ALBUM REVIEW: WHORES. – WAR.

It’s no secret I am a fan of this heavy-hitting band from Atlanta, GA. Heck, we had the pleasure to open for them on an ill-fated post-Covid New Year’s Eve in Canton (ill-fated in that there was another outbreak just before the show that kept a lot of people at home). I love the band’s grooves, tones, and vocals, and was super pumped to finally get some new material out of them. This is the band’s second LP in a long career that sees many years stretch between releases. Hey, life happens folks. Not everyone works on some two year cycle, nerds! Anyhow, I had high expectations for this record, and after a few listens, I can safely say I’m satisfied.

This record continues in the long tradition of killer bass and guitar tones in the Whores. catalog. Both Casey and Christian dish out some fantastic grit that is immediately recognizable as Whores. The vocals also sound killer throughout, another hallmark of the band. If I have one complaint, it’s in the drum production. The drums do not hit with the same force delivered on GOLD., which saw a massive kick anchoring the tracks alongside that bulldozer bass. This isn’t to say the drums are lost in the soup, but it feels “thinner” somehow. It’s not that big of deal, as the drums certainly do not sound bad by any means – just … different.

If you’ve been into anything this band has done previously, be sure to give their latest a spin. It’s a nasty rocker and well worth your time! If you’re new to the band, where have you been? Check it out! – Jason

Malinches – The record opens with a false start before erupting into the actual song and it’s a mid-tempo banger that does a fine job of grabbing your attention and sucking you into the fray. The fuzzed out guitars sound awesome and I’m instantly banging my head and suffering an extreme case of stinkface. Stoked. It’s catchy and heavy, typical Whores. goodness! It’s got a great bounce to the verses that explodes into the climbing disco-riff of the chorus that simply works. Thumbs way up!

Quitter’s Fight Song – This was the lead single for the album, and it’s another solid examples of Whores. doing their excellent thing. Opening with a mid-tempo bass groove is a surefire way to get me interested, but that massive, prototypically Whores. chorus is what keeps me here for it. This JAMS. The layers of guitar feedback that permeate the entire track add a wonderful amount of tension and nausea to the whole thing. Thumbs way up!

Hieronymous Bosch Was Right – This is the first fast song on the album and it’s a burner! I love the production on the intro, and once it gets rolling, it cooks! This is catchy, and rollicking, and the lo-fi breaks add a ton of interest to the mix. Love it. Shout out to the vocals, which sound as great as anything Lembach has done on prior albums. His vocal tone is one of those voices that’s instantly recognizable. Choice! Thumbs up!

Hostage Therapy – We’re back on a mid-tempo steamroller, with Maxwell’s heavy bass groove establishing a killer foundation that lets the fuzzed-out guitars really bring the ruckus. The fake out ending with the sounds of nature took me by surprise, as the feedback-driven reprise sprang back to the forefront. I’m easily lured into banging my head and scowling in enjoyment on this insistent groove. Thumbs up.

Back When I Was A Savage – The tempo surges forward and the band slogs its way through another fantastic volley of start-stop riffing and attitude. This jams. I love the squawks of feedback and guitar string noise that ooze out of all the white space in this song. This is real good too. Big surprise, lol.

Sicko – This track features a Beetronics Swarm pedal rather extensively, which is cool to hear. These phase linear lock pedals are a neat, if slightly difficult, pedal to integrate into a song, but Lembach manages on this bruiser. This is another energized batch of riffs and contemptuous vocals and I’m here for it. Great energy, catchiness, and heaviness combine to form rocknroll Voltron, here. Thumbs way up!

The Death Of A Stuntman – The tempo stays up on this track and it’s really catchy – if not a little poppy (vocals anyhow) through the chorus. This track is one of the few where the drum production seems to leave me wanting a bit, as the pounding toms don’t pack the punch they probably should have. Or maybe it’s the bassline? Something about this track makes it feel oddly hollow compared to the rest of the album. Songwriting-wise, there’s no complaints to be had. It’s fine.

Every Day Is Leg Day – When this track comes slamming in, you can immediately sense what was missing on the prior song. This is thick! We’re treated to another faster tune that certainly brings the heat with a wild, hard-charging pulse that demands movement. The vocals are full of piss and vinegar and Lembach delivers them with conviction. This is a rad song.

Imposter Syndrome – The band released this track what feels like a lifetime ago, and I’m not sure if this is the same version or a redo, but it still rips. The Joan Of Arc-esque (Melvins) bit really gets the blood pumping and the payoff delivers. This is a pretty gnarly mix of stoner riffs and noise rock attitude that defines the Whores. sound. Thumbs way up.

Savage (Reprise) – This is a comical way to end the record. The NPR-esque “closing remarks” bit is funny for a few listens, but nothing you’ll want to come back to. No big deal.

