I'm a little late on this one (about as late as I possibly could have been!), but The Bishop's Daredevil Stunt Club has released a special digital EP for spooky season. Veering a little (but not too far) from its signature modern power pop sound, the BDSC treats us to four tracks of horror-themed goodness on the quite excellent Vanishing Point. With songs about vampires, killer cars, ghosts, and the end of the world, Vanishing Point will make a fine addition to your Halloween playlist both this year and beyond. Lead track "Every Night I'm Dying" is the big hit here. It packs plenty of guitar punch along with a hook that will haunt you. At the same time, it doubles down on the synths and amps up the drama. Did this band just invent goth power pop? There's no denying that singer/guitarist William Giricz has the vocal range to really make this song work. And it makes sense that this band would excel at a song like this. Aren't all the great vampire stories really just love stories? Another highlight is the closer "Nightfall on Doomsday," which is probably the punkiest track I've ever heard from the BDSC. It's essentially a fight song for Armageddon, and it's deviously upbeat. For my money, this is the scariest song of the bunch. I'm confident that I'm safe from vampires and murderous motor vehicles. But songs about end times are far from implausible given the current state of the world. If you enjoyed some of the longer, more epic rock songs on the band's recent album Please Stand By, you'll get a kick out of "Why You Ghosting Me Girl?" (a song that brings new meaning to getting "ghosted"!).
Monday, October 31, 2022
The Bishop's Daredevil Stunt Club - Vanishing Point
I'm a little late on this one (about as late as I possibly could have been!), but The Bishop's Daredevil Stunt Club has released a special digital EP for spooky season. Veering a little (but not too far) from its signature modern power pop sound, the BDSC treats us to four tracks of horror-themed goodness on the quite excellent Vanishing Point. With songs about vampires, killer cars, ghosts, and the end of the world, Vanishing Point will make a fine addition to your Halloween playlist both this year and beyond. Lead track "Every Night I'm Dying" is the big hit here. It packs plenty of guitar punch along with a hook that will haunt you. At the same time, it doubles down on the synths and amps up the drama. Did this band just invent goth power pop? There's no denying that singer/guitarist William Giricz has the vocal range to really make this song work. And it makes sense that this band would excel at a song like this. Aren't all the great vampire stories really just love stories? Another highlight is the closer "Nightfall on Doomsday," which is probably the punkiest track I've ever heard from the BDSC. It's essentially a fight song for Armageddon, and it's deviously upbeat. For my money, this is the scariest song of the bunch. I'm confident that I'm safe from vampires and murderous motor vehicles. But songs about end times are far from implausible given the current state of the world. If you enjoyed some of the longer, more epic rock songs on the band's recent album Please Stand By, you'll get a kick out of "Why You Ghosting Me Girl?" (a song that brings new meaning to getting "ghosted"!).
Sunday, October 30, 2022
Brad Marino - Basement Beat
Ramonescore as a musical genre is hit-or-miss for me, with usually more misses than hits. The issue, as I see it, is that this style of music is very hard to pull off. All those classic Ramones records are literally flawless. Imitations rarely satisfy. Ramonescore bands I genuinely enjoy tend to mix a Ramones influence with their own identifiable style. Yet on rare occasions, somebody will straight-up copy the formula of the first couple Ramones albums and manage to pull it off spectacularly. That's what Brad Marino has done with his new album Basement Beat (out now on Rum Bar Records, Hey Pizza! Records, and Memorable But Not Honorable). Of course, Brad Marino is one of my favorite artists in today's music scene. So I did approach this release with an open mind. But I've got to say that he's achieved the near-impossible here: making an unapologetic Ramones knock-off record that I actually want to listen to!
