by nickAD | Aug 17, 2021
Hooks abound on “Jawbreakers,” the energetic new single from pop punk wiz kids For Lack of a Term. The band recruited Another Astronaut singer Nick Quiles to add even more melodic earworms to this tune. This track is the lead single from the the forthcoming album, Welcome To Your New Normal, due out this winter.
The band—Ryan Dempsey (vocals/guitar), Chris Beairsto (drums), Arthur Wernam (bass), and Conor Cullen (guitar)—delivers explosive pop punk in “Jawbreakers” with Dempsey’s voice soaring throughout alongside guest vocals from Quiles. The two vocalists complement each other nicely on this track, Dempsey’s smoother and higher range contrasting Quiles more direct and and cutting approach.
“Jawbreakers” landed on streaming platforms this week and is available now, along with a video directed by Dempsey and shot and edited by Brandon Lane. Watch the video below.
by nickAD | Aug 16, 2021
Creek and Kills (photo by Kate Hoos)
It’s always exciting and a little jarring to hear a record from an unknown-to-you band whose sound arrives fully formed and whose songs are not just catchy and well written, but transcendent. The latest EP from Creek and Kills, Unstitching, is a truly enchanting and essential listen.
“The Parade Now” opens the record, with some The Edge–like guitar delay effects from guitarist Marc Montgomery that quickly gives way to the powerful harmony blend of bassist/singer Kate Bell and drummer/singer Erin Harney. There’s a bit of an 80s college rock vibe to the song that is positively infectious, but not derivative or nostalgic. The whole EP also features touches of Americana and power pop, but filtered into their own sound that is fresh and distinctive.
The lead single “Swelter” demands the listener’s attention. Bell’s voice soars right from the start, above Montgomery’s jangly arpeggios and acoustic strumming. The tune hypnotically flows to and from various melodic passages, none of which act as an overt chorus, adding to the drama.
In a previous life, Bell was a heralded New York City jazz vocalist and composes before moving into the rock realm. Also an accomplished bassist, her formidable skills are on full display on “Night Service,” with the opening bass line haunting as it grooves. Harney plays off the riff as Montgomery tastefully plays above the rhythm. The groove evens out into the chorus, Bell still driving it all, her bass providing as much melody as her and Harney’s vocals. An absolute highlight on a record full of ’em.
The cohesiveness and moody sound of Unstitching, which sonically recalls R.E.M.’s Fables of the Reconstruction, is as much of an achievement as the six stellar songs. A true pandemic record, each member of the group recorded their parts separately at their homes. Bell took on a crash course in GarageBand to put the tracks together, and engineer Danielle DePalma expertly mixed and mastered the EP, using the rawness of the home recordings to create a soundworld that is neither lo-fi nor polished, but compelling and a little mysterious.
The EP shows a band confident in its playing and songwriting abilities, somehow able to sound live in the room together when they weren’t even in the same place making this record. Accordingly, the band sums up its sound better than any writer could (or at least this writer):
“These are wild siren songs from far reaches of an urban estuary. Creek and Kills rock out like a mermaid party in a Superfund site…a little dirty, a little dangerous, a little sexy, luring you to sink in the dark water.”
Allow yourself to be lured by this entrancing and seductive band.
Creek and Kills performing (photo by Kate Hoos)
Unstitching is out everywhere on Friday 8/20/21. The band will perform a release show that night at 18th Ward Brewing along with Groupie and Sweetbreads.
by Chantal | Aug 16, 2021
Fake Names is most definitely a supergroup. What else do you call a band whose members have spent the last several decades playing in legendary and influential bands like Minor Threat, Bad Religion, Refused, Embrace, Girls Against Boys, One Last Wish, and The (International) Noise Conspiracy? The 4-piece outfit consisting of Brian Baker, Michael Hampton, Dennis Lyxzén and Johnny Temple have added to that already very impressive pedigree by inviting guest drummer Brendan Canty who comes with his own long list of seminal credits: Fugazi, Rites of Spring, Happy Go Licky and most recently The Messthetics.
Wow, that’s a lot of names (and a lot of hyperlinks for my editor, I’m sure) and not even every single group all the members were in. But enough of past credits, let’s get to the music on this new EP. Which, coming from a group with those credentials, you know is going to be rock solid.
