man vs. ape

The Impossibles - Anthology (1999)

noreply@blogger.com (Colin) — Tue, 22 May 2012 16:15:00 +0000

Fueled by Ramen (1999)

Taking their name from a Hanna-Barbera cartoon, the punk-ska act the Impossibles formed in 1994 in Austin, Texas. They slowly built up a local following and released a self-titled LP in 1997 on the Fueled by Ramen label and followed up with the Back for the Attack EP in 1998. Citing internal pressure and college plans, the Impossibles called it quits shortly after their EP, but managed to posthumously develop a strong national following. Demand for their recorded material grew and availability dropped, so in 1999 Fueled by Ramen issued Anthology, a compilation of the LP, EP and several unreleased tracks from pre-’97 recordings. They reunited in 2000 (sans ska) to tour and release Return in 2000 before ultimately disbanding in 2002.

Anthology innovatively blends Weezer’s characteristic loud/soft shifts, catchy choruses, and “nerdy” lyrics with the underground ethos and ska beats of punk-ska pioneers Operation Ivy. The thrashing guitars, poppy melodies, and infectious lyrics of the choruses play off of the subdued upbeats and introspection of the verses to great effect. Complemented by driving bridges, dueling vocals, and healthy doses of “oohs and aahs,” the Impossibles craft multiple anthems that teeter on the edge between fiercely local punk band and three-minute pop-rock radio fare. Lyrically, the Impossibles tend to reflect sincerely on what they knew best: the awkward adolescent years. Authentic themes of self-doubt, failed relationships, and growing up “uncool” drip off of Anthology without coming off as whiny or preachy (as so much 2000s rock did). Every track from the 1997-8 recordings emanates effortless catchiness, but “Eightball,” “Erin with an E,” “So Much” and “Priorities Intact” especially stand out.

Listeners fed up with the typical ‘90s alternative sound or eager for something truly revolutionary should probably look elsewhere; the Impossibles have a formula and they stick to it for the most part. While they may take an approach to punk-ska steeped in mid-’90s traditions, the Impossibles absolutely nail the execution and infuse each track with their quirky charm. Simply put, the whole is definitely greater than the sum of the parts here. Anthology may not reinvent the wheel, but it oozes personality and delivers anthemic punk-ska in a huge way.

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Jack's Smirking Revenge - Order/Disorder (2011)

noreply@blogger.com (Colin) — Tue, 22 Nov 2011 22:41:00 +0000

Alex Pelissero started recording his own music under the moniker Jack’s Smirking Revenge around 2008 and pressed 25 copies of his first EP, Bitter Songs for Bitter People, in 2010. He returned with more new material in 2011 with Order/Disorder and Sluttering in quick succession and continues to release weekly songs through Jack’s Smirking Revenge’s Facebook page. The Boulder, CO. native creates a unique folk-punk sound finding inspiration in The Clash, Johnny Cash and above all, whiskey. Sounding not unlike Against Me! sans shouting, Order/Disorder presents a rough and unpolished collection of catchy, upbeat and occasionally inspiring punk addled rock tracks.

Lyrically, Alex is at his best when he sticks to everyday lower-middle-class themes. He shines when he muses about how we sometimes like “skipping work and skipping class” and how we dream about giving “a finger to our landlords” or “punching bosses instead of the clock.” However, he does find some success in loftier political themes; the extended metaphor in “1-2-Fuck you Shuffle” is simply brilliant. Along with truly deep hooks and a catchy melody, the opening track calls for the toppling of the “wanna be kings and queens, military aces and their jack-asses” instead of “just another shuffling of the deck.”

Musically Alex hits his stride with toe-tapping melody infused anthems. Relishing in bare bones simplicity, songs stay to the point but are engaging and accessible. “Get your Kicks on Route 666” takes some time to build up the tempo from a more contemplative pace for a effective mix-up near the record’s end.

An uneven effort, Order/Disorder leaves something to be desired at times. On a few sporadic tracks, Alex’s charmingly rough and raw style of vocals and guitar work comes off as just sloppy and unpolished. Some songs also get into trouble when they approach more heavyweight themes and move away from the (more successfully implemented) down-to-earth lyrical style.

Looking at the whole of Order/Disorder, Jack's Smirking Revenge comes out ahead and shows promise for the future. If you can get past the nonexistent production values and a few lackluster or sloppy songs, a rewarding musical experience emerges. Anyone willing to look past Alex’s “do it yourself” rawness will discover a host of clever and honest songs with deep hooks and infectious melodies.

Head here to download the EP for *free* (or a small donation if you're so inclined).

Grim Luck - Alexandra Volume 2: The Dread (2011)

noreply@blogger.com (Colin) — Sun, 28 Aug 2011 17:46:00 +0000

Grim Luck formed in San Diego, California sometime between 2004-6; legends and internet rumors vary. Standing head and shoulders above the rest, Grim Luck has led the San Diego ska scene for several years with their unique sound which blends dark, minor tonality ska with folk, hardcore and anything else they can mesh together using their markedly varied instrumentation. In their first three albums, Grim Luck wrote songs that pushed the boundaries of 3rd Wave ska, albeit in the dark sounding and calculatingly paced direction that Streetlight Manifesto pioneered. However, with Alexandra Vol. 2: The Dread, Grim Luck breaks nearly all of their ties to the bright, crisp melodies of the 90’s and forges their own identity without losing any of their hectic energy, unique song writing and fiercely underground ethos.

In place of bright, clean and simple riffs and melodies, a la 90’s 3rd Wave Ska, Grim Luck crafts a dark, hectic (always on the verge of sloppy) and layered sounding ska blended with folk and hardcore. The horn section usually carries the melody and engages the listener with interesting melodies, both new and familiar. Unique instrumentation (cello, accordion and banjo) add depth and variety to songs but sometimes verge one gimmicky. Grim Luck hits their stride when their massive horn section pumps out brooding melodies through songs like “Odessa!!” and “Monarchs Can’t Dance!!” Vocally, Rob and Erich bare their souls belting out authentically inane lyrics oddly focused on vintage nautical imagery. Wisely, they keep their lyrics out of the overly “zany” and “wacky” territory of the 3rd wave. Vol. 2 has much tighter and more together sound than the often loose and sloppy Vol. 1. This strips away some of Grim Luck’s “small time” charm, but, ultimately, greatly improves the band’s sound overall.

