New song/release from The Cry!

If I had to name the best band in the world, currently, The Cry! would be in the thick of the conversation if not my clear #1 choice. And just when I think these Portland rock n' rollers have reached the point where they can't possibly top themselves, they proceed to go out and raise the bar. I thought the band's first album was power pop perfection, yet somehow they made an even better second album. Dangerous Game - issued early this year in Japan and Germany, is now available as a remastered American release with the addition of the best six songs from the band's out of print debut and a brand-new tune called "Last Thing That I Do". So if you've been digging The Cry! in recent years but were waiting for a domestic release of the band's music, your time has come! The band did a really fine job with the track selection - cutting just two songs from the original version of Dangerous Game and adding all those early hits (like "Modern Cinderella" and "Sleeping Alone") that made The Cry! an instant sensation back in 2011-12. And "Last Thing That I Do" (exclusive to this release) is definitely a new high point for this band - a stunning ballad with flawless harmonies and Stones-y guitar licks. I love the fact that this band continues to broaden its influences and try new things without abandoning its signature melodic sound. I can't wait for another record!

If you weren't aware that a new Cry! song even existed, check it out and enjoy. And if you're dying to own Dangerous Game: U.S. Edition (as you should be!), you can buy it off of Amazon or iTunes today!



-L.R.

https://www.facebook.com/thecrypdx
http://thecry.bandcamp.com/

The Solicitors make an album!

Is it just me, or has this been the best year for power pop music in a long time?! The icing on the cake is the arrival of the long-awaited debut album from Melbourne's Solicitors - a band I've been following with considerable interest since their debut EP Made To Measure came out in early 2013. I heard that record and immediately knew that the next great power pop band had arrived. And I was especially impressed by singer/guitarist Lee Jones' biting wit and expert touch with a hook. Jones, an Englishmen, strikes me as a modern heir to the Elvis Costello/Nick Lowe/Difford & Tillbrook songwriting lineage. A few years back, he met an American guitarist named Laf Zuccarello - and the two went out and recruited "the most handsome rhythm section" in Melbourne. The Solicitors, following the release of Made To Measure, have continued to release excellent material one song at a time. I was a big fan of that approach - since power pop is pretty much the ultimate singles genre. I think when you're listening to just one song as opposed to a collection of 12, you tend to savor every morsel. That said, it's nice to finally have a proper album from this very fine band! 

Blank Check, out now on Pop Boomerang Records, will not disappoint anyone who's enjoyed quality Solicitors' singles such as "If You Let Me Hold You", "Help Me Forget", and "Quicksand". All three appear on the album - along with brand-new versions of Made To Measure favorites "Pretty Penny" and "I Love Your Love".  To have left any of the above songs off the album would have been criminal, and the dreamer in me hopes that a re-release of "Pretty Penny" will result in an honest-to-goodness international chart hit. It's that good of a song. Meanwhile, a full half of Blank Check is new material - and none of it is filler. Sticking mostly to their signature new wave pop style, The Solicitors continue to combine a spiky energy and pleasant melodies with intriguing character sketches and brilliantly bitter reflections on love gone bad. "I Need You More"- with its irresistible lead guitar hook and punchy, Knack-like chorus - would have been a standout single in its own right. And deep cuts like "For This Evenings Entertainment" and "My Secret Is Safe With Me" showcase Jones' ability to craft the kind of chorus that grabs you and refuses to let go. 

Blank Check is what every great power pop LP should be - strong all the way through, but anchored by a handful of exceptional singles. I spent many years of my life collecting skinny tie era power pop albums, and this one ranks up there with the best of those. If you've been downloading Solicitors' singles all this time, there's still more than enough excellent material here to make it worth buying the album. And if The Solicitors are a new band to you, Blank Check delivers all their essential songs and then some. Given that echoes of late '70s/early '80s new wave greats pervade this release, some might be tempted to dismiss it as some sort of "retro thing". But I don't think of The Solicitors as retro. Right down to their sharp-suited look, they're more about timeless style than period fashion. Throwback videos aside, this is a band that reminds us that the new wave endures not because of funny haircuts or quirky synths - but rather because of all those classic songs. And when it comes to crafting a few classic songs of their own, The Solicitors seem to be well on their way.