ALBUM REVIEW: ALBUM – SNACKS

Full disclosure, I’m a big fan of these guys and I’ve been FaceSpace pals with them for years. I think their band is fantastic and I love their happy-go-lucky, this-is-supposed-to-be-fun attitude. There is a short list of bands that could pull off a punk-rock EP that’s all about eating junk food and ALBUM is right up there at the top. The band covers a couple of different styles across these 4 songs and the end result is another fun addition to their discography. I hear there’s another EP in the can that will be released shortly. Stoked!

The band went back to Mindrocket Studios to track this EP and it sounds just as fantastic as their prior efforts. The drums offer up a fantastic foundation, with a bright snappy sound that jumps to attention and provides plenty of bottom-end thump as well. The bass is precision-played, ringing through clear as a bell with the band’s familiar slightly-overdriven, in-your-face tone. The guitars sound a little thinner than normal, but fit nicely with the punk rock theme that defines this EP. All three dudes contribute vocals, and knock it out of the park.

This is a really quick listen and well worth your time, especially if you are familiar with ALBUM and their fascination with snacks. Check it out!

Do Or Dine – The EP opens with a ripping bruiser driven by Winfield’s aggressive vocal. This song is stupidly catchy and hilarious (cheddar and broccoli soup? Gross!) and it kicks out the jams. Jason’s bass is ripping alongside his brother’s drums and there’s not much else to say, except DO OR DINE! Thumbs way up!

Death By Breakfast – Ooof! Another rocker, this time driven by Jason’s vocal. This one is waaay too short cause it completely rules. “Breakfast is killing me!!!” Thumbs way up!

Pizza Good Time – After the metallic charge of the first two cuts, this one takes on a Social Distortion sort of vibe, and again, the bass is ripping. I love the little vocal quips popping off in the background, and how each guy takes a verse. As a guy that loves pizza, I feel like this song speaks directly to me. Ahaha! “Pizza Las Vegas!” Shout out to the big rock and roll ending as well!

Snack On Through (To The Other Side) – The EP ends back on a harder edge that has hints of Zeke to it. Bonus! It’s hard charging, it’s catchy, it’s fun. It’s ALBUM. This jams. Thumbs way up!

ALBUM REVIEW: THE TRICERATOPS EP

Full disclosure, I’ve been online friends with half of The Triceratops (the drumming half) for years. He performs under a pseudonym here, but dude’s dang talented. He messaged me when this debut EP came out, making sure I knew he was really happy with the results and urging me to give it a listen. I did! I liked it! It’s no surprise that I have a soft spot for power-pop rock bands. The Triceratops certainly has a foot (or four) in that lane. Also – just learned that this is a teaser of sorts with an LP due out in July.

The band recorded this themselves at their practice spot and then had Andrew Schneider (Unsane, KEN Mode, etc) mix it. As a two-piece, you never know what to expect, but the guitarist runs a bass amp off his signal too and it provides plenty of low end. The hardest rocking bits of the EP have all the heft they could need. The guitars sound great, with a raunchy tone and the occasional splats of feedback adding flavor. The drums hit with plenty of snap and thump, driving the songs with ease. The vocals sit in a good spot and match the tones of the band well enough. The piano at the end sounds creepy and sad too. Cool.

This is a quick, fun listen! I could see this appealing to fans of stuff like Smile and Cursive. Check it out! – Jason

George Romero Got Flesh Right – Heck yeah! This EP kicks off with a massively thick splash of dirty power-pop and it rules. This song is catchy, driving, and jams. I love the shrieks of feedback and the hoarsely delivered vocals, and the subject matter is pretty rad too. This song cooks. It seems to end all too soon. This reminds me of all my favorite 90s early 2000s rock bands. Thumbs way, way up!

Pull Me Through – After the opening bombast, the EP steers into much quieter territory on this, the second track. Opening with what sounds like a ukelele or an acoustic guitar (FYI – it was a mandolin), I was happily surprised when the band comes slamming in around the one-minute mark and we’re back to getting rocked. This is another meaty slab of power-pop that’s catchy and accessible, but still packs the heaviness of tone that I crave. Good stuff!

Half Of The Triceratops – This acoustic bit is so short it’s almost not even a song, but it’s not an interlude either. It’s just a short and sweet little number that does a fine job.

Orcas Of The World Unite – In light of orcas sinking yachts in the Mediterranean, it would seem that maybe they have decided to join forces and make man pay (spoiler alert, its too late). This is the noisiest and most chaotic song on this EP, and starts with some killer “orca” sounds revealed to be played on a drum head on their IG. I appreciate the uptempo charge on this song, and the busy vocal. It’s another short tune that does a fine job of rocking the block.

Iocane – This is the longest cut on the EP at almost six-and-a-half minutes long. That’s an epic compared to the other two-minute bangers presented here. The mournful piano and vocal carry the song for for the first minute before a noisy guitar comes screeching in. This track harkens back to the days when bands had the gumption to write a song without any drums. It’s weird at first, because I found myself waiting anxiously for them to come in, only to find it never happens. Repeated listens however, revealed a fairly cool track that lets the band flex some other songwriting chops. Ultimately, it might be a little too long for my tastes, but whatevs.

