Album opener “When Sun Comes Out” is an awesome dance-oriented rock song that blows your mind with phat bass lines and a kick drum that blasts through walls like the Kool-Aid Man. Stomping rhythms and dynamic melodies coalesce into a twisted new form of pop music that is fit for kings and ladies. Complex song arrangements and infinite sound spectrums numb your ears while the sick rhythms that only someone from Austria could build together mash your guts inside out. Humorous lyrics, crunchy distortion, and industrialized beats aren’t the only attraction with Bulbul, they blend their own uniquely weird take on electronica, hard rock, indie art-rock, and bass-oriented thick melodies for something just outside of the Jesus Lizard and Mr. Bungle. Damn good combustible rock that is impossible to put into any subcategory–unless that subcategory is ‘awesome’.
Didn’t think I’d ever see a “RIYL” for the band Leatherface and then when it’s combined alongside the likes of Jawbreaker and Joan Jett, I just kind of figured it would blow my hair back a bit. Sure did. Hailing from the crowded punk scene in Boston, Deadly Sins bring experience in Brendan Maguire (Reach the Sky) and Stephanie Dougherty (female vocals w/Dropkick Murphys on occasion–best known for their single “The Dirty Glass”), and Billy Brown (Crash and Burn). Their fiery brand of gut-wrenching harmonies attest to their superb version of nuanced melodic punk. Songs like “Barely Breathing” no doubt will offer the sort of phat riffage and throaty vocal sing-a-longs at any Boston pub worthy of this group’s performance.
Not really sure what the album title is about? Well who cares, it’s all about great indie/alt. country damn it. The passion of indie music got it right, and so shall we. Easily an album that one can point towards the influence of Johnny Cash (those deep vocals are truly zany) and The Velvet Underground, “Victory Shorts” by Absentee is an album rich in romantic ideals and poor in easy to chew pop nuance for which we’re abundantly thankful. Produced, engineered, and mixed by Nick Terry whose recent notables include the Libertines and Bernard Butler, “Victory Shorts” is a mediation on the mind and body’s odd quirks via smart lyrics and careful composure. Great for those of you unsatisfied that the Cure isn’t making good music anymore who can’t stand that Snoop Dogg was allowed to remix Johnny Cash.
August 2008 sees the 25 year anniversary of Adrenalin O.D.’s debut LP now out for the first time on CD on Chunksaah Records. The pride of Jersey speed-punk originally formed in 1981 and their first vinyl release was recorded on their label aptly called Buy Our Records with a mere 15 minutes of studio time. All of the songs were done in one take with no overdubs and their label eventually grew into one of Jersey’s most respected indie punk labels. This album was dripping wet with sarcasm and the hardcore punk comedy act was always known for their on stage banter and quickly became cited as an influence for better known bands such as Screeching Weasel, NOFX, Bouncing Souls, Anthrax, Stormtroopers of Death, and Lifetime. The first disc on this anniversary edition features the remastered version of the 15 track original while the second disc complements the first with thirty-three tracks including their aforementioned debut EP “Let’s Barbeque” as well as their first live session on WFMU’s Pat Duncan show, live tracks from City Gardens, and several b-sides. Toss in a nice 12-page booklet and you’ve got a fine collection of energetic hardcore punk.
Haunting vocals that instantly recall Thom Yorke ballads, Brice Woodall and the Positrons boost the fray with electronica, organic indie pop, and sweet soundscapes dripping with honeydew guitars and sober percussion. Steve Barber played the role of bassist, engineer, and producer on “Sine Wave Sea” at the Freezer Studio in Richmond, Virginia. Emotionally charged pop vocals dole out the light jabs of perfectly gemmed indie pop while the songwriting carries off your body into a new environment. Perfect.
Indie dancey punk gouges out eyeballs amid guy and girl vocals that explode with intensity. Energetic hooks with fantastic synth and frenetic guitar stabs are just part of the assault off of Johnny Foreigner’s debut album finally available stateside. Hailing from Birmingham U.K., the trio has been making waves among indie circles in the know. Chaotic choruses that are true barn burners have hoisted this group to the forefront of critical praise lately. Recorded with Machine (Fall Out Boy, Armor For Sleep), “Waited Up ‘Til It Was Light” is out in October on Nettwerk Records. Check it out.
Phoenix is hot. Not only because of what registers on thermometers but due to the brooding and developing music scene. Try Me Bicycle was one of the bands that brought some well-deserved attention to the Arizona scene. “Voicings” was originally recorded and released in 2006, and is now available throughout North America via this re-release this fall. The trio blends organic musical soundscapes that are awash in harmony and emotion. Carefully picked guitars melt into the gentle piano and the coffeehouse hushed vocals. Indie-pop that is glorious in both scope and breadth is a rare treat; Try Me Bicycle is one of those endearing sweet inspirations that finds a listener comforted in a beautiful rediscovery of past Simon & Garfunkel-esque pop melodies. Stirring.
It’s not often that an indie band lasts as long as Thistle has; in fact over these past fifteen years of playing together Thistle has not only grown close as individuals and friends but as a musical outfit. Tweaking their craft with each and every release, Thistle has long been a band that I’ve followed and adored. As one of the giant groups favored on one of my most loved indie labels, Tiberius Records which was formed by the fine gents in the band, Thistle nurses a sound that is similar to the Athens, GA rock sound of the ’90s. “The Small Hours” finds the group embracing a cognizant approach to guitar-centric indie rock with experimental soundscapes building up to a crescendo throughout. From a mixing perspective, this is one of the more interesting albums I’ve heard a rock group produce this year. Thistle proves that despite a lengthy timeline they can still produce something fresh and expansive.
The first full-length album from The Union Trade debuts their cinematic post-rock experience that is mapped out with crafty climaxes and dips into caverns of lows. Cheering on the recent wave of minor key grandeur in indie rock, The Union Trade seem destined to swiftly pour their influence into the pores of songwriters across the States. Dense walls of guitar are glazed and spackled with inflections of sound effects and distortion. Their record label, Tricycle Records, better make sure they have a solid contract in place with these folks as the Union Trade is easily the next Coldplay. As emotional as it could get, “Everyday Including” is a transcendental album awash in guitar fuzzy logic and hugely catchy triumphs. Simply amazing and simply essential. Own it and friend them on myspace.
Oh wow this is some pretty hideous singing. While I am an admitted hater of the garage rock sound, I have been doing this long enough to spot talent. The May Fire has very few chops, very little creativity, and yawns their way into each chorus. Singer Catty Tasso is a breathy singer who wants to conjure Kim Deal real bad (nothing on “The List” would even be a b-side of the lesser Deal twin’s Breeders, let alone anything the mighty Pixies did), but falls real damn short. The best part of this album, which is the final part of a trilogy of self-released EPs, is that it ends after twenty some aggravating minutes. Leaves a bad taste in your mouth because despite its raunchiness it can create an ear worm or two. Boo!