Fake Names (the EP is self-titled, like their debut album from last year) is a tight, 3 song affair that clocks in at about 9 minutes. It kicks off with the anthemic “It Will Take A Lifetime,” which sets the stage for what to expect: melodic bass, crisp drums and interlocking guitar work that incorporates rhythm chords and rollicking leads. There’s nary a pause, and by the time the EP ends with “Cuts You Down,” it’s time to hit repeat and pay attention to the vocals this time again, which are definitely more of the ‘singing’ than ‘screaming’ style of punk. I have a personal theory that supergroups tend to be a bit poppier than where their individual members came from, and it holds here – which is not a bad thing. Fake Names have hit a solid mark with catchy, pleasing punk rock- sometimes more punk, sometimes more rock, and well-produced without being overly slick.
Guitarist/vocalist Baker explained the band’s choice of releasing an EP by noting “So many of my favourite bands growing up (Damned, Clash, Black Flag to name a few) issued EPs between albums, and they were always special to me… they were records that made me feel closer to the bands, giving me a window into what was coming next or what they did when no one was looking. The ‘Fake Names EP’ was recorded in this spirit.” An EP also gives a band the chance to cut out filler, and that is exactly what Fake Names has done here.
Fake Names (photo by Glen E. Friedman)
Fake Names is out now on Epitaph Records.
by Kate Hoos | Aug 12, 2021
The Cocker Spaniels are releasing a wonderful new album, The Cocker Spaniels Are Still Alive and So Are You. This is the (essentially solo) project of Sean Padilla, a well known booking agent who describes himself as “a 40-year-old Black dad who likes Prince and Guided by Voices a lot, so I try to make music that splits the difference.” Padilla sings and performs almost everything himself on the album (his partner and kids accompany on a few songs). The album is a 21 song opus that is a “meditation on grief, loss, birth, and life; a reflection of his growth as a person and a musician over the last decade; a souvenir of how he stayed sane through a pandemic and the upheaval it caused; an album that sounds like folk-rock, power-pop, funk, grunge, dub, goth, punk, shoegaze, R&B, or black metal depending on the song.” Musically this is a very apt description as the songs nimbly blend genres, bobbing and weaving from song to song, never staying on one feel for too long; Padilla’s sharp pop sensibilities are the thread that ties everything together.
Lyrically the subjects are wide ranging but all are delivered with a clever, razor sharp wit, many of which are just so spot on and funny. You can feel yourself rolling your eyes on his behalf when he’s bemoaning gabby gossipy family members in “Family Snitch,” and in the absolutely hilarious “Nobody Wants to Play Last,” any musician who plays in a DIY band will immediately relate and laugh til they cry. Still keeping in the same sarcastic vein, he also does not shy away from offering pointed and very necessary commentary on the pervasive issues that plague us as a society such as racism and police violence toward Black people in “Racism Priest,” “Snuff Film,” and “Cops Don’t Care About The Drip,” Deeply personal narratives make their way here too, such as navigating the feelings of intense pain from losing a pregnancy but the hope that comes with finding out he and his wife are expecting again in “Baby’s Going To Make It This Time.” And yes two songs are even told from the point of view of a cat, the priceless and hard rocking “Eternal Grudge,” and the groovy “A New Hello,” sweetly sung from the perspective of a cat in heaven missing its person.
A dextrous wordsmith no matter what the song, it is really when the songs turn political that Padilla’s strength as a lyricist is on full display. While all the songs have somewhat of a satiric bite and aren’t afraid to dish out the snark, when the songs do touch the territory of commentary on systemic harmful issues, he has the unique ability to deliver the facts with a sardonic bent while keeping things engaging, making sure you as the listener have everything in clear focus because too many of us have been looking away for far too long; he knows this and his lyrics also say- without having to explicitly say- cut the crap because you aren’t going to look away any longer. This is a rare skill that brings to mind other singer/lyricists who also have this gift like Shawna Potter of War On Women, or the master of punk sarcasm himself, Jello Biafra.