ALBUM REVIEW: COUCH SLUT – YOU COULD DO IT TONIGHT

I’ve been under a ton of work lately and haven’t been able to listen to very much new music, let alone review it. Today, I made up for some lost time by finally cracking the seal on the latest from NYC’s Couch Slut. This is the third album I’ve reviewed by the band and it continues to see their sound evolve into a catchy, memorable dose of abrasive, sludgy, noise rock.

This record has a lumbering production style that’s thick as a brick without sounding claustrophobic. The bass sits forward in the mix with a gnarly, gritty tone that fills out the low-end spectacularly. The guitars have a raunchy sound that perfectly compliments the aggressive bass, and the busy licks and runs the guitar is puking out alongside the bass lines is the real secret weapon here. The drums offer up enough heft and attack to drive the songs with ease, with a heavy kick that brings the thump. The vocals are fantastic. Osztrosits’ style pairs well with the band’s sonic pallet, her howl demanding your full attention, a brutal honesty that’s impossible to ignore. Killer.

Couch Slut is one of those nasty underground bands that more people need to be checking out. They are consistently rad and their latest continues to build their legacy of excellence. This rips. Check it out! – Jason

Couch Slut Lewis – Couch Slut songs are full of harrowing lyrics that make you angry we have to share this planet with predators and other scumbags. The relentless groove on this track is capital N Nasty, instantly pulling me into a massive full-body head bang. This is catchy and unsettling, which sums up this record nicely. Thumbs way up.

Ode To Jimbo – The tempo comes up on this track, which also pulls in some blackened rock and roll vibes. It’s ugly and everywhere, all at once. This is a maelstrom of sound, held together by the constant crack of drums and the extremely pissed vocals. Rips.

CENSORED – This is easily the catchiest song about self-mutilation that I have ever heard, with a welcoming tempo that heaves the song forward, my face contorted in the utmost of radical disgust. This is great song that wiggles its way into your head. The big dumb riff that pops up around the minute-thirty mark is a brute and snaps the song to full attention. Man, what a groove! The bass rules across this track’s five and half minute run. Thumbs way up!

The Donkey – The narrative on this track is insane, and the spoken word bits suck me into yet another twisted story that this band is excellent at crafting. The guitar moaning in dissonant despair while the bass and drums pound out an unrelenting dirge serves it all up with a bow. Fantastic. Dark. Humorous. This is great! This reminds me of one of those rambling King Missile stories, but this one is filtered through the scum and filth of the sewers. I love it.

Presidential Welcome – Here we’ve got a fun interlude featuring tape warbled “jazz piano” introducing side two of the record. If you’re into segues and interludes that create an album experience, this is rather cool. I’m not sure how it will age (I can’t really enjoy the radio interludes on Songs For The Deaf anymore either).

Energy Crystals For Healing – After getting teed up by the previous rather disarming interlude, this song comes roaring out of the gate with a hatchet to the face. This is another driving slab of nastiness that’s catchy as can be. The fast guitar lines playing out over the dingy chord progression gives this song a cool vibe at the onset that really blossoms when the band starts double-timing. I don’t even understand what’s happening in this track, but I think it has to do with castrating guys? Thumbs up, it rocks.

Downhill Racer – Dang, this is another knuckle-bruising rocker! The guitars add so much to this album, and this song is no exception! I love the countermelodies being employed here. Rad. It reminds me a lot of Microwaves style guitar wizardry, which I adore. Also, I gotta admit, I was taken by complete surprise when the death metal vocals made their sudden presence known. Also – bass wah?! Heck yeah! Wild. This is way cool.

Laughing And Crying – This is a jarring tune that sounds sea-sick and bludgeoning at the same time. In other words, very cool! The mid-tempo pace feels like getting hit by a truck over and over again and I’m here for it. Once again, shout out to the killer bass guitar, this is a busy, winding slog that delivers the stankiest of stink faces. Rules.

The Weaversville Home For Boys – The vocals on this one take on a cadence that feels like a cross between Three Little Pigs Green Jellö and Connecticut’s best, Intercourse. Again, the narrative on this one is brilliantly able to paint a vivid picture in the mind’s eye. Fantastic! Thumbs way up on this slow-burning tale of depravity.

