It was only appropriate that Axl Rose lasted all of one night of Guns N’ Roses’ ballyhooed reunion tour before breaking his foot, resulting in Rose taking a cue from a less fatter veteran in Dave Grohl and performing much of the band’s headlining Saturday set at Coachella in a throne. After all, a solid majority of Coachella 2016 attendees were likely barely able to walk themselves when Axl last performed with this lineup of a formerly great band. Instead, we were treated to Rose bringing out Angus Young (an appropriately shameless tie-in for Rose’s new role as frontman of AC/DC ) and a bloated (rimshot!) setlist that most of the crowd only joined in for the karaoke favorites. That Goldenvoice, the promoters behind Coachella, recently announced plans for a new festival of some of rock’s heaviest (and greyest) hitters was a happy bit of corporate synergy for a festival that has succeeded in mining nostalgia to its further extent.
2016 was a year of disappointing headliners – the joy of seeing LCD Soundsystem again was dampened a bit by them hitting literally every festival on the planet this year, while Guns N’ Roses and Calvin Harris symbolize Coachella’s ruthless pandering to its most profitable audiences at its worst. Lucky, then, that Coachella has improved in most every other facet since I started attending seven years ago. The food is downright gourmet; the security experience is more streamlined, save for the…
I should be less surprised that All Human’s sophomore release has consistently been one of my favorite releases of 2016. Though Teenagers, You Don’t Have to Die! is my first exposure to the brainchild of Adam Fisher (Fear Before, Orbs) and Brian Ferrara (Trophy Scars), I should know by now that anything Adam Fisher has a creative voice in is going to stick with me. The man has one of the cleverest pens in modern music and a gift for slinging words together in the kind of rhyme schemes that should be studied in academic English classes, after all. But he also has a knack for composing and arranging music that just resonates with the same off-beat his lyrics hit. Or maybe the music just has to revolve around that lyrical beat. It beats me, but the point is, it always works.
It’s hard to single out a track on Teenagers to highlight since it’s an album full of high points stitched together with impeccable flow. But if we’re going to start, let’s start at the beginning, shall we?
“And So Peter Dances” kicks off with a nice little spoken word bit about how much working sucks, which is particularly enjoyable whilst sitting in your cubicle. The music paints a dark and snowy street corner while Fisher’s lyrics complete the scene by adding in the lonely man freezing on that…
Whereas King Crimson seems to corner the market when it comes to being the pioneers of prog, there was actually a band that King Crimson’s producer, Tony Clark, worked with years before In The Court Of The Crimson King was even conceived. The name of that band? Well, The Moody Blues of course! And it was for no other album than their crowning achievement Days Of Future Passed. The album is famous among casual classic rock fans for the beautiful, eerie hit “Nights In White Satin” – but any prog enthusiast who has investigated the album further knows that it is brilliant from beginning to end. Fully orchestrated and dream-like, it’s almost impossible to select one song worth highlighting.
Although I wholeheartedly recommend giving the entire record a dedicated listen, today’s Throwback Thursday installment will focus on one snippet of what the gorgeous experience entails. “The Morning”, is a single track that exudes the raw beauty of the orchestra fueling Days Of Future Passed‘s creativity. Gliding in on waves of awe-inspiring strings, subtle piano, and magisterial horns, it progresses to a rhythmic and undeniably catchy verse before culminating in a forlorn, wise-sounding chorus: “time seems to stand quite still…in a child’s world it always will.” The way the song weaves between pop sensibility and orchestral ambition is a thing of beauty, and it manages to be all at once familiar, progressive, and aurally stunning.…
Here’s a list of major new releases for the week of April 15, 2016. Please feel free to request reviews for any of the following albums from staff or contributors.