From the style to the production to the lyrics to the vocals, Basement Beat basks in the devout worship of the first two or three Ramones albums. In most cases, an album like this would just make wish I were listening to the actual Ramones. But because Brad Marino is such an exceptional songwriter, he has managed to make what sounds like the missing Ramones album between Leave Home and Rocket To Russia. He enlisted drummer extraordinaire Beau Basement to be his Tommy Ramone and played everything else himself (and also produced). On his previous solo outings, Marino has frequently visited the more "pop" side of the Ramones. But with this release, it's pure three-chord downstroke punk glory as he powers through 12 tracks in 23 minutes with song titles like "Communist Creep," "Rubber Room," "Spy for the B.B.I.," and "Nancy Is Narcoleptic." The songwriting, while derivative by design, is truly inspired. A new arrangement of "Brain Gone Dead" proves to be just as good as the original. "That Girl" would not sound out of place on any of Marino's albums. "Dream Last Night" is surprisingly profound. You could say that Marino is doing something that's been done a thousand times before, yet somehow he makes me thankful that it's now a thousand and one.
Given that Basement Beat is such a departure from his usual solo work, Marino had considered releasing this project under a different name. But as he says, "it's all rock and roll" to him. And so the music gods have given us a new Brad Marino album we weren't even expecting. If you're a fan of his, you will enjoy this release. If you're into Ramonescore, you will enjoy this release. If the first Riverdales album and The Hanson Brothers' Sudden Death are the perfect ten albums of this musical style, Basement Beat is a solid nine. Hit up the links below to buy it on CD, vinyl, or tape!
https://rumbarrecords.bandcamp.com/album/basement-beat
https://bradmarino.bandcamp.com/album/basement-beat
https://www.heypizzarecords.com/product/brad-marino-basement-beat-lp/
https://www.mbnhtapes.com/product/brad-marino-basement-beat
https://www.facebook.com/bradmarinomusic
https://open.spotify.com/album/1ZbXl41gKEKw22txJRu0it
https://www.facebook.com/RumBarRecords
Friday, October 28, 2022
Stars Like Ours - self titled
Out now on Rum Bar Records is the self-titled debut album from Stars Like Ours — a CD compilation of three digital EPs released from 2015 to 2018. Hearing this release, I'm a little sad that I'm so late in discovering Stars Like Ours. But I've definitely been making up for lost time; this CD has been living in my car player for the past month! This album and this band take me back to those days in the early '90s when indie/alternative rock ruled. Remember a time when you could tune into a college radio station and hear Sugar, Superchunk, The Breeders, and Dinosaur Jr. in the same block? You could seamlessly slot any of these nine tracks into the same block.
When the Stars Like Ours disc first arrived on my doorstep, I was excited by the band personnel. Michelle Paulhus (The Decals, The Dents, etc.) is on bass and lead vocals. Kristin Holliday (DRAGO, The Downhauls, etc.) is on guitar. Eric "Rice" Edmonston (Darkbuster, Abbie Barrett Band, etc.) is on drums. That's a powerhouse lineup, and I would have been happy to hear this trio tackle any genre of music. But Stars Like Ours really hits a sweet spot for me with its loud, hooky old school indie rock sound. They are doing their own version of a musical aesthetic that was my gateway to the underground three decades ago. Although the influences are obvious, the band manages to update them for modern times. In a completely unpretentious way, this band simply oozes cool. Holliday nails that crunching guitar sound, and Edmonston is an absolute monster on drums. There's also a rule in music that if Michelle Paulhus is writing and singing songs, those are tunes you need to own. In fact, this is as good of an album as she's ever put her name on. And, yes, I know that's saying something. Given that this disc was culled from three separate releases, it's not surprising that the song quality is so exceptional. I keep listening through to try and identify individual tracks that stand out, but every song sounds like a hit to my ears! And yet when you put all this material together, it still flows like a singular album (I didn't even realize it was a compilation until I'd heard it several times!). Without trying to relive the '90s, Stars Like Ours remind us why we loved that music so much. The songs, playing, production, and (of course) vocals are absolutely top-shelf.
Stars Like Ours — a contemporary band reminiscent of a moment when Boston was the center of the indie rock universe — is the perfect addition to Rum Bar Records' growing stable of extraordinary hometown talent. If you like buzzing indie rock with a strong pop sensibility, you too may find yourself wondering where this band has been all your life!
Thursday, October 27, 2022
Vicious Blonde - "Dreams Come True!"