Grim Luck’s maturation as a band and movement away from the formulaic sound of 3rd Wave Ska does come at a price, however. The increased presence of the horn section largely eliminates the catchy choruses of yore, to the album’s detriment. Only “The Dread...” evokes the sing-along choruses of “Bouquet of Lillies” and “College/Going to Santa Barbara”. Also, the band’s massive ensemble leads to a lot of instruments doubling up on parts. The bari-sax, cello and bass often follow the same bass line (and occasionally needlessly clutter it) while the horns almost always play in unison on the melody. A more layered approach that has the horns playing off of and against each other (polyphony) would really step things up an notch. Borrowing some plays from Keasbey Nights would be a great start.

If Reel Big Fish is “Green Day with horns,” then (very approximately) Grim Luck is Gogol Bordello with horns- plus a cello, accordion and banjo. At times, the sheer size of Grim Luck’s ensemble seems paradoxically cluttered and minimalist while pushing aside the infectious choruses of older albums. However, Grim Luck manages to craft a truly unique and engaging sound from a largely stagnant genre with impressive results. They have quite possibly created the most unique recording to ever with the words punk or ska attached. Anyone looking for a wonderfully original and truely engaging sound will love Alexandra Volume 2: The Dread.

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Grim Luck supports free music.

NOFX - Punk in Drublic (1994)

noreply@blogger.com (Colin) — Sun, 06 Mar 2011 17:14:00 +0000

In 1994, Californian post-hardcore punk rock broke into the American musical mainstream. Rancid had a radio single and major label offers, Green Day had MTV music videos and The Offspring's Smash went multi-platinum. NOFX's Punk in Drublic may have failed to meet the commercial success of the other '94 punk albums, but it is without a doubt one of the tightest, well written and "punkest" albums ever recorded.

NOFX, veterans of Epitaph Records since 1989, had spent the better part of a decade touring, recording and honing their sound when they finally cut their magnum opus in '94. It's tight, fast, refreshingly witty; in a word, it's punk. Songs like "Linoleum" and "Happy Guy" show their hardcore roots with high tempos, deep hooks and short track times while "Reeko" and "My Heat is Yearning"expand the group's approach without slowing down the overall flow of the album. "Get in, get out" may be too traditional for some bands, but NOFX really makes 17 tracks in 39 minutes work here. Lyrically, singer Fat Mike aptly criticizes American society and government, lampoons the commercialization of the punk scene and even takes time to defend the homeless and "adult actresses" without getting preachy or heavy handed. It's fast, clever, insightful and simply a fun album to listen to. With a history of writing anti-commercial songs, it almost seems as if NOFX did everything they could to write an amazing punk album that could stay off the radio at a time when DJ's scoured the nation for the next Green Day.

Punk in Drublic failed where other similar release succeeded not because it's a bad record, but because it doesn't have any singles or anthems. It has the punk attack, snarkyness and oozin' ahs that mark the breakout records, but lacks the catchy sing-along tracks that got MTV airtime. Regardless, if you like punk, you'll love Punk in Drublic. For the uninitiated, it's also a great place to start, especially if you think that "Longview" is edgy.

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Read the expanded review, complete with looks at the histories of NOFX and '90s punk rock, at *Wrestlemania*!!

Bad Religion - No Control (1989)

noreply@blogger.com (Colin) — Mon, 29 Mar 2010 17:58:00 +0000

After reforming in 1987, Bad Religion released an astonishing three albums in just three years, Suffer (1988) No Control (1989) and Against the Grain (1990), collectively known to fans as the "Holy Trinity." As and a hardcore punk release from almost 21 years ago, listeners might wonder how No Control could possibly be relevant in the 21st Century. Well, through No Control (and the rest of the "Trinity"), not only did Bad Religion keep punk alive and evolving for the 90's, but they also had an incalculable influence on the entire 90's alternative scene from Nirvana all the way down to Blink-182. History aside though, No Control is simply a great album and a sonic treat for anyone willing to listen.

From the opening drum count-off to the final ring of electric guitars, No Control refuses to stop. Bad Religion's punk attack is nothing short of vicious and present in the raging drumming and blisteringly fast guitar work, especially on tracks like "You," "No Control" and "I Want to Conquer the World." Not wasting any time on overdrawn intros or repeated choruses, songs start and stop on a dime and cram massive amounts of music into compact spaces; only one track on the entire album passes the 2:30 mark. Singer Greg Graffin belts out themes on the the bleakness of the future with passion and conviction that inspires the listener to action, and backing vocals provide just enough harmony a la the band's trademark "Oozin' Ahhs" (see "Sanity") to make it accessible. Lyrically, Graffin crafts his trademark intelligent and meaningful verses that don't get too bogged down by SAT vocabulary as much as later albums.

The criticism of No Control are the ones that critics apply to BR's whole discography and punk in general. If you think that all BR songs sound the same, then some tracks (the last few) will seem to blend together. Some will also argue that the sub-1 minute songs take punk simplicity too far to a fault, and they're probably right. And while it isn't as bad here as on later albums, esoteric lyrics like "Is your fecundity a trammel or a treasure" are nothing more than Graffin's intellectual flexing. However, taken as a whole, No Control is punk at its best. The fact that a solid third of the album makes it to the "Greatest Hits" compilation All Ages (with the notable exception of fan-favorite "You") illustrates the shear consistency and depth of the album if nothing else. Fans of punk and Bad Religion will instantly fall in love with the No Control and newcomers should absolutely take the time to listen to 26 minutes of some of the most passionate and inspiring punk ever written.

