Stripped down to its most basic core, reviewing something is simply answering the question, “What is this?”. Violet Ray answered this for me on the front cover.
Now, “skate rock” can mean two pretty drastically different things. Historically speaking, I attribute the term to bands like JFA, Agent Orange, or Aggression. Early 80s hardcore that either has some surf guitars sprinkled in there, or someone skateboarding on the front cover, or both. The term was also co-opted in the 90s to describe more melodic stuff like No Use For A Name, Strung Out, Lagwagon, etc. While I have an affection for both definitions, I think the latter grouping would be more accurately described as “snowboard rock”.
Violet Ray are not snowboard rock. Every song sounds like the aforementioned 80s influences, with maybe some Night Birds sprinkled in there (who themselves draw from the same sources). It’s all pretty good. The songs are about skateboarding, people who skateboard, and characters from skateboarding films. It’s extremely derivative, but the source material is sick, so whatever.
Even their logo kinda looks like the Battalion of Saints. If I have a complaint, the cover art could use some sprucing up. It looks like the opening credits to a Nickelodeon show, but not a cool one like “Doug”. If you’re going full-on skate rock, put a slightly off-kilter photo of shirtless dude skating a pool on the front, matted onto a repeating wallpaper pattern of the band logo in the background. Otherwise, keep up the good work.
-Zach Akenson
Tracks: 1. Blender Knows 02:52 2. Phillips 66 02:23 3. Master of Disaster 02:51 4. Don’t Jump Off 02:46 5. Street Survival 02:44 6. Brookpark Rd. 02:03 7. All Hail Cardiel 03:00 8. Head Bongo 02:58 9. Skate or Die 03:00 10. Animal Chin 03:26 11. Dogtown 03:41 12. Poor Devils (2025) 03:46
Listening to the brand new studio album, “So, Here’s The Thing” from Sonoma County (CA) ska punk band Legal Disaster. Billing themselves as the first “Crystal Rock Steady” band, the Crack Rock Steady adjacency is (obviously) undeniable. Fractional subgenres notwithstanding, I dig what they’ve got going on.
This release brings nine tracks, eight and an intro really, of fun, upbeat, ska punk. Healthy amounts of call and response vocals, catchy choruses, and well placed horn work provide for an entirely compelling album.
Despite the nod to bands like Leftover Crack / Choking Victim / Morning Glory, etc., Legal Disaster has a bit more influence than solely that. It’s hard for me to not hear references such as Spring Heeled Jack, and Less Than Jake. It makes for a solid mix of styles, really.
A couple of the standout tracks, for me at least, include the vocal / acoustic track The Creature. It’s an interesting diversion for the rest of the album. Track seven, “Money” jumps out with some serious sonic intensity musically and lyrically.
There’s a cover track on here, but I really have no clue who “Price Daddy and The Hyena” are, so I won’t provide any comment there.
The final track, “Cigarettes”, a more folksy number, will probably resonate with anyone who has ever struggled with quitting smoking or anything else.
Bottom line is a pretty rad ska punk album for 2025. Check it out when you can.
Cheers! Jerry Actually
Tracks: 1 Intro 2 New Age Anthem 3 Question Yourself 4 Crystal Rock Steady 5 No Complaints 6 The Creature 7 Money 8 I Lost My Life (Prince Daddy and the Hyena cover) 9 Cigarettes
Shrapnel is the new EP from punk / post-punk band, Giglinger from Helsinki Finland. Two tracks and two alternate “Edit” versions of the same tracks offer up some solid atypical rock and roll.
The songs are quick, fairly rapidly paced and rhythmically tight. The tunes are washed in shifting sonic themes. Despite the overall brevity of the tracks, they seem somehow more epic than the numbers would have you believe. At times the overall sound is reminiscent of Dead Kennedys, and the EP really carries some of the post-apocalyptic soundscape of a Voivod release.
If you’re looking for a little something new, check out Giglinger’s new EP – Shrapnel
Cheers! Jerry Actually
Track 1: The Man With Shrapnel in His Head Track 2: Born Dead Buried Alive
I’m listening to the new EP, “Atomic Summer” from Southeast England’s Popclaw. It’s got four tracks of peppy punk rock, created by a duo who’ve never stepped foot in the same room. (Ain’t technology amazing!?)
