2020 was a crap year. It’s also another year where I couldn’t often find the motivation to write, or to do much of anything, really. Here’s to 2021 being a bit better. I don’t want to be too negative, but I’m not holding my breath.
As I didn’t really write much, the best album of the year honors were among limited choices. So with all due respect to anyone who got it together enough to produce material in 2020, cheers to you!
Burning Nickels (containing members of Trashed Ambulance and The Moröns) has dropped their latest release – a 5 song EP called Bernie Goes To College via High End Denim Records. Recorded and mixed at Overserved Studios in Red Deer, Alberta, the songs are a heaping pile of fun, bubblegum pop punk. With subject matter ranging from the excellence of their niece to the unstoppable force known as Jerome the dog, listeners are encouraged to kick off their shoes, put their feet up, and forget about their worries for the 15 minutes it takes to spin this EP!
Guitarist/Singer/A-hole Josh Hauta comments on the creation of the EP.: “We had a bunch of silly songs in our repertoire that certainly didn’t fit in with our other bands so we decided that since the only rule we have in Burning Nickels is that there are no rules, we made the call to go super fluffy fun punk with this one. Walking and Waiting was actually a song that Ozone and I’s wives grandfather (they’re sisters, not the same person) had written and recorded onto a 45 back in the 50’s so we gave it the old Nickels twist. He’s sure to hate it. Then I blew my voice out singing along to the Boney M Christmas album so luckily, Rob and Ozone stepped up to write and sing on Summer Boner and Long Minute, respectively. I think it all turned out wonderful!”
You can pick up the album on the High End Denim Records bandcamp or stream it on your favourite platform. There is currently no plan to release these songs physically but stranger things have happened! Stay safe!
Here’s a quick shout out to Terminal City Rats with their new album, Year of the Rat. Hailing from Vancouver BC, these neighbors to the north have kicked out a solid punk rock record.
13 tracks of punk. largely in the vein of some of the crack rocksteady sounds of Leftover Crack, Star Fucking Hipsters, Morning Glory etc. Not a carbon copy, of course, but clearly going down that path.
It’s good, so give it a listen. You aren’t doing anything right now anyway.
Cheers! Jerry Actually
Tracks: 1. Intro 00:58 2. Year of the Rat 00:17 3. TCRA 01:11 4. Stand Proud 02:14 5. More than a Scene 01:32 6. Lion’s Roar 01:37 7. Never Surrender 02:00 8. The Struggle 01:53 9. Hastings 01:29 10. Stay Sharp 01:21 11. Here’s to You (Broken and Alone) 01:33 12. Queens 01:41 13. Wants and Needs 01:56
Bio: Started sometime in early 2018 by founding members, bassist and songwriter Jeremy Starcok and drummer Liam Ready, Terminal City Rats were just two new friends brought together by their mutual love for punk rock. The duo spent a couple of months jamming and composing ideas before guitarist Chris “Crash” Campbell (F’Neh / The Receptionists) joined. “I ran into Crash at a show and casually mentioned that I had started a new project when he pretty much informed me that he was going to be our guitar player”, recalls Jeremy. “He basically told me right there on the spot that he was coming to our next practice without me even asking.”
Having played together in the short lived Vancouver punk band Struck A Nerve years earlier, the two knew they shared some musical chemistry and common tastes. Eager to find a singer, the trio made a social media post in search of someone. Bed ridden and recovering from a nasty knee injury, Jameson Trenholm (Obscene Being) answered jokingly with “I’ll join your band”, not expecting anything to actually come of it. “…I had turned my knee into mashed potato. I somehow managed to hobble my broke self to a few jams where I was crowned the Singer”.