Based out of Melbourne/Country Victoria, Australia, Vicious Blonde plays an ass-kicking style of punk rock that is literally music to my ears. New single "Dreams Come True!" is the band's second release following its impressive debut track "Ignore Everybody." There's not much that needs to be said about "Dreams Come True!" other than that it's powerful, energetic, and executed in a classic punk rock style. Lead singer Cait has great presence, and the band rips through this tune with the utmost vigor. It's a great-sounding track as well; the guitars and drums really hit hard. I'm reminded not just of some classic Aussie bands but also of early U.K. and California punk rock. If you dig old school punk that's tuneful but hard-hitting, Vicious Blonde ought to be on your radar. Greg from the Rock N Roll Manifesto has been touting this band, and he's never wrong! I am stoked to hear more!
Vista Blue - No Cliques, No Trends
The best thing about doing a fully independent smalltime blog is that I can do whatever I want. I could wake up one day and decide I'm going to do nothing but write essays on Dictators songs for the rest of my life (at least I wouldn't have to change the name of the blog!). I can sneak sports predictions into record reviews (Phillies in seven). I can leave myself notes for my grocery list (Don't forget that six-pack of Abita Office Party!). And if I like a band so much that I want to review it 35 times (and counting!), there's no one above me to tell me I can't. So on that note, I am about to review Vista Blue for the 35th time (not counting my write-ups on Vista Blue rip-offs Ralphie's Red Ryders).
It seems odd after reviewing 35 Vista Blue releases to say that the latest, No Cliques, No Trends, is definitively the best of all of them. But I can't name a better release from the VB catalog. If you've read this far, you're either a member of the band, a friend of a member of the band, a relative of a member of the band, or a dedicated fan of the band. So I don't really need to explain to you why Vista Blue is awesome. But I will say that No Cliques, No Trends is cool because it combines all the best elements of Vista Blue into a single EP. Is this a pop-punk release or a power pop release? The answer is yes. I love how it embraces both of those styles and ultimately just sounds like Vista Blue. My initial response to this EP after giving it couple of listens was, "Wow, this is really good!" I suppose it's odd to be surprised that you really like a release from a band you've reviewed 38 35 times. But it wasn't really surprise so much as it was tremendous appreciation that a band could be this prolific yet still deliver fantastic songs every single time. And like all Vista Blue releases, this one makes me smile.
"The Boys Are Still In Town" clocks in under two minutes but still falls as close to power pop as it does to pop-punk. It's an amusing variation on the "Boys are back in town" theme — the twist being that these boys will never be back in town because they never left in the first place. I can't tell if this song is supposed to be mocking or just merely observational (I'm leaning towards the latter). Either way, it's freaking hilarious and bound to be stuck in your head for days. I have to admit those lines about dudes working where their parents used to work and eating where their parents used to eat hit really close to home! "The Girl on the Magazine Cover" is probably the purest pop song Vista Blue has ever done — yet it's as lean and efficient as any of the band's tunes. On "We Don't Think So," the band fires back at its detractors in a way that's more self-affirming than bitter. There's a good message in there about never allowing anyone to discourage you from doing the things that make you happy. If Vista Blue ever listened to the people who told them to stop wasting their time writing songs about baseball (and horror movies, curling, Christmas, the Olympics, scooters, The Outsiders, Thanksgiving, and muffins), the world would be a little less bright. Is "I Don't Wanna Spend the Summer With You" a classic pop-punk song about summer and girls? Not quite! Elsewhere the band rages against the fake Richard Bates and produces a sequel to "Bryan Funck Ripped Us Off" that's even better than the original!
Since we're all friends, family, and fans of Vista Blue, I can assume a common appreciation of the band's catalog. No Cliques, No Trends has to rate somewhere near the top of that catalog. It's full of power pop-punk earworms that are fun to listen to and fun to sing along with. Enjoy the real Vista Blue in top form!
Tuesday, October 25, 2022
An interview with The Speedways!
I rarely do band interviews for this blog. But I could not pass up the opportunity to speak to one of my favorite bands, The Speedways! In advance of the release of their amazing new album Talk of the Town, Matt and Mauro from The Speedways were kind enough to answer a few of my questions. Enjoy!
F & L: You have a new album called Talk of the Town releasing very soon. Could you tell us a little about this album and how it might be different from the last one?
