Tuesday, July 22, 2014


“Bud” 7”

When I first heard Honeyblood’s single “Bud,” back on a very chilly evening last winter, I instantly fell in love.  They somehow captured the momentous bright shining energy of Belly’s “Feed the Tree” and crossed it with the lazy hot summer afternoon vibe of Mazzy Star’s “Halah.”  For anyone that has known me for a long time, they most likely know that I played those two songs to death upon their respective releases twenty plus years ago.  These were songs that I simply could not get enough of.  Over and over again, I’d play them.  “Bud” has been exactly the same.  The vinyl may have to be replaced soon, because the chiming guitar, crashing cymbals and soaring dual vocal chorus of Stina Tweeddale and Shona McVicar reminding me that “it’s not your fault at all” have been like a blissful narcotic, but the grooves are starting to dull from overuse.  When I was lucky enough to see Honeyblood open for We Were Promised Jetpacks back in February, I was noticeably disappointed that they didn’t follow their performance of “Bud” with a second one, because I always listen to it at least twice.  If there are any copies of the single left, I highly recommend tracking down the vinyl, but at least snag the download, because the B-side “Kissing on You” is also a wonderful piece of pure pop a la Best Coast, but as filtered through early Spinanes (think “Suffice” or ‘Spitfire”) guitar/drum simplicity.

Honeyblood "Bud"

It seems like it’s been eons since I’ve been waiting for Honeyblood’s album to finally be released, but finally it has arrived and it does not disappoint.  This Glasgow duo’s self-titled debut lives up to the promise of “Bud” and has me brimming with excitement.  I’ve never been one to take much stock in historical heritage, but sometimes I wonder if the bit of Scottish in my family’s bloodline is why I love so many Scottish bands and why I approach almost anything that I love with at least a small touch of dread and trepidation.  The opening song “Fall Forever” begins with an urgent guitar strum before bursting into a Pale Saints-like hazy and grinding fuzz of beautiful noise that somehow both finds comfort and solace in the early excitement of a fresh new crush, yet the lyrics are filled with harsh images of blood, lambs to the slaughter, punching and scratching.  In other words, this song is pretty much perfect.  It simply continues on from there.  Stina’s vocals and lyrics effortlessly roll off her tongue in such a natural conversational way.  In “(I’d Rather Be) Anywhere but Here,” she rattles off her escape plans from her childhood locale and common theme, but here it sounds so tangibly identifiable and the music is absolutely brilliant.  The echo-laden guitar layers and steady heavy beat evoke the huge sound of Whipping Boy’s 1995 masterpiece Heartworm.  The similar sounding “Biro” presents us with allusions to frustrations and the futility of writing about the human condition (“If I threw my pen into the sea / I know there will be someone to write after me”).  When does one cross the line from identifiable troubles to simply whining? 

“Bud” reappears on the album in an altered state, which of course, gives me ample excuse to begin listening to it as much as I did last winter.  Peter Katis’ production on this version is interesting, because he strips away the Mazzy Star blur, which gives Stina’s vocals a softer plaintive feel and Shona’s drums a bigger impact.  Luckily, Katis does not mess with the glory of that spectacular chorus.  Newest single “Super Rat,” is a vicious indictment of someone who has wronged them in love and with zero subtlety with a chorus of “I will hate you forever” and this: “SCUMBAG!  SLEAZE!  SLIMEBALL!  GREASE!  You really do disgust me!!” 

The second half of this album loses zero momentum.  “Choker” begins with a classic rock riff and pounding rock drums, all while providing a sinister peak into a troubling relationship (“What doesn’t kill you / just makes you stronger”).  Meanwhile, “No Spare Key” provides one of the sparest arrangements, Stina’s free flowing words, and a bridge to die for.  The pure pop side of Honeyblood shines through as “Joey” comes in with a bounce in its step and some fantastic vocal melodies, as does the handclaps and pop waltz of the breezy “Fortune Cookie.”  They also bring on song straight ahead rock with the shout-along ‘Killer Bangs” and another diss with “All Dragged Up” (“Why won’t you grow up?”). 