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God Is an Astronaut - All Is Violent, All Is Bright (2005)

noreply@blogger.com (Unknown) — Fri, 08 Jan 2010 22:01:00 +0000

Sitting here, working on my blog debut while being a wee bit depressed, realizing that I was granted privileges to write here like... 9 months ago, and I am only just now finding my dirt covered, filth encrusted gem.

A pretty pathetic accomplishment, but nonetheless I'm going to put this shit to the pen. It simply deserves it.

God Is An Astronaut is an instrumental band. As such, it relies on the craftsmanship of said instrument's owners. While unfortunately I can't speak from practical experience, (I can't even whistle properly) I can tell you of what I have heard. And God Is An Astronaut does nothing instrumentally that I haven't heard before.

The drumming has been done before, the guitar isn't doing any sort of mind-melting stuff, a piano is a piano, and the bass is thumping away like basses all over the world have ever done. This is standard post-rock; break it down to the component, compare it to its peers and you're probably looking at something generic and bland. So why in god's name am I calling this a gem?

Well, behind the pretentious band name hides what most bands strive to achieve. What it is, I don't know. But it is that one thing that weaves together some of the most enticingly emotional melodies with some roller coaster drumming. It naturally overtakes your mind, messing with your fantasy to experience something new.

The ride starts of soft and slow, luring you into its lair. Finally there, it then alternates between beating you down and lifting you up, finishing in an epic crescendo, followed by some weird electronic sounds that leaves you wondering what the hell just happened. As you sit there, bombarded by new-old feelings, the real mystery is how they did it, since I personally was emotionally juxtaposed when finally realizing it's math class and I haven't got a clue what's up there on the board.

So my word of advice: don't prepare yourself for this, because then you might spoil what lies in store. I was utterly blown away listening to this while lying in bed, reading. Since then I have listened to this many a times, still being blown away time and time again. But i'm a impressionable, soft guy. So it might not happen to you. But it should.

- Eric the Swede (sorry for making it so long, im a hopeless first timer)

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Big D and the Kids Table - Fluent in Stroll (2009)

noreply@blogger.com (Colin) — Mon, 09 Nov 2009 18:13:00 +0000

Rude boys need not apply because this isn't ska- it's "stroll." In a departure from their traditionally uber-hyper punk-ska, Big D & the Kids Table claims to have fused reggae, dub, ska, soul and a myriad of other genres into the new sound called "stroll" on Fluent in Stroll. As a huge fan of Big D, I'm personally offended that they could completely throw out their signature sound and betray their fan base. However, it's pretty unfair to judge an album on what it doesn't do, so let's try and keep this focused on what it actually does do. Ska or not, Fluent in Stroll is still mediocre at best. This is a flat and uninspired album that drags on for fifty minutes, but does show some promise for all of the "strollers" out there.

Lyrically it's a mixed bag; sometimes David McWane crafts thoughtful lyrics, and other times he pours out sappy love themes. Worse though are the painfully stupid nonsense lyrics straight out of Grease's "We Go Together" that pepper tracks. The title track opens with a shrill and piercing vocals, akin to nails on a chalkboard, vamping "Chin-chin, chadda-wadda-wa he." Speaking of vocals, the guest backing vocals provided by The Doped up Dollies does everything but tank the opening and title tracks in my opinion. Most songs plod along at slow tempos vamping ad nausea, but occasionally the group will ramp up to a faster rock'n'roll tempo for old times sake. And why bother keeping around three horn players if you're going to keep them inconspicuously in the background except for the occasional riff? But it's not all bad and high points include the Strictly Rude style "Been Wishing On" and "Chin Up, Boy!", and the surprisingly catchy "Not Fucking Around."

Judged on its own merits, Fluent in Stroll would probably a promising, but ultimately mediocre, début attempt by an up and coming band experimenting in a "new" genre. It really isn't a terrible album if you cut it some slack for being the first entry in the "stroll" cannon. However, long time fans of Big D's distinct Third Wave sound will mourn this as the band's complete abandonment of their punk-ska roots.

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Eyedea & Abilities - By the Throat (2009)

noreply@blogger.com (Anonymous) — Sat, 04 Jul 2009 23:13:00 +0000

Rhymesayers-based hip-hop duo Eyedea & Abilities return after a 5 year hiatus with somewhat mixed results. They've mostly left behind the aggressive, battle-centric lyrics and turntablism that were present on E&A in favor of a more indie rock/electronic type sound.

Eyedea's short stint as the vocalist for rock band Carbon Carousel is pretty apparent here, and many of the songs feature him crooning along to dull and uninspired guitar lines that were probably originally intended for the aforementioned band. Eyedea isn't a particularly good singer either, and the tracks that forgo singing in favor of actual rapping are generally the more successful ones.

Another thing worth noting is the apparent lack of DJ Abilities. He still makes a few appearances here and there with some scratching, but his contributions are seemingly minimal compared to the first two albums. This can be explained by the complete change in direction sound-wise, but it is still pretty disappointing, considering Abilities used to be an integral part of the E&A sound.

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Reel Big Fish - Monkeys for Nothing & the Chimps for Free (2007)

noreply@blogger.com (Colin) — Fri, 17 Apr 2009 15:52:00 +0000

If you don't know Reel Big Fish, you didn't listen to the radio in 1997. Their mega-hit "Sell Out" smashed through mainstream playlists and blazed the train for the 3rd Wave punk-ska breakout of the late 90's. They followed that up with a decade of constant touring, honing their stage performances to near perfection, but I've always felt disappointed by their studio catalog since Turn the Radio Off. Their subsequent albums always felt tired, uninspired, formulaic and oddly flavored with more and more hardrock/metal. But after being dropped from Jive Records, Reel Big Fish turned it around with the 2007 Monkeys for Nothing & The Chimps for Free, which I would venture to call their best effort since Turn the Radio Off.