Now a four piece and the addition of a second songwriter in Jameson, the band spent the next few months crafting a collection of songs, three of which would be recorded on their debut self titled demo recorded at Rain City Recorders by Stu McKillop in the fall of 2018. For the next year or so, Terminal City Rats played a handful of shows at venues around Vancouver including the Have A Good Laugh festival and legendary local haunts such as the Alf house, Pub 340 and SBC. “Those were really fun shows and we played with some killer local and touring bands but when we started this band, it was always the plan to have two guitar players. Two differently styled players who complimented each other.” says Jeremy.
Enter Mandy Green (Frank Love) in August of 2019. “…having known Jameson through the Vancouver music scene, he said they were looking for a second guitarist and after hearing their fast, raw, high energy sound I said ‘I’m in.’” With the long time plan of being a 5 piece finally coming to fruition, the band set out to incorporate Mandy’s guitar playing into their set. More shows followed including a sold out night at the Cambie in downtown Vancouver playing with some of Vancouver’s finest in Space Chimp, Alien Boys, Chain Whip and The Vicious Cycles. Riding the high of that night, the band again decided to enter the studio to record the follow up to their first release.
Whilst practicing and preparing to record, the Covid-19 pandemic hit, essentially halting the band’s ability to get together and jam. Months passed, during which time founding member Liam decided that he no longer wanted to be a part of Terminal City Rats and left to focus on other areas of his life. The band, now without a drummer and quickly approaching studio time, started to consider cancelling their scheduled recording session. As some of the pandemic restrictions started to be lifted, the band was able to begin jamming again but was still without a drummer.
Through friendship and connections in the local community, Jameson approached drummer Marco Bieri (Space Chimp, ATD, The Dreadnoughts) about the possibility of helping the band in the studio. With his various projects also on hold due to the pandemic and itching to play, Marco welcomed the opportunity. Learning 5 songs in only a few practices, the band entered Rain City Recorders for two days in June 2020 again with Stu McKillop at the helm. With the reinvigorated energy of a new drummer in addition to the results of that session, Marco asked “Why not do a full length album?” 8 more songs and two weeks later, Terminal City Rats returned to the studio to finish their debut full length album “The Year of the Rat”.
New from High End Denim Records – The very first band to sign you can hear their latest singles Jerome and Amelia here! The full EP Bernie Goes To College will be out early December.
“I DECLARE THIS THE BOOK OF THE YEAR” -Josh Fernandez (Hard Times)
“Aaron Carnes knows that ska needs defending, and he’s highly equipped to defend it. Aaron wanted to set out to change the public’s perception of this unfairly-maligned genre.” -Andrew Sacher (Brooklyn Vegan)
“Honestly, I wasn’t a giant fan of ska. But the stories he gives snippets, I’m definitely getting this book. It’s fucking great.” -Mike Doyle (This Was The Scene podcast)
“I love In Defense of Ska and I can’t wait until it’s officially released.” -Cam Brio (Cam Brio Music)
Photo by Cam Evans
Why doesn’t ska get its due as a rich, diverse genre the way punk, metal, hip-hop and electronic music does? Or more to the point, why are ska fans so embarrassed of this music they love? The era of ska shame is officially over. In Defense of Ska is the much-needed response to years of ska-mockery. No longer do ska fans need to hide in the basement, skanking alone in their sharp suits, slim ties and porkpie hats. Now the time to take to the streets and fight music snobbery, or at least crank up the ska without being teased ruthlessly.
In a mix of interviews, essays, personal stories, historical snapshots, obscure anecdotes, and think pieces, In Defense of Ska dissects, analyzes and celebrates ska in exactly the way fans have been craving for decades. This book will enlist ska-lovers as soldiers in the ska army, and challenge ska-haters’ prejudices to the core.
Author Aaron Carnes. Photo by Amy Bee
Since hardly anyone takes ska seriously, author Aaron Carnes, has uncovered a bunch of untold stories. Geoffrey Hales, the “music and surf consultant” for the film Back To The Beach speaks on why he chose Fishbone to appear in the film. His decision was in part because Walt Disney was a racist and pro-Nazi; having his darling Annette Funicello backed by a black band would make him “roll in his grave.”
