We missed a quarter or two, but who’s counting? The infinite playlist has been a Sputnik tradition ever since I can remember, and we’re back baby! Jom was kind (or cruel?) enough to let me organize the playlist this year. Some coercion may have been involved, but it made for 30 creative and biting blurbs this time out. With such a diverse range of tastes among the staff, this edition has a little big of everything to sink your teeth into…
Don’t forget to check the Spotify playlist below in addition to skimming through the blurbs! The best part about this whole thing is branching out and listening to something you wouldn’t normally stumble upon.
All The Luck In The World – “Golden October” A Blind Arcade Listen if you like: Frightened Rabbit, Elliott Smith, Horse Feathers
Perhaps no better example of A Blind Arcade‘s beauty could be cited than “Golden October.” The album’s third track offers up poetic melodies that experiment with time signatures, as well as wintry effects that instill an absolutely breathtaking atmosphere. The whole thing commences with some simply strummed chords, introduces strings, slowly emphasizes the force of each drum beat, and eventually alters the vocal melody to rise and meet the intensity that the rest of the song has already arrived at. The way it all happens so subtly is a thing of beauty, and by the song’s final minute you’ll be totally spellbound. –Sowing
Track: “Green Like the G Train, Green Like Sea Foam”
We’re still nearly a month away from the official release of Aaron West and the Roaring Twenties’ Bittersweet, and yet we’ve already received an adrenaline boost with the passionate bookends of the three-song EP. Not unlike the previously released ’67 Cherry Red’, The Wonder Years’ frontman unleashes his inner turmoil over flamboyant horns and subtle folk influences on ‘Green Like the G Train, Green Like Sea Foam.’ It’s a song rich with emotion and imagery as Dan Campbell reveals his more poetic side with a sense of conviction – On a calendar long enough, all my grief starts to decay / Staring off at the skyline over shorebreak, and remembering that this same ocean almost killed me. For a fictional character, Aaron West feels more like a personal outlet for Dan Campbell’s passions, doubts, and struggles. The colorful visuals throughout the latest single hint at much more than lyrical storytelling, feeling more like raw and poignant reflections drawn from real experience. With his delivery as abrasive but refined as ever, Campbell holds nothing back as he brings his lyricism to life with a vibrant energy. Fictional character or not, the latest chapter in Aaron West’s story feels compellingly genuine, and it’s hard not to feel a sense of connection with the song’s vivid and relatable lyrics.
Kevin Morby’s latest solo offering, Singing Saw, has been described as “written simply and realized orchestrally.” This statement makes perfect sense within the context of the album – none of the songs feel overly complex in nature, but the delicate addition of instruments like horns and pianos breathe life into Kevin Morby’s authentic songwriting. A shining example would be the invigorating ‘Dorothy’, which urges you to tap your feet alongside what could perhaps be Morby’s most exuberant performance on the album. Yes, he sounds similar to Bob Dylan at times, but he also harbors enough of his own unique style to stand out as different in the modern folk scene. Behind his somewhat familiar croon, ‘Dorothy’ steadily swells into a bombastic number with heavily layered instrumentation. The song is simply brimming with energy, and one can’t help but feel alive and refreshed by its optimistic mood. Armed with a guitar, a knack for storytelling, and unique orchestral touches, the former Woods bassist seems to be realizing his full potential on Singing Saw, and ‘Dorothy’ stands tall and proud as the peak of his accomplishments.
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
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.
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.
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…
As anticipation continues to build for The Hotelier’s follow up to 2014’s wildly successful Home, Like NoPlace Is There, many are left scratching their heads with the release of their latest single ‘Piano Player.’ Admittedly, the song isn’t the cathartic release many fans were hoping for, but maybe it doesn’t have to be. After all, their last album was focused on loss, whereas Goodness has been revealed as an album about love. Once this vast difference in themes is considered, the subtle and content sound of ‘Piano Player’ starts to make more sense. It’s a more restrained track for The Hotelier, but the extra room they’re given to breath results in one hell of an ear-worm upon repeated listens. The song reveals itself to you slowly – starting with a lulling vocal performance by Christian Holden before kicking into gear with his trademark nasally pipes, and eventually ending with a gratifying payoff. Despite the subdued nature of the song, everything feels synced together in a fuzzy sort of way, from the steady pace of the guitars and drums to the repetitious, yet mesmerizing chorus. It’s not a track that will hit you in the gut from the get-go, but spend some time with it and soon you’ll revel in its reflective lyrics and pleasant familiarity.
Only time will tell how ‘Piano Player’ connects to the complete package of Goodness, but if the track…
I remember it like it was yesterday. It was a ’90s Christmas, and I could feel the excitement surge through me as I dug through my stocking and yanked out my very first CD: Alanis Morissette – Jagged Little Pill. It wasn’t long before this excitement was put on hold, however. My parents were a bit overprotective, and as soon as they caught wind of the sexual references and language glittered throughout the album, my new gift vanished before my very eyes like a magic trick.
Jagged Little Pill became a forbidden fruit of sorts to me. Not only was it the first CD I ever laid my hands on, but my parents’ objections only further piqued my interest in the breakthrough album. I found myself sneaking over to my friend’s house to get my Alanis fix, and was always left wanting more. My obsession eventually waned, but to this day Jagged Little Pill remains a nostalgic and satisfying treat.
Fast forward twenty years later, and I’m able to revisit my old favorite with fresh eyes. What I’ve uncovered is both familiar, yet somehow hazy. Perhaps it’s because my younger self would skip over the less instantly gratifying tracks, but several songs on Jagged Little Pill stand out as if I’m hearing them for the very first time. Many of the hits on the album feel designed for radio play, with Morissette’s…
As you’ve likely noticed, we’re trying to spice things up a bit in the staff blog lately with a handful of our writers submitting track-of-the-day blurbs detailing a song of their choosing. It’s been entertaining to see the various tastes and styles in these write-ups thus far, but these things can only gain so much traction without you: the reader. In an attempt to keep things from growing stale around these parts, we’re going to be giving our readers a blast-from-the-past each week highlighting an older, nostalgic track we feel deserves more recognition. Without further ado, here is our first entry of “THROWBACK Thursday!”
With a new album on the horizon for Metal Church, it’s not a bad time to take a trip down memory lane to see where they were over 30 years ago. Back in 1984, they released their highly influential debut, fusing the slickly produced thrash sound of Metallica with piercing screams reminiscent of Mercyful Fate’s very own King Diamond. The blending of these key factors allowed Metal Church to stand out as different in the thrash scene of the ‘80s, carving their own special niche as well as gaining a massive cult following. Just about any track from their debut could make a convincing case for Metal Church’s stature in metal circles, but few paint a picture of the band’s trademark sound quite like…