Track 1: Let’s Start A Riot reminds me a bit of Rancid, in a good way. In particular it makes me think of some of the more Lars-centric tracks.
Track 2: Anthem of Chaos has a sweet vocal hook that keeps running through my head, and after a few listens really has a similar vibe to Blood Rushes by Aussie punk band, Civic. If not a total coincidence, a solid influence.
Track 3: The titular track, Atomic Summer has a delivery that reminds me of something that I can’t quite pin down, but I like it.
Track 4: Chasing Shadows is the longest on the EP and is a bit of a dissonant number. It’s got some garage / lo-fi vibes to it, without being overly scrappy.
Atomic Summer: A fun EP from the geographically diverse Popclaw. I like the nature and direction, and look forward to hearing more in the future.
The EP will be available on all major streaming platforms 3rd January, 2025.
The Fastbacks have survived virtually every era of punk, somehow managing to sound fresh, interesting, and unfashionable every step of the way. Forming in 1979 in Seattle, they played early gigs with bands like DOA and The Lewd, and also opened for bigger touring bands like the Ramones. Pre-Guns ‘N Roses Duff McKagen was even their drummer for a little while in the 80s, a decade in which they released a handful of classic EPs and a couple records on PopLlama. They signed to Sub Pop at the height of the label’s power in the early 90s, releasing three more seminal full lengths and slough of more 7″s. The band finally called it quits in the early 2000s after one more LP on spinART. After they split, guitar player/principal songwriter/sometimes drummer Kurt Bloch continued working with the Young Fresh Fellows, as well as his many other side projects. Bassist/singer Kim Warnick joined Visqueen, and then moved to Maine, quitting music altogether. 2011 and 2018 saw one-off reunion shows in Seattle, and the band’s label No Threes has been trickling out vinyl comps of their old EPs and B sides (most of which are still available from their Bandcamp page, and all of which are essential). Songs spanning their career like “In America”, “Gone to the Moon”, “On the Wall”, “Just Say”, “Goodbye Bird”, “Impatience”, “In the Winter”, and countless others are timeless bangers I’ve listened to hundreds of times.
I’d been more familiar with their earlier records, but I recently listened to an interview with Tony Molina where he said not only were the Fastbacks his favorite band, but that his favorite album was 1999’s The Day That Didn’t Exist. I went back and listened to it again, and damned if he didn’t have a strong case. I also went and picked up a copy of 1996’s New Mansions in Sound and was equally blown away. Working my way backward through their catalog, I came to the conclusion that the Fastbacks just kept getting better with each release. This pattern arguably continues with their first new full length in 25 years, For What Reason!.
Reunion albums don’t have a great reputation, but the past 10-15 years have seen some truly remarkable success stories in bands putting out some of their best material post-reuniting. Dinosaur Jr, Superchunk, Quicksand, Hot Snakes, and Lifetime to name a few. The Fastbacks are definitely at the top of the list now as well. The original three of Kurt, Lulu, and Kim are all here, as well as who I consider to be the quintessential FB drummer (there have been many) Mike Musberger. Original line up reunions are the best. Kurt Bloch is possibly the best punk rock guitarist of all time. Nobody can rip a solo that doesn’t ruin a song like he can. It’s great to hear him plying his trade with his old bandmates again.
for WHAT reason! opens with a classic Kurt Bloch lead on “The End of the Day”, and before long Kim and Lulu have you hooked in what is an instant Greatest Hits Fastbacks song. This is followed up by the Kim penned “Come On”, which has a bit of power pop feel to it, but equally catchy and also makes it onto the Greatest Hits. A cover of The Seekers 1966 “I’ll Never Find Another You” comes next. To know the Fastbacks is to know the true art of faithfully covering an obscure 60s classic, while also making it unmistakenly their own. Nobody does it better. Reading the comments on the Bandcamp page, this is mentioned as a lot of people’s favorite track on the album.