ALBUM REVIEW: SLIM CESSNA’S AUTO CLUB – KINNERY OF LUPERCALIA; BUELL LEGION

Today is a great day, as I opened my email to find a link to preview the forthcoming new album from Slim Cessna’s Auto Club! Long time readers of this blog already know that SCAC is one of my all time favorite bands, and I am very excited for the outfits’ first new material in eight years! Way back in 2022, it was revealed that DBUK, SCAC, and Munly & The Lupercalians were all releasing pieces of a tryptic known as the Kinnery of Lupercalia, with Undelivered Legion dropped first by Munly & The Lupercalians. I wondered when part two would see the light of day, and here it is, Buell Legion (out May 31)! Since their last album, a lot has changed in the world, and change also fell upon the Auto Club, with this being the first recorded output with George “Snake” Cessna on bass (technically a baritone guitar). Another big change is that this album feels a lot more like the SCAC of old than what we last heard on 2016’s Commandments According to SCAC, with an up-tempo drive and a bright, in your face sound. The end result I feel, is an album that feels more like a true Auto Club record than a Munly album.

Sonically, this is a dense recording with many layers of sound all pumping through halls of reverb. The drums have a snappy attack that anchor the tunes alongside the bass VI which manages to fill the low-end exceptionally well, shifting between a clean tic-tac country bass and an overdriven garage rock sound. The banjos and guitars sound great as well, as do all the “ear candy” bits provided by all the other instruments employed across this album. Really, the only minor gripe I have is the same one that honestly applies to most SCAC albums, and that is the vocals being at times a bit buried in the hullabaloo (making the lyrics a mystery). The harmonies and counter-melodies are all rad so it’s hard to fault the clarity all that much.

I still love Slim Cessna’s Auto Club. I look forward to years of unpeeling this onion. Check this out! – Jason

Boucher – The album opens with a track that shares the most with the vibe presented on 2016’s Commandments album, eventually transitioning to a sound more akin to Bloudy Tenant era material. I love how the narrator weaves his way through variations on a lyrical theme with plenty of self-reflection and humor to boot. This is a strangely sweet song and I am into it.

Cesaré – Oh yeah! This is really fun song that punctuates a sedate verse with a raucous, immeasurably catchy chorus that just plain cooks! Slim’s vocal is processed to make it sound like he’s working from inside a mine, and later, from under a soapbox placed upon his head. Munly’s vocal is so deep and drenched in reverb that it’s really difficult to make out his character’s thoughts, but dang is the song cool anyhow! This reminds me of Cipher era SCAC with the big chorus and raunchy guitar licks courtesy of Lord Dwight Pentacost (that laughing guitar!). Thumbs way, way up!

Easter – This song gets to be a little repetitive sounding as it bounces from narrator to narrator, but it’s catchy and has a nice up-tempo groove to it. The banjo has a middle-eastern meets Eastern European flair to it that is fun, and Dwight’s electric lead hammers that thought home through the bridge. I bet this one is really fun to see live, as it’s packed with energy and the insistent beat demands you to dance. Good stuff!

Harris – I love the story of this track! This is another catchy track that keeps the energy up thanks to drummer Andrew Warner’s busy shuffle. Again, I’m transfixed on trying to follow the story of the “rabbit king.” This is one of the things I love most about SCAC – the stories carried forth by the lyrics suck me into their world. I love this track with it’s psychedelic freak-out treatment. Again, I bet this rules live. Thumbs way, way up.

Ichnabod – This track has a fun, bouncy vibe it, replete with a haunting pedal steel from Rebecca Vera. I love her vocal contributions on this one as well! The bass is real nasty on this one, with an almost punk rock chorus that really lets it shine alongside Pentacost’s electric fury. Catchy? Yep! I’m not really sure what all’s happening in this song, and really wish I had a sheet of lyrics to read. Otherwise, it’s got great energy and a driving beat. Thumbs up!

Lessing – The simple intro on this one takes me back to Commandments as well. Dwight’s guitar howls over most of this song which injects a lot of chaos into an otherwise rather straight-forward tune. It’s loud and rousing, driving endlessly forward. Once again, we get a distorted vocal from Slim toward the end, which I’m 100% here for. It’s a fine tune that appears to be about knocking people around with a mighty fist.

Munly Munly – Ok, imagine what the Rapture would sound like if they played Americana and that sums up this track. It’s very danceable and even has that polyrhythm percussion over the latter half of the song that makes me think of House of Jealous Lovers. The hook is great, and catchy (“if you find heaven has turned you away, follow my brethren who’ll light the way“). This is another catchy song with an urgency to it that most likely really cooks in the live setting. Again, this track feels like it could have fit in nicely on Cipher. Fun!

Tosspa & Tosspa’s Twin – The album closes with another rousing number that sees the band pounding through an energetic climax. Munly does more lead vocals on this track than he does on the other cuts, and it sounds great. The almost “native” sounding howling through the bridge sounds awesome, particulary Vera’s part. Also shout out to the violent sounding piano details plunking about in the mix. Thumbs up!