Alkerdeel – Lede (Consouling Sounds)
Ashley Shadow –Ashley Shadow (felte)
Amber Rubarth – Scribbled Folk Symphonies (Chesky Records)
Ash Meteors – Fragment I (Ash Meteors)
Bear Hands – You’ll Pay For This (Spensive Sounds)
Blaqk Audio – Material (Blaqk Audio)
Cate Le Bon – Crab Day (Drag City)
The Coathangers – Nosebleed Weekend (Suicide Squeeze Records)
Crematory – Monument (Steamhammer)
The Decoys – In Our Blood (Unsigned)
Edward Sharpe and The Magnetic Zeros – PersonA (Community Music Group LLC)
Game Over – Crimes Against Reality (Scarlet Records)
Goatess – Purgatory Under New Management (Svart Records)
Graham Nash – This Path Tonight (Blue Castle Records)
Gypsy Chief Goliath – Citizens Of Nowhere (Pitch Black Records)
Hemotoxin – Biological Enslavement (Unspeakable Axe Records)
Hestina – Blossom Talk (Autumn Tone Records)
Holy Dragons – Civilizator (Pitch Black Records)
Howls of Ebb – Cursus Impasse (Voidhanger Records)
Izegrim – The Ferryman’s End (Listenable Records)
J Dilla – The Diary (Pay Jay Productions, Inc)
John Carpenter – Lost Themes II (Sacred Bones Records)
Kevin Morby – Singing Saw (Dead Oceans)
Lita Ford – Time Capsule (Steamhammer)
Murder Made God – Enslaved (Comatose Music)
Nightmen – Fifteen Minutes Of Pain (Lovely Records)
Nucleus – Sentient (Unspeakable Axe Records)
Omophagia – In The Name Of Chaos (Season of Mist)
Otep – Generation Doom (Napalm Records)
Pathways –…
I don’t think very many bands could make something like the overuse of amphetamines seem so harmless and enjoyable, but then again not every band is Direct Hit! Following in the footsteps of 2013’s satirical Brainless God, the Milwaukee pop-punkers seem to be picking up right where they left off with their latest energetic single. ‘Forced to Sleep’ wastes no time, as huge vocal hooks are intertwined with drug-induced lyrics and crunchy guitars. As usual, it’s the band’s bitingly sarcastic delivery and lyricism that keeps them ahead of the game. Beneath the sugary-pop vibe, ‘Forced to Sleep’ is a raucous recollection of living a fast-paced life, and eventually being worn down by a steady intake of substances. It’s nothing new we haven’t heard from Direct Hit! before, but it’s a familiar and fitting way to kick off their upcoming LP, Wasted Mind. Not only that, it’s reassuring that despite a three year absence, they sound as scathingly sardonic and humorous as ever.
Wasted Mind will be released on June 24th through Fat Wreck Chords
Talking with Mechina’s Joe Tiberi is always entertaining, because not only are interviews with him basically late night brodowns, but there are no time constraints, no PR people or next interviewers interfering. Time is never of utmost importance with Joe, which is suitable for a guy whose band is still woving together a colossal space epic that is nowhere near completion, and also ironic because the guys in Mechina seem to run into time-related freakouts year after year due to Tiberi’s self-set, merciless schedule, where he will release an album on the first of January, with a lengthy single bridging the wait in summertime. When we had talked for about three hours with Joe, and I had just declared that I had asked all the questions I had written down for the interview (and more), he said that hey, he’s got another 15 minutes before he has to go anywhere, so naturally we talked on for about another 45 about both important stuff (for how long could Mechina really go on for, or how, being a sound engineer, Joe has worked with hip-hop artists, about which not many people knew of) and thoroughly unimportant stuff (my aspiring lyric-writing, for example, or how robots could be a viable alternative to pets). So how did 2015 turn out for the Chicago-based space lore weavers? Where did Mechina go to and where do they plan to go to? Read on to find out.
I remember when I first started getting into music and it felt like every song I heard was speaking directly to me. It was a great era in my life because everything seemed to carry unprecedented weight, as if the artists were sitting down at a table with me and hashing out my emotions on paper. As the years progressed that feeling obviously fell by the wayside – I mean you can only be awestruck by everything you hear for so long, right? Music soon became more about the technical aspects – did that bridge really work?would this song have been better if they amped up the guitars and pushed the vocals back in the mix a little? There’s something to be said for any level of music appreciation, but the older I got, the more everything started to sound like an imitation of something I’d already heard. For lack of a better description, music’s meaning in my life just hollowed out a little bit.
Enter Frightened Rabbit’s Painting of a Panic Attack. Now, I haven’t even finished listening to this album yet but I can already tell you that there are certain songs on here capable of totally wrecking me at any given moment. I know this because it’s been forever since I’ve felt my eyes getting misty upon first listen of a track, or felt a lump in…
I’m going to cut straight to the chase – Bob Dylan’s ‘Masters of War’ is one of the best songs he’s ever penned throughout his illustrious and weathered career. Not because of musical innovation, but because it contains perhaps the most profound and venomous lyrics he’s ever conjured up. We all know Dylan could write great lyrics in his sleep during his prime, but the heavy subject matter that permeates ‘Masters of War’ is nearly unmatched by anything else he’s put to paper. Musically, it’s one of the most simplistic songs on The Freewheelin’ Bob Dylan, but behind the repetitive strumming of the guitars, Dylan unleashes a poignant performance that honestly examines both war and greed. He doesn’t just examine these harsh themes, however, he calls out the offenders with a sarcastic delivery –you ain’t worth the blood that runs in your veins/even Jesus would never forgive what you do. It only gets better from there, as he belts out more powerful lines – is your money that good, will it buy you forgiveness, do you think that it could/I think you will find when you death takes its toll, all the money you made will never buy back your soul. Finally, he viciously damns the lovers of war and money — I hope that you die, and your death will come soon, I follow your casket by the pale afternoon/I’ll watch…
Thirteen years after making a lasting imprint in Saosin’s sound, Anthony Green is returning as the band’s vocalist in all of his former glory on the upcoming Along the Shadow. The second single released from the album, appropriately titled ‘Racing Toward a Red Light’ is a high-octane promise of what to expect from the band’s first LP since 2009. It’s relentlessly heavy (at least by Saosin standards) as Green boisterously belts out his pent-up aggression alongside the chaotic pairing of pummeling drums and guitars. With a breakneck pace and no shortage of adrenaline, the song seems to end as quickly as it begins, but it sure as hell does its job in building up anticipation for Green’s much-awaited return to the band. His work with Circa Survive is remarkable in its own right, but it’s hard to remember the last time he sounded quite this passionate and enraged.