This perfect run to start the record continues with my personal favorite “Nothing To Do”, which has everything that makes a proper Fastbacks banger so special. Hooks, harmonies, instantly memorable, but also a GREAT bridge. No one writes a better bridge than our man Kurt Bloch. He has such a musically prolific embarrassment of riches that he can afford to use up a perfect little riff or lead one time in the middle of a song, rather than taking that immense quality and framing an entirely new song out it. There are truly no bad tracks on here. Another notable favorite is the album closer, “The World Inside”, showcasing that the Fastbacks are capable of writing not only perfect two minute bangers, but also seven minute ballads of equal quality. The initial run of these have sold out, but keep an eye on their Bandcamp page as they plan on repressing more. While you’re there, grab a copy of literally anything else that’s still available. There is no bad starting point if you’re just looking to begin your Fastbacks journey, including for WHAT reason!
Got Breakout, an awesome looking EP by Bad Idea in the mail the other day, and by awesome looking, I mean that. The album art, by Brian Walsby is super rad.
Musically, the tracks are four on the floor, straight ahead, hard rocking punk. The band hails from Minneapolis, MN, but their driving riffs remind me of Zeke. Clearly also influenced by Black Sabbath as evidenced by the Electric Funeral intro to Track 2, Breakout, and a smidge of Misfits-style riffery on Track 6. Night of the Hunter.
It’s good, loud, relatively fast-paced punk. 6 tracks in about 10 minutes. Enjoy!
I received a copy of the new Gentlemen Rogues album, Surface Noise, in the mail the other day. I’ve got it on for a second spin right now. Well, ok, I’ve got it dialed up on their Bandcamp page. Nevertheless, damn! This album has some serious pop hooks.
The new release from the Austin, TX quartet brings ten new tracks of uptempo rock and roll, filled with, as I mentioned, a whole lot of hooks. Vocal hooks, drum hooks, guitar hooks, bass hooks, yup. All hooks, all the time.
I hear hints of Replacements, and Screaming Trees. Some of the guitar work has a Weezer vibe. Perhaps it’s just me, but the vocals sound a bit like Billy Jo Armstrong mixed with Rhett Miller. I don’t mean to be all “name drop”, but I think that gives you a sense of the sounds going on here. It’s basically a veritable amalgam of poppy punk-adjacent sounds across multiple decades.
According to the one-sheet, “Surface Noise is a record full of well-turned guitar pop, complete with roaring chords and propulsive rhythms behind Dunlap’s clever and cultured lyrics” I can’t disagree with that statement..
Let me tell you something about States of Nature. They are a really good band. This is some professional shit, and it’s precisely stuff like this that makes volunteering here at the Upstarter Foundation worthwhile.
“Brighter Than Before” is the upcoming debut full length from the band, coming out on Sell The Heart Records (who are really building an impressive roster) later this month. If you send them money, they will mail one to your house. This information will be important later, because after you read this review and listen to it, you’re going to want a copy.
Hailing from Oakland, California, their Bandcamp page describes them as “A danceable hybrid of Post-Hardcore and Rock N’Roll.,” which is accurate. It’s danceable, but not in an annoying kitchy way, and the riffs have some serious Reis/Froberg muscle to them. States of Nature are danceable in a DC sort of way, not in a band with exclamation marks in their name sort of way. I think it’s actually a very difficult thing to properly execute in punk and punk adjacent music. Being danceable without the appropriate amount of anger, or the absence of actually being able to write great songs, does not equate to enjoyable music. Good news is that State of Nature write great songs. Great songs you can dance to. You’ll want to mosh creatively to these ten tracks, or in my case, bob your head up and down on the Peloton while saying, “Oh hell yeah!” (the highest possible compliment, really).
