope because you know you're not alone in your despair. There are few songwriters in this genre who are this honest and open with their feelings. I also love the sound of this track: it's crisp and clean, but it also hits like a ton of bricks. On the flip side, "On My Own" is a great version of an old song by The Bates which was previously included on the Wolverine Records release What You Leave Behind (A Tribute To The Bates). Yet if you didn't know the track was previously released, you might think it was recorded just for this release. These two songs definitely have a similar vibe, and they work together perfectly as a single. Lighthouse Records will be releasing the vinyl next month, and you can pre-order now via Bandcamp. Copies are limited to just 100 in Germany and another 100 in the States, so don't dilly-dally!
Saturday, February 22, 2025
Cult Crime - "Throwaway Kids"
Toronto's Cult Crime continues its assault on your senses with another ripping single. "Throwaway Kids" brings to mind the dawn of hardcore punk — when bands were starting to play harder and faster but still a kept a foot planted in rock 'n' roll. A la last month's "Desperation," this track is blistering, ferocious, and chock full of raw energy. This, my friends, is punk fucking rock as it ought to be. A full album on Ugly Pop is shortly forthcoming, and I can't wait! If you dig DOA, Zero Boys, early Black Flag, etc., Cult Crime ought to be your new favorite band.
Public Toys - self titled
How about another smashing cassette release from the mighty River Trash Records! Public Toys are based in Lille, France and feature ex-members of Crusaders of Love and Moron's Morons (among others). On this four-song tape, the band blends blistering budget trash with spectacularly sleazy old school glam-punk rock 'n' roll. From the opening strains of "Shell Beach," you can practically smell the booze, sweat, and garage gasoline fumes. If you like smoking lead guitar, howling vocals, and a primitive, bashing musical spirit, you will find lots to love in these four songs. This is a promising debut, and I'm excited to hear more from Public Toys. River Trash sure knows how to pick 'em!
https://rivertrashrecords.bandcamp.com/album/public-toys
https://publictoys.bandcamp.com/album/public-toys
https://www.instagram.com/publictoys.fr/
Kryye - Kollektief
Given what a bad secret Kryye's true identity is, you may be wondering why I would bother to review a fake band. I'm personally more inclined to describe Kryye as an "imaginary" band, but perhaps that's splitting hairs. So yeah, if your enjoyment of Kryye was entirely contingent on the band actually being bright-eyed young whippersnappers from South Africa who somehow possess vast knowledge of generally obscure music released on another continent before they were even born, I get it. But if you liked the first Kryye album simply because it was a banging pop-punk record, you're going to like the second one (out now on Hey Pizza! Records) even more.
Whether Kryye's social media presence constituted nefarious catfishing or was merely an extraordinarily above-and-beyond commitment to the fine art of kayfabe is a matter of opinion. But for me, the knowledge that the purported band members are completely fictional may have even deepened my appreciation for Kryye. I get what's going on with this new album, Kollektief. It's a supreme '90s pop-punk love fest. The band may not be real, but the music most definitely is (with, granted, vocal production straight out of the Dave Seville playbook). Obviously we're talking about an artist here whose bona fides within the pop-punk scene are well established. He knows how to write a simple and catchy pop-punk tune. And if it sometimes seems like he's re-writing the same song over and over, that's probably the point. This album is loaded with '90s pop-punk Easter eggs, with winks and nods to the likes of Teen Idols and Beatnik Termites and direct references to a number of Lookout! Records staples. So basically this is a record for '90s pop-punk super-fans made by a '90s pop-punk super-fan. If the intended illusion here is that there are people half our age who feel the same way about this music as we do, I understand the angle. Most of these songs clock in under two minutes and quickly worm their way into your skull. The lyrics tread tried-and-true territory for the pop-punk genre but are genuinely clever and in many cases quite hilarious. I understand that not everyone will be amused. But if you held on to your copy of Girl You Know It's True back in 1990 when everyone else was trashing theirs because, you know, killer tunes are killer tunes, you might be open to appreciating Kollektief for what it is. If "Groovie Ghoulie" isn't a perfect pop-punk song, I don't know what is. "Wiggle," a tale of a romantic betrayal so devastating that it permanently ruins one of your favorite records, would have had 25-year-old-me doing backflips.
Kollektief will certainly be an extremely polarizing release within the pop-punk scene. I understand that a lot of people are feeling bamboozled. But having already gone on record as a fan of Kryye's music, I would be a stone cold bullshitter if I suddenly claimed I didn't like it. If I wrote off every album where the people listed on the back cover didn't actually play on the record, my music collection would be considerably smaller. When it comes to fake bands, Kryye is pretty dang legit.