-L.R.


http://popboomerangrecords.bandcamp.com/album/pb-102-the-solicitors-blank-check
https://www.facebook.com/TheSolicitors

Return of The New Trocaderos!

Check it out! It's not even November yet, and I'm already making a final call on EP of the Year. You can start carving the trophy. As far as I'm concerned, The New Trocaderos have got it locked up! I first proclaimed this band's greatness on the second day of this year - and my big hope was that this would be more than just a one-off project. Well, to my utter delight, this super-group is back with a second helping of rock n' roll/pop/garage goodness that ought to have the entire world dancing and singing along! The New Trocaderos are Brad Marino and Geoff Palmer of the almighty Connection along with the king of power pop, Kurt Baker. Once again, these three have collaborated with L.A. songwriter Michael Chaney - and they've somehow managed to top their sensational debut single "Money Talks"/"The Kids" (a fixture this year on Little Steven's Underground Garage).

The new record is called Kick Your Ass, and it builds off the energy of "Money Talks" without coming off like a carbon copy. This time around, all three New Trocaderos take turns singing lead. And each track has its own distinct feel. Kurt's up first with "Real Gone Kitty" - a high energy shaker in the style of late '50s rockabilly and rock n' roll. Like The New Trocaderos have been known to do, here they acknowledge influences (Carl Perkins, Jerry Lee Lewis) and lyrical themes from rock n' roll's golden age yet find ways to make them sound fresh for a contemporary audience. The red-hot piano work of Kris "Fingers" Rodgers would probably bring The Killer himself to tears of joy, and all in all this song joyfully celebrates youth, fun, and the endless pursuit of pretty girls. Again and again, I'm implored by this number to stop whatever I'm doing and start dancing around like a maniac. I am now banned from taking headphones into Whole Foods.

Next up, Geoff sings "Dream Girl" - a gorgeous '60s pop jangler a la Beatles/Beach Boys/Byrds. Again, it's a fresh take on a classic style - with melodies to die for and a vocal treatment that brings to mind a young Nick Lowe. I will warn you in advance that getting this song unstuck from your head may require professional help of some sort. Oh my god, that bridge! Those harmonies and handclaps really hit the spot, and let's hear it for the lost art of the fade-out ending! This is just perfect pop - and a major step forward for this band in terms of production and musical sophistication.

To close out the EP, Brad takes the mic on "Brain Gone Dead". This is about as flawless of a Ramones homage as you could ever hope to hear - replete with morbid nursery rhyme lyrics you won't be able to resist repeating. There's a neat little guitar hook in there that adds a lot to the song - the kind of minor detail that can separate a great band from a not-so-great band. With Brad's distinct vocal style, of course you're going to be reminded a little of The Connection. But what I like about The New Trocaderos is that these three guys all show something a little different when they record under this name. It's not like someone just put a solo Kurt Baker song and a couple of Connection tunes onto a record and passed it off as a new group. Chaney, essentially the fourth New Trocadero, has found the perfect musicians to bring his creative vision to life. Here you have three equally good singers - each with a keen ear for pop craftsmanship and timeless rock n' roll melodies. And the addition of "session" players Rodgers and drummer Craig Sala (Kurt Baker Group) has only made the band better!

What I love about this record is that I'm completely unable to pick a favorite track. There's not one hit here but rather three of them - each one taking inspiration from a different period of rock n' roll that I personally hold dear. Of course The New Trocaderos "borrow" from all the right influences. But just as importantly, they do their heroes proud by crafting songs good enough to hold up in any era. And that, more than anything else, is the mark of great rock n' roll.



-L.R.

http://thenewtrocaderos.bandcamp.com/

Neighborhood Brats nail it!