There’s also the story of Fresno ska band Let’s Go Bowling who, in 1998, had their touring van shot up on the freeway as they were heading home after a show. The only injury was a bullet fragment the keyboardist found in his hand. And how about Riverside skacore legends Voodoo Glow Skulls, who abandoned their first “Fat Randy” video shoot. They cast the real-life Fat Randy—a weird Polish kid they went to school with—and a bunch of old high school friends. These old buddies got drunk and dogpiled on Randy, hurting him, shutting down the video, wasting 10,000 dollars of Epitaph’s money in production costs.
Since ska is a global phenomenon, Aaron flew to Mexico to report on biggest, and most political, ska scene in the world. Many of these bands rose from the most impoverished neighborhoods in Mexico City. Few musicians in Mexico speak on political and social issues, but the ska bands do, and they’re incredibly popular with the kids from these same poor neighborhoods. Today these bands play all-ska festivals that draw 25,000 people and more.
After the ’90s, when ska was considered dead, the music continued to have a cult audience. Current-day Pitchfork darling Jeff Rosenstock used to fronted ska-core band Arrogant Sons of Bitches in the early 2000s. They traversed the country vehemently and defiantly defending ska amidst the ska-hating early 2000s musical landscape. They played to small but devoted crowds that loved that they didn’t abandon ska in the name of “rock with horn” like so many of the 90s ska bands did. It was such an arduous task, defending ska, they ended many shows injured, usually self-inflicted.
In Defense of Ska takes readers on a journey through the last several decades of music to illustrate how important ska has always been, and highlights hundreds of great, underrated bands, completely destroying the popular narrative that ska was just a zany trend in the ’90s. It’s a way of life. It’ll never die.
Flat Planet – Somewhere in TX, 1996. Photo courtesy of Aaron Carnes
WATCH LIVE PERFORMANCE ON YOUTUBELINKS: FACEBOOK/ INSTAGRAM/ TWITTER/ WEBSITE/ MORE INFO Today, JUNO Award-winning power trio The Dirty Nil share “One More and the Bill,” the emotional centrepiece of their forthcoming album, Fuck Art, out January 1, 2021 via Dine Alone Recordsand available for pre-order now. Speaking on “One More and the Bill,” frontman Luke Bentham says: Let’s be clear: social media hates you. “One More And The Bill“ is an ode to the primitive, casting off the shackles and enjoying life while you’ve got it. This is one of my favourite songs we’ve ever made and we hope you enjoy! Along with the previous releases of pop-punk gem “Done With Drugs,” the hardcore basement rock ode to young love “Doom Boy,” and “Blunt Force Concussion,” a slice of ’90’s power-pop, “One More and the Bill” is a grungy drinking song that climaxes with a vow to smash my TV, smash my phone, leave politics alone, go outside for a while. Watch The Dirty Nil perform “One More and the Bill” live via YouTubeand hear their frustration towards the toxicity of social media bubble up and boil over.
Fuck ArtThe Dirty NilJanuary 1, 2021Dine Alone Records 1. Doom Boy 2. Blunt Force Concussion 3. Elvis ’77 4. Done With Drugs 5. Ride or Die 6. Hang Yer Moon 7. Damage Control 8. Hello Jealousy 9. Possession 10. To The Guy Who Stole My Bike 11. One More and The BillFuck Art is a statement of confidence and defiance from a group that’s now three albums into the game—i.e., the point where ambitious rock bands are supposed to call in the orchestra, experiment with electronics, and try to make their Ok Computer. The Dirty Nil, by contrast, have opted to perfect the formula that, over the past decade, has landed them on stages with everyone from Against Me! to The Who. Fuck Art melts down all of their favourite ingredients—classic-rock heroism, pop-punk horsepower, ’80s indie scrappiness, ’90s alterna-crunch, speed-metal adrenaline—into a radiant, chromatic solution they can then mould and harden into unpredictable shapes.