Matt: The recording process was different this time. We tracked as a full band, so the takes are 'live', so to speak. Then we overdubbed the vocals, lead guitar, keyboard etc. I think it definitely gives the songs more energy.
Influence-wise, we tried a few more things. We all love soul, '80s pop and '70s rock as much as the usual suspects, so there's a new flavour to our overall sound for sure.
Mauro: The influences are probably a bit wider, or more unexpected on this one - we were listening to all sorts and chucking all sorts of ideas into the mix this time. Doing some things we hadn't done before on albums was definitely a motivation, as well as trying to surprise people. Essentially, it's just us broadening what you'd think of as the "Speedways sound"!
F & L: The Speedways originated as a one-off solo project but became a proper band in 2018. With this new album, you have a true full-band effort featuring singing and songwriting contributions from multiple members. Yet it all sounds distinctly like The Speedways. In what ways has this band evolved since the four of you first got together?
Matt: It's strange because we hardly ever get chance to rehearse! But we do seem to have a telepathic tightness and shared headspace when it comes to being Speedways.
I mean, originally "The Speedways'" was an alias I gave myself in order to sing my songs, and as you say, the intention was only to make Just Another Regular Summer, but it's evolved massively since then. The new album is definitely the result of that evolution.
F & L: Let’s talk about the making of Talk of the Town. This was your first major release post-COVID. What was it like when you got together and started rehearsing new material? Had some of those song ideas been floating in your heads for a while?
Matt: I hardly wrote a note during 2021, but I did have a dream that the next album would be called Talk Of The Town — hence why I eventually wrote the song "Talk Of The Town."
I had "A Drop In The Ocean" knocking around for a couple of years, but all the rest of my contributions were written specifically for the album.
Rehearsal-wise, we worked really hard in the limited time we had. It's amazing how prepared and proficient we actually were when we recorded! Jez (producer) was a big creative presence as always.
Mauro: Getting back in the rehearsal room and getting stuck into the new material was great. It wasn't all plain sailing for sure; we were challenging ourselves and the songs, trying to hone them to be the best they could be, and that can lead to hitting some frustrating dead ends. Once we finally got into the recording studio, though, it was really satisfying to hear how prepared and in shape we were, in comparison to how we made Radio Sounds, for example. I think my ones kind of came in a bit of a batch around the same time, but some of them ("Wrong Place Wrong Time" in particular!) went through several rewrites before they made it to the band!
F & L: I’m sure people are dying to know about this one. Speedways’ songs are full of heartbreak and drama. To what degree are these songs autobiographical?
Matt: 100%. It was a bit different for me this time, though. I've said before that Just Another Regular Summer was a love letter to a special moment in my life. Radio Sounds was largely about what happened (and almost happened) after Regular Summer came out. They really are chapter 1 & 2 for me personally, I guess. My lyrics throughout Talk Of The Town have remnants and references to that story, but there are also other stories, less specific lyrics and a more guarded approach.
There's always drama, disappointment, jealousy and romance, but most of all, I hope people get the sincerity. I mean it all, for better or worse!
Mauro: As far as the ones I wrote lyrics for, to some degree, definitely - looking back to recent, or not so recent situations, thinking about past mistakes or whatever. There's some bitterness in there, but that can be a good way of getting that stuff out of your system, haha!
F & L: With this new album, you’ve managed to satisfy the power pop fans even as you transcend the genre. I might even say it’s a power pop album without strictly being a “power pop” album. What are your thoughts about how the term “power pop” may or may not describe The Speedways?
Matt: I guess like most genre titles, it's just a convenient term of reference, really. It gives people a rough idea of what you're gonna sound like, but beyond that it doesn't really matter. I'm happy for people to call us power pop; there have been some pretty great bands over the years that have carried that label too.
Mauro: It's a good question! I have pretty low tolerance for all those "This doesn't count as power pop" conversations myself. I'd say we clearly fit the tag, because I see it as a broad church!
F & L: What's your favorite song on the new album, and why?
Matt: That's a tricky one because you could make a case for any of them, but just because it came to me in a dream and because we all had such good fun recording it, I'd go with the title track - but only just!
Mauro: Oof. Hard one. Changes a lot, but maybe a toss up between the title track and "Shoulda Known."