He minces no words when calling out the toxicity of white guilt in “Racism Priest,” which was the first single from the album (read our review) or in the funked out synth bop “Snuff Film,” that very directly addresses police violence towards Black people and the fact that white America needs to wake the hell up: “Do you really need a snuff film to believe this could happen to me? Does it really take a snuff film for the world to show a little empathy? It’s been happening every day for four centuries. The only thing that seems to change is technology.” In the bouncy “Cops Don’t Care About the Drip,” murderous and arrogant cops are again addressed and Padilla lists many high profile cases throughout the song, citing the fact that no matter how well dressed or educated the individuals were, or how many of them were doing absolutely nothing at the time of their killing, the officers involved still found bogus excuses and chose to act with despicable aggression and violence to target Black people merely for existing in the world or for- God forbid- working to make it a better place: “Medgar got killed in a suit, Malcolm got killed in a suit, Martin got killed in a suit, your swag won’t make you bullet proof. Cops don’t care about the drip, they’ll pull their guns out just as quick. Your skin will still be Black, your blood will still be red.” These songs may come in a poppy funky package, with sugary harmonies to emphasize the words, but in the end they are 100 times sharper in their rebukes against racism as any political punk or hardcore record with a lead singer barking manifestos at the audience.
While there are so many strong songs on this collection, Padilla also takes the time to get tender and shows his love for his family, in the process really hitting the highest emotional notes of the album. Songs like “No Steps or Halves,” the hard rock into reggae fueled jam in which he describes meeting his oldest son for the first time, strike at the heart strings in a major way. He croons “You made a father out of me,” and I seriously got goosebumps, the love is so palpable, just radiating out of the song in waves. “Little Kid With a Big Brain,” is a piano heavy jam for his middle son, describing a bright and bubbly kid who loves to share everything that comes to mind which can be tiring for an adult, but delightful at the same time, Padilla singing “I know I want some peace and quiet but not right now, not this time” right before the song blows up into a hard rocking finale. “Rainbow Baby #2,” is for his youngest child, an adorable acoustic guitar number that concludes the album, complete with a wonderfully sweet cameo from baby Micah himself.
When I was sent this album for review, the name looked very familiar but I couldn’t place it at first. But after a listen, I remembered that I had actually discovered The Cocker Spaniels years ago in the blogosphere and had downloaded some tracks around 2004 or 2005ish, notably the brilliant “The Only Black Guy at the Indie Rock Show.” Those earlier songs really lay the ground work of where Padilla is at now and show off his many strengths both as a lyricist and songwriter. I admit I didn’t keep up with what he was doing after I found those songs all those years ago, but I was thoroughly delighted to connect those dots and get to listen to this album which is undeniably one of my favorites of 2021; I really look forward to seeing what Padilla creates next. He recently addressed the subject of new music on his Instagram saying “Despite what the long gaps between my albums may suggest, I’m always writing new songs; l just have to get better at carving out time to record them. I don’t wanna go a decade without releasing new music ever again. I look forward to sharing more of it with you as soon as possible.” I really don’t want him to go that long without releasing new music either!
The Cocker Spaniels Are Still Alive and So Are You is out on 8/13/21 on Evil Island Fortress.
The previous three Cocker Spaniels releases are also available for download on Bandcamp.
by Kate Hoos | Aug 10, 2021
Gustaf performing in 2018 (photo by Kate Hoos)
The first time I saw Gustaf perform in 2018, I wasn’t entirely sure just what the hell was happening for at least the first three songs of the set. Which I realize now may have partially been the point. There was a lot going on: multiple singers- one of whom often drastically warps and alters her voice via an effects pedal- coffee can percussion, throbbing bass grooves, spitfire stage presence- so it took me a minute to catch up. Once I got myself oriented, I was immediately won over and knew I was seeing a band that was not just pushing the limits, but tearing the very concept of limits to shreds. In the time since that show (not counting the pandemic of course) they have tirelessly pushed to build a reputation as not only one of the hardest working, but also one of the most innovative live bands in New York, a title they well deserve. But while this was the case, their recorded output remained completely nil until they put out a two song single at the end of 2020, Mine.
Now with the release of their new single “Book,” the wait for an LP will soon be over which is welcome news to the devoted fan base they have built at their shows over the last few years. With the release of the song they also announced that their debut full length, Audio Drag for Ego Slobs, is due out this fall ahead of a string of tour dates they have scheduled. Fans are clearly hungry for new music from them as the song has already generated over 13,000 streams at time of writing, just over a week since the release of the song.