Here’s a list of major new releases for the week of Apil 8, 2016. Please feel free to request reviews for any of the following albums from staff or contributors.
April Towers – Silent Fever (LAB Records Ltd) The Dandy Warhols – Distortland (The Dandy Warhols) –Raul Stanciu
Ben Watt – Fever Dream (Unmade Road)
Black Peaks – Statues (Sony Music Entertainment UK Limited)
Camp Claude – Swimming Lessons (Believe Recordings)
Cult of Luna and Julie Christmas – Mariner (Cult of Luna)
Deftones – Gore (Reprise Records)
Drose – boy man machine (Orange Milk)
Ed Prosek – Truth EP (Ed Prosek Music)
Filter – Crazy Eyes (Wind-up Records)
The Frances Desire – Persona (Out of Step)
Frightened Rabbit – Painting of a Panic Attack (Atlantic Records UK)
The Glorious Rebellion – Euphoric (Magnetic Eye Records)
Gracepoint – Echoes (Independent)
Heidemann – Detectives (Fabrique Records)
HIGHS – Dazzle Camouflage (Indica Records)
Holy Pinto – Congratulations (Soft Speak Records)
Ihsahn – Arktis (Tanglade Ltd)
Inherit Disease – Ephemeral (Unique Leader Records)
The Lumineers – Cleopatra (Dualtone Music Group) M83 – Junk (M83 Recording Inc) –Rudy K.
Moving Units – Damage With Care (Metropolis Records)
Ommadon – Ommadon (Burning World Recordings)
Palace of Worms – The Ladder (Broken Limbs Recordings)
Parquet Courts – Human Performance (Rough Trade)
Shy Shape – Out at Night (Noisy Poet Records)
Tax The Heat – Fed to the Lions (Nuclear Blast Entertainment)
Viot – Astana (Langage Records) Woods – City Sun Eater…
Explosions In The Sky isn’t exactly a band that strikes joy into the heart of every post-rock aficionado anymore, and it has nothing to do with the band’s talent level. After all, nobody questions that these guys can play, and some of the crescendos that they’ve crafted over the years will stand tall as historical examples of the heights to which the genre can aspire. The problem, recently anyway, has been a perceived lack of imagination. It seemed that following The Earth Is Not a Cold Dead Place, each successive release was merely a retread of that incredible experience – only with diminished satisfaction for every additional time we heard sparkling guitars, clashing cymbals, and earth-shattering drums. It was quite simply time for a change, and even though basically any change would have sufficed, The Wilderness presents us with a road that is both less traveled and far more scenic than the one we’ve watched them retread for approximately ten years. In an album full of brooding ambience and eclectic stylistic ambition, ‘Landing Cliffs’ feels like the perfect ending to a record that, at this point in Explosions’ career, has the potential to be groundbreaking. The song feels like a breath of new life, shimmering with gorgeous piano notes while pirouetting in a light, spacey atmosphere that is immersive but not oppressive. The beauty of the actual wilderness will come to mind immediately:…
Woods’ brand of indie folk always seems to find a comfortable sweet spot between eerie and inviting. With a haunting vocal performance from Jeremy Earl and seductive brass, ‘Sun City Creeps’ is every bit as enticing as it needs to be to kick off the band’s latest LP properly, yet it doesn’t bite off more than it can chew. Despite Woods’ unique style, it’s their knack for subtlety that makes their music so rewarding, and ‘Sun City Creeps’ is no exception. The song’s a perfect portrayal of the band’s creative spark, with funky guitar sections and triumphant mariachi horns that wouldn’t feel out of place one bit in the Red Dead Redemption video game.