ALBUM REVIEW: INTERCOURSE – EGYPTIAN DEMOCRACY

Heck yeah, the fantastically prolific Intercourse is back with more new tunes! If you’ve spent any time reading this blog, you already know I love this band, and full disclosure, I’m a total fanboy at this point. Egyptian Democracy (love that title!) sees the band returning to the faster, wilder bits of their earlier releases, and I’m here for it. Fret not, though, if you were into the sludgy headbanging of last years Halo Castration Institute or Bum Wine, you’ll still find plenty of mammoth neck-wrecking moments peppered throughout this banging EP. This is a really quick listen that totally leaves me hungry for more!

This record has an exceptionally clean production style that lets all of the sounds flourish in the mix. The drums have a ton of punch, if maybe a little light on the thump. Hey, it’s fine, you can’t have a ton of boom when you’re playing this fast or else it is going to get muddy. I get it! The bass sounds big and in your face, with a fat bottom end that anchors the dissonant guitars fantastically and even gets some time to shine with cool little licks that really pop the guitar line out. Speaking of, the guitars are mostly in your face and nasty, with the exception of the more reserved parts of the EPs closing track. The hardcore parts sound alright enough, but it’s the slowed down stuff that really brings the heat. Also, the sheets of feedback that accent here and there add some interesting layers. Frontman Tarek Ahmed’s vocals continue with the style he’s employed across all of this band’s output. It’s still rad. I love his rambling, stream of conscious style!

If you’ve been into anything this band has done, you’ll still like this. If you haven’t given them a chance, what are you waiting for?! Check it out! – Jason

George Metesky – Heck yeah! The EP opens with an anxious, winding riff before plowing headfirst into a hardcore romp and I’m stomping my way to Valhalla. This track has energy to spare, and I love that chorus down-shift! …and how about that ending beat down that instantly puts me in the grumpiest of moods?! Thumbs way up!

Clown College Dropout – The band is back to the races with the throttle slammed to the floor on this rally against Warped Tour predators. This is fast and hard-charging until the bottom drops out and the band rides the brakes to total devastation! Sick beginning, sick ending, sick battering in between? Heck yeah.

For The Love Of Schadenfreude – This is another barnstormer of hardcore mixed with half-time neck wrecking… and how about that chugga-chugga Hardcore™ beatdown toward the end?! Daaaaang. This is another wild ride packed with energy and violence. Rips.

The Knot – The dark humor of Ahmed’s lyrics is one of the many reasons I love this band, and this track is no exception. The lyrics are wacky and sad and man, I don’t know what all is happening, but it’s got my attention. I dig how the song starts off a little disarmingly, with a light and airy bounce that gives way to the bee-hive swarm of undulating savagery. I’m scowling in disgust and I’m banging my head when they throw the hammer down. This is rad as heck.

New England Bitter – The closing track sees the band stretch their legs a bit with a four-minute long bruiser that actually employs clean guitars! Ahaha. The dissonant nastiness that punctuates the clean parts is pretty sick, the bass thumping along with the kick drum while the guitars push and pull against the grain. The lyrics on this one are brutal too… not for the faint of heart. Oh yeah, the ending totally crushes, literally giving me goose bumps with the big chug-chug on the 1…. Thumbs way up!

ALBUM REVIEW: LAKE LAKE – PROXY JOY

Full disclosure, I’m Facespace pals with two members of Lake Lake and I’ve given them glowing reviews every time I’ve managed to catch them live at Westside Bowl. They’re a rad band with a cool sound and an incredibly engaging stage presence. I was stoked when bassist Jarrett Marcello hit me up with an advance copy of their long-awaited new album. Did I want to hear it? Heck yeah! Oh yeah – this drops on Friday February 2nd! Get stoked with me.

The album sounds great, but that’s no surprise given that axeman/vocalist Bill Lowery is a professional sound engineer. I don’t even know if Bill mixed it, but I feel like a pro would really steer their mixes down the right path regardless of who was manning the board. The drums have a big, punchy sound to them that lets every hit ring true. The bass has a perfect amount of rock’n roll grit to it, while also sounding nice and fat beside the drums. I love how it sits in the mix too. The guitars drive the mix with a raunchy rock guitar tone that brings the heat – the chords sound nice and big whilst articulate without ever sounding metallic. The leads have a perfect amount of roughness to them as well. The vocals sit at a good spot and were performed with plenty of energy and swagger.

This is a grade A rock and roll album that should please fans of bands like Clutch, early Monster Magnet, Pepper-era Corrosion of Conformity, and Red Fang. Check it out! – Jason

Comfort Keepers – The album opens with one of those tunes that I can listen to on repeat – a bouncing rocker that makes me bang my head, scrunch up my face, and get DOWN. From the opening lick, this dang song is catchy, packs a fantastic hook, and (perhaps most importantly) is immediately fun to hear. This is probably my favorite track on the album thanks to its energy and attitude. This rules.

The Boy Who Bit Me – This one starts off with a pounding rave-up before shifting into a groove that would have been right at home on the imaginary album that fell between Transnational Speedway League and Self-Titled in Clutch’s storied discography. Even the vocals have the old, snake-oil salesman via revival tent preacher vibe that Neil had back around that time. Then, this killer uptempo shift happens and it lifts the song with a huge boost in energy and I’m smiling ear to ear while getting my butt kicked in. This is catchy too, and there isn’t much not to love about it. Thumbs way up.

