Defeater - Lost Ground
Written by Raymond Hanstein Monday, 08 March 2010 14:39
New York City, 1945. The streets overflow with celebration. Ticker-tape rains down from the heavens. Rich men in extravagant vehicles parade down the street. They're taking credit for victory as they dream of the fortunes they stand to make on the backs of men they soon will forget. Lost amongst the spectacle, situated somewhere in the darkest of alleyways, a man watches with the weight of the world on his shoulders. His only salvation is the flask he keeps in his pocket and what little solace he finds in his strength to carry on. Derek Archambault channels him sixty five years later as he laments "I got the blues and the blues got me" on Defeater's latest offering Lost Ground.
Although Lost Ground has more to do with Kurt Vonnegut than modern day hardcore, Defeater does not lose its footing. Instead, a focus on narrative blends seamlessly with creative musicianship, crushingly melodic guitars and gut wrenching vocals that tell a story born of the past, ever relevant today. At times a sonic blitzkrieg, Lost Ground finds its true appeal in its relations to Fugazi and Sunny Day Real Estate. Guitarists Gus and Jay Maas successfully merge inspiration and bold vision to create an aural backdrop that refuses to be ignored. The pummeling drum work of Andy Reitz rounds out the record creating a backbone as strong as the protagonist's upon his return from the front.
The songs of Lost Ground are post battle hymns; what is left as the war ends and a man is left with only himself. As Dresden lies in ruin, Lost Ground captures the eerie silence of the morning after and the reckoning of the forgotten. Defeater has taken that stillness and given it a voice.
Daylight - Sinking
Written by Dan Case Saturday, 06 March 2010 14:12
I’m not sure where it came from, but New England seems to be producing a lot of great young bands (Make Do and Mend, Transit, Tigers Jaw) that are tapping into a sound that beckons aspects of 90’s emo, post-hardcore ala Hot Water Music, and contemporary melodic punk. One of these groups is Doylestown, PA’s Daylight. The four Pennsylvanians’ debut Sinking shows immense depth for a five song EP. The vocals are rasping and rough but the melodies are sharp, and for every quick double-timed drumming part there is a relaxed, instrumental section. This is a record that is going to keep you on your toes.
While there really isn’t a bad track on Sinking, the title track stands above the rest of the bunch. Lyrically, the song is my favorite and its chorus “Everyday I take the long way home/ I see nothing of me in the things I own/ Everyday I ask myself why life ain't fair/Why am I praying to a god I know isn't there?” hits this home a little too hard, and the anguish in singer Taylor Madison’s voice makes them strike even harder. This sense of detachment and angst are fairly common among the EP, but it is on “Sinking” that the band hits their stride. Another highlight of the record is “The Best” which showcases Daylight’s ability to altering the tempo multiple times within a song, while retaining a constant intensity through the entire three and half minute track time.
Like many solid EPs, Sinking leaves me wanting more, but in a good way. The fifteen minutes the record gives me are not enough, and I find myself keeping it on repeat quite often.
Lemuria - Ozzy 7"
Written by Lisa Garelick Wednesday, 10 February 2010 18:32
Lemuria has captivated our hearts over the years with their brand of indie punk rock. This new 7” is no different, chock full of thoughtful lyrics and intricate melodies. Though only three tracks (two on the 7” and an additional song in the digital download), the EP holds a lot of weight- touching on important subject matters such as father/daughter relationships. Front lady Sheena Ozzella dedicates the first song “Ozzy” to her father, thanking him for being there when she needed him most. The emotion is palpable when Ozzella softly sings “Thank you for being around,” as they finish the song in a swell of charged guitar riffs and dynamic drum fills.
The second track on the record “Expert Herder” speeds up the pace, bringing to mind older Lemuria records. The band also brings back dual female/male vocals that add a welcome tension to their music, taking their pop sound and adding a deeper, darker tone. While each vocalist can stand on his/her own, the combination of the two creates a charm few can match. The last track “Race The Germ” feels like an extension of “Expert Herder.” I can see why out of the three, it was chosen as a bonus track for the download.
Overall, the record acts as a stepping-stone between records, keeping fans interested and involved while waiting for the next full length. The recordings themselves seem a bit sub-par as well, lacking the clean defined sound I loved so much on Get Better. Here’s hoping that their next LP, due out in 2010, will show the band at their best- tearing through catchy, clean tracks, soon to be burned in our minds forever.