“Braidburn Valley” closes this incredible debut with a moody isolated autumnal walk outside that slowly reveals some kind of deep hurt, before breaking into a blistering buzz revealing that the hurt is both mental and physical (“Another fucking bruise / This one looks just like a rose”).  The simple imagery is amazing and intriguing and tells so much more than the thrifty use of lyrics.

All I can say is: get the album, see them live, and support this music.

Honeyblood "Super Rat"


Sunday, July 20, 2014

Produit Collecté

Produit Collecté

Wow!  BNLX are overwhelming me right now.  What started out as an introduction via Big Takeover magazine (Produit Collecté landed at #26 in Jack Rabid’s semi-annual top 40 in the most recent issue - #74) has turned into an onslaught of new music to listen to.  This late 2013 album is actually a kind of best of collection culled from this Minneapolis trio’s first eight (EIGHT?!) EP’s and now I’m frantically trying to catch up.

It turns out that vocalist/guitarist Ed Ackerson has a long history in music.  He’s the co-founder of the indie label Susstones, former frontman of Polara (who I have faint memories of hearing at some point), and long time producer and engineer by way of his Flowers Studio. Thankfully, this history hasn’t dulled his creativity, because BNLX is brimming with exciting and absolutely electric songs.  BNLX is comprised of Ackerson, bassist/vocalist Ashley Ackerson and drummer David Jarnstrom and this trio lock down into some seriously tight good old fashioned Midwest post-punk.

What makes BNLX’s Produit Collecté so refreshing is the simple way they touch on all kinds of underground genres with such ease.  Even though these 14 songs are culled from eight different releases and all kinds of different sounds, they seamlessly fit together.  I guess the most obvious touchstone is their fantastic sing-along trade-off vocals of the Ackerson’s that hint at early X or even Eleventh Dream Day.  But I cannot emphasize enough how great it is to hear music like this again.  Listening to this collection reminds me of tuning into an especially great stretch of college radio back in the late 80s, where one might run into straight ahead US punk rock pounders like “Rise Above” and “Vaporize,” or a UK raincoat rock song that brings in beautiful atmospheric guitar textures and dreamy bass-lines like “Blue and Gold.”  I can easily imagine recent song (opening song from EP #8) “Opposites Attract” getting airplay on MTV’s 120 Minutes with its three minutes of a dance beat, squalling guitar line, and addictive chorus.  And speaking of addictive, every song they seem to write is freaking catchy as can be and there is a sense of fun.  They aren’t afraid to throw their own name in to a song (“BNLX Today”), or even the video game “Frogger,” or write a deadpan text message inspired song titled “LMAO (CMEO),” whose shout-along chorus is once again flawlessly fun and will get endlessly stuck in your head – and in this case, that’s a great thing.  I’d be remiss if I didn’t mention the amazing highs that come from repeated listens to the soaring “Where is the Love,” the relentless 50s shuffle via industrial feedback beauty that is “Over the Horizon,” and the breathtaking “You Left Me Here.”  Really, this collection improves with each listen.

Oh, how do I love this!  I am late to the game and, as I mentioned earlier, am in the process of trying to catch up with this band.  What I haven’t mentioned is that purchase of Produit Collecté will arrive with a download of all 32 songs from the eight EP’s – totaling 32 songs!!!  This is why I am so overwhelmed.  There is so much great music that it actually takes some time to absorb it all.  BNLX also released a debut full length LP back in 2012, which I need to get next, because it sounds as great as all of this.  I cannot recommend this enough – it is never too late to discover incredible music.

BNLX "Opposites Attract"


Monday, July 7, 2014

How to Keep from Falling off a Mountain

How to Keep from Falling Off a Mountain
(Blue Aurora)

Last summer I read a glowing review of For Those Who Wish to See the Glass Half Full – the debut album from San Francisco band Slowness in the venerable Big Takeover magazine.  As I do while perusing each massive issue, I wrote the name down on a list and checked out their music online and then excitedly sought out the vinyl only release (sorry digital as well, but that is never my first option) at all the record stores I ventured into.  Unfortunately, time slipped by and I still had not tracked down a copy of the album.  Not until recently when the band announced the release of a new (vinyl) release when I knew I had better get my act together and order the new LP, as well as download their previous work. 

