Punk – Page 17 – Upstarter

The Downtown Struts – Victoria!

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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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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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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

Spraynard – Exton Square

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So I can’t say that I’m terribly familiar with West Chester PA’s Spraynard. In fact, this is the first that I’ve actually listened to them. That said, I’m rather enjoying the catchy pop/punk styling and the infectious nature of the four tracks on their brand new EP, Exton Square.

If I had to group this release up, I’d say that it carries a heavy amount of influence from past Asianman peers. It strikes me as a combo of Lawrence Arms and Shortround. On a perhaps less apparent comparison, the vocals make me think of Flashlight Brown. Or maybe my wires are crossed and they sound like something else (as well as themselves) but either way, I like it.

As with most pop/punk, the songs are mid to upper tempo. The vocals are lilting, the guitar and bass saturated and the drums are big without being enormous. As noted, the tracks have pep, but there is a minor slow down on the track “Intents and Purposes”. While noticeably slower, it doesn’t kill the whole “vibe” of the release. Granted this, being an EP, only has a smattering of tracks for reference, but if these are resplendent of Spraynard as a whole, I dare say they have a new fan.

–Jerry Actually

Anti-Flag-The General Strike

On March 20th, Anti-Flag released their 8th studio album, The General Strike, and it seems like they haven’t received a whole lot of press for their efforts. But that isn’t to say they don’t deserve it. Much like their last record, The People or the Gun, Anti-Flag has once again scored the soundtrack to an important political issue of the time, the Occupy movement ( while the previous album addressed the Bailout situation).

It seems funny to me that just like both of these events have been largely ignored by the mainstream, Anti-Flag’s last two albums have seemingly flew under the radar of the punk scene. Now, Anti-Flag is not breaking any new ground with their latest 12 tracks as they carry the same type of sound that they have become known for by mixing melodic moments with more street punk sounds. What they are doing is putting together politically scathing lyrics and touching upon subject matter that is not common in a lot of music. When they released The Bright Lights of America, I read a review stating that the album really lacked direction. This is not the case with The General Strike, and the direction becomes quite clear from the first aggressive track. Combine their tried and true sound with their lyric themes and direction and then you get something special.

I just received my copy of the album yesterday and I am still getting a handle on it, but I am completely enjoying it. One of the coolest surprises though was when I opened up my package and a drop card for the Vans Warped Tour EP came out which includes 3 songs from the album and 2 unreleased tracks (“SKATE” and “Whistleblower”). I knew that the download would be given out at the cd release shows, but I didn’t know it would be included in my order. All I can say is this, if you are at all interested in Anti-Flag or political punk rock give the album its due, give it a listen, you won’t be disappointed.

The Projection – While You Were Out

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While You Were Out is the forthcoming release from Chicago based pop-punkers The Projection. The disc offers up ten tracks of rock and roll with the catchy hooks and snotty vocals that make pop punk the perennial favorite that it is. The tracks are all clocking in at around the 3 and a half minute mark, perfect for that drive time radio slot, right?

The genre isn’t without its flaws though. When your band started years after the Warped Tour, there is a considerably number of acts to compare to. I’m inclined to think they’re like a less cheeky Sum 41 or a slower Goldfinger minus the Ska. That said, the sonic mashup of pop and punk is still rather a new kid on the block and largely still trendy. Despite the flavor-of-the-month nature that pop punk is, this release is not without its own charm. There are some interesting progressions and breakdowns in the tunes that keep it from becoming too stale too fast.

As a bonus, literally the bonus track, the band throws in a cover of the Buddy Holly classic, Oh Boy! Any band that appreciates Buddy can’t be all bad. At any rate, the faster numbers make the cut. They’re peppy and danceable. The wanking ballad variety, on the other hand, not so much. I like the vocals and overall the band has a good sound, that is if you want an edgy version of The Rembrandts. 😉

–Jerry Actually

The Magnificent-Bad Lucky

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About once a year I will come across a band that at first listen I don’t love, but I keep goiing back to, then I try to resist buying the album because I am not sure I like it, but then I just bite the bullet and get it anyway. The next thing I know I am waking up with the songs in my head although I may not have listened to it for a while. Then the love affair truly begins. This year’s album that has had that effect on me is Bad Lucky by The Magnificent.

Looking at the album cover I can’t help but be reminded of The Ramones self titled debut album. Then I am reminded of a quote from The Magnificent’s webpage that said ” If you are American, the music sounds English. If you are English, you have never heard of this band.” From there I can’t help but think that just as The Ramones’ debut introduced the world to the now legendary group, it would be nice if Bad Lucky were able to do the same type of thing for The Magnificent.

At times the last statement may seem like wishful thinking, but when I listen I start to think that maybe it is not so far fetched. Bad Lucky has everything that allows punk albums to endure for generations. Not only does it contain slick guitar driven melodies and sing along choruses, the lyrics speak to a generation that doesn’t quite know how to make it’s way in the world. All qualities which allow music to trascend time.

Now only time will tell if this particular album will be considered great 30 + years later (plus they may need to become known in their homeland first too), but if you take the time to listen, it will be something that you keep coming back to for some time to come.

Lemon Party – Trash City

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[rating:7/10]

Edgy/Indie suits Bay area outfit, Lemon Party quite nicely. The band has a new EP, Trash City out now. The EP features four tracks of past-era garage-fi melancholy, garage-fi angst, and plate reverb. (I don’t know if they actually used a big ol’ plate reverb unit or not, but the spacey echoing makes me think so. … What am I am engineer?) At any rate, there are four tracks on a recording that immediately reminds me of Dinosaur Jr. and things I can’t quite place at the moment.

The songs run tempos from the mid-slow opener, Jerusalem Cruisers to the mid-quick sophomore and junior tracks, Hesh-Kevin and Massachusetts Meltdown respectively. The latter containing some fun woo-hooing. (like a Vonage commercial w/ the 5-6-7-8s.) The senior track, if you will, keeps the tempo up, but reduces the overdrive and achieves an even more decidedly 60s sound, (tonally if not musically.) I can’t make out much lyrically on initial listen, but the words sounds on the sad side … like “love” and “anymore”.

To sum it up, Trash City by Lemon Party (curious about the name. have I lost touch with youth culture?) is a decent fun EP. I’d totally throw it in the mix every now and then for some tunes that are both up-tempo and downtrodden. Best of all it is a no risk move. Think you might like it? Think you might hate it? Is that so important these days? You can check it out compas gratis at their bandcamp page: http://lemonparty.bandcamp.com/album/trash-city

–Jerry Actually

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