Listening to Gibberish, the recently released album from Lafayette, Louisiana punk band, Subliminal Landmines. 12 tracks of bouncy, mid-tempo, rock and roll songs, with enough grit and sneer to take the more poppy edges off, and keep it just dangerous enough to not drift into pure rock territory. The sound is defiantly out of garageland, and totally suits the band. Three piece, three chords, 1. 2. 3. Go!
Everything reminds me of everything these days, but Subliminal Landmines has a vocal style that is similar to something, but I can’t put my finger on it. It’s good and it’s cool, so there’s that at any rate. Maybe I’m wrong, but as I’ve continued listening, the vocals kind of strike me as being like psychobilly/rockabilly act The Blackjakits. I dunno maybe I’m nuts.
I’ve half listened to the Gibberish a couple times now and it is growing on me with each successive run. The album as a whole sounds great and is entirely listenable, however standout Track six, Crutch, comes out of the gate like a Cheap Trick number. The intro really hooks in, and it’s totally a song about lost friendship, and about the things that you do to get by. Great stuff musically and lyrically.
The songs speak of loss, lament, drugs illicit or otherwise, and the type of soul searching that comes along with life on an isolated and often bleak planet. The effect is cathartic though. It helps to diffuse the pain of living.
From Crutch: “Staring at the ceiling while thinking bout way too much Having trouble standing without you as my crutch”
Bonus Green Day cover at the end, which I suppose puts a finer point on the sound and spirit Subliminal Landmines are trying to capture.
There’s a bunch of links below if you’d like to check them out. I think that perhaps you should.
Cheers! Jerry Actually
Tracks: 1. Criticized 02:13 2. Where’s My Coke? 03:54 3. Room for 3 02:36 4. She May Be 03:01 5. I’m Okay 02:53 6. Crutch 03:17 7. Suit Up 05:09 8. Target (Twenty-20) 02:59 9. I Love You a Camel 02:45 10. Ungrateful 01:48 11. Losing Heartbeats 03:16 12. Brain Stew / Jaded 04:30
Bio: Taking form in 2017, Subliminal Landmines exploded onto the South Louisiana Music scene with their energetic punk. Influenced by the grimey dive bars, garages, and smoke stained lungs of their youth, Subliminal Landmines released their debut EP “Captivity” which was received with open arms. Currently writing their first full length album to be called “Gibberish” which is set to release in the fall of 2020
Members: Grant Duhon: Vocals and Guitar Chris Hayes: Vocals and Bass Lee Gauthreaux: Drums
UK punk band Grade 2 have just released “Only Ones I Trust,” an outtake from the band’s 2019 album Graveyard Island. Co-written and produced by Rancid’s Tim Armstrong, the band hopes this feel good track with stomping choruses will “unify those who have seen struggles this year, because together in this game we are damned and we are all the same. We aim to have you singing your heart out, for now just in your living room but hopefully at a show soon!”
Grade 2 is Sid Ryan (vocals/bass), Jack Chatfield (vocals/guitar), and Jacob Hull (drums). Formed in 2013, the band met at school where they would spend their lunch break playing covers of classic punk tunes together in the music room. Since their formation, the band has released several EPs and three studio albums; Mainstream View (2016) and Break The Routine (2017), and Graveyard Island (2019). The bands’ Hellcat debut Graveyard Island was recorded and produced by Rancid’s Tim Armstrong at Armstrong’s Shiprec Studios and mixed by The Interrupters’ Kevin Bivona.
I’ve been pretty uninspired for a few months now. At the beginning of the pandemic, I was pretty upbeat. Working from home, being creative, and generally enjoying things to the fullest extent possible with the obvious restrictions. As spring drifted, summer languished, somehow we careened straight into fall. With that passage of time I have become a bit despondent. Colors have dulled. Highlights and lows have all reached their eventual entropy. Sometimes though, every now and again, you get a little bit of a boost.