F & L: Please tell readers when and where they’ll be able to purchase Talk of the Town.
Matt: Ok, the album will be available to stream/download on Monday, November 21st! You'll also be able to get your hands on the CD that day too. The vinyl will be available a few weeks later on December 12th. Pre-orders for the CD and vinyl begin Thursday, November 3rd from our big cartel site - thespeedways.bigcartel.com
F & L: One more question for Matt: You’ve been releasing a lot of solo home demos on Bandcamp. What has been your motivation in sharing these songs with the world? Can we look forward to more?
Matt: My OCD means I have to keep making them so that the layout on the Bandcamp page is even. I'm not even joking! I have another full EP to go up soon (maybe next week) called The First Stone.
I just really enjoy making them. Without sounding corny, I'm doing it for myself, and if 5 or 6 other people give it a listen, then great. I think they're some of the best songs I've ever written mixed in with some untidy misfires. It's fun, and it makes me happy. They're all very personal, lyric-wise. I like using sound clips. I've got Lana Del Rey telling me to shut up at the end of one song and Ally Sheedy talking about how she got her role in St Elmo's Fire on another. It all makes sense in my head. I have a Christmas song recorded called "In The Cold Light Of Christmas Day" which I'll put up at some point (probably Christmas) & then leave it there till next year.
Sunday, October 23, 2022
TJ Cabot - Pissin Ammo
I have done TJ Cabot a great disservice with the nature of my coverage of his recent run of home-recorded output. In focusing on rumor mongering over the disintegration of his musical partnership with his backing band Thee Artificial Rejects (and in particular, his turbulent relationship with multi-instrumentalist, street preacher, and suspected embezzler Millhouse Deville), I have shifted the focus away from the stunning quality of the recordings themselves — which on their own merits stand as top-tier specimens of 21st Century budget punk. The newly-released Pissin Ammo is the third in TJ's trilogy of digital EPs released this year, following February's SD Action and July's King Grove. Cumulatively, these three releases form an album's worth of material that rivals the best of this year's punk rock LPs. And having received the sad news that Phone Jerks are no more, I find myself valuing these recordings all the more deeply. Thus it serves no point for me to mention how a debate over pizza toppings or a broken promise to not draft Calle Jarnkrok in fantasy hockey may have led to TJ Cabot having to record Pissin Ammo all by his lonesome. Far more significant is that this is some of his best stuff to date — probably his most essential release since his legendary and now out-of-print debut Demos Recorded in the Anus of the Maritimes came out in early pandemic times and saved us all from eternal despair.
Pissin Ammo is nothing short of what we've come to expect from TJ Cabot. It's raw, raging, and equally conducive to mild toe-tapping and the thrusting of one's fist in the direction of deserving targets. As always, TJ kicks up a blistering mish-mash of turn-of-the-millennium budget trash, early American punk rock, and no-fucks-given snot-core. "Explanations" finds TJ temporarily possessed by "I Got A Right" era Iggy Pop. "J.A.G. Turned Me Into A Mutant" pulls off the "hardcore Devo" thing as well as I've ever heard it pulled off. The Wonderful Grand Band cover "Spin Out" is a stone cold banger and an indispensable lesson in Maritimes popular culture history. Saving the best for last, the title track is so full of piss and vinegar that it almost makes Phone Jerks sound like a yacht rock band. What a fine way to cap off a trilogy! The sound quality is absolutely textbook for a budget/garage punk release. You're always walking that fine line where you want to retain the savage rawness of a recording without making it sound like shit. With James O'Toole working his mastering magic, these tracks hit that sweet spot just north of sounding like shit.
I know a $14 investment in three digital EPs is a big ask in inflationary times, but I think TJ Cabot's entire 2022 trilogy essentially functions like what might have been the top punk rock album of 2004. Perhaps some enterprising and progressively-minded label folk will bid for the opportunity to compile these releases onto a long playing record. It's a bummer that I will never have occasion to write about Phone Jerks again, but that band did its job and made garage punk great again. And something tells me that all the ex-Jerks (TJ Cabot included) will be regularly featured on these virtual pages for many years to come.