Blue Jerk – This one starts off with a riff that for some reason makes me think back to Boston’s TREE. The song itself does not sound like TREE at all, but something about that intro does. This is a burly tune hung upon a killer bass groove that gets my foot stomping and my neck swinging. This is a rowdy tune that comes across with much more aggression than the rest of the tracks. This brings the heat! I love the awkward ending too, with the bass sort of slipping into teeing off the last hurrah. I dig it.

Viking Vietnam – This song has the honor of sounding the most unlike everything else on the record, mostly thanks to a very different vocal approach. The laid back verse erupts into a big, catchy chorus that certainly nails the quiet-loud dynamic well. Once again, the band’s managed to craft a catchy tune with a groove that just sucks you right into its demands. Good stuff.

Heavy Lord – The band continues with a mid-tempo groove on this one, and this song reminds me a lot of the Pepper Keenan version of Corrosion of Conformity (America’s Volume Dealers, maybe?), in both the verse and chorus. Speaking of that chorus, dang, that’s a cool hook that’s big AND catchy. The bridge with the subtle guitar lead is cool and I’m not left wanting much of anything. Also, shout out to the on-a-dime start-stop elements of this tune. Thumbs up.

Coyote – Woo! This one brings the heat with that PNW style of weirdness that brings to mind such greats as MELVINS, KARP, and Red Fang thanks to what sounds like a cool multi-part vocal. The start-stop groove winds up the tension perfectly, setting up the more straight forward rocking that follows. I’ve caught a case of stink-face and I’m sneering in delight as I slowly bang my head here behind the keyboard. The noisey freak-out approaching the end brings the sludge home below a wild lead and I’m left hungry for more. This is a jam. Thumbs way up!

ALBUM REVIEW: BRONSON ARM – BRONSON ARM

Today, I made time to listen to an album I’ve seen a lot of buzz surrounding lately – the self-titled Bronson Arm LP! I’ve heard of this band, but never listened to them with any serious ears until now. As a two-piece, there’s always a question as to how sonically detailed the album is going to be, and the answer is positively “lots.” The guys do a great job of layering tones and even offering up some (perhaps) perceived multi-tracked accents to make everything sound like more than just 1 guitar and a drummer. Cool.

The album sounds like most rock albums that lack a bass player sound – it is what it is and that’s not a complaint. You don’t get a lot of heavy bottom-end on this, from either the baritone guitar or the kick drum, although both ring through clear as day. This is a very clean production, with everything given adequate real estate in the mix to let it all be heard with ease. The guitar sounds like it was likely layered in the studio with more than enough subtle differences across the stereo field to keep the record from sounding too flat as the album progresses. The drums sound great, with a snappy feel with plenty of thumb on the kick and toms and lots of articulation in the cymbal work to really let all the hits shine. The vocals are mostly delivered via a shout that serves the songs well enough.

This is an album that reminds me of a lot of my favs without ever sounding like it’s ripping them off. Check it out! – Jason

Pleasure Brea – This is a pounding song with a catchy chord progression pushing the verses and a bouncing chorus to keep it moving along. This is a memorable tune that does a fine job of rocking me. Vocally, it reminds me a lot of Microwaves in phrasing and tonality, which is certainly not a bad thing. The chorus really lifts the song with a wonderfully different rhythm knocking everthing up a notch or two. This is a cooker.

Hard Pass – This track opens with a raunchy riff that sounds thick as a brick and heavier than anything in the opener. I’m easily pursuaded to start stomping my foot and scowling just ever so. This has hints of early Kyuss crashing into elements of Morphine (sans sax). Weird combo right? Yeah, it works. This is a bruiser of a tune, especially when they slam on the gas towards the end and let it all hang loose. This is probably my favorite cut on the album. Thumbs way up!

Tedious Company – The band keeps the up-tempo energy flowing into this song with another driving beat and nasty garage rock guitar assault. Once again, there’s more than a hint of stoner-rock swagger in their rock and roll calvary charge and the result is an enjoyable tune that makes me bang my head and wanna dance. They mix up the rhythms effectively and you’ve got yourself another banger of a song. Thumbs up.

Conscious Confuser – They ease up on the gas, and drop us into a more awkward song full of white-space and sheets of feedback augmenting the thicker, main guitar bit. It’s not a bad tune, but it’s not a highlight for me either. There is a cleaner vocal burbling about in here, which is cool but overall, this one feels like it’s missing something.