I have reviewed Neighborhood Brats on four occasions previously - and the last time I ended with the hope that 2014 would finally bring us a proper album from this fantastic L.A. band. Well, sometimes wishes come true! Recovery is the long awaited debut long player from an outfit that quite a few people are calling the best punk rock band out there. I would, on the strength of this album, maintain that Neighborhood Brats are indeed in the thick of the "best punk band on the planet" conversation. Recovery, arriving with considerable expectations, does not disappoint!

What I like about Recovery is that it pushes Neighborhood Brats' sound forward without straying from the band's mission to play straight-up, undiluted punk rock in the style of the late '70s and early '80s. Jenny, George, and outstanding new rhythm players Mike Shelbourn (drums) & Dan Graziano (bass) don't mess much with a successful recipe. Seven of 12 tracks clock in at under two minutes, and no song exceeds three minutes. The band for the most part continues to play aggressive and powerful punk rock, and Jenny remains a dynamic force on vocals. But compared to the band I first heard three years ago, this incarnation of Neighborhood Brats sounds far less like a hardcore band - now embracing more of a classic California beach punk sound replete with darker sensibilities and surf-influenced guitar work. Energized by its new-and-improved lineup, the band sounds ferocious and downright inspired on this crackling debut album.

Recovery hits the ground running with "Year Of The Brat" - the kind of mission statement/anthem that most punk bands spend their entire careers trying to write. I've never seen Neighborhood Brats live, but surely this is a song that sends crowds into a frenzy. It's got a chorus you just have to sing along with - and a great message of leaving the past behind, taking control of your life, and just going out and kicking ass. At some level, everyone can relate to that. If you're not turning up the volume and wildly shaking your fist by the end of the song, you may not be human! Seizing the momentum of such a fast start, the band proceeds to rip into high-speed burners like "Boys For 20 Years" and "50 Shades Of Fuck You". Neighborhood Brats have built their brand on fast & furious songs like these - and at this point they've truly perfected the formula. The production really plays up the power of the band's attack - accentuating George's scorching riffs and a veritable neutron bomb of a rhythm section. On vocals, Jenny excels at delivering acidic lyrics with full-on fury. She's especially compelling when the subject matter is intensely personal ("One Wasted Year"). And even at her angriest, she finds clever ways to articulate her rage (the chorus to "50 Shades Of Fuck You" is so priceless that I won't dare spoil it for you).

Recovery, while hardly a complete break from Neighborhood Brats' previous output, does show signs of musical growth. Right around its mid-point, it begins to surprise in entirely pleasant ways. "Suburbia" slows the pace a tad and captures an Adolescents/D.I. style old school punk sound, while "Escape The City" is a surf punk instrumental that would make Night Birds envious. And having loved the band's recent cover of The Go-Go's "Lust To Love", I get a similar vibe from the dark beach-pop of "Painted and Gutted". By the time the band brings it home with a trio of sub two-minute blazers ("The Pharmacy Is Closer Than The Liquor Store" has to be the best song title of the year!), I'm left with the satisfaction of having experienced a truly great punk rock album. It delivers so much of what you were expecting - and does it well. Yet the things about it that were somewhat unexpected do not seem out of place. Recovery captures that signature Neighborhood Brats sound without sounding like a copy of the band's earlier releases. The songwriting and production are the best of the group's career, and all in all this is every bit the amazing record I was hoping for. I'd put it right up there with a lot of the classic albums that surely inspired it. I'm pretty sure, in another 20 years, that more than a few bands will be trying to emulate "that George Rager guitar sound."



-L.R.

https://www.facebook.com/neighborhoodbrats
http://takenbysurpriserecords.bandcamp.com/album/recovery-lp
http://derangedrecords.bandcamp.com/album/recovery-2

The Bat Bites make an album!