The opening track “Brighter Than Before” comes out blazing like something off the first Hot Snakes record, and immediately got my attention. Huge chorus, and also kind of has the vibe and energy of something off “In/Casino/Out” by ATDI. This power and bounce continue with track 2, “Wicked World”, this time perhaps leaning a bit into (International) Noise Conspiracy as well. This is followed by “Papered News” and “Tides”, where we get a chance to catch our breath for second, but still full of hooks. There’s a video for the former, so check it out below. “Undone” is the most Fugazi sounding jam on here, which always seems like a lazy comparison for anything considered post-punk, but States of Nature are worthy company for such a tag. “New Foundations”, “God With A Gun”, and “American Drone” follow, comprising my favorite 3 song run on the album. These songs have everything. The dark rage of Mission of Burma, the attitude and delivery of Ian Svenonius, a bit of spacey Mind Spiders weirdness, and the aforementioned massive riffs of Hot Snakes. The record tapers off with the rather upbeat “The Return” and the perfect slow closer “Oh The Light”, which is also one of my personal favorites.
So there it is, a bunch of “sounds-like” comparisons that hopefully convince you to invest in joy and purchase this record. I’m a music fan, not a journalist. At least I didn’t say “angular”. This is my favorite new album I’ve heard so far this year, and it will definitely see repeated listens from me for the foreseeable future. Rumor has it they will be swinging up the West Coast this Spring, and I’m going to make a serious middle-aged effort to go see them.
Are you in need of a new primary rock and roll provider? Look no further than Cleveland’s own Urgent Care. They are the nation’s preeminent Healthcore band, and are out to get you the help you need.
Coming in at the tail end of 2023, “Fast Medicine” is a 14 track back alley lobotomy of snarling, snotty, punk rock and roll. The songs are firmly rooted in rock, with a lot of fuzz and growl. Lyrically things are tongue depressor in cheek, with songs about various medical issues and minor ailments. Songs of Frostbite and Allergens abound.
All in all, it’s a fun release and reminiscent of bands such as Boris the Sprinkler and Quincy Punx. There’s some DK influence and some more obvious Ramones-core lineage as well.
So trip and fall your way over to Urgent Care’s Bandcamp page, and get patched up with some Punk Rock. If you’re lucky, your insurance will pick up the tab.
I liked “Left to Wander“, the first full length by Barefoot Engineering, almost immediately after putting it on. Sometimes you can tell right away whether something is your kind of music. After reading their bio, which describes the band as a trio of childhood friends-turned-40-year-old-dads from a large Midwestern city, who are influenced by Seaweed, Knapsack, and Jawbox, I knew I was in for a real treat. If I had to honestly describe what type of band would most likely appeal to me, it would probably be something very close to that.
The core of this band has been playing music together in various iterations around Indianapolis for almost 25 years. A couple of those bands include The Brokenhearted, and Project Bottlecap, the latter of which also included the original guitar player for The Ataris. With some breaks in there while people started families, this current lineup put out their first EP under the Barefoot Engineering moniker in 2017, and recorded this full length in 2021, the physical release of which was put out on Radio Cake Records earlier this year.
Although they definitely have their own thing cooking, there is an instant nostalgic familiarity to this band that’s super appealing to me (also a Midwestern born dad in his 40s who likes Seaweed, Knapsack, and Jawbox). “Left to Wander” sounds like something I’d mail cash in an envelope to Doghouse Records in 1998 for. I don’t really know enough about actual “music” or “words” to properly describe this style of music without resorting to comparing them to other bands with whom they share similarities, so let’s just do that for a minute. We already mentioned Knapsack, Jawbox, and Seaweed, all of which are reasonable comparisons. Sort of a cross between the last Jawbox record and Knapsack, but with the bounce of Seaweed. 90s guitar heavy Midwestern emo like Braid and “Purity and Control” era Giants Chair weigh in as well.
The vocals are clean, and have a nice range, being able to emote aggression without screaming (an underrated strength, imo). It’s vocally reminiscent of Rob from Bum/The Suitesixteen in tone, but laid over something like Silent Majority. I listen to this music and picture myself at their show, surrounded by bobbing heads in rolled up beanies with poorly dyed black hair curling out of the bottom. It smells like cigarettes and I’m 20 years old, it’s glorious.
No stinkers on this one, but my favorites so far are “Out of the Darkness”, “Book of Faces”, “Meaning”, and the excellent closer “Dancing in the Stairwell”. I love that there are still old friends out there making music like this. It’s very well done, and highly recommended.
