Vista Blue - Hit The Floor

Milestone time: this is my 20th Vista Blue review! I feel like the band ought to come out of this with commemorative varsity jackets or at least its own set of F & L glassware. How is it that I've come to review a band 20 times in less than four years? Perhaps it has something to do with me and Mike Patton having many shared interests in sports and Abita beer. But in all seriousness, I think it's because Vista Blue is one of the finest pure pop bands out there. And there's nothing I love more than pure pop.

To me, the measure of a great pop-punk band is that they would be just as good if they slowed things down and were simply a pop band. If you get rid of the buzzsaw guitars and racing tempos, what do you have with Vista Blue? A terrific pop group that values melody and perfectly executed vocal harmonies above all else. That's been apparent on the 19 DIY recordings I've reviewed previously. But Hit The Floor! is where Vista Blue fully demonstrates its chops as a pop band. This was the release the band funded via Kickstarter - its first record made in a "real" studio. And that real studio happens to be Ardent Studios in Memphis. Yeah, I'm talking about THE Ardent Studios - where Isaac Hayes made Hot Buttered Soul, Big Star made #1 Record, and ZZ Top made Eliminator! How wild is that!

Having went all-in on pop-punk on its recent album Tricks and Treats, Vista Blue wanted Hit The Floor! to be its definitive power pop release. Perry Leenhouts from Travoltas (speaking of punk bands that are great pop bands!) was enlisted to handle the mixing and mastering. You've never heard Vista Blue sound this big and clean on record - and that really accentuates what the band does best. "Summer Wonderland" is full of pristine harmonies and gorgeous melodies playing up VB's long-held affections for the Beach Boys and '60s pop. It comes darn close to hitting the four-minute mark, and every last second sounds perfect to my ears. "Big Stars", featuring Leenhouts' unmistakable harmonies, is upbeat power pop celebrating Mike's humble beginnings in music. It's also a love song, and I must say it really tugs at my heartstrings! I think this is my favorite Vista Blue song ever! "Three Chord City" is a cover of an absolutely CLASSIC song by New Orleans power pop legends The Cold, written by Vance DeGeneres. Vista Blue does a great version of this song, and I hope fans will be inspired to seek out the original and learn more about The Cold.

While Hit The Floor! is very much in the spirit of all of Vista Blue's music, there's no denying it paid off for the band to go all-out and aim for a great-sounding pop record. This was a different experience for Mike - who usually has to tend to every detail of the band's home recordings. This time he got to sit back and let the professionals work their magic. That includes studio engineer Mike Wilson, along with talented band mates Richard Bates (who kills it on guitar!), Reese Chism (drums), and Mark Crowley (bass). And once Leenhouts added his special touches, you had to know this thing was going to be gold. Digital EP is available now - featuring extensive liner notes by Wyatt Funderburk. Vinyl should be out just in time for Christmas!



-L.R.

https://wearevistablue.bandcamp.com/album/hit-the-floor 
https://www.facebook.com/wearevistablue/ 

Mad Rollers - "I Need Your Love"

Sometimes all you need is some really good rock and roll! Rome's Mad Rollers have released their latest single - a follow-up to their 2017 debut on Surfin' Ki Records. These guys keep it classic with an awesome mix of pub rock, glam, and proto punk. They aren't aiming to break any new ground, and why would you want 'em to? "I Need Your Love" is an upbeat, catchy rocker with big hooks and some absolutely smoking lead guitar. Mad Rollers cite Eddie and the Hot Rods and Slade as influences, and that definitely comes through in the music. Throw in some early Cock Sparrer, and you'll know exactly what sort of soup these guys are cooking. This is your soundtrack to a night of drinking and dancing and all those other fine things in life. B-side "Did You See" is in a similar vein but with a little nastier edge to it. All in all, this is a top-notch single. Label it however you want - in the end, it's just damn good rock and roll. Vinyl out on Sister Raygun Records out of Philadelphia, USA!