Few bands are able to incorporate such a wide array of influences without sacrificing their identity, but Woods are one of them. Whether it’s the alluring vocals of Earl who sounds uncannily similar to Justin Vernon at times or the seemingly effortless folk instrumentation, there’s a lot to love about Woods. ‘Sun City Creeps’ is just another excellent addition to their discography, and likely only a hint of the brilliance buried within their upcoming LP, City Sun Eater in the River of Light.
City Sun Eater in the River of Light will be released on April 8th through the singer’s very own label, Woodsist Records.
It’s almost criminal that Steven Page’s post-Barenaked Ladies material hasn’t attracted more attention. Starting with Page One in 2010 and now continuing with Heal Thyself Pt. 1: Instinct (released March 11, 2016), Page’s solo career has yielded some of the most well-crafted and catchiest tunes of his career, including his tenure as a Barenaked Lady.
“No Song Left To Save Me” flirts a little more with Page’s serious side than other tracks on Heal Thyself, such as “Manchild” and “Linda Ronstadt in the 70s,” but this is also part of the appeal of Page’s solo career – a little more balance between serious songwriting and tongue-in-cheek tracks reminiscent of BNL mainstays. “No Song Left To Save Me” bounces on a feel-good Motown-inspired sound and showcases the real power of Page’s voice as it steers a vehicle full of soulful brass and on-point rhythm. It’s not hard to imagine a well-dressed Page filling an auditorium and trading smirks with a big band leader between his titular pleas to the crowd, living out the full Motown vibe, heart and soul. In combination with the power and authenticity Page projects on the track, it’s hard not to fall for “No Song Left To Save Me,” whether you’re a fan of Page’s solo stuff, a BNL fan, or a first time listener.
Here’s a list of major new releases for the week of Apil 1, 2016. Please feel free to request reviews for any of the following albums from staff or contributors.
#N/A – Nisennenmondai (Beat Records)
Alexander Durefelt – In the Grace of the Woods (Daughters and Son Records)
Andrew Bird – Are You Serious (Wegawarm Music Co)
Autolux – PUSSY’S DEAD (Columbia Records)
Babymetal – Metal Resistance (Amuse Inc)
The Bendal Interlude – Reign of the Unblinking Eye (Black Bow Records)
Black Stone Cherry – Kentucky (Mascot Music Productions)
Coves – Peel (1965 Records Ltd)
Doro – Love’s Gone To Hell (Nuclear Blast)
Ensiferum – Two Decades of Greatest Sword Hits (Universal Music Oy)
Entheos – The Infinite Nothing (Artery Recordings)
Explosions In The Sky – The Wilderness (Temporary Residence Ltd)
Faintest Idea – Increasing The Minimum Rage (Faintest Idea)
Goetic Equivalent – Goetic Equivalent (Ordo MCM)
Hammock – Everything and Nothing (Hammock Music)
Haxen – Haxen (Eternal Death)
Hein Cooper – The Art of Escape (Indica Records)
Hot Coffin – Hot Coffin (Triple Eye Industries)
Ill Omen – Æ.Thy.Rift (Abyssic Commune)
It Lives, It Breathes – Silver Knights (Stay Sick Recordings)
Japanese Breakfast – Psychopomp (Yellow K Records)
Lake Of Violet – The Startling Testimony of Plumb Lines (Gilead Media)
Lukas Graham – Lukas Graham (Warner Bros. Records Inc)
The Last Shadow Puppets – Everything You’ve Come To Expect (Domino Recording Co Ltd)
Lower Automation – Maps (Independent)
Mogwai – Atomic (Temporary Residence Ltd)
Moonsorrow – Jumalten Aika (Century Media…
Social Distortion’s self-titled release was a potent concoction of punk, blues, and rock-n-roll that allowed the band to reach new levels of success in the early ’90s. Growing up through that decade, I can’t even count the amount of times I saw Social D patches clung to the backpacks of kids as they passed me in the school hallways. Who could blame them, though? The band’s logo of a skeleton sporting an alcoholic beverage in one hand, and a lit cigarette in the other was (and still is) a slick and fitting portrayal of the band’s rebellious attitude.
Aside from their popular image, however, their music was adored for good reason. There are a handful of tracks on their 1990 breakthrough album that stand the test of time, but it’s the final track ‘Drug Train’ that seems to be a rather underappreciated gem in their discography. Complete with peppy harmonicas, blues-inspired guitar riffs, and a punk backbone, the song rolls along with a steady and powerful momentum. It might not be the fast-paced assault many punk songs are known for, but it carries an awful lot of substance and weight along the way to its destination. Beneath the playful nature of the song, vocalist Mike Ness lends his nasally, apathetic vocal approach to paint a vivid picture of the rollercoaster ride that is drugs. The unique combination of his thought-provoking lyrics paired…