First and foremost this album is fun to listen to. Most tracks are quick, upbeat and have that effortlessly fresh sound that makes ska so fun. The crisp horn riffs, engaging vocals, hectic tempos and "snarky" lyrics that made Reel Big Fish world famous fly out of every track. And as every veteran act does eventually, RBF expands their style a little and ventures into some new territory on a few tracks. The harder, darker and more mature songs sound authentic and work really well here. The laid-back and chill songs feel forced and entirely miss the mark. The standout tracks come in an epic fan service that especially puts a smile on my face when RBF covers and slightly updates "Call Her" and "Hate You", two fan-favorites from their pre-breakout era.

Monkeys does have flow, but isn't bullet-proof as some tracks feel out of place and break up the overall experience. Also the trademark irreverence and "sillyness" critics love to praise RBF for venture into the sophomoric and mornic on occasion here. However, that shouldn't stop die-hard fans and newbies alike from jumping headfirst into Monkeys for Nothing & The Chimps for Free, Reel Big Fish's best studio work in a long time and the spiritual successor to Turn The Radio Off.

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Dubstep Allstars Vol.05: Mixed By N-Type (2007)

noreply@blogger.com (Anonymous) — Fri, 03 Apr 2009 01:22:00 +0000

Dubstep is a relatively new genre of music with roots that can be traced back to the early 2K Garage Scene in the United Kingdom. Stylistically, it borrows elements from garage, grime, dub/reggae, and drum and bass to create a musical product that is often dark, sparse in rhythm, and bassy. Dubstep is still somewhat of an underground movement, but it has slowly been gaining popularity over the past few years thanks to moderate media attention. I was first introduced to dubstep a little over a year ago with the release of Burial's second album, Untrue. The album received so much critical praise and attention that I had to check it out. I didn't really know what to expect going in, but I wasn't too impressed, and the album remained on my computer untouched for many months to come. Several months ago however, something piqued my interest in dubstep again, and I gave Untrue another shot. I have since fallen in love with the album, and have been exploring this unfamiliar genre of music ever since (Burial's Untrue is probably one of the biggest gateways for new dubstep listeners).

Now when it comes to electronic music, usually the best way to get aquatinted with an unfamiliar genre is to listen to compilation albums. This allows you to get a general feel and explore different artists within the genre without having to acquire a bunch of different albums. This rings true especially for dubstep (any many other styles of electronic music), which revolves more around songs and tunes than full-length albums. The Dubstep Allstars series is one of the more popular (and respected) compilations in the genre, with new volumes being released on what is seemingly a regular basis. Many dubstep purists would probably want you to start with Volumes 1-3 of the series, or even The Roots of Dubstep compilation, but I'm going to tell you otherwise. And while I'm still new to the genre as a whole, Volume 5 is (to me) the most enjoyable of the series and probably the best place for a beginner to start. You can then start to identify particular artists/styles that you enjoy and move on from there. Even if you're already a dubstep listener (you haven't heard this yet?), it's still worth checking out.

Another few things I forgot to mention earlier: One of the cool things about these compilations is that they're mixed by producers from the dubstep scene (in this case, N-Type mixed Vol 5). So not only do you get to see what some of the more popular dubstep producers are digging, but all the tracks blend and transition seamlessly into one another. Perfect for extended listening. Also, to get the best listening experience for dubstep, a good soundsystem or a really nice pair of headphones is highly recommended. There's a lot of really low-end bass in there that might get lost or just cause distortion if your setup isn't up to par. Just something to think about.

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Big D and the Kids Table - Strictly Rude (2007)

noreply@blogger.com (Colin) — Mon, 16 Feb 2009 13:47:00 +0000

For a band that put out its first self-release, Shot by Lammi, in 1997, Big D and the Kids Table has managed to stay insanely active and independent over the years. Forgoing major labels and keeping an almost legendary DIY stance, the Boston natives managed to criss-cross the country for years touring with some of the biggest names in the game while cultivating a reputation for especially hectic and rowdy shows, even for punk-ska. The 2007 Strictly Rude understandably shocked die-hard fans with its mature, sophisticated and often "chill" approach to what had been before defined as raw, aggressive and energetic. But slower tempos be damned, Big D still brings their A-game in a huge way with Strictly Rude, easily one of the best alternative albums of the decade.

The most remarkable thing about this album is just how fun it is to listen to. The songs are well written, well performed, easy to listen to and very danceable. And it's amazing that a band that has been together for almost two decades can put out a record with at least four legit anthems like "Shining On" and "Try Out Your Voice". Frontman David McWane beautifully crafts authentic, meaningful and smart lyrics and puts them out there with passion, intensity and a healthy dose of melody. Songs move effortlessly from "Joe Sixpac" topics like drinking PBR with friends and getting kicked off the subway to heavyweight themes like political activism, preaching tolerance and substance abuse. And for as much press that Strictly Rude gets for being "chill" and "laid back", Big D proves that they can still turn up the distortion when they want to with "Souped-up Vinyl" and lead-off track "Steady Riot."

I'll have to admit that I personally like the older Big D catalogue a little bit better. Their frantic pace and high energy songs that I've grown to love are definitely missed on this record. But that doesn't mean that the more grown-up Strictly Rude is any less fun to listen to. Big D’s trademark DIY sound, smart and sarcastic lyrics, and authentic local vibe all blast out of every byte on the album. When all is said and done, Strictly Rude is a much more mature and accessible record that has some damn good music on it.

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Burzum - Hvis Lyset Tar Oss (1994)

noreply@blogger.com (Anonymous) — Mon, 02 Feb 2009 23:00:00 +0000

Hvis Lyset Tar Oss (English translation: If The Light Takes Us) is often regarded as one of, if not the, greatest achievements in black metal history. Not only has the album been a major influence to many different bands (not just black metal), but it is also admired for depicting the black metal genre in its purest and rawest form.