Sometimes when I review a pop-punk band, I'll do so with a general audience in mind. I'll do my best to convince people to listen to a certain band even if they don't like pop-punk. I'll contend that even if you hate pop-punk, this particular band isn't anything like all those other bands you so thoroughly despise. But you know what? I'm not going to do that today! If you hate pop-punk, The Bat Bites are not going to turn you to to the dark side. They'll probably annoy the hell out of you. But if you love pop-punk, you're gonna go crazy for this foursome out of Rotterdam!

The Bat Bites first released an EP back in 2009. They've finally come out with a full-length album - a self-titled effort on Monster Zero Records. With two Apers members in their lineup, these guys/gal definitely have roots in that European pop-punk scene that's been going strong since the late '90s (I've always loved the enthusiasm that the Euro crowd seems to have for Ramones-inspired music!). One of the main strengths of The Bat Bites is that the band features male and female lead singers in Merel and Mikey. Sometimes the two sing individually, and sometimes they sing together. The effect is something along the lines of having Screeching Weasel, The Unlovables, and Teen Idols all combined into one band. The moment I heard opening track "Tomorrow", I was immediately taken with Merel's warm, likeable vocals. And Apers guitarist Mikey, stepping into a front role here, is very much the prototypical pop-punk singer. Each vocalist brings something different to the table, and that definitely prevents the album from becoming too "samey" (a common shortcoming of pop-punk records). And given the prominent role of backing vocals and harmonies on this record, the exceptional quality of the production is a huge asset. The album was recorded by Simon Speechless (The Windowsill, Accelerators, The Maydays) and mastered by the always dependable Justin Perkins. In my younger days, I probably would have referred to this record as "overproduced". Clearly I've become smarter in my old age. This thing sounds like a million bucks!

Of course that amazing production would be worthless if the songs weren't great as well. The Bat Bites, with three songwriters contributing material, have delivered as strong of a collection of pop-punk songs as I've heard in the last couple of years. Call them lightweight if you want, but these songs are just so catchy and fun to listen to - with melodies and guitar hooks that I cannot get enough of. I've always believed that great pop-punk should appeal to that part of all of us that's forever 16 and caught in the throes of infatuation. And by that definition, The Bat Bites are great pop-punk! Most of their songs have an upbeat, happy-go-lucky energy to them. And even the ones that don't still manage to convey a hope that tomorrow can be a better day. Listening to a song like "One Day", I can't help imagining it playing over the closing credits of a feelgood teen movie. "I Wanna Be The One With You" is the kind of song that I could listen to on repeat for an hour straight. And for some icing on the cake, the great Kurt Baker makes a guest appearance on the doo wop inspired duet "Heartbreaker"!

What The Bat Bites have done is make a nearly flawless genre record. They're not trying to do anything new or original, but they've executed a tried-and-true formula to perfection. And in embracing both the "old" and "new" schools of pop-punk, they blur a distinction that probably didn't need to exist in the first place. One of the best reasons to listen to any kind of music is because it brings joy to your daily existence. And that's why The Bat Bites will be mainstays on my iPod for a long time to come.



-L.R.

http://thebatbites.bandcamp.com/album/the-bat-bites
https://www.facebook.com/thebatbites

More Miscalculations!

The phenomenal English duo Miscalculations blew my mind with their 2013 debut album - to such a degree that I'm writing about this band for the third time in less than a year! Today, the occasion is the release of a new single on No Front Teeth and the band's own Glass Eye Records - a limited item that's sure to sell out fast! Heck, for all I know it might already be sold out! The A-side, "A Silent Defence", is actually from the band's LP. If you're unfamiliar with Miscalculations or haven't heard the album, think cold, angular post-punk with a sharp '77 U.K. punk edge. If you already own the LP, there are two reasons why you'd desire this single: because you're a super fan and want to own every last item this band releases (understandable!) or because the B-side alone warrants the purchase price.

