Category: Reviews

All reviews

Teenage Bottlerocket-Freak Out!

I say it’s not your music, it’s my attitude.  That is the only way that I can explain my reluctance toward listening to Teenage Bottlerocket.  I think it goes all the way back to SXSW 2011 when Ben Weasel had a physical altercation with two female fans.  A lot has been said of that of course, and why would that have anything to do with it? Especially considering they were very outspoken about the incident and were very quick to drop out of Weaselfest.   Well I was a fan of Screeching Weasel and couldn’t wait for the new album to come out (which I promptly sold), and I think I subconciously swore off any Ramone’s inspired pop-punk.

Fast forward to 2012 when Teenage Bottlerocket posted a stream of their first single from Freak Out, “I’m Done With Love.”  It caught my interest, and I even went back and listened to some of their older songs and I was hooked.  I am actually listening to it for a third time time today, and the thought of a fourth time just crept into my mind as I am currently listening to the final track “Go With The Flow” and the lyric “…I do as I feel like doing…(forgive me if I got that wrong)”  just inspired me to give it another go.

The other day I wrote a review of a new split from a couple Canadian hardcore bands, and while I did my best, hardcore is not my favourite punk genre, pop-punk is.  It is a combination of a lot of things, but mostly I love a good hook that I can sing along too.  Not to mention pop-punk is my style of choice while driving, I sing along, I do interpretive dances at times, and I drive equivalently fast as the music.

This last fact may get me into trouble as I drive across country this weekend and I head into Ontario where the Provincial Police and the 90 KM/H (approx 55 MPH) speed limit reign supreme.  Either way, it doesn’t matter much, songs like ” Who Killed Sensei”, “Freak Out”, “Mutilate Me”, and “Summertime” should fuel my driving and if I listen to it a compulsively as I have today, ensure that my fuel mileage isn’t as good as would be preferred.

Harrington Saints – Pride & Tradition

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© 2012 Pirates Press Records / Contra Records
[rating:8/10]

With a name like “Harrington Saints”, I’m immediately struck with the idea that this is a serious business, no holds barred, blue collar, in your face, working man’s street punk band. Maybe it’s familiarity with the genre, but there was no mistake in my assumption. These particular saints hail out of a little east bay town know as Oakland. You may have heard of it.

The band has been around since 2005 and Pride and Tradition is their second full-length. This one is produced by Lars Frederiksen. You may have heard of him. With it you get 11 tracks planted firmly in the vein of Oi and Street Punk; Blue collar rock and roll for the poor souls that have had their back broken by the man and get nothing in return.

The music is short, crisp, poignant, and timely yet timeless. (until such a time as people aren’t getting the short end of the stick I guess … so yeah, timeless.) That said, Street Punk isn’t the be all, end all for me. There is a strong tendency to get a bit repetitive. The Harrington Saints work to remedy this by not sticking strictly by the books. Tempos shift and not every track is a full on shout along. The themes run constant though; A desire for more, the tenuous grasp on the American Dream, white collar bandits, the ones who don’t put the effort in for their fair share.

Bottom line: If you like punk rock and you feel like you’ve constantly got the boot against your neck, rock the hell out and shout along with the Harrington Saints when they come crushing through your town.

–Jerry Actually

Dead Ellington – Refuse

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© 2012 Dead Ellington

[rating:8/10]

Refuse is the 3rd release from Boston’s Dead Ellington and the first EP in a three part series. Recorded at Little Eden Studios, Asbury Park, NJ with Pete Steinkopf (of Bouncing Souls), the EP delivers 5 solid punk rock tracks.

The recording, upon listening, is obviously punk rock, but there is definitely an emo-ish feel to it in both the vocals and the tempo downturns on the majority of the tracks. As well, there is a very 80’s poppy feel on the closer, “Miracle”. I’m thinking Plimsouls maybe, but what do I know? I’m not familiar with previous material from the band, so I can’t suggest that this is normal for them or otherwise. Either way, it isn’t my cup of tea, but not an unpleasant experience either.