Lipona - Pigeonholed EP
Written by Zachary Todd Saturday, 06 February 2010 18:19
If A Wilhelm Scream, Make Do And Mend, and Propagandhi all got together and made a baby, then that fledging offspring might be reminiscent of Lipona. Hailing from Tallahassee, Florida, Lipona plays an experimental sort of thrash-style punk rock. Their newest EP, titled Pigeonholed, contains five songs: four speedy, one acoustic. And when it comes to speedy thrash-punk, these guys know how it is done (see: call-and-response guitar and drum breaks during the middle of "Hawks"). Not a drum fill is wasted, yet is instead galloped behind often-shredding guitar riffs. Vocals are cleanly sung, so there are no barriers between what the band is trying to say to the audience.
Lyrically, Lipona is very self-aware. They are aware of selling-out and the creative control that can be lost when one does such a thing. This is the overall theme of the songs, and while bands have brought the subject to the table before, Lipona seem to honestly care about it. This could be because of the sincerity in vocalist Yamil's voice, or because the material is presented with care and presentation. Think A Wilhelm Scream's "I Wipe My Ass With Showbiz" but without the sarcasm.
Man, these guys have it right. The thrash-punk musicanship on Lipona's recent EP "Pigeonholed" is second-to-none. The production and mixing is equally as great. Add a thought-provoking theme and some unique album art to accompany that theme, AND offer the album for free to anyone to download and enjoy, and you have a complete package.
Whiskey Trench - Television
Written by Alex Goldfarb Tuesday, 12 January 2010 00:49
Below is the second band submission (and first) from Alex Goldfarb of Gatorface, No Friends, Virgins, and New Mexican Disaster Squad. In case you missed the last one, this is something you guys are gonna start seeing a lot of, because, admittedly, these guys probably know better than us, since they're out there doing it. Make sure to check out No Friends' new self-titled record out on No Idea Records now.
Kiss of Death Records has rightfully garnered themselves a reputation for consistently putting out solid, catchy, mid-tempo punk rock. As a friend of Bryon's (the owner) and former employee of his screen printing shop, I had a chance to check out a ton of new releases before they were pressed and released. I'm not telling you all this in any attempt to brag or boast, I just felt the need for full disclosure on the possible impartiality of this review.
Hear me out though. This record rules. On one hand it's the same anthem-filled, mid-tempo, drunken hangout record that you would expect from KOD. On the other, it is also a well thought out and diverse record if you can get past the surface just a little bit. I was at the KOD warehouse/screen printing shop when I walked in on the record already more than half-way over (it goes by pretty fast) and I asked for a copy. I listened to the record a few times on my long drive back to Orlando from Tampa and got super stoked.
They showcase their knack for dynamics when the first song hits you with jangly open chords followed by a Ramones style riff (complete with subtle "ooooohhhs"). There are moments of Social Distortion ("So Long") and Screeching Weasel ("I'll Be O.K.") in the vocal melodies. It's gravelly punk, but the songs have been fine-tuned to a point that they are both interesting structurally and catchy. There are a couple of rippers towards the end of the record that take the tempo up a notch which adds some diversity as well as thoughtfully placed back-up vocals throughout. Ending the A and B sides of the album are surfy/Kinks-ish instrumental tracks that are short and sweet (and don't sound out place by any stretch of the imagination).
The production is actually a little finer than the usual KOD fare, but not overly clean at any point. The thing about this record is that you can tell that the members spent time thinking about the songs, but also thinking about the album as a whole. It is a complete record that goes places instead of harping on the same trick over and over again. I first heard this record months ago and I saw that it was getting very little love from a whole lot of people (yeah I know they're from Canada... and French Canada at that! Yuck!) It's honestly one of my favorite releases this year. Go check it out. It'll make Kiss of Death happy, it'll make the band happy, and it'll make you happy. Don't be dummies.
Aneurysm Rats - Dying To Live
Written by Noah W.K. Thursday, 07 January 2010 08:05
I have never been much into hardcore, but if I do listen to it is hard not to enjoy the angry, no frills, no breakdowns, in your face and out in around a minute songs. In under fifteen minutes Aneurysm Rats blast through twelve break neck songs that are reminiscent and on par to the type of kick ass hardcore punk that Paint It Black is doing. Grammatical error aside, my favorite track here is definitely the last one, entitled “Baby’s Don’t Eat Sandwiches”.