So for a lot of people, then, the brilliant "Clairvoyant Stare" is the featured attraction of this release. If you don't want to cough up £6 for only one new song, I would at least recommend a digital download of the song you haven't heard. If this track is a sign of what's to come from Marco and Shaun, then Miscalculations ' forthcoming second album is not going to disappoint! "Clairvoyant Stare" has a touch of synth to it, but it's mostly guitar/bass driven and very much on the icy side of late '70s punk/new wave. I don't want to give away the concept/story, but I'll just say that the lyrics are so creepy that they actually bother me. I don't dare listen to this song within four hours of bedtime! Can you imagine the dreams I'd have? Again I hear hints of Wire, Warsaw/Joy Division, and even Gary Numan. If I hear anything that might distinguish this track from the band's previous offerings, it would be that it's a little closer to the new wave side of the punk/new wave continuum. But that's not necessarily a bad thing (yes, I know - a surprising statement given my personal preferences!). The recordings of Miscalculations are the musical equivalent of a bleak, futuristic art film that I cannot stop watching. I sense that the new album (due out early 2015) is going to be a little different. And when you're talking about a band with this kind of talent and vision, different is usually good. I'm guessing that "Clairvoyant Stare" will be on the new album, but why wait until next year to hear it? We could all be dead by then.



-L.R.

https://www.facebook.com/miscalculationslondon
http://miscalculations.bandcamp.com/album/a-silent-defence-clairvoyant-stare-7

Meet Scantron!

Scantron - a truly excellent band from Delaware - should not be confused with Scranton, Pennsylvania - birthplace of Delaware senator turned Vice President Joe Biden. Keep this in mind when conducting Google searches. Sometimes spelling makes all the difference. And while I do, as a lifelong resident of the Keystone State, have a certain fondness for the great city of Scranton, at this point I'm more about Scantron. The Bear, Delaware trio recently issued its second EP Palamino Blackwing - an all-analog mash-up of R & B, soul, and '60s garage rock that's been getting steady airplay in my man cave for over a month. This thing is flat-out hot! And considering that I spend half my time listening to punk and rock n' roll and the other half listening to classic soul, it's pretty awesome to hear a band combine both so successfully.

Scantron is Jimmy Scan, Billy Tron, and George Murphy (from Randy America's Pike Creek Pinups and the almighty Keefs!). The band has gigged extensively throughout the Northeast, and that really shows in its music. You can tell that these three are seasoned veterans of the bar/club scene. Although if I didn't know any better, I would have thought you were talking the bar/club scene circa 1966! "Am I Wrong" is a jangly mid-tempo shaker that will have you tapping your feet and humming along. But it's "Sad Parade" that really shows what Scantron is all about- mixing fuzzy guitars and driving organ with a knockout chorus that brings to mind Motown Records and '60s girl groups. In the way that classic garage and soul influences come together with timeless pop songwriting, I can't help but be reminded of bands like the Reigning Sound. "Sad Parade" is a stone cold hit! And I love that duel organ/guitar solo!

On the heels of "Sad Parade", Scantron proceeds to bring it home in style. "As Long As There's Enough" is throwback Stax soul replete with a full horn section - and hearing the production you'd swear this track was recorded with some big shot producer at a major studio. It just sounds so good - a tribute to the band's excellent self-production and a fine mastering job by Paul Leavitt at Valencia Studios in Baltimore. And then "Shot Down" is a GREAT cover of The Sonics' 1965 B-side! If The Sonics took the inspiration of Little Richard and transformed it into proto punk rock, here Scantron takes a Sonics classic and makes it sound like a vintage Little Richard cut! Certainly back in the golden age of rock n' roll and R & B, cover songs were an important part of just about any band's repertoire. It's great to see Scantron keeping that tradition going!

With a lot of garage/soul bands, there seems to be more emphasis on the former element than there is on the latter. But Scantron has the perfect mix of garage and soul. And while they've got the formidable bar band chops you want from a live rock n' roll unit, they add a songwriting prowess and stylistic authenticity that set them apart on record. Whether you're into today's garage scene or are an old school soul freak like me, this is a band you've got to check out!