Lyrically, the band brings a very positive message. To wit, from track three, “Network”, “There ain’t no power like the power of people, ‘cause the power of people don’t stop.” I think the band sums up their message well from their website with these words: ‘Refuse, Rethink, Rebuild is a new way of thinking. It is about looking at the reality of ones surroundings and creating something new. It’s all about refusing the present, rethinking the future, and rebuilding the past. “It’s a way of life not just music, it’s our manifesto, embracing the D.I.Y scene from street art to punk rock.”’

So, in the end, heartfelt punk rock, coming at ya straight outta Boston; Support your local scene and pick up a copy for yourself and/or your mother. You can find out more here: http://www.deadellington.com

–Jerry Actually

The Atom Age – The Hottest Thing That’s Cool

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© 2012 Asian Man Records

[rating:9/10]

It is a rather rare occurrence when an AMR release doesn’t just thrill the hell out of me when I listen to it. The Hottest Thing That’s Cool, the new release by Oakland’s The Atom Age is no exception. To that I say, “Hooray for rock and roll!”

The Atom Age is a 5-piece punk/rock band with a lot of horn laced garage punk cache. Don’t let the garage moniker throw you though; the tracks are by no means lo-fi. It is merely a designation, like a map marker to help you locate things that have some Hammond B3 in there somewhere 😉 If it’ll help you get a better idea of the sound, I’m thinking immediately of Rocket From The Crypt. That influence is inescapable, however the overall vibe is decidedly more aggressive. The additional punk-rockery (when combined with the horns) makes me think more along the lines of King’s of Nuthin’. I also guess that on a purely on a rock plus horns level, they also make me fondly remember a late 90s Portland band. So a nod to The Sauce, for all who remember.

The tracks run around the three minute mark, on average, with the occasional number clocking in at the three and half mark. This works out well with my appreciation of compact tracks. In conjunction with shortish track length, most of the songs are up tempo, with exception of track five, “I’ve Been Thinking.” For this release, I’m a fan of the faster pace as well. The structure of the music isn’t overly complex, but the addition of horns, effects, and strong arrangements make for a larger soundscape than might otherwise be imagined.

So, in a nutshell, five piece horn-laced punk rock with an intriguing and solid sound. The Hottest Thing That’s Cool is out now on Asian Man Records. The band is on tour in June, so check them out if you can. You can get more tour dates on the webs: http://theatomage.com/

–Jerry Actually

The Downtown Struts – Victoria!

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© 2012 Pirates Press Records
[rating:9/10]

Ok folks, here it is, Victoria! the brand new full length from Chicago’s Downtown Struts. I’ve long been a fan of the punk rock sounds coming out of the Windy City and this newest venture doesn’t disappoint; equal parts rock and roll and angst all rolled together with enough ennui to bend the ear of the most cynical among us.

The tracks are longer and a tad slower than my attention span generally allows for, but the song writing and delivery is in a such a manner that I’ll sit transfixed through the entire album (and on a bad traffic day, I’ll sit through it twice) I’ve talked about bands that are wearing this new mantle before: Dead to Me, The Loved Ones, Hollowpoints. The list could go on, but I hope you get the point. The music is full on rock and roll but loaded with introspection and damn I do love some introspection.

What you get with Victoria! is 10 tracks that set a great stage for sad story telling; telling tales of a life lost in America. To me it symbolizes lost glory, a pining for halcyon days but retaking the faded sense of hope. The album encompasses a dying ember on a still burning torch. Not everything is lost, but what exactly does it take to rekindle that waning flame?

The bottom line is one of the best new releases that I’ve heard so far this year. If you’re a punk fan that also gives a shit about song writing and you can feel the heavy weight of words, especially in combination with music that matches the spirit of the lyrics, then grab a copy of Victoria! You can find more info on the band here: http://www.facebook.com/thedowntownstruts

–Jerry Actually

Jesse Lebourdais-I Go By The Sound

For those of you unfamiliar with Vancouver’s own Jesse Lebourdais, let me give you a brief introduction.  He is the lead singer of a melodic hardcore/punk band named Cambridge.  He is also an accomplished folk punk solo artist with three solo albums to his credit with his latest being I Go By The Sound.

The album was posted on Jesse’s bandcamp page Wednesday night, and I have to admit (and I have to pull this off this cheesy reference and there may be more  on the way) that I have been “following the sound” ever since and listening any chance I have gotten.