There’s something mysterious and lovely about Slowness.  Their name evokes ideas of the so-dubbed slo-core “scene” of the early to mid 90s, and though they share some of the transcendent qualities of some of those artists, they are really something completely different.  In fact their two earlier releases (including the 2013 LP and the 2011 EP Hopeless but Otherwise) are really straight forward affairs.  Musically, the band weaves a very attractive intricate guitar work to create pretty damn catchy songs.  I’ve heard them lumped in with the other modern ‘shoegaze’ bands, which is fitting, but their free flowing sound also reminds me of the dreamy post punk who favored chiming guitars and nice vocal harmonies.

On the latest LP, How to Keep from Falling off a Mountain, Slowness (Julie Lynn and Geoffrey Scott and guests) has decided to stretch their sound.  They have not lost their classy touch with creating enticing repetitive foundations for their songs, but here their power of drawing the listener into a wholly immersive near trance is astounding.  Almost every song on the album is the same steady tempo and the constant driving and drifting atmosphere is both soothing and intriguing.

“Mountains” begins the album as a perfect bridge from their earlier work to where they’re heading.  The soft vocals and glittering guitars sound like they could be taken from the first Stone Roses album and yet as the song continues, the edges sharpen, the keyboards begin to take on an increasingly menacing tone and by the end the coldness of Closer – era Joy Division begins to take hold of the song (check out that scratchy guitar).  “Division” rumbles in next and reminds of early Saturnine or (whatever happened to) UK’s Engineers from a few years back.  The near seven minute “Illuminate” closes out side one and is truly the most repetitive of all of these songs.  The Velvets-like buzz and relentless unchanging beat is both a little jolting and comforting. 

The second side of the LP is named “Anon, A Requiem in Four Parts,” and is the highlight of the album.  These four distinct, yet perfectly matched songs (fantastic production, by the way) flow so seamlessly that it’s almost hard to believe that 18 minutes have passed when the needle lifts away from the record.  The second part (“Anon, part II”) has the most wonderful side-winding bass-line and an oddly danceable groove, which is reprised in “Anon, Part IV,” but instead in a much darker and heavier light.  But it’s the entire voyage that makes this album so special.  It reveals new insights with each listen and transports the listener to another world.

This is a band that has quietly and quickly amassed a pretty special selection of music, which is deserving of a lot more attention.  Don’t be like me last summer.  Contact the band and buy the vinyl (it comes with a free download) before it’s gone. 

Monday, June 23, 2014

Beauty & Ruin

Bob Mould
Beauty & Ruin

What can I say about Bob Mould that hasn’t been said all kinds of times before?  Hell, he even has a tell-all style autobiography that you can go and read.  He has ten solo albums filled with deeply personal and often painfully angst-ridden lyrics – not to mention at least half of the songs from the six ground-breaking Hüsker Dü during the 80s and the three album side road for three albums as Sugar in the early 90s.  These tell the story alone.  If you are aware of his music from the last 35 years, you already know how you feel about him.  If not, then all I can do is recommend his powerful songs and hope you discover this legendary talent for yourself.

It’s difficult for me to truly judge where I’d place this new album amongst his amazing legacy.  The first listen felt like a mild let down after the spectacular tour de force of 2012’s Silver Age (#1 pick of 2012 seen here), which was so focused and so incisive and absolutely as fresh as he’s ever sounded.  But it’s not as if he was on a cold streak before Silver Age.  2009’s Life and Times was excellent, as well as District Line and Body of Song and on back we go.  And if I were to choose where this new album stands, I think I may like it better than any of those, so how could it possibly be a let down?  It’s not.  The album grows with each listen.  Mould continues to sound as revitalized as ever – due in large part to his solid – no stellar – touring and recording band for these last two albums.  With ex-Verbow bandleader Jason Narducy (please, I beg of you to check out their two great albums from the late 90s Chronicles and White Out) on bass and Superchunk (I’m sure you already know how great they are!) drummer Jon Wurster – this trio has gathered a lot of momentum and are tight as can be.  Mould is at a place in his life where he seems willing to enjoy his full musical legacy (the band ripped through several old Hüsker Dü numbers and played Sugar’s unbelievably great Copper Blue in its entirety!!) and soak up the appreciation that his too small following offers him.