To better understand Hvis Lyset Tar Oss, we must first take a brief look at the man behind it all, the infamous Varg Vikernes. Varg Vikernes, also known as Count Grishnackh, is the former bassist for black metal pioneers Mayhem. In the early nineties, Varg was convicted of arson upon numerous churches throughout Norway, most notably the Fantoft Stave, a historical building that had been around for centuries (a photograph of the church after it was destroyed was later used for the cover of Burzum's Aske EP). His most notorious crime however, was the murder of Mayhem member Øystein "Euronymous" Aarseth. While his motives for the murder are still relatively unclear, Vikernes himelf claims that he was only acting in self defense and that Euronymous planned to kill him first. His conviction of the murder landed him 21 years in prison, a sentence that he is still living out to this day. And although Vikernes is a self-proclaimed Pagan and an advocate of nationalism and anti-theism, none of these sentiments directly influence the album itself.

While bands like Ulver brought a lighter, folk-influenced sound into black metal, Vikernes chose to go in the opposite direction. The first three tracks of the album are bound to be some of the most morbid and unrelenting songs you will ever hear in your life. The first track, "Det Som En Gang Var," is the backbone of the album and arguably one of the best black metal songs ever recorded. It starts off slow, setting up a dark, gloomy atmosphere that will remain for the duration of the album. Then, it continues to build in intensity until you're faced with a haunting, atmospheric, raw wall of sound and presence that does not let up until the final song of the album. Vikernes is also one of the most terrifying vocalists I have ever had the pleasure of listening to. What he lacks in technical ability, he makes up for with raw emotion. His tortured voice pretty much embodies the pure, raw emotion and feeling of black metal. The album continues in this general direction until the forth and final track, "Tomhet." "Tomhet" is the track that brings everything back down and concludes the album. Instead of invoking the same feelings of death and despair as the rest of the album, "Tomhet" creates a calm and peaceful atmosphere with its droning ambience and soothing keyboards.

The ability of Vikernes to convey so many different emotions throughout one piece of music never ceases to amaze me. On the surface of Hvis Lyset Tar Oss, you'll hear some of the most brutal and despairing music ever. But below its dark and depressive shell, you're likely to discover an atmospherically beautiful album full of raw passion and emotion that has yet to be surpassed. It's certainly not for everyone, but anyone with an open mind should check this out.

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Mustard Plug / Bomb The Music Industry - Under the Influence Split Vol. 3 (2008)

noreply@blogger.com (Colin) — Fri, 16 Jan 2009 22:00:00 +0000

Covers can be tricky. You have to strike a balance between staying true to the original source material and infusing it with your own unique sound. Thankfully Mustard Plug's version of "Waiting Room" by Fugazi walks that fine line and does not disappoint.

On this two band, two track EP, Mustard Plug offers passionate vocals, pounding base and ripping guitar riffs that mimic the Fugazi classic strikingly well. The added a layer of punctuating and angsty horns bring a lot and manage to sound right at home. After one or two listens to the MP version, the original almost feels a little empty with out the blaring horns. I think that the real draw here is "Waiting Room", but Burn the Music Industry does a good job with the stylistically different cover of Pavement's alterna-pop "Gold Soundz."

It really is refreshing to see an established band like Mustard Plug to reach out and cut an EP with up-and-comers like BTMI. Industry commentary aside, the unique juxtoposition of underground post-hardcore and alterna-pop covers makes for an interesting 5-minute listen for fans of the original material and ska-freaks alike.

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Rachel Doe - Rachel Doe's Album (2009)

noreply@blogger.com (Colin) — Thu, 15 Jan 2009 14:18:00 +0000

Rachel Doe has a unique sound, smart lyrics and a versatile voice that all add up to good music. A 20 year old college student studying music in Boston, Rachel writes, performs and records all of her own work in her spare time for fun. And even though I'm putting this on MvA, this isn't exactaly an album, in fact, it barely qualifies as an EP. This is just the collection of songs that Rachel gave me when I asked her for a sampling of her music- the textbook definition of independant, DIY recording.

"Bunny Hey Hey" is the stand out and my personal favorite track here. Lyrically, it brings uniquely off-beat humor that doesn't feel forced or overly silly. Vocally, the distinctly female vocals engage and simply sound great. And you can hear subtle punk/alternative influences in the quick tempo and barebones guitar work which provide great contrast to the "girly" nature of the rest of the song. She plays "Gorgey Porgey," the ballad, in an almost completely different style that makes good use of grunge-esque "loud/soft" structre that works very well against her voice. And "Organism," the shortest track is charmingly "get in, get out" while still having very mature sound.

Bottom line, this isn't really ground breaking or genre redefining, but these tracks are fun and easy to listen to. And it really is refreshing to listen to a solo/acousting female vocalist that doesn't have that late 90s post-grunge "I am woman, hear me roar!" feeling to it.

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The Workout - Feed Me a Stray Cat (2008)

noreply@blogger.com (Colin) — Thu, 08 Jan 2009 02:04:00 +0000

When keyboardist Corey Tilton gave me a copy of Feed Me a Stray Cat he called it their "shitty little disk," but it is anything but. Hailing from scenic Weymouth, Ma (just south of Boston) The Workout is a unique group that sports impressive versatility, technical ability and songwriting in all of their music. A self-described "synthcore" band their songs seamlessly blend metal, punk and pop in a refreshing style that is surprisingly easy to listen to (even for ska freaks like me).

This disk may be short, but The Workout covers a lot of different ground on it. They move from pretty heavy metal, to elegant piano interludes to bouncy pop-punk in the blink of an eye and it never seems forced. On my first few play throughs I had trouble hearing when a song ended because the liquid smooth transitions thrown into every track. Passionate lead vocals set the bar pretty high for other acts and are backed up by a dedicated “screamer” which fosters interesting call-and-response sections. But that's not to say that every other band member isn't strikingly technically skilled. While it’s hard to pin down exactly what they’re doing musically The Workout definitely brings a lighthearted feeling to the table. Successfully walking the fine line between pleasantly goofy and inanely silly, you never get the feeling they’re taking themselves too seriously, even during shred-tastic solos and gut-wrenching breakdowns. The opening track is literally about Rock-paper-scissors and “Fuck Absinthe” is a hilarious and surprisingly insightful take on the classic pop-punk whiney break-up song.