I don’t know where to start on the accolades for this album.  The song writing is sublime and in true folk fashion the story telling is rich (I am definitelythinking I must be smitten like a school girl right now because I am using words that are not normal for me).  Combine the storytelling with Lebourdais’ one of a kind vocal stylings and you have characters in the songs that sound, seem, and feel so familiar that it is almost as if they are old friends.  Check out “Union Man” for the best example of this. 

From top to bottom the 13 tracks that comprise I Go By The Sound are stellar but my personal favourite is the title track.  But I do have to say that my one issue with this song is when Lebroudais  belts out a reference to his music as “a testament to a life well wasted.”  I do have to say to Mr. Lebourdais that even if you never write another song, your life is not wasted in the least.

Softie

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© 2012 SoftieRockMusic
[rating:7/10]

I’m rocking out to the new release by Wichita’s own Softie. The self-titled release jam packs 15 tracks of guitar/drum duo garage-core onto a single compact disc. The tracks are diverse in their individual manner of rocking, but all are heavy on the rock and roll and to that end, the sum becomes greater than the combined parts. And folks, you just don’t always get that kind of synergy in a duo.

At any rate, Softie has been an on again, off again band in the Wichita scene for around a decade now and while I don’t have a lot of knowledge of their earlier work, I’m digging into what they are dishing up nowadays. I also am fully aware that some of the newly recorded tracks are, in fact, old tracks.

If I had to categorize, which I often do, I’d go ahead and call the band and raw blend of metal rock with a bit of punk edge, some cattle-core and a smattering of comedy. Honestly, I could do without the latter. It feels like the comedy is thrown in as a compensation measure and frankly it is unnecessary. Don’t get me wrong, some of the songs have a comedic base and that is fine, it is the little end thought false settle that seem out of place.

Jaded perspective aside, the songs do still rock. I had the CD in my car for a few trips to work and back and I didn’t opt for another disc, nor did I switch it over to NPR, so that’s a good indicator of my true feeling. Though I may have a slight bias as I know half the band, I’d still listen to this and stop in for a live show or two if I didn’t. My arbitrary points scale may not reflect it though. I’m not a math guy though. You run the numbers.

Bottom line is a fun disc with a rocking core. Go support your local bands and buy a copy, see a show, get some merch. Hell, do it all. http://www.reverbnation.com/softie

–Jerry Actually

Pennywise-All or Nothing

A few weeks ago I was walking home from work and as I walked past the small skate park there were three kids skating.  They had their car pulled up close with the windows down so they could hear the eurotrash that was playing on the car’s stereo.  I asked the question that any self respecting skater from the 90’s would have asked “Do you actually skate to this?”  To my surprise they replied quite proudly, “Yes!”  I couldn’t help but think that if they had been skating with some of the people that I did that they would have had their boards taken forcefully and probably “focused” (which is what we called breaking the board in half).

It has been a few years since I have actually stepped on a skateboard in any meaningful way, but when I was skating in the mid ’90’s we were experiencing punk’s 3rd wave and height of popularity (check out the recent documentary One Nine Nine Four for more on this).  It wasn’t uncommon for someone to be listening to Bad Religion’s Stranger Than Fiction, The Offspring’s Smash, or Pennywise’s About Time. 

It was the latter album that I would end up associating skating during those times with.  A lot has changed since those years though for Pennywise.  One of the biggest changes of course is the replacement of Jim Lindberg with Zoli Teglas on vocals.  Even though Jim has moved on to form another group and it was easy for me to accept them, I was much more skeptical of the new Pennywise.  I think it was because I had always associated Jim’s voice as being Pennywise and I wasn’t sure that they could move on without him.  Even after hearing the first two singles “All or Nothing”, and “Let us Hear Your Voice”, which I ,the uncertainty over their new direction still remained. 

I am now starting to think that it was because an initial synopsis said that it Pennywise’s best since Full Circle, which I definitely contend with, but not because All or Nothing isn’t good like I initially thought, but mostly because I really enjoyed Reason to Believe (Pennywise’s previous effort). 