-L.R.

https://madrollers.bandcamp.com/
https://www.facebook.com/sisterraygunrecords/
https://sisterraygunrecords.bandcamp.com/
https://www.facebook.com/madrollersband/

Extra Arms - Up From Here

As a huge fan of Detroit foursome Extra Arms, I was excited to find out that we were getting a second album from the band just one year after the release of its first. Headacher, Extra Arms' debut as a full band, was a gem of an album and absolute treat for anyone who fondly recalls the huge, hooky alternative rock of the later '90s. I am very happy to report that Up From Here is an absolutely extraordinary follow-up. What I'm not so happy to report is that it was inspired by a really terrible year in the life of front-man Ryan Allen. Ever since I heard his solo effort Heart String Soul four and a half years ago, I've considered him one of my favorite songwriters. Listening to Up From Here's opening track "F.L.Y." is like hearing a friend in distress. But while Allen is very up-front about this album being about the end of his marriage, this is in no way the depressing divorce record you might expect. Allen has always had a knack for writing about his personal experiences in a way that makes them come across as universal. And that's what he's done with Up From Here. Yes, these songs are extremely personal to him. But at a broader level, they're about encountering an unexpected loss and figuring out how to make a new, better life for yourself. You take your punches (literally and figuratively), and little by little you work yourself back to a good place. Who can't relate to that?

While the Sugar/Superdrag/Superchunk influences that powered Headacher are still very much at play on Up From Here, the feel of this album is a little different. Running just 22 minutes, it's got a punkier bite to it - especially on the first few tracks. And that perfectly suits this powerhouse of a band (also including Michael Gallacher on guitar, Ryan Marshall on bass, and Daniel Stover on drums). "F.L.Y." and "Disruptor" rip hard & fast and find Allen fully embracing his punk rock roots. "Secret Friend" is the heaviest track this band has done to date. Allen's narrative begins in a very dark place, and the music is reflective of that. You can hear the lyrics for yourself, but let's just say that Allen doesn't hold anything back. With the full force of kick-ass band behind him, he really lets it all out. Some of these songs are flat-out intense! You can feel the tide turning as the album progresses - Allen moving from rage and despair to self-reflection, acceptance, and finally genuine hope. "Comes In Waves" and  "Hold Me (All The Time)" are thundering shots of radio-worthy power pop that are perfectly suited to Paul Miner's massive production. "No Enemies" is a rocker that would make Bob Mould proud. And the title track is the soaring, optimistic closer this album needed to step fully into the light.

I cannot emphasize enough how much Extra Arms rock (Stover on drums is an absolute animal!). This is one of those groups that puts the power in power pop - like Cheap Trick or Material Issue back in the day. No wonder Allen didn't feel right putting his name above these other guys! I think some people will hear "divorce record" and automatically presume it will be full of mopey ballads. But Up From Here is about as far from that as you can get. Its mix of crunching power pop and powerfully emotional punk is carried off with an energy that is undeniable. There's part of me that feels guilty about enjoying this record so much: like, is it right that another person's pain should bring me such pleasure? But isn't that essentially the history of most great art and popular music in particular? Life has kicked all of our asses at one point or another. But we come back from it and find new beginnings. Allen has daringly laid his soul bare for all the world to witness, and it's my hope that more than a few people will be comforted or encouraged by this record. Music always makes things better. Whether you're invested in the story or just want to rock out like the '90s never ended, Up From Here is the best record that Ryan Allen has ever lent his name to. Although, technically, he didn't lend his name to it. Vinyl is out on Dadstache Records in the U.S. and Get Party! Records in Canada. Full stream available here!



-L.R.

https://extraarms.bandcamp.com/album/up-from-here-2 
https://getparty.bandcamp.com/album/up-from-here 
https://www.extraarmsband.com/ 
https://www.facebook.com/ryanallenandhisextraarms 
https://www.facebook.com/GetPartyRecords/ 
https://dadstacherecords.com/ 

The Manikins - Bad Times

Hey, look who it is! I presumed The Manikins were long broken up, but apparently they were just "taking a break"...for nine years! I will always associate this band with the heyday of mid-2000s garage punk and power pop. They released three albums and several singles on the late, great P. Trash Records and also worked with everyone from Ken Rock to Rockin' Bones to Plastic Idol to FDH Records. Well here they are in 2019 with their first new music in a decade, and it's like they never left. New album Bad Times has been co-released by FDH, Secret Identity, No Front Teeth, and Resurrection records. As expected, this sounds like a Manikins record!