My biggest gripe with this EP is the lengthy instrumental interludes and breaks. Maybe this is just why I don’t like metal, but songs seemed to take too long to intro and took too many extended interludes mid song; “The Draft” and “Return of the Hun” are both over 4:00. Aside from that one small gripe, Feed Me a Stray Cat has a lot to offer. The Workout’s sheer versatility ensures that there’s something for everyone. Throw in technically impressive... everything, a good does of melody when needed, and solid hooks and you get a winner. It may be only four tracks long, but good things come in small packages and everyone needs to give this one a listen.

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The Skank Agents - Something for Everyone (2008)

noreply@blogger.com (Colin) — Thu, 08 Jan 2009 00:06:00 +0000

To quote a friend, The Skank Agents are "super fucking legit." An underground San Diego Ska band that started way back in 2004 and solidified a line-up by '06, you're more likely to see band members making laps in a circle pit than in the recording studio. They trade in the frantic punk energy of other bands for a healthy dose of melody and a surprisingly mature sound. "Canon in D" and "Flight of the Bumblebee" references remind the listener that this is no 3-chord act. Like a lot of bands in the genre, this album doesn't quite capture the energy, fun atmosphere and skankability that characterize a live performance, but Something for Everyone definitely deserves a listen.

Though the engineering on this album doesn't really showcase it, this blaring horn section is loud, upfront and surprisingly complex. The frontman/lead vocals/trumpet has some chops and strikes a balance between passionate vocals and crisp instrumentation. He's complimented by the dark and biting sounds of bari and tenor saxes for a very full bodied sound. Add in a solid guitars, versatile bass and steady drums and you get a band that really locks in and hits a groove. Lyrically they are generally pretty solid but can be transparent at times. Even the lyrically simpler tracks like"Party Song" and "Smash Dance" (does this remind anyone else of Planet Smashers' "The Manta Ray"?) have a certain charm and catchyness though.

My only concern with this album is the "chill songs." I'm all for expanding the genre with creative and musically sound songwriting, but I like my ska fast. Sure many will argue that occasionally slower tempos and longer songs create a more mature sound and increase the general listenability of the album, and they're probably right. But I just personally prefer higher energy songs. Still, when they want to The Skank Agents can turn up the tempos and trash with the best of them; songs like "Peace" and "Friends" showcase their punk influences and biting attack.

The Skank Agents are an archetypal "local band" and are a bunch or really cool guys. They play shows loud and fast, have a ton of energy and stage presence, and clearly love what they do. At the end of the day, Something for Everyone doesn't quite capture that feeling, but that's a problem with the genre in general and not the band. It's a really solid album with some stand-out tracks that definitely deserves repeated listens. It may not be perfect, but these guys are down in the trenches fighting to keep ska alive for 2009, and they're doing a kick-ass job. And what do you really expect from guys that still read off of sheet-music at shows?

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The Dillinger Escape Plan with Mike Patton - Irony Is A Dead Scene (2002)

noreply@blogger.com (Anonymous) — Wed, 17 Dec 2008 01:02:00 +0000

In late 2001, up-and-coming experimental mathcore band The Dillinger Escape Plan found themselves without a vocalist when founding member Dimitri Minakakis suddenly parted ways with the band because of their rigorous touring schedule. While they looked for a full-time replacement for Minakakis, the band recruited several of their friends to handle vocal duties on tour. Among these friends was the legendary Mike Patton, who they had met when Patton asked them to come on tour with Mr. Bungle. There must have been some sort of apparent chemistry between the group, because Patton later agreed to help produce and contribute to an upcoming EP. By the time Irony Is A Dead Scene had been recorded and released, the band had already been touring with newly-found vocalist Greg Puciato for over a year.

Patton's vocal style is actually very well complemented by the spastic style of The Dillinger Escape Plan's music, which is frequently on the verge of total chaos and destruction. Don't fall into the trap of thinking that there isn't structure and melody here, however. The first two tracks, Hollywood Squares and Pig Latin, are the obvious standouts of the EP and do a good job of showcasing some of Patton's unique vocal acrobatics. The only weak moment to be had here is the underwhelming cover of Aphex Twin's Come To Daddy, which they still manage to do a surprisingly good job of considering the circumstances. Irony Is A Dead Scene isn't an easy listen, but The Dillinger Escape Plan and Mike Patton manage to play off each other's strengths very well, despite the highly experimental nature of the artists involved. This ranks up there among some of my all time favorite EPs, and is a must listen for fans of DEP and Mike Patton, or just fans of experimental/hardcore music in general.

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Strike Anywhere - Change Is A Sound (2001)

noreply@blogger.com (Colin) — Fri, 05 Dec 2008 20:23:00 +0000

Hardcore-punk revivalists Strike Anywhere have a consistent and raging attack with just enough palatability to make Change Is A Sound a great album. Formed in Richmond, Va in 1999 Strike Anywhere had a strong presence in the local hardcore scene. They released the Change Is A Sound EP in 2001 then issued the album version on Jade Tree later that year.

There is nothing genre breaking or redefining here, but everything is done well. The pace set is nothing short of relentless and the punk attack is vicious through out the whole album. The repetitiveness that can plague many punk bands is hardly and issue here. Songs stay fresh by changing on a dime without losing their liquid flow and hectic pace. Bridges, intros and breakdowns seem to come out of nowhere and give the songs a unique feel. To call the lyrics political would be an understatement. Strike Anywhere is staunchly critical of American culture and politics but their lyrics are always engaging and rarely heavy handed some bands out there (Choking Victim anyone?).

It may not be as thrashy or angry as some hardcore fans would like it to be however. A good dose of melody, occasionally powerful hooks, oozin' awes (and one Oi, oi oi!) and tiny hints of pop do make appearances, but is that really a bad thing? One of the most remarkable things about this album is the degree of palatability it has while maintaining an unabashedly hardcore revivalist sound. They didn't reinvent the wheel, but they definitely set the bar damn high for every other punk act out there. Anyone looking for 29 minutes of non-stop sonic energy are in luck because Strike Anywhere delivers in a huge way with Change Is A Sound.