-L.R.

http://scantronmusic.bandcamp.com/album/palamino-blackwing-ep
https://www.facebook.com/scantrontheband  

It's The Snookys!

I really miss '90s garage-punk. Sure, it seems that the term "garage" is ubiquitous in today's underground punk world. You see it all the time. But for the most part, "garage" seems to have a much wider meaning now than it did back in the '90s when it usually meant low budget recordings, shitty fidelity, and marginal musical proficiency. A lot of what gets labeled "garage" today would have just been called "punk" back in 1996. This is not a criticism - just an observation. I don't think it's necessarily a bad thing for a band to learn more than two chords or aspire to make its records sound good. But I have to admit that I've got a real soft spot for bands that recapture the trashy spirit of '90s garage-punk. The Snookys out of Bergamo, Italy are one such band - and they've got an awesome new album called Junk Food out on the Italian label One Chord Wonder.

I definitely hear a Teengenerate/Rip Off Records type sensibility throughout Junk Food along with the shout-along choruses of classic British punk and a touch of good old '90s punk rock n' roll a la the Devil Dogs, New Bomb Turks, etc. This band has not only a rockin' sound but terrific songs as well - with material ranging from straight-up rippers like "Stab You" and "I Can Only Wear Geox" to slower, more anthemic numbers such as "Fire Alarm". The lyrics are for the most part brilliantly dumb (it's hard not to delight in songs about fat guys stealing your lunch and she-males almost getting you into bed). But sometimes The Snookys will surprise you with pointed social commentary ("Cop Guy") or an insightful portrait of a soul destroyed by responsible adulthood ("Actin' Good"). And "Down In The Basement" is a great reminder of how much commitment and sacrifice is required to make it in the world of do-it-yourself punk rock.

While The Snookys definitely do their part to create their own sound, they are clearly inspired by all those classic garage-punk records of the early-to-mid '90s. That's their reference point, and they gleefully embrace it. It's one thing to be reminded of an era/movement that I hold in such fond remembrance. But to hear this style of music done so well is what really has me pumped! From start to finish, Junk Food delivers catchy three-chord punk tunes that rock like crazy and are fun to sing along with. A few weeks ago, I was thinking to myself, "What happened to all the great garage-punk bands?" Somehow I telepathically conveyed this thought to The Snookys, who then brought themselves to my attention. Well-done, gentlemen. Well-done!



-L.R.

https://ocwrecords.bandcamp.com/album/ocw009-the-snookys-junk-food-lp
https://www.facebook.com/thesnookys
https://www.facebook.com/ocw.records

Introducing Terry & Louie!

Wow! A longtime musical daydream of mine has finally become a reality! I had always hoped that someday, Terry Six and King Louie would again work together. These are two of my favorite people in music. They're just incredibly talented dudes, and each has a remarkable ear for perfect pop songs. The former's guitar playing and the latter's songwriting were huge parts of what made the Exploding Hearts' Guitar Romantic the greatest album of the 2000s (and, in my opinion, one of the best punk LPs ever made). Terry, more or less retired from music since the Nice Boys disbanded, has made a magnificent return to recording with the help of his old pal Louie. Out on Terry's own label Tuff Break, the debut single from Terry & Louie is a huge treat for any power pop fan. Joining the duo on drums is Garett Goddard (Cuts, King Tuff, Personal & the Pizzas, Girls), and the great Pat Kearns mastered both tracks. The label's description of these two songs is really dead-on. A-side "(I'm) Lookin' For a Heart" hits that Nick Lowe/Eddie and the Hot Rods pub rock sweet spot with hot guitar licks and some gigantic hooks. On the flip, "She Loves Him" is a power pop ballad with the wistful jangle of Phil Seymour meets Road To Ruin era Ramones. I'm usually a pop guy, but in this case the high-energy rock n' roll of the A-side is what really has me hooked. This project is by no means intended to be the second coming of the Exploding Hearts. But listening to "(I'm) Lookin' For a Heart", it's impossible to not be reminded just a little bit of Guitar Romantic.