The Manikins explore a number of musical styles on this release, so there's definitely evidence of the growth you'd expect from guys who are now a decade older. "Make A Run For It", one of the album's strongest tracks, is on the soulful end of garage rock a la Reigning Sound. "It's A Drag (Isn't It?)" is old school blues rock right down the Stones/Animals/Pretty Things lane. The title track flirts with the darker melodic punk sound that is so closely associated with the band's native Sweden. There's even an old western influence on closing track "Bank Robbery". But as you would hope from a Manikins record, this thing is chock full of garage punk rippers, power pop hits, and a few songs that are a little bit of both. "Worse Than I" and "It's Not Gonna Be Ok" are classic Manikins all the way. "On The Hanger To Dry" is a straight-up punk smasher that has me feeling like the 2000s never ended. "Everything Is Shit (Without You)" and "Can't Hold On" are great straight-ahead punk rock and roll songs that sound just as good today as they would have 15 years ago. I can hear a little King Louie/Exploding Hearts influence in "Keep On Waitin'" - a wonderfully bittersweet number that builds to a killer chorus.

If you dig garage punk and power pop (yeah, I know: that's basically everyone who follows this blog!), Bad Times is a record you'll want to own. For those of you who were Manikins fans back in the day, you'll find this to be as good as any of their albums. And if this is your introduction to The Manikins, you've got a lot of great music to get caught up with! The band's songwriting chops have never been sharper, and the group sounds like it's come back from hiatus with a renewed energy. There's more than enough musical variety here to keep things interesting. Ultimately, though, this is still the garage punk power pop party record you would have hoped for. This is how you come back!



-L.R.

https://themanikinsofficial.bandcamp.com/album/bad-times 
https://fdhrecords.bandcamp.com/album/bad-times 
https://resurrectionrecords.bandcamp.com/album/bad-times 
https://www.facebook.com/Themanikins/ 
https://www.nofrontteeth.co.uk/ 

Phone Jerks - 10 x 10

Wow! Wasn't it just a year ago that Phone Jerks suddenly turned up on Alien Snatch Records with a debut long player that ultimately became my 2018 album of the year? Here they are already with an even better followup! 10 x 10 won't be my 2019 album of the year for the simple reason that it's a 10-inch record and thus technically not an LP. I do realize that the fabled 10-inch is not everyone's favorite format. But I'm a big fan, and I think Phone Jerks have utilized it in the way the music gods intended (see also, Problematics' Blown Out and Teengenerate's Savage). 

I don't know how to put this, but 10 x 10 is kind of a big deal. It's Alien Snatch's 100th release, and it also commemorates the label's 20th anniversary (I remember Alien Snatch 001 quite well: it was The Johnnies' 12 Steps To Nowhere, and never in my then 28 years had I ever handled such a thick slab of vinyl!). The title is of course a reference to this being 10 songs on a ten-inch record. But it's also the mathematical computation that equals 100 releases. Look at those Jerks with their clever hidden meanings! I'm not suggesting that Daniel has been plotting for years to make this his 100th release. But seriously: can you think of a band that better exemplifies the spirit of a label that has kept the heart of garage punk/'77 punk/power pop beating for two decades and counting? Between these four band members, they probably own a solid majority of those 100 releases. And of course Phone Jerks hearken back to those exciting times of later '90s trash punk rock and roll that certainly inspired a young man from Germany to start his own record label.

What I noticed pretty quickly about 10 x 10 is that it's a tougher-sounding affair than the self-titled LP. It's less of a budget rock party record and more of a straight-up ripping rock record. The '70s punk influence is more prevalent, and the band members take turns sounding properly fed-up on lead vocals (what was Nicholas McNally doing to these people in the studio?!). At times I'm reminded of a more pissed-off Rip Offs (wouldn't that just be Zodiac Killers?!). And Brian's songs in particular bring a Saints/Lazy Cowgirls edge that was not as pronounced on the last record. With the band pairing down the 16 songs it prepared for this release to the ten strongest cuts, 10 x 10 is the ultimate in all-killer, no-filler. All four Jerks contribute essential tracks. "Benchwarmer" is Tyler's attempt at writing a Makers song, and who can deny that the world needs way more of that sort of thing? Andrew's "Vehicular Manslaughter" makes me nostalgic for a time when I could compare a dozen bands to the Dead Boys every year. Emily's "Frigg Off" has to be the most "eastern Canadian" song title ever. It's about people who are easier to get along with when you see them as little as possible. That's kind of hilarious, but I bet everyone reading this can relate! "U-Turn To Jane's" tells the true story of when Tyler and Emily were both nearly killed just trying to get a pizza. My overall fave track is "She's Stimming Out", a song Brian wrote about the days of his daughter's autism diagnosis. This track rips it up like "Demolition Girl" crashing into "Sonic Reducer", creating the perfect energy for a tune that could not be any more loving and uplifting. This song makes me proud to be a human being. 