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Bad Religion - Into the Unknown (1983)

noreply@blogger.com (Colin) — Mon, 01 Dec 2008 18:56:00 +0000

I've been told that objective listeners consider Into the Unknown a masterful and pioneering piece of American prog-rock, but I'm not an objective listener. It sucks.

After three years in the LA underground punk scene, BR guitarist Mr. Brett decided to buy singer/songwriter Greg Graffin an electric keyboard. Graffin wrote and produced the entire album in an effort to break out of what he considered an increasingly close minded LA scene. Lyrically not much had changed, but ITU sounds nothing like any of BR's previous work aside from Graffin's distinctive vocals. The BR Page.net has a whole host of BR member retrospective reactions to the album that make for a good read. ITU is often credited with destroying the LA hardcore scene and almost destroying Bad Religion's career.

Slower tempos, acoustic guitars, wood blocks (really guys?) and that goddamn keyboard ooze out of every track. Nothing here even resembles punk-rock or Bad Religion except the complex and intellectual lyrics that fans expect. If it didn't have "Bad Religion" written across the top, Into the Unknown would be considered innovative and pioneering. But because of the time and place of it's release it is forever remembered as a collectors piece and nothing more. BR fans need to check this out, but only as a glimpse into one of the most infamous fuck-ups in punk history.

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Planet Smashers - Planet Smashers (1996)

noreply@blogger.com (Colin) — Sat, 29 Nov 2008 08:41:00 +0000

Planet Smashers strike an amazing balance between classicism and innovation on their debut album, juggling all of the quintessential elements of punk-ska without feeling boring or derivative. Founded in Montreal in 1994 they released the self-titled Planet Smashers two years later on their own STOMP label. Over the years they managed to stay independent and build a modest following but failed to really break-out. They've released five more full lengths since then but have failed to keep the magic they had on Planet Smashers.

This album has everything you would find in the text-book definition of "Third Wave Punk-ska." Clean horn riffs, gritty vocals, jaded and sarcastic humor and the occasional punk attack all blend together here in perfect ska fashion. But the most amazing thing about this album is that it doesn't overplay any of the single elements and their sound manages to stay fresh and interesting. The horn riffs are clean and punctuating but not poppy and bubblegum. High tempos and punk breakdowns keep the energy up without venturing into metal territory. Smart, sarcastic and totally jaded lyrics add a remarkable sense of humor without getting wacky, zany or just plain silly like some bands (*cough* Aquabats *cough*). Songs poke fun at everything from relationships and job interviews to mainstream and alternative culture but never seem preachy or high-handed. Simply put, everything on Planet Smashers comes together and it all works.

Some may label Planet Smashers as unoriginal, but it is anything but. True, Planet Smashers do stand on the shoulders of giants, but they infuse their own sound into everything they borrow keeping this album fresh and exciting all the way through. Bottom line: everything on Planet Smashers- the horns, the vocals and especially the smart and observant lyrics, come together in exactaly the way you'd expect to create one of the better Third Wave albums ever released.

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Consumed - Hit for Six (1999)

noreply@blogger.com (Colin) — Mon, 17 Nov 2008 17:51:00 +0000

A lot of different labels have been applied to Consumed. Skate-punk, post-punk, hardcore-punk revival, etc.,but one thing is certain: Consumed is punk. Formed in 1994 in an industrial town in Nottinghamshire, England outside of Sherwood Forest (think Robin Hood), the British quartet quickly gained popularity and a presence in the national punk scene. They played punk songs at punk shows with a punk attitude, and people noticed. Consumed would sign with indie giant Fat Wreck Chords, go on to tour the UK with NOFX and even make it onto the THPS 2 soundtrack before breaking up in 2003.

Right from the start Hit for Six sets a blistering pace and refuses to slow down, clocking 14 songs in just under 34 minutes. The quartet's raw power is balanced out by excellent, but not overly-complex songwriting on every track. Guitar leads, instrumentals, harmonies, bridges and breakdowns all come together masterfully without loosing the "bare bones" punk aesthetic that Consumed cultivates so well. Add in powerful hooks, fresh and catchy (but not too catchy) lyrics and riffs, and their uniquely British charm and you get a great album that just came 5-years too late to really "break out".

Nit-pickers will point out that some intros and instrumentals get a bit long and that "King Kong Song" actually breaks the 3 minute mark. But these minor imperfections hardly detract from the overall quality of the album. Consumed hit the nail right on the head with their first full length. Relentless drums, vicious guitar riffs, passionate vocals and an almost cliche jaded and irreverent tone all come through loud and clear in all of the right ways. Hit for Six is not just Consumed's best album, but one of the best punk albums of the 90s and one of my personal favorite albums.

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Thursday/Envy Split (2008)

noreply@blogger.com (Anonymous) — Tue, 04 Nov 2008 20:55:00 +0000

The new split between American post-hardcore act Thursday and Japanese screamo band Envy was first conceived during a conversation between a hardcore Envy fan and Thursday vocalist/lyricist Geoff Rickley. I'm not exactly sure how everything managed to fall into place, but somehow the stars were aligned and the split was recorded in the spring of 2008. Thursday contributed the first four of seven tracks, and they're actually the first new recordings we've seen from the band since 2006's underwhelming A City By The Light Divided. I can actually say with confidence that this is probably some of the best material Thursday has ever released, and it just makes me that much more excited to see what they come up with for the new record. "As He Climbed The Dark Mountain" and "An Absurd And Unrealistic Dream Of Peace" are more in-line with material Thursday has released in the past, while "In Silence" and "Appeared And Was Gone" are both instrumental tracks that dabble into the realms of electronica and experimental post-rock. These instrumental tracks are no doubt the weaker part of the Thursday side, but are nonetheless somewhat interesting and obvious extensions of the direction they were headed in with A City By The Light Divided.