His Ilk – In keeping with the more indie rock spirit of the prior track, this one continues on with a mid-tempo pulse and the to-and-fro rise and fall of quiet and loud parts. I like this one a lot more, though, as it seems to be a little more urgent or anxious or something. I realize now that there’s a bit of that cool Polvo-like phrasing to these tunes. The somewhat detached, slacker vocals accompanying the weird little-looping guitar licks. That’s cool. This one gets really neat through the bridge with the squawky guitar bit. Good stuff.

Drain The Coffers – Alright, the tempo comes up and so does the energy! Man, I’m a sucker for fast songs with a pulse. This one’s got some neat ringing guitar bits that add a lot of coolness factor to the song and the more frantic vocals do a bunch too. This tune cooks. I’m tapping my toes and bobbing along in happy agreement. Thumbs up.

One With The Floor – I like how this track bleeds out of the prior and sinks into a simmering sort of lick that would be just at home on a Kiss It Goodbye album (albeit with much, much more gain). The left channel feedback is slick and once the main riff sets in, I’m instantly scowling in disgust and banging my head with the insistent rhythm. The dissonant-chord stabs work and the end result is a solid cut that brings the heat. Thumbs up!

Patsy Ultima – This is a short-but-sweet rocker that bops along nicely before abruptly dropping into first gear and demanding you bang your whole body in agreement. It’s got great enery and straight up jams. Thumbs up.

Rabit Starvation – This one comes in with a slow-burning sorta groove the explodes for the exclamation points. The melodic vocals is very subtle but awesome serves up that climactic uppercut. This has an awesome pulse and I’m immediately pulled into the fricasee and banging my head and pumping my fist and all that. This is a great jam with caveman and astronaut sensibilities alike. Thumbs way up.

The Devil You Know – The album closes with a song that features a Facespace friend of mine (Aaron Marko – from The Swine) delivering a haunting sort of spoken word vocal that sounds like a distant PA being held hostage by someone at the end of their rope. The band delivers an urgent, pounding accompaniment to this, complete with horns and synths squawking about over top the stoner groove. Thumbs up!

YEAR END REVIEW – 2023

Another year has come and gone, and I once again failed to adhere to my goal of 1 review per week. Work has been busy and that makes active listening a real challenge, but somehow the blog was able to keep on par traffic-wise. Thanks to all who keep coming back to read the album reviews, interviews, and show reviews.

The year’s most popular posts were our review of Westside Bowl’s Fifth Anniversary extravaganza that went down last March and our surprise interview with the incomparable Tim Singer from Deadguy, Kiss It Goodbye, Bitter Branches, etc. I’m a decades long fan of Tim and it was awesome of him to answer my dumb questions. We managed to play 5 shows this year, including a bitter sweet final performance at Akron’s legendary Annabell’s where we managed to get a daggum MOCKINGBIRD reunion set to happen. Yeah, you’re welcome. We also got to share the stage twice with the incredible Something Is Waiting, plus another banger with our friends in ALBUM. Shout out to Psychic Trash (formerly Wizard Rifle), Bongzilla, Multicult, Death Program, Riptide Suicide, and Feckweed as well. Dang, those were five awesome shows we got to play. I also got to see some killer shows this year in addition to the Westside Bowl party, including a crushing Speedealer/Zeke bill, the Mars Volta, Speedbump Fest, and the almighty BOTCH in Chicago. Finally, after more than a year and a half of work, we saw the release of the Ohio Is Not All Bad 4-way split LP featuring us, Night Goat, Trash Mountain, and Hiram-Maxim. It was a smashing success, even if our tracks could have been performed a LOT better (I learned A LOT from that DIY recording approach). The Wax Mage editions were sold out almost instantly and we just about broke even before even having to sell any copies of the standard vinyl. Incredible!

As I was only able to review 15 albums this year, I’m going to force myself to pick a top five (ok, ok, six) for 2023. In no particular order, here they are.

Great Falls – Objects Without Pain

This is probably my favorite release of the year. I ordered the CD and everything. Demian Johnston has been crafting music I love for decades and I wasn’t even aware of Great Falls, his most recent project. This album completely rules. It’s the logical successor to Playing Enemy and Scott Evan’s production is killer. This is a seriously pissed-off album and as heavy as anything else out there. Sick.

Rid Of Me – Access To The Lonely

Rid Of Me was already an awesome band, but Access To The Lonely totally upped the ante. The songwriting chops on display here are legit and I cannot understand how this band is not blowing up in a major way. They got the sick riffs, the sick vocals, the catchiness, the swagger… total package, here.

Night Goat – Totem

I’ve enjoyed Night Goat since their very first release, but the band took a major step forward with Totem. This is a catchy yet savage recording that sees the band really firing on all cylinders. It’s a shame they imploded a bit in the latter half of the year, but I hope to see them re-emerge from the all-to-public flame out this year with a revised line-up and an even bigger chip on their shoulders. Rad album, and oh yeah – their tracks on our 4-way split also completely rule.