I give 10 x 10 a ten out of ten. Every track is a smash...in the face! It's rather fortunate for me that Phone Jerks chose to release this as a 10-inch 45. When album of the year time rolls around, I will be spared the difficult choice between Phone Jerks and certain label mates/country mates of theirs. No civil wars will be breaking out on my watch! If the self-titled LP was best suited for the world famous "Who are they ripping off here?" drinking game, 10 x 10 is more like the record you put on when you feel like punching someone. I think for the practicality of everyday life, this record may be even more useful. If you still insist on hating ten-inch records, just think of this as two killer 7-inches that magically flip themselves over. Happy birthday, Alien Snatch! I will have the German beer flowing all day in your honor!



-L.R.

https://aliensnatch.bandcamp.com/album/phone-jerks-10x10 
https://phonejerks.bandcamp.com/ 
http://www.aliensnatch.de/ 
https://www.facebook.com/Monctongaragepunk/ 
https://www.facebook.com/ALIEN.SNATCH.RECORDS 

Corner Boys - B-Sides

The good news is that we have more new music from Corner Boys. The bad news is that this is the last music we will ever get from Corner Boys! The Vancouver trio has called it a day after releasing two great singles and an LP (one of this year's best!). As a parting gift, the band has released outtakes from the Just Don't Care and Waiting For 2020 recording sessions as a free digital EP on its Bandcamp page. The minute you push play, it will be evident why this was one of my favorite bands of recent years. "Deadbeat Heart"  and "Speed Dial Love" are quintessential cuts of poppy old school punk that are the closest thing to The Simpletones this world has heard in 40 years. "Echo Beach", of course, is a punked-up cover of Martha and the Muffins' 1980 smash. "I'm Not Sorry" seems an appropriate way for Corner Boys to bow out - with great vigor and without apology. These tracks may all be B-sides, but they are anything but second rate. If you still have not checked out Waiting For 2020, I urge you to do so as soon as possible. It's a phenomenal album. Thanks for the great music, guys!



-L.R.

https://cornerboys.bandcamp.com/album/b-sides 
https://www.facebook.com/CornerBoysBC/ 

Bambies - Red Guitar

Now this is what I'm talking about! Have you ever heard a band for the first time, and within 30 seconds you just knew you were gonna love 'em? That's how it was with me and Montreal trio Bambies. Of course I had an inkling that I would like this band due to its affiliation with Reta Records. But not even that information had me fully prepared for the jolt I would ultimately get from "Red Guitar". Out now as the second-ever release from Reta Records, "Red Guitar" is the kind of song that makes me wanna wildly jump around as I shout out random interjections of joy. It's a little pop and a little punk, but above all else it's just great damn rock and roll! This song rates a ten out of ten on the head-bobbing meter, and it's so fun and massively catchy that it leaves me smiling every time. On the B-side is "Black Hands", which slows the pace but dials up the pop even more. It kind of has an early Ramones feel, but with a garage punk rock and roll edge to it that is perfectly at home in 2019 Canada. Both of these songs were previously available on Bambies' debut cassette, yet they were clearly destined to make their way onto a 7" record. There are 100 copies available on red vinyl, another 200 on black, and that's it. Do not sleep on this one!



-L.R.

https://thebambies.bandcamp.com/album/red-guitar-ep
https://retarecords.bandcamp.com/album/red-guitar-ep
https://www.facebook.com/lesbambies
https://www.facebook.com/reta.records/