Musically, they perfectly pull off a rapid fire motorik feel that is a bit peppier and at a higher intensity level than the two other singles they currently have out. This is art punk at its finest, absolutely drawing on the seminal post punk bands of the past like The Slits and Delta 5, while somehow also taking any potential influences and turning the sound completely on its head. The song moves along at a steady clip with the bass and guitar pulsating back and forth in a syncopated groove that will dig inside of your brain in a serious way. And just as the song seems to reach the ultimate crescendo, that it will definitely swing back around to a dancey outro, it stops dead in its tracks and is over, the band once again pushing against any expectations on how a song “should” go.
The lyrics describe being pushed to the edge and things coming to a head, and not being able to go back to whatever there was before, “I can’t return, I won’t return, I can’t go back to your life again” which is a feeling just about anyone can relate to after the end of any relationship be it romantic, friendship, artistic, or otherwise and just being so completely DONE.
Be warned, the insistent pulse of this song will get stuck in your head for hours afterwards, you won’t be able to listen to this just once, trust me on that. If this first single is any indication, this album is going to be just as exciting, weird, and wonderful as seeing them play live and I can’t wait.
Gustaf performing in 2018 (photo by Kate Hoos)
Music video for “Book”
“Book” is available to stream on all major platforms now. The full length album Audio Drag for Ego Slobs is out October 1st on Royal Mountain Records, pre-orders are available now via Bandcamp.
The band will embark on a lengthy fall tour, supporting IDLES for most of their US dates in October before heading to Europe for solo dates and a handful of dates supporting Pillow Queens.
by Jeni | Aug 10, 2021
Dream Nails (photo by Derek Bremner)
London punk witches Dream Nails have released a new song and accompanying video called “Take Up Space.” It is available in the US and Canada on Dine Alone Records and Alcopop! Records in the UK, a label who are fast becoming one of my favorites. They have an impressive roster, including The Spook School, Peaness, and Bo Ningen.
Dream Nails describe themselves as a “punk force to be reckoned with” and are known for their strident lyrics and dedication to creating safer spaces for women and non-binary people at their shows. They also know how to bring the party and I can’t recall a show so empowering! We (women and non-binary people) are invited to the front to dance, and men are asked to step to the back, so we can actually take up space.
“Take Up Space” cover art by Genie Espinosa
“Take Up Space” is the first release with their new singer Leah Kirby, who joined the band earlier in 2021. What I love about this video and the accompanying single is that it brings the party to you. It brings the summer vibes of a chorus that will give you an earworm for the rest of August, and long beyond. Don’t be fooled by the power poppy punk sounds; their lyrics always pack a hefty punch, and this one is no different. They can bring the party and hit you with spot on political lyrics that will leave you questioning.
“Saving myself from the creeps today” is one hell of a line, but I think my favorite would have to be “Then I’d meet my date, walk home late/ Not hold my keys like wolverine.” That’s the whole frightening point, succinctly wrapped in a catchy little verse washed down with some summery sixties harmonies. This song is a direct challenge to the yawnsome old anti feminist rhetoric that haunts us, even in the year 2021. Particularly after the heinous murder of Sarah Everard, who sadly is one of the more recent women in a very long line to be harmed or killed during the simple act of walking home, and the attention that came from it, songs like this are more necessary than ever to say we ARE going to take up space. For the punk context, that also means we don’t belong at the back of the gig, EVER.
The song was also accompanied by a brand new music video. Created by Jasmine Doyle-Pitt, Marieke Macklon, and Amin Musa with creative production and editing by the band’s guitarist Anya Pearson, the video binds their dedication to the DIY ethos. It matches the whole sixties energy the song has about it; the colors and the font are peak Scooby-Do! and the fuzzy filters make the video warm and inviting. It feels like a public service announcement and should be mandatory watching for young people navigating different spaces today. Repeat after me…TAKE UP SPACE!
This is what Leah had to say about the song: “This is a bop which acknowledges the injustice with cis male-dominated spaces. It’s an anthem for those who are negatively impacted by patriarchal oppression. It’s a call for us to reclaim our bodies and take ownership of ourselves. We want to live without fear, we want to live freely, we want to take up space!” Leah really shares the values of what the Dream Nails community is and they have fit in really well; I can’t wait to see them perform with the band for the first time soon.
Download the song, check out the video- then if you’re after more, some of my favorite tracks are “Lovefuck,” “Vagina Police,” and “Kiss My Fist”
“Take Up Space” music video
