Friday, April 20, 2018
"Come On My Baby" is one of Fashionism's strongest A-sides to date. It has a bouncy new wave vibe to it that really hits the spot. This is the closest Fashionism has come to sounding like the Tranzmitors - and that's not a bad thing at all. The song is great upbeat punky pop that will have you tapping your toes and singing along in very short order. Play loud and enjoy being alive! The single takes a decidedly melancholy turn with the B-side "Baby She's Gone". Here Jeffery and company show that they can do soul-inspired pop with the best of 'em. I dig the piano and tender vocals, and all in all this one really tugs at the heartstrings. Even with this being such a bummer love song, I often find myself whistling that melody for hours on end. It's just a damn fine pop song. This is what The Style Council should have sounded like!
Smash Singles is exactly what it appears to be. It compiles all of the tracks from 2015's Smash The State (With Your Face) and Quit Looking At The Time, 2016's Subculture Suicide, and last year's Back In the Day. As a "bonus", you get the aforementioned "Baby She's Gone" and a (to my knowledge) previously unreleased number called "Weekend". The latter is not a cover of The Boys' power pop/punk classic, but it's very much in the same ballpark. Will Fashionism ever put out a "proper" album? As long as they keep producing such tremendous singles, I'd say a true LP is not even necessary. Smash Singles essentially plays like an all-killer, no-filler full-length. If you enjoy 1977-80 U.K. punk and power pop and are not yet familiar with Fashionism, this purchase is a no-brainer. As for the band's existing fans: you'll wanna get your mitts on "Come On My Baby" as soon as possible. And Smash Singles on dark green vinyl would sure be a neat thing to own! Fashionism record release day ought to be an international holiday. Let's all get dressed up in sharp outfits and go dancing in the town square!
Thursday, April 19, 2018
If you enjoyed the Wire meets early Buzzcocks vibe that was so prevalent on Playtime, the first two songs "At Odds With You" and "On The TV" will quickly have you on board with Qwak Qwak. The latter is surely one of the most essential punk tracks of the year. But there was no way a band with Freak Genes' origins was ever going to allow itself to become predictable. With this record, you never quite know what's coming. These guys prove so adept at synth-pop that I would absolutely have believed that "Give Way" and "Read The Papers" were original recordings from 1980. "Destroy" sets aside the band's usual playful disposition and goes full-on scary future post-punk. "Layers", on the other hand, is delightful Kinks/Who derived pop that will have you whistling on your way to work. And then there's the wonderful "Talk 2" - which sounds like a song Robyn Hitchcock would write to play at a bar in the Florida Keys.
One spin through Qwak Qwak will suggest influences as disparate as Syd Barrett ("Anonymous"), Gary Numan ("We Want Trouble"), and Devo ("It's Not There"). And there are certainly tracks ("Not Quite Enough", "Drainage") that bring to mind Andrew and Charlie's other bands. What's remarkable is how well the whole thing flows. It's weird to say this about a band that is only on its second record, but the one thing that's consistent throughout 17 tracks is that it all sounds like Freak Genes! These are two extremely talented individuals, and their chemistry is undeniable. Their willingness to entertain almost any musical idea is what makes them unique. Their ability to do so while still aspiring to write great pop songs is what makes them exceptional. I look forward to their next 20 albums!
Tuesday, April 17, 2018
Man, there's nothing that gets the blood flowing quite like a great hardcore punk long player! It has been a good while since I've heard a hardcore record as thrillingly ripping as the 10-song debut from Santiago, Chile's ANMLS. Straight-up, this album hits you in the mouth. And I LOVE it! These guys are clearly huge fans of Black Flag - both the early ("No Quiero Estar Contigo", "Vamonos de la Ciudad") and later ("Instrumental", "Mierda") eras. But there's a lot more to ANMLS than that. "Canto en el Infierno" and "Pacos" integrate surfy SoCal punk influences, while "Odio" brings to mind the darker melodic strains of modern-day Scandinavian hardcore. Any way you shake it, this an absolute monster of a record. The tunes are killer, and the band powers through each one with a ferocity that's off the charts. And with mastering by the almighty Tim Warren, you know this thing is primed to test the capacities of your volume knob! All of the lyrics are in Spanish - largely delivered in the gang vocal style. Does having no idea what they're saying lessen my enjoyment? Not in the slightest! A co-release between Slovenly Recordings and Algo Records, this debut from ANMLS is an essential purchase for fans of old school hardcore, fast n' tough garage-punk, political dissent, and all of the above. A+!
Monday, April 16, 2018
Hailing from Long Beach, Melted takes me back to the 1990s heyday of Southern Californian melodic punk. That sub-genre has always been hit or miss for me, but in the case of Melted it definitely hits! The trio's new album Thin Skin is a co-release between the legendary Stardumb Records and four other labels (Programme Sounds, Open Door Records, Celebrity Punkhouse, and Astro Lizard Records). This is a different kind of release for Stardumb. It reminds me of something I would have mail-ordered from Dr. Strange Records in 1994! The band's sound is catchy and energetic in that familiar SoCal way, but it also packs one hell of a punch. Jonny Bell's stellar production cranks the guitars way up and achieves an ideal mix of aggression and melody. I like that the band's stated influences (e.g. Jawbreaker, Descendents) make sense but aren't entirely obvious from listening to the record. Melted is known for the frenzied energy of its live shows, and that genuinely comes through on the album. I'm envisioning a room full of kids going nuts while the band members frantically jump around and drive themselves to exhaustion. Singer/guitarist Justin Eckley has a somewhat familiar vocal style for this type of band, but it's the conviction of his delivery that really stands out. He absolutely pours his heart into every song - always saving a little extra for that climactic sing-along moment.