While Louie was out in Oakland recording with Terry, the pair actually laid down enough tracks for two singles. So this will not be the last we hear of Terry & Louie. And considering that the vinyl for this release was sold out the day it came out, it seems that a lot of people besides me are very excited about this pairing! As a longtime admirer of Terry Six's talents, I'm beyond thrilled that he's writing songs and releasing music again. I was super stoked to hear that he was teaming up with Louie. And now that the record is out, I am in no way disappointed! If you need the vinyl, I believe Bachelor Records still has some copies!



-L.R.

http://tuffbreak.bandcamp.com/album/im-lookin-for-a-heart-b-w-she-loves-him-7
https://www.facebook.com/pages/Tuff-Break/631422973643943

Meet Lexxi Vexx & The Modern Gentlemen!

Even though I review dozens of bands every year, I'm always struck by how many great artists I continually miss out on. I don't think a blog like mine even begins to scratch the surface of what's really out there in the punk/garage/rock n' roll underground. I'm beginning to think I might have to clone myself - or manipulate time to squeeze more hours into my day. Perhaps I could have a hologram of myself show up at my job a couple times a week. Lexxi Vexx has been fronting various bands in northwestern Oregon for a number of years, and I'd been unaware of all of them until very recently. Hearing her brand new EP with her newest band, I can't help wishing I hadn't missed the boat! Vexx, now based in Portland, has one of the most amazing voices I've heard in quite some time. She's a fierce talent and a bona fide star! And her band The Modern Gentlemen - featuring her dad Todd McPherson of The Kingsmen along with Scott and Travis of F & L favorites The Anxieties - is the perfect complement to her powerful vocal stylings.

Lexxi Vexx and The Modern Gentlemen have made their recorded debut with the five-song CD Evolution Of The Modern Gentlemen. As soon as I heard it, I wondered where this band has been all my life! This is definitely my kind of music! With her strong, charismatic vocals and clever, provocative lyrics, Vexx makes quite an impression. But rather than overshadowing her band, she works in perfect sync with her supporting players. She and the Modern Gentlemen play classic sounding punk with a Pacific Northwestern rock n' roll backbone - at times speeding things up to suggest a modernized take on early '80s So-Cal hardcore. Fronted by such a dynamic and original talent as Vexx, this is a band that defies typical comparisons. You'll surely want to pay attention if you loved, say, The Gits or Legal Weapon. But this group has its own sound entirely - one that's gutsy, energetic, and a whole lot of fun! Sing-along opener "Big Shiny Bomb" seems to be the hit, but the blistering title track and "Don't Break My Heart" run hot on its tail. And for a pure adrenaline rush of breakneck punk rock, it's hard to beat "Dolla Billz". Given that this is such a new band, this debut sounds remarkably evolved (No pun intended - I double pinky swear!). I believe a debut LP is already in the works, and I'm expecting huge things. By this time next year, your friends, neighbors, and nefarious rivals will all be talking up Lexxi Vexx like crazy and planning tattoos of the band logo. Beat 'em to the punch now!



-L.R.

http://themoderngentlemen.bandcamp.com/album/evolution-of-the-modern-gentlemen
https://www.facebook.com/pages/Lexxi-Vexx-the-Modern-Gentlemen/1405708886362046

The Cheap Cassettes make an album!

When it comes to the iconic musical twosomes, the likes of The Captain & Tennille, Hall & Oates, and Sonny & Cher surely come to mind. The only things separating The Cheap Cassettes from an honored place in history alongside such titanic pairings are some epic facial hair and perhaps a juicy guest spot on The Love Boat. Poised to dress sharper than Wham and rock harder than Right Said Fred, these handsome fellas are bringing duos back to prominence. Air Supply will be sending out a thank you note! Given the many years we diehard fans have eagerly awaited its release and the countless tabloid shenanigans associated with the group's tantrum-prone vocalist, The Cheap Cassettes' debut album could rightfully be hailed as the Chinese Democracy of power pop. The major difference is that it would actually make sense if Tommy Stinson joined this band. Too bad he's kinda busy at the moment.