As I am now listening to All or Nothing for my 5th or 6th time, I am starting to let go of that skepticism, and letting it be what it is, which is a solid punk rock album that can stand head to head with any other Pennywise album.  Zoli Teglas steps in to fill the void Jim has left, and truly makes being the lead vocalist for Pennywise his own, which wouldn’t be an easy task for a lesser band let alone punk rock legends. There are songs on the album that will remind long time fans of past music, and it also has a few songs that will leave fans feel as if they are listening to something fresh and new.  So while I was skeptical of the addition of Teglas originally, it turns out he can not only match the band’s past energy he also brings a fresh sound that helps vary the bands sound in a good way.

  Pennywise has been spreading messages of staying strong through adversity for years, and they have taken their own advice and turned out a very strong showing with their latest album.  I would recommend this album to anyone, and I actually have two copies of the cd, so I have been carrying one in my pocket when I go to work so that if I see those kids skating again I can give it to them so they have something to skate to.

The Real McKenzies Westwinds

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© 2012 Fat Wreck Chords
[rating: 8/10]

Vancouver BC’s venerable Scottish torch bearers are at it once again with a new release. 2012’s Westwinds gives us 14 new tales of wild seas, bad luck, foolish ways and the drink.

For the uninitiated, The Real McKenzies are a Canadian Celt-Core band with a focus on Scotland as opposed to the more or less omnipresent Irish variety. The lads bring a be-kilted, bagpipe heavy, and a Mike Meyers-esque ala “So I married an Axe Murderer” variety of Scottish charm to the genre. For those in the know, Westwinds brings with it the quality and character that you’ve come to expect.

As with many bands that have any sort of duration, there is maturity in the songwriting especially as it pertains to the ability to work together and the quality of craftsmanship. In other words, the song writing isn’t suffering from age or boredom. While all the tracks are top notch in their own right, a few that standout for me are the opener, “The Tempest” and the self-deprecation of track 6, “Burnout”.

In the end, what you have is another fine release by the best damn Scottish-Canadian band in the world.

–Jerry Actually

Arkham Asylum-A Serious House on Serious Earth-15th Anniversary Edition

The original edition of this book was printed in 1989 and was groundbreaking at the time as it was the first comic to feature painted artwork, and at the time of publishing the 15th anniversary edition it was still the best selling comic of all time.  I must have been busy because I didn’t get around to reading it until just recently.  But even in 2012 Dave McKean’s artwork still stands out as being incredible.  I think that is one of the four aims of the book, and the one where the book doesn’t fail. 

Each page is perfectly drawn and pristinely coloured.  My favourite part of the book is parts where The Joker is laughing, the colourist did an excellent job of creating the tone of the HA HA HA  that is the character’s signature.  I just wish I could have replicated the same tone while trying to make the laughter in my head while reading.

Grant Morrison’s  second aim of the book is to explore Batman’s pysche by making him face his own demons when entering the asylum.  After reading the synopsis of the book I came to expect a lot of the story.  The basic premise is that the residents of Arkham lead by The Joker take over the asylum and take hostages and will release them on the condition that Batman enter the Asylum to face his own demons and his enemies on their own turf.  But in the end his enemies only make brief appearances and there are really no battles or demons faced.  After reading, I really have no greater understanding of Batman.

But the biggest failure of the book is the it’s third aim, and that is creating a dark symbolism to surround Batman.  Before reading the included original script and footnotes I would have never made connections to the symbolism, and after reading  I kind of find the intention to be pretentious and unaccessible to the common reader. 

The book’s fourth aim is to connect the history of Arkham Asylum to the present day, but where it fails is that the when the story flashes back it doesn’t transition well back into the story.  I look to the book’s contemporary groundbreaking book in its own right, The Killing Joke, for the manual on how it should be done.  Allan Moore and Brian Bollard seamlessly weave The Joker’s backstory into the main story by using the story and artwork together.  Look no further then page 8 when the future Clown Prince of Crime is reaching for his wife’s hand to understand what I mean. 

At any rate, I did like the book, but felt I needed to share what I think are valid criticisms of it.  Like I said, the artwork is stunning, and there are parts of the book that genuinely creeped me out.  For any fans of Batman books it is worth a read to those who haven’t, but as I get further into exploring Batman comics, I am finding that there are better reads out there.