One thing that works so well for Thin Skin is that Melted is really adept at switching things up. Songs like "Most Days" and "Alright" are textbook SoCal pop-core, but then these guys can turn around and absolutely rock your face off ("Stay Away", "Thin Skin"). And then on a slower song like "Low", the band even shows some Weezer-ish qualities. I would cite "Low" as one of the standout tracks on the record.
Thin Skin was an album several years in the making, and it successfully highlights Melted's songwriting maturation while still kicking a whole lot of ass. Stardumb will be sending the band to Europe for a tour later this year. Given the well-documented enthusiasm of European crowds, I'd say those shows are gonna be a blast!
Thursday, April 12, 2018
Wednesday, April 11, 2018
Wild Wings, northeastern Ohio's reigning champions of psychedelic, art-
damaged, post-apocalyptic space punk, are back with their second full-length album. Showbizzz is the band's first release since 2015's World War Wild Wings, and it's nothing short of a tour de force. Over the course of a full album and sometimes just a single track, Wild Wings can fluctuate between spastic thrash, thundering grunge, bruising noise rock, archetypal Midwestern punk, and way out-there sonic experimentation. A laboratory analysis of Wild Wings' musical DNA would reveal ancestral connections to everyone from Chrome to Blue Cheer to The Pagans to Sonic Youth to Hawkwind to Devo to Black Flag. You'd have to travel six galaxies over to find anything close to a comparable band, and what's even better is that all of this genuinely works! Singer/guitarist Kenny Halbert's compositions are full of unique ideas and unconventional turns, yet every song is brilliantly constructed and perfectly executed. Every risk brings a reward. And even with all of the avant garde tendencies, this is still very much a punk rock record in every way that really matters. Really, this album had me with the opening song title "Hamburger Ice Cream". I'd order that flavor any day of the week! But it only gets better from there. "Failed Design For Living" is the sonic experience of the year: like what would happen if you were listening to a long-lost Killed By Death cut, and an alien species suddenly broke in with a ten-minute transmission from a quadrillion light years away. This is just one of those albums that will have going from "What the fuck IS this?" to "This is the best thing ever!" in very short order. Grab some headphones, load up on your mind-altering substance of choice, and prepare yourself for a musical trip to an unknown dimension (or Youngstown, Ohio...same difference). Showbizzz is available on CD and cassette, and you can order it here!
Friday, April 6, 2018
This year got off to a great start with singles, but I was still waiting for a full-length record to really make an impression on me. Well Nuke Earth more than made an impression - it just about knocked my head off! This is absolutely the full-force garage-punk rock n' roll kick in the teeth I've been craving. And while that's not particularly surprising given the quality of The Cavemen's prior recorded output, they have really blown me away with this particular batch of songs. The band sounds as savage and scuzzy as ever, with frontman Paul screaming his guts out while his band-mates gleefully pound your eardrums into submission. Kicking off with the storming 1-2 punch of "Lust For Evil" and "Criminal Love", The Cavemen come out raring to flatten anything in their way! They could have padded the rest of the album with xylophone instrumentals and Right Said Fred covers, and it still would have been an essential purchase. But beginning with the third track, "Janey", the album shows off a side of The Cavemen that often goes unappreciated. While still as boisterous and frenzied as a Cavemen tune ought to be, this one is downright catchy! The band's love for '50s rock n' roll really comes through, and you might want to check yourself for a pulse if you're not singing (or more likely screaming) along by the close of the first chorus. This, my friends, is a genuinely great rock n' roll song. So if it hasn't been said before, let it be said now: The Cavemen are damn fine songwriters! And throughout this album, they skillfully mix up musical styles to avoid the "sameness" that can sometimes afflict rowdy punk n' roll records. "Batshit Crazy" brings to mind a '60s garage rock party if it took a highly demented and severely drug-addled turn. "Concrete Town" is punk rock n' roll so dirty and vicious that you'll swear the '90s never ended. "The Night Jimmy Savile Died" comes on with a dirgy, Stooges-like intro, then erupts into a blaze of pounding, maniacal fury. "Elvis Is Alive" sounds like the best song The Replacements left off of Stink. "Don't Wanna Hang" could easily have come out on Rip Off Records in 1995. The psychobilly-ish "Gimme Beer Or Gimme Death" beautifully articulates my primary philosophy of existence.
Aren't most bands supposed to be in their "mature" phase by the time they make their third album? Thank god that's not the case with The Cavemen! In terms of ferocity and pure wild fun, Nuke Earth is right there with its two predecessors. If this release doesn't immediately compel you to engage in dangerous and possibly illegal activities, you probably need to turn up the volume louder. But The Cavemen have far more going for them than just unsavory reputations and an unquenchable thirst for mayhem. They have songs too. Nuke Earth is all hits and no shit! Avoid at all costs if you can't handle some real rock n' roll!