Something Is Waiting – Absolutely

This is the third album from Chicago’s Something Is Waiting, and shows the band evolve once more into an even better version of themselves. Dang, each album sees them refine and improve their special sauce of sleazy raunch filtered through start-stop riffing and snide vocals. This is their best one yet!

Intercourse – Halo Castration Institute

Yeah, every Intercourse record gets in my year end review because they keep kicking all the butts. I love this band and Halo Castration Institute saw them distill their hilarious negativity into it’s core essence. Sick riffs, massive grooves, and more tragic comedy from the BEST BAND in Connecticut.

BEDTIMEMAGIC – Sleep Together

Man, New England represents again with this incredible offering from BEDTIMEMAGIC. How two guys can make all this racket should embarrass some of the five pieces out there, cause these dudes crafted a massive album that’s packed to the brim with details and just plain cooks.

ALBUM REVIEW: MUSTA HUONE – VALOSAASTEEN SEKAAN

Today, I finally found myself with some time to listen to something new and randomly settled on this new release from the Finnish outfit known as Musta Huone. Prior to this, I had no idea who this band was or what they might sound like. I was intrigued by the Bandcamp write-up suggesting this was a blend of post-punk, cosmic music (hypnotic krautrock?), and black metal, though I detected zero black metal in this recipe (no blast beats, no maelstrom of guitars). That’s good for me, as I’m not a Black Metal aficionado. If anything, this release treads a path through the spacey, repetitive realms of sonic overload, taking the listener on a journey that at times seems it has lost the path only to make a triumphantly glorious return.

The album has a vibrant sound that makes the lush soundscapes jump to life, without being too bright. At times, you get burbles of synthesized tones and bit crushed inhuman croaks – other times you get squawking saxophones. The bass shifts between a fat round tone and an aggressive overdriven attack. The guitars shift through cleans, delays, and overdrives as well. The drums have a bright tone that makes them feel like they’re in the room with you as you listen. Overall, it’s a solid mix with a ton of sonic details to focus upon. The vocals are more of a texture since I cannot understand Finnish, but they’re performed well and compliment the tunes nicely.

This was a very pleasant suprise and recommended for folks into bands like LIARS, Explosions in the Sky, and Polvo. Check it out! – Jason

Peremmälle sisään – The album opens with what sounds like tape-speed manipulation of some instrumental theme that instantly brings to mind a descent into the so-called “backrooms.” As the sound stretches and glitches, it’s easy to imagine the unspeakable horror of liminal space – of being somewhere and yet nowhere all the same. At just fifty seconds long, this is a fine way to draw the listener into the album. Cool.

Heijasteet – A lone guitar plunks along, uncomfortably, for thirty seconds before a delayed counter-melody joins and furthers the awkwardness. Synth piles in, eventually joined by bass and vocals in a very LIARS-esque fashion. The Finnish lyrics are totally lost on me, but the reserved, slacker delivery works exceptionally well with the trance-like groove that the band establishes. This is a seven-minute long clinic in driving a ryhthm deep into the subconscious. The saxophones are cool, as are the subtle additions of the synth. I love the glitchy ending. Thumbs up!

Aika valuu sormien läpi – Here we get a tension building intro that finally delivers some release thanks to the arrival of the snappy drums. The weird minor key “chorus” or whatever is oddly catchy. We also get the first taste of nastiness in this track when they lurch into a fuzzed out, loud, abrasive chord progression that surely brings the heat! Also – cool grooves toward the end, and yeah, more sweet saxophones! Thumbs up!

Valosaasteen sekaan – This one starts with the bass and guitar dirtied up nicely and an urgent groove that easily gets me nodding and stomping along in time. The layers of feedback add a lot of dimension to the song’s repetitive bounce through the first two-minutes, before the song dissolves into an ethereal mist. Cool! The noisy synth elements and glitchy 8-bit sounds are pretty awesome but it may drag on a bit too long for it’s own good. This could have benefitted greatly from a reprise or something. All in all, it’s fine.

Pysähdytään hetkeksi – This song is essentially an interlude with a sound that makes me think of a cold rain in a dirty city. Short and sweet.

Kuun palvojat – Heck yeah, the band comes out swinging on this romping, hard-charging rocker of a tune! The main chord progression is brawny and the verse has a great bass pulse and a catchy vocal melody. I’m banging my head and scowling. The synth counter melody approaching the last third of the song is cool and adds a ton of interest for me. Thumbs way up!

Aurinko, aurinko – The album closes with an epic ten-minutes of rocking. After opening with a bass groove, the drums come piling on with an urgent beat that demands your heel to start jamming into the ground beneath you. The climactic bits see the band return to a noisier, more abrasive sound than the otherwise hypnotic vibe of the album. The chorus effect employed on the guitar at times brings back that warbling, haunted feeling first introduced at the opening of the album. This is a rad tune that jams hard! The repetition is used to its maximum advantage and it’s easy to get swept up in the determined push forward of this song, the synths and countermelodies flitting about while the band rages on. Thumbs way up!