Envy's side starts off a bit weak with "An Umbrella Fallen Into Fiction," a track that features a lengthy 4 minute intro that slowly transitions into a wall of gainy feedback and beautifully melodic soundscapes. "Isolation Of A Light Source" brings us more into that familiar Envy territory with explosive guitars and chaotic drumming underneath a blanket of harsh screams. The final track of the album, "Pure Birth And Loneliness" is a mellower, more melodic tune that concludes the split with a really awesome guitar riff that is more than likely to get stuck in the back of your head. I'm really glad that these two bands got together, as they both step into somewhat uncharted waters and try to experiment with each other's unique sound. There are some weaker moments to be had here, but the stronger material more than makes up for it. If you're a fan of Thursday and/or Envy, you'll probably find something worth getting excited about.

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NoFX and Rancid - BYO Split Series Vol. 3 (2002)

noreply@blogger.com (Colin) — Thu, 30 Oct 2008 20:16:00 +0000

Covers are a very mixed bag and BYO Split Series Vol. 3 captures that essence perfectly with a handful of brilliant remakes and a few tired rehashes. On one hand this is a unique and interesting album where NoFX and Rancid, vanguards of punk and very close friends, cover a half dozen of each others best songs. Just being able to juxtapose each bands' take on the other merits a listen for any fan. And while a lot of the album just feels tired and boring, there are some genuine standouts that rival the original material.

NoFX really steals the show here. They infuse their usual energy and original approach into some of Rancid's best songs and come out with great covers that seem fresh and familiar at the same time. A wide cross-section of Rancid's catalog is sampled here covering everything from the influential Let's Go to (then most current) Rancid (2000). Great care was smartly taken to avoid "radio songs" like "Time Bomb" and "Salvation" and focus on "fan favorite" gems like "Antennas", and "Tenderloin" in a true tribute to the band and their legions of fans. Although I don't understand why they changed "Radio" to a reggae ballad if they already had "Corozon de Ore". Overall the NoFX half of the album has an insane amount of energy and strikes a good balance between the two bands' sounds.

Rancid's contribution is on the whole much less consistent. Without going into too much history, the band was in and interim period, coming off of two poorly received albums and fractured by side projects, and you can tell right away. Just like on Rancid (2000) the band takes a "hardcore for hardcore's sake" approach to BYO Split Vol. 3. Most of the songs feel tired and repetitive and get stuck in loops of power chords occasionally peppered by overly notey bass solos. I never like it much before, but "Don't Call Me White" really stands out and sound like something a garage band, not a platinum record selling band, recorded thanks to Matt Freeman's bland and repetitive vocals. But just like 2000, there are a few noteworthy gems. Thankfully frontman Tim Armstrong nails "Bob", by adding his now infamous slurred vocals but keeping the songs original tone, tempo and passion intact. And "Vanilla Sex" almost sounds better than the original thanks to production values that were absent on S&M Airlines.

In the end, BYO Split Vol. 3 comes off as an inconsistent album, but it definitely merits a listen by any punk fan. Even if some of the songs are less than perfect there are a few exceptional standouts, and it's always fun to hear your favorite songs preformed by another band. But the "newness" of the songs wears off on repeated listens and you're left with "only" a unique part of punk history.

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Grim Luck! - Alexandra Vol. 1 (2007)

noreply@blogger.com (Colin) — Sat, 25 Oct 2008 16:29:00 +0000

They may not have high production values, but damn Grim Luck! has massive potential. With a full, dark sound, a heavy and deliberate pace, and unflinchingly underground ethics they are the front runner in the San Diego Ska scene and a band that everyone should look out for in the coming years. You can download all three of their full length albums via their Myspace but Alexandra Vol. 1 stands out above the other two.

Grim Luck! brings catchy lyrics and a steady energy to the table but it's their distinctly San Diego flavor that really sells. Proud of their home town and not afraid to sing about it, half of their songs burst with a "fuck yeah, we're from San Diego" vibe. The surprisingly clever mariachi themed "Jose and Pancho" is about two Mexican teenagers that sneak across the border to see a ska show. The double song "College" and "Going to Santa Barbara" about going to UCSB for Spring Break has an eerily authentic feel. Maybe I'm a little biased but I haven't seen such whole hearted civic pride that doesn't come off as preachy since East Bay legends Rancid.

But that's not to say that the album doesn't have a few rough edges. They have a tendency to vamp the chorus ad nausea and some songs drag towards the end. Some definite Streetlight Manifesto plagiarism occasionally leaks through too, but not nearly bad as other bands. And Reel Big Fish fans need to look elsewhere for clear, crisp horn riffs. But despite their shortcomings, Alexandra Vol. 1 is full of good songwriting, a rich horn section and an unstoppable driving tempo and Grim Luck! is one of the most hopeful up-and-coming acts out there.

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Common Rider - Thief in a Sleeping Town (2001)

noreply@blogger.com (Colin) — Mon, 20 Oct 2008 22:33:00 +0000

Common Rider is one of my favorite bands and it pains me to see their two full length albums get such little attention, from anyone. The fact that their 2001 four-track EP Thief in a Sleeping Town was hardly noticed at all (allmusic.com doesn't even list it) is almost criminal as it represents a high point for the band and (ex-Op Ivy) frontman Jessie Michaels. Michaels brings his characteristic energy and passion to the songwriting, vocals and guitar work in traditional punk fashion in stark contrast to Common Rider's usual "post-ska" approach.

With only one track barely past the two minute mark, this blistering EP is over before you know it and leaves you wanting more. The lyrics deal with personal demons, the value of social activism and the pitfalls of modern society and are delivered with the energy, passion and conviction that define Michaels. More reminiscent of early Op Ivy songs than anything else Common Rider ever did, you could easily mistake Thief in a Sleeping Town for something written in 1987 by an overly-ideal punk band... and that's not necessarily a bad thing. The only stylistic outlier is the end track "What the Heart Looks Like When it's Hot" which is an intentionally laid-back ska tribute that sounds oddly like the extended version of "Healthy Body".

Any fan of Common Rider, Operation Ivy or punk in general needs to give this gem a listen, now. Even those that shy away from punk should give Thief in a Sleeping Town a chance because of the exceptional intensity and care put into every track.

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