If you've been living under a rock the last few years (or more likely, have the good sense to never read this blog), you may not know that The Cheap Cassettes are ex Dimestore Haloes Chaz Matthews and Kevin Parkhurst (an original third member, the German expat Max Schitter, is currently serving 25 years to life for wearing white after labor day). While living thousands of miles apart all this time, Chaz and Kevin have nonetheless found a way to collaborate in the writing, recording, and producing of All Anxious, All The Time - one of the finest power pop albums of recent memory. This should come as no surprise if you consider that the Haloes made their best record after Kevin joined the band. And while this particular project seems largely inspired by the Chilton/Twilley/Westerberg strain of rock n' roll songwriting, you could argue that the Haloes were already hinting at such a direction by the time they called it quits. So The Cheap Cassettes are less of a reinvention and more of a logical next step for this talented twosome. Chaz Matthews has been one of my favorite singers and songwriters since the late '90s, and he hasn't officially released music since 2005. I'd maintain that his absence from the punk/rock n' roll scene in recent years has created a huge void. Now he and Kevin are back - and in prime form! In a year full of amazing albums, they've given us one of the very best. It's out now on the band's own label, Cassettes On Record Records.

Credit Chaz and Kevin for using modern technology in the best of ways. This album actually began as just a few songs posted on-line back in the prehistoric days of 2011 (these guys were on Bandcamp before Bandcamp was cool!). More songs were gradually added as they were finished, and by this summer The Cheap Cassettes had amassed enough tunes to fill a full LP. Better yet, they remixed/remastered those songs and pressed them onto shiny compact disc. So All Anxious, All The Time is an actual tangible product you can purchase and own! You can carry it with you to the bathroom and flick it at your enemies like a ninja star! With one foot in scruffy Stones/Replacements rock n' roll and the other in classic power pop, The Cheap Cassettes demonstrate that massive hooks and well-crafted choruses don't necessarily make a band "slick". This record has a nice "rough around the edges" feel to it - a quality these guys wear well. Musically and lyrically, I'd put the likes of "My Little Twin" and the soul-inspired title track up there with the best songs Chaz has ever written. And "Wreckless" is a bona fide rock n' roll anthem - like a "Bastards Of Young" for my generation ("We didn't die young/And we didn't grow up/Parents and friends they died on us/We kept going somehow"). Whether you're talking about heartfelt ballads ("Girlfriend"), gloriously sloppy rock n' roll (Kevin's brilliant "Good And Shitty"), or hooky arena rock ("Seconds Of Pleasure"), the band's pop sensibilities absolutely shine. And as always, Chaz has written some amazing lyrics. Belying its upbeat feel, the title track is a powerful statement about the crippling nature of anxiety. And with humor and insight, songs like "Sig Heil (Means I Love You)" and "Get Low" remind us that being in love can be the greatest thing in the world and just about the worst as well.

If you didn't know that one guy was tracking these songs in Hawaii while the other was doing the same in Boston, Chicago, Michigan, and Wisconsin (the Where In The World Is Charles Matthews? video game will be out next spring), you'd have no reason to believe the two weren't together in the studio the whole time - obsessing over every last chord and stopping periodically to admire their haircuts in the mirror. Kevin handled most of the production end of this project and did a bang-up job. This album, while a few years in the making, was 100% worth the wait. Top to bottom, the songs are truly outstanding. And these two understand that a true power pop band should know how to freaking rock! With a sound that's uniquely their own yet crafted in the Who/Cheap Trick/Material Issue lineage of loud guitar pop, The Cheap Cassettes are a tremendous addition to a thriving power pop scene. Chaz and Kevin have made an album that will delight longtime fans - and surely win over tons of new ones as well. Hit up the duo's Bandcamp for a couple of free samples and two bonus cover tunes!



-L.R.

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