Another standout track on the album is the first one called “Aloha”. It merely warms us up to the band while also setting the tone and breakneck pace for the following songs. I can only imagine seeing this band live. It would be a blast. This is music you can move to!
Each song brings its own angst filled story to the table and they make it evident that they were taking notes when they were listening to their music growing up taking cues from 7 Seconds, Minor Threat and SS Decontrol. But this album is no carbon copy of what you may have heard from the 80’s, it is merely a tip of the hat to it, taking the original formula and expanding upon it making it a hundred times better. Why get stuck in the 80’s when we have the Aneurysm Rats?
P.S. This band has a member of one of my all time favorite Philadelphia bands: None More Black.
Look Mexico - Gasp Asp
Written by Noah W.K. Sunday, 03 January 2010 07:56
The first time I ever heard this band it was a cover of the Looking Glass’s “Brandy," which just may be one of my favorite songs of all time. After hearing that I was very eager to check out more from the band, but initially when I did, it didn’t click. Maybe I was spoiled by hearing that great cover first, maybe not? So, I pushed this band to the wayside until I heard this 7" record last year, and it all made perfect sense again to me. The songs are all well crafted with perfectly layered instrumentation throughout. The vocal melodies are fairly basic, but compliment all the other motion well and it’s just all-great fun.
Look Mexico are a band that have kept music an art form. It becomes evident in their song writing that they have no fears of experimenting a bit and the further they stray away from the mold the more I like it. The artwork on all of their releases are very vivid, similar to the pictures that their songs are painting and the best thing is you never know what you are going to get.
So the first three songs here initially came out in late 2008 on a 7" record from Tiny Engines Records but the digital version (what we are discussing here) came out around the same time, but with an additional track. However, in my opinion, this bonus track is the worst of the whole batch. It is six minutes long and just kind of drones on. Seriously…a six-minute long song? If you are a huge Look Mexico fan you should download this, if not… just get the 7".
Cloak/Dagger - Lost Art
Written by Raymond Hanstein Wednesday, 30 December 2009 10:25
Cloak/Dagger's latest offering Lost Art makes no qualms about what it is meant to be- an unapologetic sonic assault unafraid to wear its influences proudly on its sleeve. Laden with buzz saw guitars in the vein of Greg Ginn, Lost Art delivers the listener to a time when punk rock was where it belonged- underground, portraying a sense of importance and change. With riffs and infectious hooks reminiscent of everyone from Black Flag and The Circle Jerks to more recent throwbacks Hot Snakes, the accessibility of Cloak/Dagger harks to a time when those in the crowd would later that evening become those on the stage.
Wrecktrospective
Written by Mackenzie Singleton Monday, 28 December 2009 10:26
I had heard about this Wrecktrospective Fat Wreck Chords was planning to commemorate their 20-year history and assumed it would be a disaster. I mean how do you define what Fat is in some three discs without leaving out huge chunks of amazing material...or worse yet, they pick material that was not the cream of the crop due to it's sentimental value and then just have a mess on your hands. Either way, I was sure it was going to be a self-gratifying showcase for Fat and not a record I really wanted to buy. To be honest...I was pleasantly surprised.
Austin Lucas - Somebody Loves You
Written by Raymond Hanstein Saturday, 26 December 2009 10:36
To Austin Lucas, chivalry never died. Somber and sweet, his latest offering Somebody Loves You is a virtual snow globe, capturing within its frailty a time and sound purely devoid of modern life. Instead, Somebody Loves You draws on the timeless sound of late night benders and the heartbreak of the ages. Littered with the familiar twang of the southern bluegrass sound, Lucas has solidified his position carrying the flag that Bill Monroe sewed ages before.
Classic and eternal, Lucas spins a complicated web of love and loss that isn’t afraid to be self-aware. On “Go West” Austin laments “I know that life is full of dead ends, but I saw us as a highway, ever stretching on from coast to golden coast. Oh but now instead I’m singing 'Go west and leave. Grab your boots and find yourself somewhere, I’ll find another lover in the east.'" His honesty is palpable.
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