Beauty & Ruin may not have the huge upfront impact of Silver Age, but it has a much wider variety and like his previous two solo albums we find Mould increasingly ruminating over his history and confronting past demons.  The album opens up with a Workbook or Black Sheets of Rain heaviness with “Low Season,” a cold look filled with mixed emotions due to his father’s passing.  Then Mould comes out with the rage on the speedy burner “Little Glass Pill.”  Actually, there are more truly fast songs mixed in this album than maybe any since his 80s punk days, with the self-deprecating “Kid with Crooked Face,” and the curmudgeonly “Hey Mr. Grey.”  He hasn’t lost his touch with catchy singles either.  The third song, which is always the album’s lead single, “I Don’t Know You Anymore,” is as addictive as any single he’s ever released - actually, so is the brief, but explosive Tomorrow Morning,” and the straight-ahead buzz saw of “The War,” and the amazing “Fire in the City,” or the easy going strum and delicate keyboard melody of “Forgiveness.”  It’s all so excellent!  The album closes with two positive tracks to end the proceedings on an uplifting note as well, which is a little strange after listening to so much bleakness and witnessing one of the angriest and loudest concerts I’ve ever witnessed in support of Black Sheets of Rain in 1990.

Beauty & Ruin is another winning collection from one of the greatest songwriters of our time.  That’s really all that needs to be said.

Bob Mould "I Don't Know You Anymore"


Sunday, June 22, 2014


Haunted Hearts
(Zoo Music)

The other morning, just before I had to wake up for another day of work, I had a vivid dream.  The dream had me at a concert.  I was watching a band next to a few pretty women.  At a quiet lull, I leaned over to shout “I’m hoping to meet the Dum Dum Girls tonight!” into the ear of the attractive brunette next to me.  She smiled and yelled “If you play your cards right, maybe one day you will” into my presented right ear.  She and the three women with her then abruptly turned and walked away as the band on stage concluded their set.  As you’ve probably already have guessed, if you didn’t immediately stop reading upon seeing “I had a vivid dream,” the woman next to me was Dee Dee Penny from Dum Dum Girls.  Such is the crush that I have on this talented rock star and this is how happy I am that she has two albums out this year already!  Not only did DDG’s release an excellent long player back in February (see Too True), but now along comes the debut album from a side project - Haunted Hearts - with her husband Brandon Welchez fresh from his band Crocodiles (I know, right?  How am I supposed to propose to her now?). 

Their 2013 debut 7” was an intriguing glimpse into what these two might come up with together (#30 pick seen here).  It is somehow a perfect blend of what their two respective bands have done so far, despite not sounding a whole lot like either one.  Both songs from that 7” are included here in different forms.  The masochistic love song, “Something That Feels Bad is Something That Feels Good,” has softened edges now with added keyboard flourishes making it something more akin to mid-80s Psychedelic Furs than the Jesus and Mary Chain grind of the single.  Similarly, that b-side “House of Lords” (the superior song, if you ask me), is given an additional buzzing opening instrumental melody to augment the simple propelling bass of the original. 

If you liked that single you will likely enjoy much of the album.  The opening “Initiate Me” builds from a quiet bass-driven interlude into a bouncy handclapping three minute pop song – still infused with a layer of sleaze fuzz to give the air a general deviant, underground atmosphere.  Another catchy number comes in as the penultimate track, “Strange Intentions,” where Welchez takes over the main vocal duties, but it’s the bridge chorus and bridge that are the highlight of this one.  Two of the songs that have been featured with videos include “Johnny Jupiter” and “Up is Up (But so is Down).”   “Johnny Jupiter” is an echo-laden melancholic story presented by Dee Dee that has a growing charm with repeated listens.  Meanwhile “Up is Up (But so is Down,” is kind of messy like the title.  The song carries a woozy stumbling psychedelic feel – barely held in place by the insistent bass crawl – and lethargic vocals from both Welchez and Penny.  This song nearly turned me off from buying the LP when I first saw the video.  It surely achieves the vibe they were going for, but I’m not feeling this one.  Luckily, the second side of the record is much stronger than the first.  “Love Incognito” is their best song so far.  Dee Dee takes the lead over a haunting keyboard, a stumbling beat and a wandering bass-line, but again it’s the majestic chorus that makes this song so special.  Finally, the album closes with another strong song – the quiet “Darklands” – era JAMC “Bring Me Down.”  The rainy day reflection of this song makes for a perfect closer for this collection.