Today’s boost arrived in the form of a brand new album from San Francisco’s Get Dead. “Dancing With The Curse” is out on October 9th, on the now venerable Fat Wreck Chords. What can I say, it’s a cathartic delight.
We were given a teaser of the album at the end of summer, via video for the intro track Disruption, a syncopated punk/rap number. The lead track segues into the remaining 11 tracks in a seamless fashion. The tracks move in and out of tempos from the fast-slow-fast-faster-slow-slower-fast-faster-slow keeping the sound swirling around in your gray matter.
Elements of folk, rap, ska, and reggae flavor the tracks and the band’s punk rock DNA. It makes for a lively album, one which repaves well worn ground with fresh new layers. It’s good stuff. It’s dynamic. You know what I’m saying?
Things, of course, are delivered in a patently dark fashion, tonally, but especially lyrically. That’s what keeps us coming back, right? Take some lines from track 4: Stickup
Did you really think You could start again This place is collapsing Hordes of incontrollable bastards They are coming for you It feels like this place is cursed So do your worst We are all going down
It’s not the sort of thing that engenders a lot of hope, not in a traditional way at least. There’s a certain comfort in knowing that you’re doomed, and it’s always nice to have a soundtrack to that feeling.
But, you know, there is hope. From track 7: Hard Times
Trouble breathing? Feel like something’s wrong? Have you felt like It’s been like this for too long? Is your heart beating? Can you hear this song? Then everything is okay
Maybe there will be better days? I know it made my day better.
Here’s the deal, there’s a new album by Get Dead and it’s the shit, as the kids used to say.
Cheers! Jerry Actually
Tracks:
Disruption
Nickel Plated
Fire Sale
Stickup
Glitch
Confrontation
Hard Times
8 Track
Green’s Girl
Pepperspray
Confidence Game
Take It
Bio:
There aren’t a lot of bands like Get Dead around these days. Instead of worrying about gimmicks and trends, this fivesome from San Francisco, California have always focused on the music and that’s evident with every passion-filled note they play. Get Dead started out performing together in 2007 after their respective bands called it quits and eventually attracted the attention of NOFX frontman Fat Mike who produced the band’s first full-length, “Bad News”, as well as their new full-length, “Honesty Lives Elsewhere”, and released both records on his label Fat Wreck Chords.
We are living in a fucked up world, engulfed in chaos. Everything is fucking broken. Occasionally though, a small burst of joy breaks through. One such joy is unsolicited albums arriving at my door.
The new album, In Transit by New York trio, Quaker Wedding landed on my doorstep, predicated on the assumption that “Upstarter” generally digs The Lawrence Arms. That assumption has shown to be true, because “Upstarter” digs the hell out of Quaker Wedding.
Anyone that’s been here for a few know that I am a bit partial to the punk trio format. I like the rawness it often creates. It has more guts; seems more real. In Transit is no exception.
Gruff, exasperated, and emotive vocals are draped over chunky 4:4 punk rock riffs. The tracks, though clearly forged in punk rock, are delivered in an ethereal, dreamlike manner. Flitting and drifting from one angsty bit to the next. In another world, this album would be emo, and I’m totally alright with that.
Quaker Wedding’s In Transit has got it where it counts, right in the guts. A fine recording, for your listening pleasure. My only lament, I suppose, is that this album needs to be longer.
For fans of: The Lawrence Arms, American Steel, Hot Water Music, Soul Asylum, Things that are filled with angst.
Cheers!
Jerry Actually
Tracks:
1. Sinking Ship 01:19 2. Dark Thoughts II 02:56 3. Jilted Lover 03:56 4. Wrecking Ball 03:50 5. Vermont 03:56 6. Sleep 01:48 7. Aching 00:53 8. Knowing Smile 03:12 9. Searching 03:32 10. On An Island 07:29