This album is not as good as the Dum Dum Girls and Crocodiles output so far, but it’s an entertaining album for the right kind of mood.  I certainly won’t complain when this talented pair decides to take some time and record songs together outside of their respective projects and occasionally share them with us. 

Haunted Hearts "Johnny Jupiter"


Thursday, June 19, 2014



It seems strange to me that an album so filled with such rancor, regret, confusion and loss has come along and filled me with such a rush of life-affirming adrenaline, but this is exactly the case.  This second long-player from US indie pop band Gold-Bears is an absolute jolt to the system.  The album jumps right in with eleven fantastic blasts of sheer immediacy – all of which merge abruptly into one another – giving this collection the feel of a hot live show from a well rehearsed endlessly energetic band.  This transports me back to being a 15 year old again, smashed against the stage of a sweaty club gasping for breath as the band flies through these upbeat fiery moments of sheer raw emotion and excitement.  This album, my introduction to Gold-Bears, is an instant addiction. 

Where does Slumberland Records find so many great bands?  Where was I when Gold- Bears released their first LP in 2011?  This is the third year in a row that Slumberland has introduced me to absolutely thrilling acts, like last year’s Joanna Gruesome premiere, and the 2012 debut from Evans the Death.  This kind of hot streak rivals, if not surpasses their landmark earliest days – even Black Tambourine’s Pam Berry guests on backing vocals.  This album falls right into the corner for those of us who loved Boyracer’s debut compilation LP (More Songs About Frustration and Self-Hate) on Slumberland from 20 years ago.  They share a similar frenetic, high energy, messy passion and portrayal of all kinds of matters of the heart and it is invigorating.

I don’t know, but I’m guessing some kind of major break up or divorce may be the impetus for many of these songs.  My clue comes from the wonderfully catchy early Superchunk-esque burner “For You,” which contains the bitter lyric: “I heard you’re upset because I sold your ring / it was just a reminder that you never did anything for me.”  It’s this palpable recent hurt that drives this breathtaking collection.  The fresh stabbing pain of betrayal comes out in spades with the album’s downbeat closer, “Fathers and Daughters,” where band leader Jeremy Underwood lists a multitude of things wrong with his ex – each with the prelude “who am I to tell you?”  But it’s the first three songs of this album that truly set the stage.  The opening two and a half minute blast of “Yeah, Tonight,” a duet with former Standard Fare singer Emma Kupa (here listed as ‘Cooper’), details the mixed emotions during the initial parting of ways (“my histrionics only began to exist on the day I decided to leave”).  Again, the album is mixed so almost all of the songs bump directly into one another.  This is especially exciting between “Yeah, Tonight” and the second sharp incisive song “Chest,” which rivals anything from the early Wedding Present albums, both musically and lyrically.  “Chest” captures the mixed emotions of the early stages of a split by combining both angry lines (“everyone thinks the worst / they think that you’re worthless / yeah, they do!”) and those strong feelings of connection that are oh so difficult to let go (“and I will love you like the way that you could never love yourself”).  Then we’re immediately jolted into the ripping and careening “Death with Drums” that adds an urgent organ hum up front into the intense sounds already created by all the guitars and the driving drums and don’t miss the killer opening line: “’Til death do us part,’ we let it die,” as Underwood’s earnest vocal desperately reaches out for understanding (sounding like Mac McCaughan, or one of the guys from Defiance, Ohio).  It’s not until the fourth song, “I Hope They’re Right,” where we are allowed a moment to breathe.  The song is quiet in comparison to the opening attack, but those buzzing remnants provide a constant ringing of feedback humming and loud bass booms try to overcome the quiet acoustic picking and whispered words of reflection and pining hopes of leaving a positive and/or stinging tinge of regret for the one left behind (“if it’s true what everybody says / then she will never feel this way again / I hope they’re right”). 

There are so many great songs here that have me pretty damn fired up.  The quick shout along “Memo” is an amazing minute and a half of brilliance, while the one “long” song (five minutes) “Hey, Sophie” finds the regretful Underwood singing to his lost love and from far away and letting go of some of the anger (“I’m sorry it had to be this way”) and remembering better times – all atop a bedding of a Seamonsters-era Wedding Present relentless pounding beat before an extended dreamy instrumental closing.  Elsewhere, another former Slumberland alum gets a nod, as “From Tallahassee to Gainesville” draws from a similar on the cheap Phil Spector style “wall of sound” early 60s doo-wop that Henry’s Dress once performed so beautifully and briefly.

I almost feel guilty deriving so much enjoyment and enthusiasm from such hurt, but it is the sheer force of will that gives this collection such an inspiring and life-affirming drive.  For that, I will listen and absorb all of the power it provides and be the better for it.  Do not miss this album.

 Gold-Bears "Yeah, Tonight"

Monday, June 9, 2014


Birds EP
(Emerald and Doreen)

It’s amazing sometimes things just don’t connect in my head.  Back in 1999, I purchased the first Skywave CD (Echodrone) from Parasol Records mail order based purely on their description of the music.  I loved it!  It was a lot of dark noise that hinted at early Jesus and Mary Chain, but was somehow even more jagged without losing their strong sense of song structure and melody.  My love of pure noise was waning a touch by this age (there was a time in my late teens and twenties when feedback and dissonance were a massive part of my lexicon), but I still appreciated their music.  When another collection showed up via Parasol a few years later, I zapped that CD up as well (2004’s Synthstatic).  To be honest, it’s been quite some time since I’ve listened to either offering.  Several years later, when my pal Ox and I were running our own music mail order website (Entangled Records – see here), we discovered the noise band A Place to Bury Strangers, which reminded both of us of Skywave and then via various labels and distributors found ourselves listening to and stocking records and CDs by Alcian Blue, Screen Vinyl Image and Ceremony, among others mining this kind of sound.  I like all of them (especially the split 12” I have of Ceremony and Screen Vinyl Image and, of course, all three of the APTBS albums), but for some reason never really sought out all of these bands with the same fervor that I often do when encountering new music I love.  Maybe it’s simply because of my age and the dwindling number of hours in a day when I enjoy LOUD and harsh sounding music.  But what I find so mysterious is that I never realized or fully put together that the old band Skywave, who have become mythic In certain  circles, went on to become A Place to Bury Strangers (Oliver Ackermann) and Ceremony (John Fedowitz and at some point Paul Baker).  How did I not realize this?  At any rate, I know it now, and must pay more attention, because Ceremony’s latest digital EP, Birds, is excellent!

This new collection from Fedowitz (hot on the heels of 2013’s Distance), who seems to create all of this racket on his own, begins with the title track “Birds,” which is a basic pop song wrapped in his trademark on the verge of madness guitar noise.  The beat and flow of the song mildly hint at Ride’s excellent 1992 “Twisterella,” but the low fidelity swirling guitar feedback instead sounds like sparks and broken glass.  When done with this kind of skill and deft touch, this kind of music is hard to beat.  The song satisfies all needs for volume, excitement and a hummable melody.  I hate to pull at another Ride reference, but the astounding “Until Forever” has the same kind of overdriven, breathtaking energy, and opening as their early “Like A Daydream” single.  Fedowitz’s melancholy vocals give the onrushing wall of guitars an added tension.  Definitely one of the songs of the year!  Another standout is the blistering “Let Me In,” which threatens to break apart after he quietly intones the repeated chorus (“just let me in”), but check out that tuneful mid range bass-line roaming underneath all of the feedback that reminds a little of Will Sargeant’s (Echo and the Bunnymen) guitar lick for “Lips Like Sugar.”  The remaining two songs, the echo laden and defeated sounding “It’s Not You,” and the scratchy closing “Deep Breath,” are also excellent songs not to be missed.

It could be that the EP format is the perfect setting for this kind of music.  A full album might be too much for an old guy like me.  Whatever the case, I need to pull out and listen to that split 12” LP, those old Skywave CDs, and track down all three Ceremony albums, because I’ve been missing out.  This is the shit.